TINSEL TOWN HEROES
Ellen Von Unwerth
Ellen Von Unwerth’s thirty-year storied career defined the aesthetic of the 90’s and 2000’s and has made her a staple of fashion photography. Crafting cinematic scenarios for her shoots, Von Unwerth’s flashy, kinky, and humorous photographs invite viewers to come along on a boisterous escapade. By furnishing each of her subjects with a new persona to inhabit, she allows their inhibitions to melt away. The story telling aspect in her creative process has allowed her to create images that are never static and begs the question, “what is really going on here?” The inherent sexuality in her images is never without fun, and the subjects within her works are always powerful - positioned in control of their sex appeal.
Quantum Lens
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Ellen Von Unwerth’s thirty-year storied career defined the aesthetic of the 90’s and 2000’s and has made her a staple of fashion photography. Crafting cinematic scenarios for her shoots, Von Unwerth’s flashy, kinky, and humorous photographs invite viewers to come along on a boisterous escapade. By furnishing each of her subjects with a new persona to inhabit, she allows their inhibitions to melt away. The story telling aspect in her creative process has allowed her to create images that are never static and begs the question, “what is really going on here?” The inherent sexuality in her images is never without fun, and the subjects within her works are always powerful - positioned in control of their sex appeal.
Fugue State Revisited, is an on-going exploration of the future legacies of photography, with a focus on the life span of digital files. After the loss of a hard drive that held 20 years of analog scans, I received only half the files back in recovery. The rest of the files were corrupted, each totally unique in how the machine damages and reinterprets the pixels. This alarming result made me begin to consider ever-shifting digital platforms and file formats, and I realized that much of the data we produce today could eventually fall into a black hole of inaccessibility. The Getty Research Institute states, “While you are still able to view family photographs printed over 100 years ago, a CD with digital files on it from only 10 years ago might be unreadable because of rapid changes to software and the devices we use to access digital content.” As an analog photographer, rather than let the machine have the last word, I have cyanotyped over my damaged digital scans. I use silhouettes of portraits from my archives as a way to conceal and reveal the corruption. By using historical processes to create a physical object, I guarantee that this image will not be lost in the current clash between the digital file and the materiality of a photographic print. Fugue State Revisited calls attention to the fact that today’s digital files may not retain their original state, or even exist, in the next century. As we are reliant on technology to keep our images intact for future generations, it begs the question, who will maintain our hard drives after we are gone? Will we be able to conserve photographs that speak to family histories? These are important considerations for our visual futures, as we may be leaving behind photographs that will be reimagined by machines.
Elinor Carucci is renowned for sensuous portraits of her family and herself. Closer reveals the breadth of her work, from the erotic to the ethereal, exposing an emotionally honest world flooded with color. Fragments of her life are revealed through family and self-portraits and artful abstractions, making Closer a daring portrayal of the artist's intimate emotional geography. Carucci's work is first and foremost about the nuclear family, and also touches upon the universality of intimacy and mortality. Her parents, grandparents, and spouse are the central players, each of whom she portrays gently but unflinchingly in her images. Her photographs work with a definite color palette and there is a mesmerizing quality to the serene blues and vivid reds set against the myriad tones of bare skin. Closer: Photographs by Elinor Carucci is the artist's first monograph. Carucci received the International Center for Photography's Infinity Award for Best Young Photographer in 2001, and earned a Guggenheim Fellowship in 2002.
"I have spent my entire career photographing children all over the world. The last several years I have focused my eyes on the Irish Traveller that live in caravans on the side of the road or in open fields throughout Ireland. The Traveller community are an Irish nomadic indigenous ethnic minority. There is no recorded date as to when Travellers first came to Ireland. This is lost to history but Travellers have been recorded to exist in Ireland as far back as history is recorded. Even with their great history they live as outsiders to society and face unbelievable racism growing up. As a mother of two daughters I became so interested in the culture and traditions and lives of these children. I have spent many years traveling back and forth to Ireland to document these incredible children."
