Kon Michiko - Lingerie of Udo, 1995, Japan_"Still Lifes"
*
Metroactive Arts | Michiko Kon
Photo Gallery International - Michiko KON
Michiko Kon:Still Lifes::jason scott gessner
Louis Faurer - Rat Race, 1949
Floris M. Neussus - Untitled Körperfotogram, 60’s

Born in Lennep, Germany, in 1937, Neususs has dedicated his whole career to extending the practice, study and teaching of the photogram_alongside his work as an artist, he is known as an influential writer and teacher on camera-less photography_Neususs brought renewed ambition to the photogram process, in both scale and visual treatment, with the Körperfotogramms (or whole-body photograms) that he first exhibited in the 1960s_since that time, he has consistently explored the photogram’s numerous technical, conceptual and visual possibilities_



Shadow Catchers,13 October 2010 - 20 February 2011, will present the work of five international contemporary artists - Floris Neusüss, Pierre Cordier, Susan Derges, Garry Fabian Miller and Adam Fuss - who work without a camera_

Camera-less photographs were popular with botanical illustrators in the 1840s and ’50s but the process was really taken up in a big way in the 1920s by artists connected with European avant garde art movements such as Da Da, Surrealism, including Christian Schad, Man Ray and Curtis Moffat_a way of exploring new concepts of light, time and space_

*
info_
http://www.telegraph.co.uk/culture/photography/8051406/Floris-Neususs-Interview.html
http://beelinetree.blogspot.com/2010/12/floris-neussus-untitled-korperfotogramm.html
http://www.designweek.co.uk/home/blog/from-the-shadows/3019035.articleFloris M. Neussus - Untitled Körperfotogram, 60’s

Born in Lennep, Germany, in 1937, Neususs has dedicated his whole career to extending the practice, study and teaching of the photogram_alongside his work as an artist, he is known as an influential writer and teacher on camera-less photography_Neususs brought renewed ambition to the photogram process, in both scale and visual treatment, with the Körperfotogramms (or whole-body photograms) that he first exhibited in the 1960s_since that time, he has consistently explored the photogram’s numerous technical, conceptual and visual possibilities_



Shadow Catchers,13 October 2010 - 20 February 2011, will present the work of five international contemporary artists - Floris Neusüss, Pierre Cordier, Susan Derges, Garry Fabian Miller and Adam Fuss - who work without a camera_

Camera-less photographs were popular with botanical illustrators in the 1840s and ’50s but the process was really taken up in a big way in the 1920s by artists connected with European avant garde art movements such as Da Da, Surrealism, including Christian Schad, Man Ray and Curtis Moffat_a way of exploring new concepts of light, time and space_

*
info_
http://www.telegraph.co.uk/culture/photography/8051406/Floris-Neususs-Interview.html
http://beelinetree.blogspot.com/2010/12/floris-neussus-untitled-korperfotogramm.html
http://www.designweek.co.uk/home/blog/from-the-shadows/3019035.article
Photographer Ben Ali Ong: “By shooting 35mm black and white film and layering negatives together  during the scanning stage, as well as the use of surface scratching and  inscriptions to the negative, I try evoke a dream like detachment of an  earlier age”_

Ben Ali Ong is quickly making a name for himself on the Australian art  scene. Born in Singapore in 1982, the Sydney-based artist has  exhibited  widely with recent solo shows at Tim Olsen Gallery, the Queensland  Centre for Photography and the Powerhouse Museum in Brisbane_
"Throughout  my work I have been primarily interested in the suggestive  possibilities between images, and the narrative I can create by  juxtaposing the interior and exterior world beside each other. Portraits  next to landscape, for example, and the tension between these two  environments"_
*
info_
http://www.timolsengallery.com/pages/artists_details.php?artist_id=312
http://goneatdusk.com/project/ben-ali-ong/Photographer Ben Ali Ong: “By shooting 35mm black and white film and layering negatives together  during the scanning stage, as well as the use of surface scratching and  inscriptions to the negative, I try evoke a dream like detachment of an  earlier age”_

