‎"La Conquista de La Copa Mundial"One World...One Cup (Photographers in Peril part 7)

Andrés Iniesta Tribute WALLPAPER by George Pontino Jr (Free to Download and Share...Click to enlarge)


The Making of the Original Image


Pre-World Cup Championship Tribute

The World Cup fever has come to absolute heights.
The best way to end it is to give tribute to it by a memorable photomanipulation. Using some photos I took of my fellow photographers, some personal photos of photography hobbyists taken from Facebook and stock images, for 3 hours I created this image with such glee and enthusiasm.
I made also a soccer goal in the image of Paul the Psychic Octopus, the oracle animal that has been used to predict World Cup game wins. Words can't describe my feeling on how I came up with the idea. Honestly, I had a hard time thinking on this for days but a last moment flicker of an idea bulb led me to create satisfying output. Hope all of you World Cup fans out there will like this one and share this to friends. Viva! =) Lead stars are Mike Mendoza (Kubo Photography Group member) as the Spanish footballer Andrés Iniesta and Raffy De la Cruz as the goalie. Cameo roles are Ron Velarde (my partner in Vision Team Photovid Studios), Jaevi Agahan, Jenice Dela Cruz-Ecalnir, Arim Isme of Indonesia, Lord Jun Bonache (photo taken by Jomi Garuccho) of Bacolod, Karlo Panahon and Kubo Photogroup members Robert Almario Aka Batman, Anthony de Guzman,Ferlito de los Santos and Derick Mallete.

ROBERT RAUSCHENBERG INTERVIEW: Guggenheim Museum Bilbao "Gluts"

An Interview With Robert Rauschenberg Book Cover
Elizabeth Avedon Editions | Vintage Contemporary Artists Series
Back Cover: Robert Rauschenberg. Metal Assemblage, Swaddle Glut, 1986
Front Cover: Photograph (c) Richard Avedon /All Rights Reserved

Robert Rauschenberg, Greek Toy Glut (Neapolitan), 1987
Metallo Asemblato (c) Estate of Robert Rauschenberg

Robert Rauschenberg, West-Ho Glut, 1986, Metallo Asemblato

(c) Estate of Robert Rauschenberg

I think of the "Gluts" series as souvenirs without nostalgia. What they are really meant to do is give people an experience of looking at everything in terms of what its possibility might be. –Robert Rauschenberg

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The following text is from An Interview With Robert Rauschenberg by American Art Critic, Barbara Rose, published under the imprint "Elizabeth Avedon Editions | Vintage Contemporary Artists" by Random House (Here):

BR: There's a lot of recycling and reuse in your work. You believe that you don't have to throw something away just because it's old. There's always a possibility for a use. This isn't a common idea. People are really into "new" today.

RR: The only thing I like to keep out of a work, no matter what the materials are, is the history of the process of putting it together. I don't bring that into it. I think of the "Gluts" series as souvenirs without nostalgia. What they are really meant to do is give people an experience of looking at everything in terms of what its possibility might be.

BR: Your art has certainly always been available. You don't need to have an enormous background on Rauschenberg's history to relate to his work. There is always something there to which anybody can relate. That's why it's popular. You may not contrive to be popular, but you are.

RR: When I see the sorts of things you are referring to, I try to destroy them. I'm sure that I haven't been able to avoid developing some "classic" qualities, and I don't mind them being hidden. I just object to their being the subject.

BR: You prefer a composition that is not obviously a composition.

RR: I prefer not to brag about it's sophisticated anatomy.

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BR: I have watched you work, and it is an interaction–it is your encounter, and you interact with this material or this image or whatever, but you never plan your work. There is no plan or sketch. It's absolutely pure process. Which comes, I believe, from abstract expressionism. It's the process. You don't know until it's finished what it is, and it's done when you've decided that that's it–I think that's an aspect of your work.

RR: Actually, when I'm painting, I think that my mental attitude is to drive with the brakes on, and when I sense a funny smell, then I turn off the ignition.

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RR: For me, Tibet was a living relationship with people. It was a reaffirmation of the fact no matter what the language is or the customs are, there is a general love between human beings. I know it sounds simplistic, but you could see it in Tibet. Some places it's harder to break through that. These people–perhaps because the air is so thin, or their life is so hard, or because they are so religiously rich–have love all over the place. I mean, every step, no matter how cold it is or how hot or how muddy, is still part of the palette of friendship.

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February 12 - September 2, 2010
ROBERT RAUSCHENBERG GLUTS
Guggenheim Museum Bilbao

JANELLE LYNCH: Riu Llobregat

Copyright (c) Janelle Lynch /All Rights Reserved

Copyright (c) Janelle Lynch /All Rights Reserved

Copyright (c) Janelle Lynch /All Rights Reserved

With this body of work, Riu Llobregat, I continue the process of exploring and mapping themes of absence and loss as I have done over the last decade in the landscapes of the United States and Mexico.

JANELLE LYNCH received her MFA in Photography from the School of Visual Arts. Her work has been exhibited at the George Eastman House Museum, Rochester, NY, the Festival International de Mode et de Photographie à Hyères, France, and Foto Rio, Rio de Janeiro, Brazil. A solo exhibition of these photographs, Riu Llobregat, opened at 3 Punts Galería in Barcelona this past September. She used a Deardorff 8-x-10 inch field camera and color negative film to make this work. Lynch was one of 100 photographers invited to participate in Review Santa Fe 2009.
Janelle Lynch Website