Archive for the 'architecture' Category

11
Jul
13

Robbert Flick :: ‘Arena’ Series (Urban Photography)

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f_flick17653

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‘AR77159-21’
‘Arena’ series
16 x 20 in
1977
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f_flick17701

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‘AR77159-19’
‘Arena’ series
16 x 20 in
1977
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f_flick17700

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‘AR77156-22’
‘Arena’ series
16 x 20 in
1977
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flick 9

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‘AR79032-13’
‘Arena’ series
16 x 20 in
1979
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f_flick17707

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‘AR78119-12A’
‘Arena’ series
16 x 20 in
1978
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f_flick17758

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‘AR77166-30’
‘Arena’ series
16 x 20 in
1977
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f_flick17709

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‘AR79026-33’
‘Arena’ series
16 x 20 in
1979
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f_flick17714

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‘AR79044-10A’
‘Arena’ series
16 x 20 in
1979
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470_1FLICK_07

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‘AR78101-32’
‘Arena’ series
16 x 20 in
1978
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f_flick17718

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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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Robert Mann Gallery

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10
Jul
13

Henry Wessel :: ‘New Topographics’ (Photography)

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“You’re suddenly seeing the coherence and interconnectedness of everything, left to right, bottom to top, front to back. It’s all connected, and somehow, it’s all in balance. And that’s, when you go ‘Yes!’” H Wessel

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artwork_images_168878_675461_henry-wessel

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‘Waikiki No. 9’
silver gelatin print
Henry Wessel
1979
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jhddg

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‘Incidents No. 16’
silver gelatin print
Henry Wessel
16 × 20 in
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artwork_images_138625_267827_henry-wessel

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‘Pismo Beach, CA’
silver gelatin print
Henry Wessel
1974
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HWE.049_email

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‘Berkeley, California’
silver gelatin print
Henry Wessel
1971
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1276634365

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‘Hollywood, California’
silver gelatin print
Henry Wessel
1972
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13_new-mexico-iii

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‘New Mexico III’
silver gelatin print
Henry Wessel
1969
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tumblr_mgbnfmJu5r1qex654o1_1280

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‘Tucson, Arizona’
silver gelatin print
Henry Wessel
1976
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khggg

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‘Incidents No. 8’
silver gelatin print
Henry Wessel
16 × 20 in
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gghk

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‘Incidents No. 6’
silver gelatin print
Henry Wessel
16 × 20 in
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HWE.045_email

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‘New Mexico’
silver gelatin print
Henry Wessel
1968
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Henry Wessel first gained recognition in the 1970s as part of the New Topographics, a group of photographers who challenged the conventions of documentary and landscape photography, capturing instead the poetry of seemingly mundane scenes and subjects—traffic lights, advertisements, empty landscapes, and suburbia. During the 1970s he moved to San Francisco from New York after falling in love with the brilliant quality of light in California. There, in both black-and-white and color film, he photographed the vernacular architecture and social landscape of his surroundings, in prints with long shadows and rich tonal variations… [Extract]

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gallery focus21

pace/macgill gallery

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03
Jul
13

Azurebumble :: “Flumes” Series (urban photography)

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Currently there are major redevelopments occurring on the riverside in Dundee in

preparation for the new V&A Museum. This selection of photographs captures some

leisure centre swimming pool flumes that will soon be demolished as part of this process…

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FL 1_1

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‘flumes’
photography series
azurebumble
2013
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FL 3

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‘flumes’
photography series
azurebumble
2013
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FL 7

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‘flumes’
photography series
azurebumble
2013
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FL 9

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‘flumes’
photography series
azurebumble
2013
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FL 11

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‘flumes’
photography series
azurebumble
2013
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FL 12

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‘flumes’
photography series
azurebumble
2013
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FL 1

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‘flumes’
photography series
azurebumble
2013
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FL 8

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‘flumes’
photography series
azurebumble
2013
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Azurebumble :: Ipernity

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02
Jul
13

Azurebumble :: “Urban Fragments” Series (Photography)

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Currently there are major redevelopments occurring on the riverside in Dundee in

preparation for the new V&A Museum. This selection of photographs captures some

of the texts and surfaces from the numerous boards that now loosely define this area…

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frag 1

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‘urban fragments’
photography series
azurebumble
2013
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frag 2

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‘urban fragments’
photography series
azurebumble
2013
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frag 3

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‘urban fragments’
photography series
azurebumble
2013
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frag 4

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‘urban fragments’
photography series
azurebumble
2013
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frag 9

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‘urban fragments’
photography series
azurebumble
2013
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frag 5

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‘urban fragments’
photography series
azurebumble
2013
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frag 6

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‘urban fragments’
photography series
azurebumble
2013
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frag 7

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‘urban fragments’
photography series
azurebumble
2013
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frag 8

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‘urban fragments’
photography series
azurebumble
2013
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Azurebumble :: Ipernity

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22
Nov
12

Mattia Mognetti : “Istigkeit” Series (Digital Constructions)

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Mattia Mognetti
“Istigkeit” Series
digital collage
2010
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Mattia Mognetti
“Istigkeit” Series
digital collage
2010
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Mattia Mognetti
“Istigkeit” Series
digital collage
2010
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Mattia Mognetti
“Istigkeit” Series
digital collage
2010
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Mattia Mognetti
“Istigkeit” Series
digital collage
2010
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Mattia Mognetti
“Istigkeit” Series
digital collage
2010
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Mattia Mognetti
“Istigkeit” Series
digital collage
2010
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“In 2010 I began to ride my congenital attraction for architecture: its huge volumes and gigantism, its shapes and textures… Fascinated by perspective I was taking photographs without fully understanding what my attention was being attracted too, what I was trying to represent with a shot and subsequent post-production. Photography was an opportunity to take a fragment of reality and give it a meaning, but also, conversely, as an expedient to let a significance take possession of reality to bring out himself. The contrast between these two visions became the source of my own reflections. Slowly I realized that psychology was an integral part of my creative experience. That I was not trying to represent architecture, but to use a photograph as way to strike and confuse my perceptive system. Therefore I started producing the first works that were later to be structured in the “Istigkeit” series…

While creating these images i realized that i was getting ever closer to the idea which was guiding me. Trying to invalidate the perceptual and cognitive mechanisms involved in the conceptualization of a given entity by our brains. At first sight each work in the “Istigkeit” series seems different from what it is; and what it is; is not always visible, or at least not clear and obvious. Volumes are artificially combined in the shadows and give rise to solids whose meticulous analysis reveals their illusory value. You follow a surface which then splits. You focus on walls and windows, but these interact and merge into conflicting objects and paradoxical perspectives. The sight is lost in the complexity of textures, intersections and overlays. Nothing is what it is and everything is what it seems. And sometimes, during the perception of what it seems, inside the mental mechanisms that lead to the interpretation of any given scenario, it’s possible your Ego cannot impose itself on a more primitive interpretation, rooted both in individual, collective, cultural and archetypal symbolic components…” ~ Mattia Mognetti

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Mattia Mognetti : Website

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21
Nov
12

Evan Caminiti : “Absteigend” (super 8mm film)

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from Dreamless Sleep : available now for pre-order – Thrill Jockey Label

The first 500 Dreamless Sleep LPs are pressed on maroon vinyl.

Super 8mm film by Paul Clipson – Within Mirrors

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