L E G M O U N T A I N

A new edition is released every fortnight, on a Monday. Each edition comes from a different photographer, and is a single image representative of an important body of their work, either ongoing or completed. With a panel of industry professionals, they handpick emerging and established talent in order to provide a broad variety of aesthetics, ideas and approaches to photography. They present photographers who have developed a strong visual language, offering limited edition prints of their work at an affordable price, breaking the convention that only the wealthy can collect.

Edition releases will be accompanied by a video interview with the photographer about the creation of the image and their creative process, allowing visitors to the site access to an ever increasing archive of contemporary thought in photography, which can be downloaded, embedded in blogs or other sites and viewed over and over again. CONTACT want to provide insights into the artists thought processes, the stories behind the images, the intellectual motivations; presenting not only the visual but emphasising the context. Alongside the photographers talking about their work, they have asked professionals within the industry to talk about their roles and to offer advice to artists. By doing this they aim to create an accessible community and resource for both photographers and those inspired by photography.

www.contacteditions.co.uk

From here

JKR showed me these. He’s good at things like that.

A salt mine in Altaussee, with slides down into the heart of the mountain on two miners’ slides: directly to the subterranean salt lake, hidden art - which culminates in the most epic of installations.

Called ‘The Mountain of Treasures’: The salt of Salzwelten has provided the wealth of the Salzkammergut region; it has been found there for nearly 800 years. Altaussee Salt Mines also have a more recent dramatic history as a Treasury of Art. During World War II, thousands of works of art were hidden here. Although seemingly well protected, they escaped destruction by a narrow margin. Now they are back at the museums and churches where they belong.

Photos - Jayne Helliwell | Nevine Mahmoud

Disco Works, Switzerland, 2002 ~ 2006

Prompted by the onslaught of digitally crafted photography, Disco attempts to document a magical momentary fiction, created through the culmination of a recipe of weather balloons, electronics, patient volunteers and light bombs.

James Unsworth’s work is carnal and appears in full realism, there is no mystery and a lot of seduction. Every work seems to hold sincerities and pure truths about force, attraction, desire, degradation, and self-destruction. I interviewed him a while ago. He said this.

’The first time I started using the grotesque, taboo subjects and disgusting things was when I did an inversion of a Jophovars Witness pamphlet which was describing this perfect world and harmony where every one was working together, and were abundant, rich and happy.  Which was a complete lie.  So I inverted it and made it disgusting and horrible. - My work is always generated by drawing.  There is some nice about how easy it is to draw.  Something so simple.  It is from my imagination, which gives me the license to do whatever I want, but it always tied down to this.’

‘This always grounds it a little bit.  People have this conception that this kind of work is new, the vulgarity of it and sexuality of it but if you do a bit of research you realize that is got a complete popular print history tradition that goes back to the beginning of print, since images were accessible.  I have a great respect for the history of print especially the way it made images more accessible and more democratic.  All of my drawings are based on the history of popular print and political charactertures, and things like Hogart and James Gillray.  I reference a lot from Hogarth, Gillray, and Cruickshank.  My exciting days off are at the Library to look through the microfilms.  I went out the Paris for a couple of days and plundered the Library out there.  I find they are the best place.  They seem to be very organized out there.  It is must easier to go to the Bibliotheque in France than to go to the British Library.  I’ve done a lot of research on the grotesque image of the body and charactertures of grotesqueries.  I also do a lot of visual research on alternative nightclubs documenting performance and transgressive behaviour.’

His website

I have a new art crush. I can get enough of this.  
You can see the images bigger - here