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从2008年开始，气球艺术家Addi Somekh和摄影师Charlie Eckert前往34个国家拍摄了多达1万张戴着气球帽子的肖像。作为一名对富裕阶层收费高达150美金每小时的艺术家来说，他却不吝将自己的技能教授给一些处于弱势地位的妇女和儿童，他希望通过自己作品传达快乐，这份快乐是不分贫富贵贱的。Addi Somekh 1972年出生于好莱坞，19岁的时候，当他发现制作扭气球可以让大家开心，而且不用看老板脸色也可以赚钱，于是毅然选择了以此为业。
Since 2008 balloon artist Addi Somekh and photographer Charlie Eckert have traveled to 34 countries and shot over 10,000 photographs of people wearing balloon hats. After focusing more on balloon twisting than homework in college Somekh began working professionally as a balloon artist, charging wealthy executives up to $150 an hour to make elaborate balloon hats. He also donated the same skill to shelters for battered women and their children where he realized something: both groups, the rich and the poor, were laughing and enjoying his work in the same way.
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Mitsuru Katsumoto 1961年出生于日本滋贺县，现居东京。关于她的资料不多，从作品来看，她似乎试图将“绿色”贯穿在她的每次创作乃至生活的每个狭小缝隙之中，很可爱也很特别。用一点小心思小喜好，装扮一下趋同的世界和物件，生活也随之焕发了新的生气。（摄影：Bunsei Matsuura）
Mitsuru Katsumoto born in 1961 in Shiga Prefecture, now lives in Tokyo. Katsumoto had a first exhibition in 1995, titled Secret Garden, which was only an introduction to a secretive world of eye-catching detail and anachronistic furniture. (Photographs by Bunsei Matsuura)
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春去秋来，花随花逝，人为花伤，身生敬畏的自然轮回中诉说着生命的传奇。室町、镰仓时代的佛具，与枯莲，朽杉，樒，随着川濑敏郎（Kawase Toshiro）的花艺浮现在上田义彦（Yoshihiko Ueda）的影像里。
311东日本大地震刚过不久，花道人川濑敏郎与摄影家上田义彦便合作完成了名为“抚慰”的摄影作品，为每个逝者的亡灵，平抚心境而祈祷。灰色系的蓝色，浮现老成腐朽的印象，上田却赋予深邃复杂的表情，绝望与希望，诞生和死亡，同时渗透出的震撼压倒性的力量。自然因生命而美，为生命而衰。花叶枯萎后还土而逝，孕育新的生命，盛极而衰的源泉，是生命绽放的顶点。50天前的夏，6个月前的春，10年前的秋，春夏秋冬的轮回是一个生命的旅程。 看到这样的作品，是深感事态的无常，自然的无情，人类的无力。万物皆有灵，而与之相通的是我们需要平抚的心。
川濑敏郎，1948年出生于京都，自幼师从最古老的“池坊”花道，日本大学艺术学部毕业后，前往巴黎大学留学，回国后不拘泥于流派，回到花道的原点，从事表现“日本肖像”的自由创作。上田义彦，1957年出生于兵库，活跃于时尚摄影到广告摄影，电视广告的拍摄等多领域，同时进行着自己的作品创作，代表作有以描写自己家族的“at Home”，缅甸僧院的“YUME”等。（撰文_will）
After the Great East Japan Earthquake on March 11th, 2011, our fundamental ideas on nature, life, morality and art expression have been forced to alter their definition to recover/rebirth. This collaboration between Toshiro Kawase (Flower Artist) and Yoshihiko Ueda (Photographer) was carried out soon after that day as their wish for the recovery and peace.
