L.E. Ball

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Tierney Gearon for LOST WKND Magazine. Credit: Writer.

Excerpt:

“There is an extraordinary self-awareness in Tierney Gearon’s photographs twinned with a sense of potent fearlessness. This fortitude for the unknown, the unexplored, and the uninhibited elevates her work from captured portraits to visceral experiences. Each photograph reads like a page from a diary, unearthing the most fragile vulnerabilities and intimate desires in pursuit of self-actualization. It’s in the subjects she chooses, such as her own children and mother, placing dissonant people and places and things together seamlessly. This is what makes Gearon’s work so uniquely and unmistakably hers. Her muses: family and friends; her mise-en-scène, as it were: wherever family and friends happen to be—on vacation, at home. Because it’s like Gearon tells me: ‘If you sit somewhere long enough, something interesting is going to happen.’...[Read More]”

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John Franzen for FORTH Magazine. Credit: Writer, curator.

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Lower Dens for LOST WKND Magazine. Credit: Photographer.

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ON AN ON for LOST WKND Magazine. Credit: Photographer.

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Li Hongbo for FORTH Magazine. Credit: Writer, curator.

Excerpt: 

“We live in a time of constant war, financial fallout, flippant extinction, an entire society governed by SEO and engined by terror, cosmetic manipulation in utero, celebrity worship, athlete worship, religious mayhem and the death of God, fear of police, fear of everything; our children can DM terrorists on Twitter, fly to Istanbul and cross into Syria like they’re heading to summer camp—and, somehow, the strange and unpredictable work of Chinese artist Li Hongbo still manages to surprise...[Read More]”

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Dear Data Project for FORTH Magazine. Credit: Writer, curator.

Excerpt:

“Though Ray Johnson is considered to be the first mail artist, it was Cleopatra in 47 BC who first had herself delivered to Juilus Caesar in a rolled-up carpet, thereafter becoming his mistress. An elusive art form, Correspondence Art, Arte Postale, or Post-Kunst, is dependent upon the interconnectedness of a global community. What Fluxman Robert Filliou coined as the “Eternal Network” and what has since faded with the rise of infoporn, slapdash edification, and now the shackling Apple Watch. 

Sharing a mutual obsession for “slow data” transmission, Giorgia Lupi and Stefanie Posavec—two highly driven data aficionados—began Dear Data in pursuit of building a meaningful friendship. The year-long, analog project resulted from their encounter in Minneapolis at the Eyeo Festival. Lupi, a New York-based design director and co-founder of Accurat, and Posavec, a London transplant and data specialist, agreed their professional and recreational parallelisms were worth keeping au courant, though the two live nearly 3,500 miles apart...[Read More]”

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David Lyle for FORTH Magazine. Credit: Writer, curator.

Excerpt:

“The past has a texture. The grain of old film, the gauze of old memories. Artist David Lyle’s hyperrealistic paintings capture the innocence and textures of American life during wartime, the 1950s and ’60s, a time when the Space Race was part of our collective consciousness, bourbon for lunch, cigarettes in hospitals, civil terror and inequality, innovations in machines built to kill. Lyle’s haunting works splice imagery from a strange, frantic time—so far removed from us it feels like it never happened at all—with contemporary pop culture references, creating a sort of visual narrative of time’s inexorable march. A coal minor stumbles upon some binary code, portly kids sit around an old console television and watch Homer choke his son. A hashtag is auctioned off. And if Albert, the first monkey in space, can accomplish such a feat (and suffocate to death in the process, in 1948), then why can’t he paint a Pollock?..[Read More]”

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Eugenia Loli for FORTH Magazine. Credit: Writer, curator.

Excerpt:

“I’ve never dropped acid. I’ve drank and smoked and popped things, but I’ve never dropped or shot things. It seems like a high you wouldn’t come all the way back from, a trip that’d leave you muttering, gripped with dread forever, seeing the world from a different angle, sideways. 

Visual artist Eugenia Loli’s surreal collage works are a celebration of psychedelia and incongruity – a slapdash collision of stock images and textures, of ideas and influences. Often embellished with a tough sarcasm and wit, her works play like avisual narrative from her unique perspective. The artist clearly sees the world from a different angle...[Read More]”

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Pierre Schmidt for FORTH Magazine. Credit: Writer, curator.

Excerpt:

“Looking at the work of Pierre Schmidt is looking at the artist himself. Working headlong through the impulsivities of his psyche and employing titles based on the philosophies of Friedrich Nietzsche and the melancholy underpinnings of Avro Pärt’s Spiegel em Spiegel, Schmidt manages to delicately thread a line from his very being to wherever you might be. Swimming freely in pieces such as Ressentiment I, Ressentiment III, are ethereal filaments and strands, admittedly plucked from the soft tissue of his subconscious, grasping desperately for meaning in a world only partially realized by the creator himself. Prepped and sliced for dissection, we find his suppressions, ruptured and swollen, spilling forth bits of nostalgia, idiosyncrasies, and an ache to gain a higher consciousness...[Read More]”

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Ron Jude for FORTH Magazine. Credit: Writer, curator.

Excerpt:

“There’s a punk rock aesthetic to Ron Jude’s work, a point-and-click, found footage vibe. But there’s a textural edge, too, like Polaroids strewn around a crime scene, or straggling snapshots culled from your reclusive uncle’s junk drawer. His work elicits something in the viewer at once nostalgic and unsettling—out-of-focus scene of a gas station at night, blood on the newspaper fashion page—like stills from a documentary film. But these alluring and strange photographs lead the viewer down an introspective and philosophical path; nostalgia, after all, comes from a Homeric word meaning pain...[Read More]”

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American Apparel Goes Inside: Courtney’s Closet (Pilot for mock up for series). Credit: Creator, videographer, editor.

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Katrina Majkut for FORTH Magazine. Credit: Curator.

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Cyrielle Tremblay for FORTH Magazine. Credit: Curator.

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Escape From L.A.: A Weekender’s Guide—Kern County for FLAUNT Magazine. Credit: Photographer.

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Pierre Bismuth for FORTH Magazine. Credit: Writer, curator.

Excerpt: 

“For Brussels-based contemporary artist and writer (Eternal Sunshine of the Spotless Mind) Pierre Bismuth, the journey is not only a means to an end, but an end in itself. Take, for example, his latest project, Where Is Rocky II?—a film about his quest to find a fake rock hidden in the desert. In 1976, artist Ed Ruscha sculpted said rock, Rocky II, and placed it in an undisclosed location in the Mojave, and in that location it has since remained. Bismuth, who has launched an Indiegogo campaign to help finance the film, hired a private investigator to comb the vast Southern Californian wilds and help find the rock. “Planting this rock,” says Bismuth’s disembodied head in the film’s appropriately unusual trailer, “was Ruscha’s invitation to find it.” It’s a predictably daunting task, trying to find a fake rock hidden somewhere among 47,877 square miles of real ones. But that’s the point—and the quest itself becomes an artistic extension of Ruscha’s original piece, taken over and enlightened by Bismuth. In other words, bring on the boulders—real, fake, and figurative...[Read More]”

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Cat People for FLAUNT Magazine. Credit: Photographer.

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Pawel Przewlocki for FORTH Magazine. Credit: Curator.