Fabian Oefner`s new work, “Photographic Paintings” moves within the realms of painting and photography. When looking at the prints from a distance, one could define the works as paintings. When looking at the work up-close, one discovers various clues, that define it as photograph. The final work as well as the process of creation merges the characteristics of the two media with the help of chemistry.
Posts by admin:
Japanese photographer Masahisa Fukase made his obscure masterpiece ‘Ravens’ (‘Karasu’) between 1975 and 1982 as a way of overcoming a personal emotional trauma following a divorce with his second wife Yōko Wanibe. Though the photographs at first sight are a personal lament reflecting the darkened vision of the photographer himself, they are regarded by many as the most important body of work to come out of postwar Japan, and still its imagery continues to inspire artists and writers today.
The project originated as an eight-part series for the magazine Camera Mainichi and these photo essays reveal that Fukase experimented with multiple exposure printing and narrative text as part of the development of the Karasu concept. The first book was published in 1986, subsequent editions were published in 1991 and and 2008, and in May, 2017 a new one is coming.
“Ravens is one of the defining bodies of work in the history of photography and a high point in the photo book genre. This accumulation of accolades, and the passing of time, have obscured much of the fascinating detail which explains the artist’s pre-occupation with this motif throughout his work. It was not simply a reflection of the existential angst and anhedonia he suffered throughout his life but manifested in artistic self-identification with the raven and ultimately spiralled into a solitary existence and artistic practice on the edge of madness…” Tomo Kosuga from his essay Cries of Solitude 
The video below was created by Esther ‘t Hart and Wiek Roggeveen as a tribute to the photographer.
Swiss photographer Roger Eberhard traveled around the globe to document how ‘standard’ this world has become. He took only 2 photos where he stayed – one from the interior of his Hilton ‘Standard’ hotel room and another from the view out of his window, always using the same perspective.
Besides of the uniformity of each room (there is even a manual for that called “Hilton Design and Construction Standards Manual”), Eberhard was surprised to find that there were similarities in the outside view too. Skyscrapers, broad avenues, highways – the usual modern city landscape gives as little clue to the location as the interior. “The result is a typology of rooms which are arranged according to the same formula all over the world,” Eberhard says. “But also the views tell of standardization, of the anonymity of the urban space.”
Eberhard states that the project is not a critic of globalization or questioning Hilton’s quality. It is just an observation of the new world. His conclusion is more about our ‘standard’ behaviour – “Why do we travel the world and stay in a place that looks same everywhere we go? What does that say about us as creatures of habit?”
The project is available in a photobook ‘ Roger Eberhard – Standard’
‘Shop Windows‘ (Escaparates) is a series by Spanish photographer Anna Malagrida focusing on blurry and dirty windows of Parisian businesses that are closed down. Thus stripping away their customary usage and instead presenting them as a vehicle for contemplation where the viewer’s gaze can also play around with the reflection of the city’.
Famous Austrian photographer “may have frequently photographed well-dressed people and many figures of the fashion world, but to call her a fashion photographer would be a mistake”, according to John P. Jacob, the McEvoy Family curator for photography at the Smithsonian American Art Museum. “Whether photographing festivals or artists’ studios, on films sets, the street, or the fashion runway, what distinguishes Morath’s photography is an unerring eye for life’s brilliant theatricality”