::
::
Track – Gil Evans & Miles Davis : Miles Ahead
::
Archive for November, 2011
::
Leiter has made an enormous contribution in the area of color photography. His distinctively subdued color and abstracted forms often have a painterly quality that stands out amongst his contemporaries.
::
::
saul leiter
photograph
::
::
saul leiter
photograph
::
::
saul leiter
photograph
::
::
saul leiter
photograph
::
::
saul leiter
photograph
::
::
saul leiter
photograph
::
“Leiter’s sensibility placed him outside the visceral confrontations with urban anxiety associated with photographers such as Robert Frank or William Klein. Instead, for him the camera provided an alternate way of seeing, of framing events and interpreting reality. He sought out moments of quiet humanity in the Manhatten maelstrom, forging a unique urban pastoral from the most unlikely of circumstances.”
[Extract : Martin Harrison : Saul Leiter - Early Color]
“Mr. Leiter was a photographer less of people than of perception itself. His painter’s instincts served him well in his emphasis on surface, spatial ambiguity and a lush, carefully calibrated palette. But the abstract allure of his work doesn’t rely on soft focus, a persistent, often irritating photographic ploy, or the stark isolation of details, in the manner of Aaron Siskind or early Harry Callahan. Instead, Mr. Leiter captured the passing illusions of everyday life with a precision that might almost seem scientific, if it weren’t so poetically resonant and visually layered.” Robert Smith : Art critic : 2005.
30
Nov
11
Akira Kosemura : Gray (Music)
::
::
Solo Exhibition : The Ringling Museum of Art, Sarasota, USA.
October 11, 2011 – January 08, 2012
Curated by Matthew McLendon.
Using simple and functional components, Zimoun builds architecturally-minded platforms of sound. Exploring mechanical rhythm and flow in prepared systems, his installations incorporate commonplace industrial objects. In an obsessive display of curiously collected material, these works articulate a tension between the orderly patterns of Modernism and the chaotic forces of life. Carrying an emotional depth, the acoustic hum of natural phenomena blends effortlessly with electric reverberation in Zimoun’s minimalist constructions. (bitforms nyc)
The sound sculptures and installations of Zimoun are graceful, mechanized works of playful poetry, their structural simplicity opens like an industrial bloom to reveal a complex and intricate series of relationships, an ongoing interplay between the «artificial» and the «organic». It’s an artistic research of simple and elegant systems to generate and study complex behaviors in sound and motion. Zimoun creates sound pieces from basic components, often using multiples of the same prepared mechanical elements to examine the creation and degeneration of patterns. (Tim Beck)
::
::
::
“The camera for an artist is just another tool. It is no more mechanical than a violin if you analyze
it. Beyond the rudiments, it is up to the artist to create art, not the camera.” – Brett Weston
::
::
‘abstraction’
brett weston
photograph
1978
::
::
‘mud cracks’
brett weston
photograph
1977
::
::
‘mud cracks’
brett weston
photograph
1968
::
::
‘abrasions’
brett weston
photograph
1977
::
::
‘junked car’
brett weston
photograph
1977
::
::
‘cracked glass’
brett weston
photograph
1955
::
::
‘abrasions’
brett weston
photograph
1977
::
The two portfolios titled Abstractions, first issued in 1980, offered Brett Weston a general concept within which to collect and publish forty of the best pictures from his entire career. At age sixty-nine he may have thought of these portfolios as a kind of retrospective, even though he was by no means finished taking pictures and always said that the photograph he most cared about was the next one.
He certainly did not care about art theory, but acknowledged a debt to modern painting, and seems to have been comfortable with the term “abstraction.” He must have understood that his photographic style stood in some relationship to Modernism and the 20th century tradition of abstract art. Nevertheless, the word “abstraction” seems to be used pretty loosely here, because there are several pictures in these volumes that might more accurately be called traditional deep-space landscapes.
::
::
::
“Show me your art and I will tell you who you are.”
::
::
‘Urban Tribes’
Daniel Hachmann
Photography
::
::
‘Urban Tribes’
Daniel Hachmann
Photography
::
::
‘Urban Tribes’
Daniel Hachmann
Photography
::
::
‘Urban Tribes’
Daniel Hachmann
Photography
::
::
‘Urban Tribes’
Daniel Hachmann
Photography
::
::
‘Urban Tribes’
Daniel Hachmann
Photography
::
Daniel Hachmann`s work reflects his inner self as it reflects the world around him.
::
::
