Reading Time: 5 minutes We visit the artist in his spacious Brooklyn studio, a place where he conjures up playful compositions away from the real world
Tag: David Brandon Geeting
Reading Time: 2 minutes Set up by photographic agency East in 2019, the Dalston space has shown work by rostered artists as well as third-party exhibitors. As Geeting’s The Marble opens this Friday, we find out more about the gallery and its ethos
Reading Time: 4 minutes “Even though it’s extremely capitalist and you’re contributing to a lot of problems and helping corporations sell things, it gets weird imagery to the masses in a way that galleries and more niche circles do not”
Reading Time: 2 minutes David Brandon Geeting’s vivid and playful images of his Brooklyn neighbourhood contain a cautionary message
Reading Time: 4 minutes “People always try to find the most incredible thing, it’s always about perfection and the extraordinary,” says Max Siedentopf, co-founder of Ordinary magazine, “but there are so many things around us that we’re not aware of, all these mundane boring objects that we don’t even notice.” This is the philosophy behind Ordinary, brainchild of Siedentopf and designer Yuki Kappes, which has returned to print after a year’s hiatus. Each issue, the magazine asks 20 photographers to reimagine an ordinary object – be it a kitchen sponge, plastic cutlery or a single white sock – as something extraordinary. The object featured in each issue is gifted to the reader as an “extra” in a plastic bag on the front cover. This time though, the bag arrived empty.
Reading Time: 6 minutes There is something frantic about David Brandon Geeting’s photography. In his latest collection, Amusement Park, the Greenpoint, Brooklyn-based artist creates a mood that is exhilarating and vibrant, but also verging on collapse, as though its tether could snap at any moment. Where his 2015 book, Infinite Power, was energetic and kinetic, with Amusement Park he’s aiming for “information overload”. “I’m not afraid of making people confused or dizzy,” he says. “I wanted it to be an onslaught of colours and forms and things that don’t make sense.”