'Poems are like sentences that have taken their clothes off.' Marlene Dumas' poetic and sensual refrain accompanies her figurative watercolours on view in Possibilities for a Non-Alienated Life, the fourth edition of the Kochi-Muziris Biennale (KMB) in the southern state of Kerala, India (12 December 2018–29 March 2019).Dumas' new series...
The paintings of Ellen Altfest are ethereal in their detail. Fields of minutiae come together as pulsating images; small brushstrokes of oil paint accumulate over a series of months to single out seemingly innocuous subjects, such as a hand resting atop patterned fabric (The Hand, 2011) or a deep green cactus reaching upwards from beneath a bed of...
On the rooftop of the former Rio Hotel complex in Colombo, it was hard to ignore the high-rise buildings, still under construction, blocking all but a sliver of what used to be an open view over Slave Island, once an island on Beira Lake that housed slaves in the 19th century, and now a downtown suburb. The hotel was set alight during the...
Born in London in 1964, Miles Aldridge has published his photographs in such influential magazines as Vogue Italia, American Vogue, Numéro, The New York Times, The New Yorker, and Paradis. His work has been exhibited in numerous group shows, like at Miami Beach Art Photo Expo as a part of Art Basel Miami Beach in 2007. His solo shows The Cabinet, 2006, and Acid Candy, 2008, Kristen, 2010, with Chantal Joffe and Vanitas, One Black&White and Twenty Four Colour Pictures, 2014, have been presented by Galerie Alex Daniels – Reflex Amsterdam.
'If the world were pretty enough, I'd shoot on location all the time,' confides the photographer, who, until very recently, worked almost exclusively on elaborately constructed, meticulously lit studio sets in Europe, New York and L.A. 'But the world is just not being designed with aesthetics as a priority. So I prefer to rebuild the world instead of photographing the real one. What I'm trying to do is take something from real life and reconstruct it in a cinematic way.'
David Lynch: 'Miles sees a colour coordinated, graphically pure, hard-edged reality'.
Glenn O'Brien: 'Aldridge's feverish Madonna icon is both saint and sinner, her ecstasy is both religious and sexual, and how far is that from the source of myth itself, from the "reality" of St. Theresa?'
Marilyn Manson: 'There are only names like Man Ray or Breton that can serve as any measure for me to place Miles Aldridge on any artistic barometer.'
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