Greg Sand is an artist who explores the issues of time and death. He produces work that addresses the nature of photography and its role in defining reality. Sand received his BFA in Photography from Austin Peay State University in 2008. He has received recognition from many jurors, including Chicago art dealer Catherine Edelman, Guggenheim Assistant Curator Ylinka Barotto, and acclaimed artists Shana and Robert ParkeHarrison. Sand currently produces work in Clarksville, Tennessee, and exhibits across the United States.
(b. 1970, Johannesburg) is an artist, activist and educator. He currently lives and works in Berlin. He is a professor of photography at the Hochschule für bildende Künste (HFBK) in Hamburg and teaches in the MA Photography & Society program at The Royal Academy of Art, The Hague. For two decades, he was one half of the critically acclaimed artist duo Broomberg & Chanarin.
This photography collection is housed at the American Heritage Center at the University of Wyoming in Laramie. Lora Webb Nichols (1883-1962) created and collected approximately 24,000 negatives over the course of her lifetime in the mining town of Encampment, Wyoming. The images chronicle the domestic, social, and economic aspects of the sparsely populated frontier of south-central Wyoming throughout the early 20th century.
Life is the dark unresolvable jumble, the mysterious and chaotic bundle of incomprehensible sensations, all tied and mixed together. Demons keep occurring behind, throughout and beyond the objects of the so-called “real world”; they invite the eyes and all the other senses to further proceed, to go into the realm of exceedance they give way to, to discover the inner nature of appearance. They are the faces of that terror implied in the direct sensorial approach to reality, in the full experience of the world surrounding us. They’re expressions of the trauma, the bolt shaking and ravaging the ground of ordinary perception, exceeding it, paving the way to an unprecedented and unknown dimension we’re given access to: infinite, unresolvable, incomprehensible. The grotesque and violent element they often exhibit is mostly linked to an expressive characteristic which is typical of the sensations of terror and anguish one can encounter being participant of an over-whelming experience, one that can submerge and overflow the senses, abruptly throwing them into a state of irreversible and unstoppable chaos. This makes the consciousness feel as if it was part of something incredibly bigger than itself, enormously more complex, profound and alive than what it’s capable of understanding. They also have this feature of fickleness, being both metamorphic and shapeless, inorganic, being direct expression of that relentless force of mutation, the ever-flow of heraclitean becoming, which eventually sums up all of the entropic changes, the hybrid mutations, the inexplicable reciprocity they borrow one from the other, meeting up, then undoing themselves, disappearing and then recovering in different, unexpected forms and states. For in the darkness looming over from this in-between folded dimension, it is most importantly required to be present, sharp focused and to listen very carefully. If one is able to plunge into it without any preconception or preview of sort, things startlingly regain their inner core of pulsating chaos. Then the observer is continuously melted into it, so that polarity of the paradigm of reality gets shifted, or maybe even nullified, giving way to a void paradigm, or non-paradigmatic condition in which everything of what is “exceeding” is real and nothing of what is “imaginary” is no more unreal.
Mepaintsme.com is an online contemporary art gallery presenting thematic group exhibitions that feature emerging, mid-career, and established international artists. Mepaintsme.com desires to create a legitimate space for virtual curation and exchange through social media, and embraces our collective evolvement of viewing, sharing and acquiring art online.
1 – Hungarian poster art for 1977 Wim Wenders film An American Friend
2 – Norman Cordon-Smith, Acid Awakening, 1970
3 – Muriel Le Pair @muriellepair
4 – Bruce Conner, Sound of Two Hand Angel (Detail), 1974.
Artist, archivist, documentarian, and collector based in Durham, N.C. USA.
“The Disappearing Family,” traces the family unit through the modern period and into the post modern period. The images start in black and white and shift into color photography while shadowing the changing and de-centering aspects of social and cultural life as the family unit moves from the modern epoch into that of the postmodern. The project was presented as an artist talk @cdsduke and is a forthcoming book publication.
Thibault Tourmente has been exploring a visual archival work, Inventaire déraisonné, since 2018. This experimentation cuts and arranges 2427 images. The assemblage results in 12 fanzines, published by BATT Coop. A form of anti-language, Inventaire déraisonné creates its own semantics in the reader’s eye. This iconological research inscribes multiple and interchangeable proposals, combining the editorial approach with the perspective of a space setting.
Obscura is a superbly curated assortment of vintage photography, photo booth surprises, happy accidents, collectible photobooks, and visual ephemera culled from years spent combing flea markets, estate sales, and swap meets. The Obscura collection is filled with stunning images that haunt the viewer long after their moment together has passed.
Barbara Levine is an artist/collector of offbeat vernacular photography and most known for using her collection (recently acquired by the MFA Houston ) as the foundation of my artistic practice which includes books, archive projects and exhibitions. My wife, Paige and I built the collection together and one of our favorite themes is defaced and captioned snapshots
Since 2019, I’ve been directing content/marketing strategy for The Luupe, a new platform connecting women and non-binary photographers with big brands to create diverse, authentic content. .
In my spare time, I run Humble Arts Foundation, a non-profit dedicated to supporting up and coming art photography. I work with photographers on collaborative interviews to make their photos shine.
I’ve curated over 50 exhibitions online and IRL, collaborating with curatorial heroes like Lumi Tan, Charlotte Cotton, Natalia Sacasa, Roula Seikaly, and Mickalene Thomas, landing press in HyperAllergic, Aperture, FeatureShoot, The New York Times and The New Yorker.
I recently won the 2019 Blue Sky curatorial prize with Roula Seikaly, and also recently, curated my first museum show at The Ogden Museum in New Orleans.
My writing on photography has appeared in VICE, Slate, Daylight, Aperture, Adobe, Hyperallergic, Photograph, and Time, and my weekly stories and interviews on Humble’s blog have helped get photographers press, representation, and sell their work.