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Jackson Pollock
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当置身于美术馆里，你自然会忘记画作只是创意过程的最终产物，在绘画的整个过程中，除了需要创意灵感外，物理和逻辑的步骤/细节亦是不可缺少的。画家们的日常生活究竟是怎样的？带着这个问题，布鲁克林艺术家Joe Fig用了将近十年的时间探访了24位当代画家（如Jackson Pollock、 Willem de Kooning、Gregory Amenoff、Ross Bleckner、Chuck Close、Will Cotton等），多维度的探索他们的创作生活，并将研究更多的落实在物质世界中。他将画家的工作室/工作台复制成了一个个微缩雕塑，并结合一系列访谈，诸如每天的创作生活是怎样的，如何打理工作室，如何摆放画具等，来探究藏匿于画作背后的，画家们的真实生活与创作动机。
Inside an art gallery, it is easy to forget that the paintings there are the end products of a process involving not only creative inspiration, but also plenty of physical and logistical details. It is these “cruder,” more mundane aspects of a painter’s daily routine that motivated Brooklyn artist Joe Fig to embark almost ten years ago on a highly unorthodox, multilayered exploration of the working life of the professional artist. Determined to ground his research in the physical world, Fig began constructing a series of diorama-like miniature reproductions of the studios of modern art’s most legendary painters, such as Jackson Pollock and Willem de Kooning. A desire for firsthand references led Fig to approach contemporary artists for access to their studios. Armed with a camera and a self-made “Artist’s Questionnaire,” Fig began a journey through the workspaces of some of today’s most exciting contemporary artists.
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巴西圣保罗艺术家Lucas Simões一直致力于探索图像的可能性，之前他通过切割、拼贴的方式，创作了令人印象深刻的作品。在他最新的quase-cinema系列中，他将图像逐帧弯曲排列，来制造一种连续不断的，类似于电影一般的动态效果。
São Paulo artist Lucas Simões using sequential photographs that have been bent and woven with string into long rows he recreates a sense of cinematic motion in these wall-mounted installations.
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Doubleparlour成立于2007年11月，是由一对旧金山的夫妻Ernie和Cassandra Velasco组建而成。他们的作品涵盖绘画、雕塑、印刷品、插画，这些幽默、古怪、忧郁，且若有所思的小孩子形象雕塑，就像奈良美智的nana一样，直抵人心。
Founded in November 2007, Doubleparlour is a husband and wife team living in San Francisco, CA. Work includes solo and collaborative pieces in a variety of mediums including sculptures, illustrations, paintings and prints. They strive to produce well-crafted artwork with an emphasis on peculiar, humorous, melancholy and delightful characters.
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在美国艺术家Andrea Zittel看来，生活本身就是一项永不停止的行为艺术。
Zittel的部分创作的雏形是家中完成的，而成品则由她个人品牌 A-Z Administration Services 制造。在纽约居住数年后（A-Z East），Zittel 搬到了位于约书亚树国家公园附近的宽敞居所（A-Z West）。她将生活内容作为其创作的主题：日常的活动，诸如烹饪、打扫，甚至于决定每天穿什么衣服对她来说都是一种探索和实验。作品通常都是可搬动的装置，有的是雕塑，有的是建筑。她的创作具有清晰的条理，通常是在探讨人类生活中的自然本性以及社会、心理需求，体现着对自由、个人主义、移动性以及舒适感的追求。“辩证空间”这个项目贯穿了Zittel十五年的艺术生涯，是她创作深度和广度的集中体现。惠特尼博物馆展出了辩证空间系列的部分作品，Altria空间则展示了另一组Zittel 在约书亚树居所创作的作品，一排可自由移动的居住单元——“旅行驿站”（Wagon Stations）。在这里，作为一位生活艺术家，Zittel与我们分享了她的创作巧思。
For American Artist Andrea Zittel, Who is the subject of two major exhibition in New York, life is an ongoing work of performance art.
Many of these pieces began their lives in Zittel’s home, produced under her pseudo trademark, A-Z Administration Services. After living in New York for several years (A-Z East), Zittel moved out to California to a sprawling property in Joshua Tree (A-Z West). Her life and work are rigorously linked: daily rituals like cooking, cleaning and deciding what to wear become fodder for contem- plation and experimentation. She creates highly systematic, often portable do- mestic objects and structures that are part sculpture, part architecture. These test cases explore ideas about human nature and the social and psychological demands of everyday life – addressing notions of freedom, individualism, mo- bility and comfort. While Critical Space spans Zittel’s 15-yearcareer, revealing the depth and breadth of her practice, the Whitney Museum’s concurrent show displays several pieces of just one series. Small Liberties, on view at the Whitney’s Altria space, presents a line-up of “Wagon Stations,” customized mobile units created at the Joshua Tree site. Here, Zittel provides some insights into her thought-provoking practice as a living artist. (interview source)
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