Ben Ali Ong is quickly making a name for himself on the Australian art  scene. Born in Singapore in 1982, the Sydney-based artist has  exhibited  widely with recent solo shows at Tim Olsen Gallery, the Queensland  Centre for Photography and the Powerhouse Museum in Brisbane_
"Throughout  my work I have been primarily interested in the suggestive  possibilities between images, and the narrative I can create by  juxtaposing the interior and exterior world beside each other. Portraits  next to landscape, for example, and the tension between these two  environments"_
*
info_
http://www.timolsengallery.com/pages/artists_details.php?artist_id=312
http://goneatdusk.com/project/ben-ali-ong/
Brassaï - Ciel Postiche, 1935 (Minotaure)_
 Alexander Rodchenko_he was one of the most versatile artists in the Russia of the twenties and thirties_in 1914 he moved to Moscow and attended the Stroganov School of the Arts_there Rodchenko met Kasimir Malevich and Vladimir Tatlin, and during the years that followed he evolved into one of the leading artists of the Russian avant-garde_he worked as a sculptor, painter, and graphic artist, designed posters for movie theaters, businesses and factories, and designed book covers and furniture_in 1921 his triptych Pure Colors: Red, Yellow, Blue was a masterpiece of absolute painting_
Between 1922 and 1924 Rodchenko turned increasingly to photomontages as related to poster art and book design_especially famous were his illustrations of Vladimir Mayakovsky's poetry Pro eto (About This)_in his montages Rodchenko tried to create a visual image of Mayakovski’s verses, thereby creating a unique connection between photomontage and constructivistic form_as he did in his other, earlier montages, Rodchenko used existing photographic originals in Proeto i.e. not photographs he produced himself_
Only in 1924, when he was less and less able to find suitable picture material for his montages, did Rodchenko reach for the camera, at last recognizing photography as the artistic medium of his era. Because pictures can be taken with a camera from every position, photography, in Rodchenko’s opinion, corresponded to the active eye of man_he wanted to liberate photography from conventions and from the standard belly-button perspective and thus he evolved into a distinct pioneer of photographic Constructivism_in 1928 he wrote in his manifesto-like text Ways of Contemporary Photography: “In order to educate man to a new longing, everyday familiar objects must be shown to him with totally unexpected perspectives and in unexpected situations. New objects should be depicted from different sides in order to provide a complete impression of the object”_

Increasingly Rodchenko’s photography was dominated by the artistic element of the line_he liked to integrate elements such as grids, stairs, or overhead wires in his photographic compositions, converting them into abstract constructivistic line structures_Stairs of 1930 and Girl with Leica of 1934 are undoubtedly among the most famous photographs of this kind_in 1930 Rodchenko became a founding member of the “October” group, the most important organization for photographic and cinematographic art of that time_
Masters of Photography: Alexander Rodchenko Alexander Rodchenko_he was one of the most versatile artists in the Russia of the twenties and thirties_in 1914 he moved to Moscow and attended the Stroganov School of the Arts_there Rodchenko met Kasimir Malevich and Vladimir Tatlin, and during the years that followed he evolved into one of the leading artists of the Russian avant-garde_he worked as a sculptor, painter, and graphic artist, designed posters for movie theaters, businesses and factories, and designed book covers and furniture_in 1921 his triptych Pure Colors: Red, Yellow, Blue was a masterpiece of absolute painting_
Between 1922 and 1924 Rodchenko turned increasingly to photomontages as related to poster art and book design_especially famous were his illustrations of Vladimir Mayakovsky's poetry Pro eto (About This)_in his montages Rodchenko tried to create a visual image of Mayakovski’s verses, thereby creating a unique connection between photomontage and constructivistic form_as he did in his other, earlier montages, Rodchenko used existing photographic originals in Proeto i.e. not photographs he produced himself_
Only in 1924, when he was less and less able to find suitable picture material for his montages, did Rodchenko reach for the camera, at last recognizing photography as the artistic medium of his era. Because pictures can be taken with a camera from every position, photography, in Rodchenko’s opinion, corresponded to the active eye of man_he wanted to liberate photography from conventions and from the standard belly-button perspective and thus he evolved into a distinct pioneer of photographic Constructivism_in 1928 he wrote in his manifesto-like text Ways of Contemporary Photography: “In order to educate man to a new longing, everyday familiar objects must be shown to him with totally unexpected perspectives and in unexpected situations. New objects should be depicted from different sides in order to provide a complete impression of the object”_

Increasingly Rodchenko’s photography was dominated by the artistic element of the line_he liked to integrate elements such as grids, stairs, or overhead wires in his photographic compositions, converting them into abstract constructivistic line structures_Stairs of 1930 and Girl with Leica of 1934 are undoubtedly among the most famous photographs of this kind_in 1930 Rodchenko became a founding member of the “October” group, the most important organization for photographic and cinematographic art of that time_
Masters of Photography: Alexander Rodchenko
Man Ray - Mujer de cabello largo, 1929
Idris Khan' s multi-layered photos_
Idris Khan | Artists | Victoria MiroIdris Khan' s multi-layered photos_
Idris Khan | Artists | Victoria Miro
Alvin Coburn -  Vortographs
[1917, Courtesy of George Eastman House, International Museum of Photography and Film]
http://www.masters-of-photography.com/C/coburn/coburn.htmlAlvin Coburn -  Vortographs
[1917, Courtesy of George Eastman House, International Museum of Photography and Film]
http://www.masters-of-photography.com/C/coburn/coburn.html