Brian McKee (born 1977 in Kansas City, USA) For the past four years Brian McKee, the American photography artist, has been travelling through America, Eastern Europe and the Far East in search of historical sites of topical interest. He takes pictures of sites where unique contemporary events in world politics and by international society were held.
Brian McKee considers himself to be a visualizing historian, capturing for example traces of the controversy between Soviets and Afghans.The photographer contemplates our approach to fast-paced perception. His themes are architecture and landscapes, which reveal destruction and losses only at a second glance. A seemingly beautiful portrayal transforms into a gruesome scene of human suffering. The artist attaches great significance to pictures with classical compositions and a clear finish. Brian McKee studied photography by Stephen Shore, Larry Fink and Barbara Ess and he was the assistant of Lynn Davis from 1996 until 2001. He works and lives in New York City.
John Gerrard (born 1974 in Dublin, Ireland) John Gerrard is known for his photographies and virtual sculptures, a medium which he is championing to increased acclaim.
Described by curator Christiane Paul of the Whitney Museum, (NY) as creating 'a series of projects that are deceptively simple, yet radical in their questioning or even redefinition of the status of traditional media in the digital age' John Gerrard's virtual works defy easy categorisation and exist somewhere between the sculptural, the painterly and the photographic, all united by the formidable conceptual and aesthetic possibilities of the computer.
John Gerrard received a BFA from the Ruskin School of Drawing and Fine Art, Oxford University in 1998, an MFA from the Art Institute of Chicago in 2000 and a MSc. from Trinity College Dublin in 2001.
Julie Monaco (b. 1973 in Vienna, Austria) According to the Greek natural philosophers (Empedocles) Earth, Fire, Water and Air are the elements on which our world is founded. They also dominate Julie Monaco's world of images, though her wild-romantic views of nature are abstracted reality that could never exist in reality.
The bewildering closeness to an image of nature is deliberate and an extreme test of our powers of perception. Generated in a purely digital form through a calculation process, these artificial landscapes are based initially on a simple numerical code of one and zero. There were neither concrete templates such as photographs or scans for the created image, nor was the image generated from a real image.