My life will forever be intertwined with Ethiopia. In my teenage days, this country is where I first found my vision as a photographer. Later, Ethiopia would be where I found my home and my soul mate. ETHIOPIA is a monolithic collection of my images captured over the course of thirteen years. It is an ode to every region of the country and a celebration of all the unique peoples found within. These seemingly disconnected cultural threads are woven together in a cohesive visual style in order to truly see Ethiopia— which itself is the sum of all the diverse lands and theproud people who inhabit it. The dignified vision found in the portraits is not to obscure other searing realities within Ethiopia, such as the wealth inequality and traumatic conflict spread across the country. It is to highlight the prestige I have always recognized here. This collection is about the timeless and pure things that have withstood the politics of the day, and to challenge the way the outside world can perceive this country. This is my tribute to the enduring Ethiopia.
The world's best curated Photography
Ellen Von Unwerth’s thirty-year storied career defined the aesthetic of the 90’s and 2000’s and has made her a staple of fashion photography. Crafting cinematic scenarios for her shoots, Von Unwerth’s flashy, kinky, and humorous photographs invite viewers to come along on a boisterous escapade. By furnishing each of her subjects with a new persona to inhabit, she allows their inhibitions to melt away. The story telling aspect in her creative process has allowed her to create images that are never static and begs the question, “what is really going on here?” The inherent sexuality in her images is never without fun, and the subjects within her works are always powerful - positioned in control of their sex appeal.
Fugue State Revisited, is an on-going exploration of the future legacies of photography, with a focus on the life span of digital files. After the loss of a hard drive that held 20 years of analog scans, I received only half the files back in recovery. The rest of the files were corrupted, each totally unique in how the machine damages and reinterprets the pixels. This alarming result made me begin to consider ever-shifting digital platforms and file formats, and I realized that much of the data we produce today could eventually fall into a black hole of inaccessibility. The Getty Research Institute states, “While you are still able to view family photographs printed over 100 years ago, a CD with digital files on it from only 10 years ago might be unreadable because of rapid changes to software and the devices we use to access digital content.” As an analog photographer, rather than let the machine have the last word, I have cyanotyped over my damaged digital scans. I use silhouettes of portraits from my archives as a way to conceal and reveal the corruption. By using historical processes to create a physical object, I guarantee that this image will not be lost in the current clash between the digital file and the materiality of a photographic print. Fugue State Revisited calls attention to the fact that today’s digital files may not retain their original state, or even exist, in the next century. As we are reliant on technology to keep our images intact for future generations, it begs the question, who will maintain our hard drives after we are gone? Will we be able to conserve photographs that speak to family histories? These are important considerations for our visual futures, as we may be leaving behind photographs that will be reimagined by machines.
Elinor Carucci is renowned for sensuous portraits of her family and herself. Closer reveals the breadth of her work, from the erotic to the ethereal, exposing an emotionally honest world flooded with color. Fragments of her life are revealed through family and self-portraits and artful abstractions, making Closer a daring portrayal of the artist's intimate emotional geography. Carucci's work is first and foremost about the nuclear family, and also touches upon the universality of intimacy and mortality. Her parents, grandparents, and spouse are the central players, each of whom she portrays gently but unflinchingly in her images. Her photographs work with a definite color palette and there is a mesmerizing quality to the serene blues and vivid reds set against the myriad tones of bare skin. Closer: Photographs by Elinor Carucci is the artist's first monograph. Carucci received the International Center for Photography's Infinity Award for Best Young Photographer in 2001, and earned a Guggenheim Fellowship in 2002.
"I have spent my entire career photographing children all over the world. The last several years I have focused my eyes on the Irish Traveller that live in caravans on the side of the road or in open fields throughout Ireland. The Traveller community are an Irish nomadic indigenous ethnic minority. There is no recorded date as to when Travellers first came to Ireland. This is lost to history but Travellers have been recorded to exist in Ireland as far back as history is recorded. Even with their great history they live as outsiders to society and face unbelievable racism growing up. As a mother of two daughters I became so interested in the culture and traditions and lives of these children. I have spent many years traveling back and forth to Ireland to document these incredible children."
