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Zirwes invites the viewer to look at these abstract images and see the familiar objects in a manner we’re typically unaccustomed to seeing them. Highlighting the vastness of these environments by shooting them in such large scale, Zirwes is able to accurately emote feelings of loneliness and emphasize the gravity of isolation. Click here to visit the photographer’s site and check out more aerial photographs in full screen view.


EVOL’s work typically transforms urban spaces into miniature cities by pasting spraypainted stenciled images of walls and windows over planters, power boxes, and other structures. about the current installation, among his first in a rural setting, he reflects:
“As I came [to the site] first, that’s what I found: endless meadow, trees and blue sky. not exactly what I play with usually. so I decided to cut open the idyll, and pretend there is no endless meadow, but only rooftop-gardens of the disgust underneath”.






People and Flowers

Robert Mapplethorpe was born in 1946 in Floral Park, Queens. Of his childhood he said, “I come from suburban America. It was a very safe environment and it was a good place to come from in that it was a good place to leave.”
In 1963, Mapplethorpe enrolled at Pratt Institute in nearby Brooklyn, where he studied drawing, painting, and sculpture. Influenced by artists such as Joseph Cornell and Marcel Duchamp, he also experimented with various materials in mixed-media collages, including images cut from books and magazines. He acquired a Polaroid camera in 1970 and began producing his own photographs to incorporate into the collages, saying he felt “it was more honest.” That same year he and Patti Smith, whom he had met three years earlier, moved into the Chelsea Hotel.

Mapplethorpe met Lisa Lyon, the first World Women’s Bodybuilding Champion, in 1980. Over the next several years they collaborated on a series of portraits and figure studies, a film, and the book, Lady, Lisa Lyon. Throughout the 80s, Mapplethorpe produced a bevy of images that simultaneously challenge and adhere to classical aesthetic standards: stylized compositions of male and female nudes, delicate flower still lifes, and studio portraits of artists and celebrities, to name a few of his preferred genres. He introduced and refined different techniques and formats, including color 20″ x 24″ Polaroids, photogravures, platinum prints on paper and linen, Cibachrome and dye transfer color prints. In 1986, he designed sets for Lucinda Childs’ dance performance, Portraits in Reflection, created a photogravure series for Arthur Rimbaud’s A Season in Hell, and was commissioned by curator Richard Marshall to take portraits of New York artists for the series and book, 50 New York Artists.

That same year, in 1986, he was diagnosed with AIDS. Despite his illness, he accelerated his creative efforts, broadened the scope of his photographic inquiry, and accepted increasingly challenging commissions. The Whitney Museum of American Art mounted his first major American museum retrospective in 1988, one year before his death in 1989.

His vast, provocative, and powerful body of work has established him as one of the most important artists of the twentieth century. Today Mapplethorpe is represented by galleries in North and South America and Europe and his work can be found in the collections of major museums around the world. Beyond the art historical and social significance of his work, his legacy lives on through the work of the Robert Mapplethorpe Foundation. He established the Foundation in 1988 to promote photography, support museums that exhibit photographic art, and to fund medical research in the fight against AIDS and HIV-related infection.







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“We get high. We drink gin and squeeze fresh lime into our hand full’s of popcorn. Sitting in front of the fire we watch the simpsons projected onto the wall. I show you a photo of my father, with his neat hair and moustache, and tell you that homer is his hero. In your room we take turns getting changed in the hallway. Your room is near and your bed is so soft and warm. it folds around me like a cocoon. you turn on the radio and we listen to the philosophy hour. A woman talking about god, or the spirit, or nature or something. We open our books but we don’t read for long before talking again. We are acting like we’ve been married for thirty years when we’ve only known each other a month. You fall asleep with the radio on. Oh, the things you must learn in your dreams! in the morning we rise early. I drop my phone behind the bed and our hands touch briefly reaching for it. We leave with no ritual to see a film neither of us likes. I get a message from my mother saying something about the rain while we navigate through children at the museum. I find myself getting way ahead of you between the displays. I look at the same things three of four times over waiting for you to catch up. in the car we listen to the beatles, and sit in comfortable sleepy silence.” words by cara fox
image © douglas e pope