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A series of digitally enhanced urban photographs
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‘green on blue’ series
digital graphic
azurebumble
2013
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‘green on blue’ series
digital graphic
azurebumble
2013
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‘green on blue’ series
digital graphic
azurebumble
2013
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‘green on blue’ series
digital graphic
azurebumble
2013
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‘green on blue’ series
digital graphic
azurebumble
2013
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‘green on blue’ series
digital graphic
azurebumble
2013
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“No image can be “reality” because reality it happens only once before my eyes.” Mario Giacomelli
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‘My Whole Life’ series
Mario Giacomelli
Photograph
1997-00
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‘My Whole Life’ series
Mario Giacomelli
Photograph
1997-00
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‘My Whole Life’ series
Mario Giacomelli
Photograph
1997-00
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‘My Whole Life’ series
Mario Giacomelli
Photograph
1997-00
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‘My Whole Life’ series
Mario Giacomelli
Photograph
1997-00
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‘My Whole Life’ series
Mario Giacomelli
Photograph
1997-00
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‘My Whole Life’ series
Mario Giacomelli
Photograph
1997-00
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‘My Whole Life’ series
Mario Giacomelli
Photograph
1997-00
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‘My Whole Life’ series
Mario Giacomelli
Photograph
1997-00
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“The photograph helped me discover things, interpret and reveal them. Story knowledge of the world, in a interior architecture where the vibrations are a continuous flow of moments, of liberating adventures as total expression where I feel all the completeness of my existence.” Mario Giacomelli
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A series of digitally enhanced urban photographs
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‘black and blue’ series
digital graphic
azurebumble
2013
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‘black and blue’ series
digital graphic
azurebumble
2013
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‘black and blue’ series
digital graphic
azurebumble
2013
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‘black and blue’ series
digital graphic
azurebumble
2013
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‘black and blue’ series
digital graphic
azurebumble
2013
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“Are there affirmable days or places in our deteriorating world? Are there scenes in life, right now, for which we might conceivably be thankful? Is there a basis for joy or serenity, even if felt only occasionally? Are there grounds now and then for an unironic smile?” ~ Robert Adams
For four decades Adams has photographed the changing landscape of the American West, finding there a fragile beauty that endures despite our troubled relationship with nature, and with ourselves. His photos are distinguished not only by their economy and lucidity, but also by their mixture of grief and hope. [Ext]
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‘Colorado Springs, Colorado’
Robert Adams
photograph
1968
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‘A backyard, Colorado’
Robert Adams
photograph
1968
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‘The New West series’
Robert Adams
photograph
1969
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‘Pikes Peak, Colorado Springs’
Robert Adams
photograph
1969
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‘Longmont, Colorado’
Robert Adams
photograph
1979
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‘Eden, Colorado’
Robert Adams
photograph
1969
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‘Longmont, Colorado’
Robert Adams
photograph
1976-1982
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‘Untitled’
Robert Adams
photograph
1978
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Robert Adams was born in New Jersey in 1937. He was a professor of English literature for several years before turning his full attention to photography in the mid 1970s. His work is largely concerned with moments of regional transition: the suburbanization of Denver, a changing Los Angeles of the 1970s and 1980s, and the clear-cutting in Oregon in the 1990s. His many books, well-known to those concerned with the American Landscape, include The New West, From the Missouri West, Summer Nights, Los Angeles Spring, To Make It Home, Listening to the River, West From the Columbia, What We Bought, Notes for Friends, California, Summer Nights, Walking, What Can We Believe Where? and The Place We Live. [Ext]
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Robert Adams :: The Place We Live
Robert Adams :: Fraenkel Gallery
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‘fold a’
photograph
azurebumble
2013
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‘form a’
photograph
azurebumble
2013
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‘fold b’
photograph
azurebumble
2013
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‘form b’
photograph
azurebumble
2013
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‘fold c’
photograph
azurebumble
2013
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‘form c’
photograph
azurebumble
2013
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‘AR77159-21’
‘Arena’ series
16 x 20 in
1977
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‘AR77159-19’
‘Arena’ series
16 x 20 in
1977
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‘AR77156-22’
‘Arena’ series
16 x 20 in
1977
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‘AR79032-13’
‘Arena’ series
16 x 20 in
1979
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‘AR78119-12A’
‘Arena’ series
16 x 20 in
1978
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‘AR77166-30’
‘Arena’ series
16 x 20 in
1977
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‘AR79026-33’
‘Arena’ series
16 x 20 in
1979
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‘AR79044-10A’
‘Arena’ series
16 x 20 in
1979
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‘AR78101-32’
‘Arena’ series
16 x 20 in
1978
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‘AR79060-19’
‘Arena’ series
16 x 20 in
1979
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What Ansel Adams did for Yosemite, Los Angeles photographer Robbert Flick did for a parking garage in Inglewood. He made the place into the object of his obsession and the focus of his commanding technical skill, and in the process he transformed it into a site of exquisite wonder for us. Obviously there are some differences between Half Dome and parking level 3. One is unique, the other prosaic. But the humdrum anonymity of Flick’s raw subject matter only serves to makes his gorgeous prints more impressive. The subject of parking structures is universal in the modern world, while also standing as an icon for the distinctive urban experience that Los Angeles represents. Flick’s notion of photographing inside a parking garage was not a gimmick or a passing fancy. For more than two years — 1977 through 1979 — he lugged his cameras, lenses, tripods and other equipment to the multistory concrete structure near his studio, and he photographed no other landscape. No cars or people intrude upon the pristine wilderness of this parking structure. It is “an unsettled, uncultivated region left in its natural condition,” as my dictionary defines it…
And it’s gorgeous — a complex construction of imposing planar walls, taut steel cables and orthogonal spaces composed on a multidimensional grid. The labyrinth is infused with a mixture of natural and fluorescent light, which the artist manipulates in the rich tonalities of his exquisite black and white prints. Scuffed pavement, cinder block walls, concrete pillars and directional signs emerge with the physical dignity and emotional gravity of the Pantheon in Rome or the Temple of Quetzalcoatl at Teotihuacan. Except for an occasional glimpse of sky, nothing but a man-made environment is ever seen. That’s probably the biggest difference between Flick’s parking structure and Adams’ Yosemite. The Angeleno is incisively photographing within a landscape shaped by the organizing principle of the automobile, rather than the organic template of nature. This is its shrine. In fact two modern machines intersected in the making of Flick’s art — the car and the camera. He calls attention to both simultaneously — the unseen car through subject matter and the unseen camera through a combination of obviously artful composition, exquisite printing technique and frank visual acknowledgment of the pictorial tradition of artistic landscape photography (including Watkins and Adams). Never coy, condescending or ironic, the photographs are instead epic — even primeval. His pictures record the junction of car and camera with sincerity and reverence. And, why not? It is the monumental landscape within which we live… [ Extract :: Christopher Knight – The Los Angeles Times ]
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Azurebumble 