My life will forever be intertwined with Ethiopia. In my teenage days, this country is where I first found my vision as a photographer. Later, Ethiopia would be where I found my home and my soul mate. ETHIOPIA is a monolithic collection of my images captured over the course of thirteen years. It is an ode to every region of the country and a celebration of all the unique peoples found within. These seemingly disconnected cultural threads are woven together in a cohesive visual style in order to truly see Ethiopia— which itself is the sum of all the diverse lands and theproud people who inhabit it. The dignified vision found in the portraits is not to obscure other searing realities within Ethiopia, such as the wealth inequality and traumatic conflict spread across the country. It is to highlight the prestige I have always recognized here. This collection is about the timeless and pure things that have withstood the politics of the day, and to challenge the way the outside world can perceive this country. This is my tribute to the enduring Ethiopia.
Elinor Carucci is renowned for sensuous portraits of her family and herself. Closer reveals the breadth of her work, from the erotic to the ethereal, exposing an emotionally honest world flooded with color. Fragments of her life are revealed through family and self-portraits and artful abstractions, making Closer a daring portrayal of the artist's intimate emotional geography. Carucci's work is first and foremost about the nuclear family, and also touches upon the universality of intimacy and mortality. Her parents, grandparents, and spouse are the central players, each of whom she portrays gently but unflinchingly in her images. Her photographs work with a definite color palette and there is a mesmerizing quality to the serene blues and vivid reds set against the myriad tones of bare skin. Closer: Photographs by Elinor Carucci is the artist's first monograph. Carucci received the International Center for Photography's Infinity Award for Best Young Photographer in 2001, and earned a Guggenheim Fellowship in 2002.
"I have spent my entire career photographing children all over the world. The last several years I have focused my eyes on the Irish Traveller that live in caravans on the side of the road or in open fields throughout Ireland. The Traveller community are an Irish nomadic indigenous ethnic minority. There is no recorded date as to when Travellers first came to Ireland. This is lost to history but Travellers have been recorded to exist in Ireland as far back as history is recorded. Even with their great history they live as outsiders to society and face unbelievable racism growing up. As a mother of two daughters I became so interested in the culture and traditions and lives of these children. I have spent many years traveling back and forth to Ireland to document these incredible children."
My life will forever be intertwined with Ethiopia. In my teenage days, this country is where I first found my vision as a photographer. Later, Ethiopia would be where I found my home and my soul mate. ETHIOPIA is a monolithic collection of my images captured over the course of thirteen years. It is an ode to every region of the country and a celebration of all the unique peoples found within. These seemingly disconnected cultural threads are woven together in a cohesive visual style in order to truly see Ethiopia— which itself is the sum of all the diverse lands and theproud people who inhabit it. The dignified vision found in the portraits is not to obscure other searing realities within Ethiopia, such as the wealth inequality and traumatic conflict spread across the country. It is to highlight the prestige I have always recognized here. This collection is about the timeless and pure things that have withstood the politics of the day, and to challenge the way the outside world can perceive this country. This is my tribute to the enduring Ethiopia.
Quantum Canvas
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Khuwab ki Tabeer ‘Interpretation of a dream’ is Maliha Abidi’s latest series. This collection of 4 NFTs follows a story of a South-Asian girl and all the things she dreams about because to her, there is no limit, restrictions or barriers that stand in her way of achieving any of it. Each of the unique art pieces celebrate Maliha’s heritage as a Pakistani-American artist through use of distinct elements native to Pakistan’s culture. The series reminds us of our younger self and takes us back to the times when we used to wonder during the nights about our dreams, what we want to be and how it’ll escape the challenges we faced as our young selves. A fifth part (not for sale) to this series is a piece which follows on from the story where the protagonist reflects and comes face to face with her inner fearlessness.
GAMUT-93 is a series of pixel-based video paintings informed by the Op art movement, primitive computer graphics, and contemporary graffiti. Gravitating between symbolism and abstraction, the artwork whispers in micro-narratives through the use of silent haiku charades, hypnotic visual ambience, and vivid graphic techno.
Patterns of Life presents work by Dutch contemporary painter Francien Krieg. Drawing from multiple series, the pieces convey the artist's frank and abiding interest in the human body. Birth and growth are captured as magical if fleeting experiences, eventually giving way to maturity, wisdom, and one's reckoning with mortality. Our bodies are records of all that we've done. Krieg commemorates each scar and wrinkle a righteous reminder of what it means to live.
How does one convey a sense of space and materiality through digital abstraction? For fifteen years, Nicolas Sassoon pursued this question through his artistic practice, using the visual language of early computer graphics. Each animation from SLABS is created using a moiré pattern technique and are rendered with streaks of hard-edged pixels and limited color palettes. The pixelated textures and colors are composed to divide the screen in horizontal and vertical arrangements, like slices of digital matter stacked against each other. The resulting animations appear as high-contrast, kinetic works that evoke natural features, geological formations, imaginary structures, or abstract compositions. At large, these compositions relate to many histories of abstraction in painting, op art, moving image, and computer graphics: from the optical paintings of Bridget Riley to the moiré sculptures of Jesús Rafael-Soto, from the experimental video works of the Vasulka’s to the pixelated maps of The Legend of Zelda. SLABS can be viewed both horizontally and vertically. SLABS can be displayed as “wallpapers” in both metaverse architectures and physical spaces.
Traces is a collaborative project of conceptual artist Kim Asendorf and his wife Jana, who has been exploring the relationship between man and nature for many years. A living image of nature and the traces mankind leaves behind. A rock, formed hundreds of millions of years ago; a plant evolving over millions of years. Both are symbols of nature untouched. Color symbolizes thousands of years of human impact on nature. Animation creates another level of traces to get lost within, an indefinite change of state, we can just stand by and watch. Photography is used explicitly as an act of digitization and as an extension of nature into the digital world. After Doppelgänger, artist and Quantum Art founder Justin Aversano’s groundbreaking NFT project, Traces is Kim's second foray into real time photography manipulation. The audience will enjoy a new aesthetic, one visually optimized to mesmerize. More importantly, Asendorf hopes this work will make the audience think about the traces they leave behind in the nature. To view the full resolution artwork, just go to the following link and replace {TOKEN_ID} with the number of your piece. `https://quantum.mypinata.cloud/ipfs/QmXEsmZAjEH9pa7ifDoViLSmqcKttiax716iXShyknGGCx/?token={TOKEN_ID}`
The finest Digital Art, carefully curated by our team of experts
Khuwab ki Tabeer ‘Interpretation of a dream’ is Maliha Abidi’s latest series. This collection of 4 NFTs follows a story of a South-Asian girl and all the things she dreams about because to her, there is no limit, restrictions or barriers that stand in her way of achieving any of it. Each of the unique art pieces celebrate Maliha’s heritage as a Pakistani-American artist through use of distinct elements native to Pakistan’s culture. The series reminds us of our younger self and takes us back to the times when we used to wonder during the nights about our dreams, what we want to be and how it’ll escape the challenges we faced as our young selves. A fifth part (not for sale) to this series is a piece which follows on from the story where the protagonist reflects and comes face to face with her inner fearlessness.
GAMUT-93 is a series of pixel-based video paintings informed by the Op art movement, primitive computer graphics, and contemporary graffiti. Gravitating between symbolism and abstraction, the artwork whispers in micro-narratives through the use of silent haiku charades, hypnotic visual ambience, and vivid graphic techno.
Patterns of Life presents work by Dutch contemporary painter Francien Krieg. Drawing from multiple series, the pieces convey the artist's frank and abiding interest in the human body. Birth and growth are captured as magical if fleeting experiences, eventually giving way to maturity, wisdom, and one's reckoning with mortality. Our bodies are records of all that we've done. Krieg commemorates each scar and wrinkle a righteous reminder of what it means to live.
How does one convey a sense of space and materiality through digital abstraction? For fifteen years, Nicolas Sassoon pursued this question through his artistic practice, using the visual language of early computer graphics. Each animation from SLABS is created using a moiré pattern technique and are rendered with streaks of hard-edged pixels and limited color palettes. The pixelated textures and colors are composed to divide the screen in horizontal and vertical arrangements, like slices of digital matter stacked against each other. The resulting animations appear as high-contrast, kinetic works that evoke natural features, geological formations, imaginary structures, or abstract compositions. At large, these compositions relate to many histories of abstraction in painting, op art, moving image, and computer graphics: from the optical paintings of Bridget Riley to the moiré sculptures of Jesús Rafael-Soto, from the experimental video works of the Vasulka’s to the pixelated maps of The Legend of Zelda. SLABS can be viewed both horizontally and vertically. SLABS can be displayed as “wallpapers” in both metaverse architectures and physical spaces.
Traces is a collaborative project of conceptual artist Kim Asendorf and his wife Jana, who has been exploring the relationship between man and nature for many years. A living image of nature and the traces mankind leaves behind. A rock, formed hundreds of millions of years ago; a plant evolving over millions of years. Both are symbols of nature untouched. Color symbolizes thousands of years of human impact on nature. Animation creates another level of traces to get lost within, an indefinite change of state, we can just stand by and watch. Photography is used explicitly as an act of digitization and as an extension of nature into the digital world. After Doppelgänger, artist and Quantum Art founder Justin Aversano’s groundbreaking NFT project, Traces is Kim's second foray into real time photography manipulation. The audience will enjoy a new aesthetic, one visually optimized to mesmerize. More importantly, Asendorf hopes this work will make the audience think about the traces they leave behind in the nature. To view the full resolution artwork, just go to the following link and replace {TOKEN_ID} with the number of your piece. `https://quantum.mypinata.cloud/ipfs/QmXEsmZAjEH9pa7ifDoViLSmqcKttiax716iXShyknGGCx/?token={TOKEN_ID}`
Patterns of Life presents work by Dutch contemporary painter Francien Krieg. Drawing from multiple series, the pieces convey the artist's frank and abiding interest in the human body. Birth and growth are captured as magical if fleeting experiences, eventually giving way to maturity, wisdom, and one's reckoning with mortality. Our bodies are records of all that we've done. Krieg commemorates each scar and wrinkle a righteous reminder of what it means to live.
How does one convey a sense of space and materiality through digital abstraction? For fifteen years, Nicolas Sassoon pursued this question through his artistic practice, using the visual language of early computer graphics. Each animation from SLABS is created using a moiré pattern technique and are rendered with streaks of hard-edged pixels and limited color palettes. The pixelated textures and colors are composed to divide the screen in horizontal and vertical arrangements, like slices of digital matter stacked against each other. The resulting animations appear as high-contrast, kinetic works that evoke natural features, geological formations, imaginary structures, or abstract compositions. At large, these compositions relate to many histories of abstraction in painting, op art, moving image, and computer graphics: from the optical paintings of Bridget Riley to the moiré sculptures of Jesús Rafael-Soto, from the experimental video works of the Vasulka’s to the pixelated maps of The Legend of Zelda. SLABS can be viewed both horizontally and vertically. SLABS can be displayed as “wallpapers” in both metaverse architectures and physical spaces.
Traces is a collaborative project of conceptual artist Kim Asendorf and his wife Jana, who has been exploring the relationship between man and nature for many years. A living image of nature and the traces mankind leaves behind. A rock, formed hundreds of millions of years ago; a plant evolving over millions of years. Both are symbols of nature untouched. Color symbolizes thousands of years of human impact on nature. Animation creates another level of traces to get lost within, an indefinite change of state, we can just stand by and watch. Photography is used explicitly as an act of digitization and as an extension of nature into the digital world. After Doppelgänger, artist and Quantum Art founder Justin Aversano’s groundbreaking NFT project, Traces is Kim's second foray into real time photography manipulation. The audience will enjoy a new aesthetic, one visually optimized to mesmerize. More importantly, Asendorf hopes this work will make the audience think about the traces they leave behind in the nature. To view the full resolution artwork, just go to the following link and replace {TOKEN_ID} with the number of your piece. `https://quantum.mypinata.cloud/ipfs/QmXEsmZAjEH9pa7ifDoViLSmqcKttiax716iXShyknGGCx/?token={TOKEN_ID}`