Posts Tagged ‘abstraction

22
Jul
13

Mario Giacomelli : ‘My Whole Life’ Series (Photography)

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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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09

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‘My Whole Life’ series
Mario Giacomelli
Photograph
1997-00
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10

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‘My Whole Life’ series
Mario Giacomelli
Photograph
1997-00
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08

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‘My Whole Life’ series
Mario Giacomelli
Photograph
1997-00
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05

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‘My Whole Life’ series
Mario Giacomelli
Photograph
1997-00
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06

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‘My Whole Life’ series
Mario Giacomelli
Photograph
1997-00
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14

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‘My Whole Life’ series
Mario Giacomelli
Photograph
1997-00
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13

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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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Mario Giacomelli : Website

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15
Apr
12

Matthew Gamber : ‘Any Colour You Like’ (Photography)

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‘3D Glasses’
Gelatin Silver Print
Matthew Gamber
2010
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‘Scotch Tape’
Gelatin Silver Print
Matthew Gamber
2010
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‘Farnsworth Munsell 100 Hue Test’
Gelatin Silver Print
Matthew Gamber
2010
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‘A Color Notation and Interaction of Color’
Gelatin Silver Print
Matthew Gamber
2010
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‘Floral Pattern Wallpaper’
Gelatin Silver Print
Matthew Gamber
2010
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‘Ishihara Test in Light-Brite’
Gelatin Silver Print
Matthew Gamber
2010
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‘Munsell Color Tree’
Gelatin Silver Print
Matthew Gamber
2010
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“I once had a student who wouldn’t participate in any class discussions on color photography. However, I knew he was an excellent student based on his other classes. Later, I discovered he was colorblind. Talking about color was meaningless to him. The photographs in Any Color You Like are an experiment in how photography can confuse our perception of information. These images represent objects whose primary function is to simulate our observation of color. When these items are rendered in a black and white format, the information remaining is merely an abstraction of its previous form.” MG

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Matthew Gamber : Website

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30
Mar
12

Kikuji Kawada : ‘Chizu – The Map’ Series (Photography Book)

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‘Scraps’
Chizu (The Map) series
gelatin silver print
1959-1965
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‘The Japanese National Flag’
Chizu (The Map) series
gelatin silver print
1960
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‘Scraps’
Chizu (The Map) series
gelatin silver print
1959-1965
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‘Scraps’
Chizu (The Map) series
gelatin silver print
1959-1965
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‘Atomic Dome, Ceiling, Stain of Blood’
Chizu (The Map) series
gelatin silver print
1960-1961
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‘Atomic Dome, Scriblings by Tourists’
Chizu (The Map) series
gelatin silver print
1960-1961
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‘Atomic Dome, Ceiling, Stain of Blood’
Chizu (The Map) series
gelatin silver print
1960-1961
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“No photobook has been more successful in combining graphic design with complex photographic narrative… [as its] various layers inside [are] peeled away like archaeological strata, the whole process of viewing the book becomes one of uncovering and contemplating the ramifications of recent Japanese history — especially the country’s tangled relationship with the United States… His photographs are a masterly amalgam of abstraction and realism, of the specific and the ineffable, woven into a tapestry that makes the act of reading them a process of re-creation in itself. In the central metaphor of the map, in the idea of the map as a series of interlocking trace marks, Kawada has conjured a brilliant simile for the photograph itself: scientific record, memory trace, cultural repository, puzzle and guide…”

[Extract : The Photobook: A History, Volume 1, by Martin Parr and Gerry Badger]

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Kikuji Kawada : SFMOMA

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13
Mar
12

Fan Ho : ‘Hong Kong Yesterday’ Series (Photography)

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‘Approaching Shadow’
Photograph
Fan Ho
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‘Pattern’
Photograph
Fan Ho
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‘People Crossing’
Photograph
Fan Ho
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‘Afternoon Chat’
Photograph
Fan Ho
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‘The Lonely Conductor’
Photograph
Fan Ho
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‘Lonely Stroll’
Photograph
Fan Ho
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‘Inferno’
Photograph
Fan Ho
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Born in Shanghai, China in 1932, Fan Ho later moved to Hong Kong with his family, where he began to take photographs using a Rolleiflex camera given to him by his father. In the beginning, Fan Ho considered photography an engaging pastime. But as he roamed the streets and alleyways of Hong Kong, he was drawn to the city and its inhabitants. Whether it’s the slums of Hong Kong, its pulsing city streets, or its light-filled stairwells, the patterns of daily life are the inspiration for his still photographs.

Inspired by the Bauhaus point of view and a strong sense of abstraction, Fan Ho’s cosmopolitan, multicultural Hong Kong becomes a magical city of light and dark, shadow and substance, crowds and isolation. The experimental nature of Fan Ho’s vision is immediately apparent in these photographs, which are notable not only for their altered perspectives, dramatic compositions and surreal abstraction, but also for the view they provide of the markets, streets and slums of Hong Kong. – [Ext]

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Fan Ho : Modernbook

Fan Ho : More Works

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25
Jan
12

Jordan Tull : ‘Re/Activate’ (Installation)

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Wieden + Kennedy Gallery – Portland, Oregon
Re/Activate is a collaborative installation with artist Damien Gilley

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‘Re/Activate’
amber acrylic, mirror acrylic, fluorescent lamps
paint, screws, artist’s tape, vinyl, wood
dimensions variable
2011
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‘Re/Activate’
amber acrylic, mirror acrylic, fluorescent lamps
paint, screws, artist’s tape, vinyl, wood
dimensions variable
2011
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‘Re/Activate’
amber acrylic, mirror acrylic, fluorescent lamps
paint, screws, artist’s tape, vinyl, wood
dimensions variable
2011
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‘Re/Activate’
amber acrylic, mirror acrylic, fluorescent lamps
paint, screws, artist’s tape, vinyl, wood
dimensions variable
2011
::

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‘Re/Activate’
amber acrylic, mirror acrylic, fluorescent lamps
paint, screws, artist’s tape, vinyl, wood
dimensions variable
2011
::

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‘Re/Activate’
amber acrylic, mirror acrylic, fluorescent lamps
paint, screws, artist’s tape, vinyl, wood
dimensions variable
2011
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Jordan Tull explores the exchange between artwork, site, and viewer through sculpture and installation. Tull has produced site-specific sculpture responding to architectural settings throughout Portland, OR. His object-based sculptures explore structural and perceptual phenomenon through geometric abstraction and allusive metaphor. Tull’s current work advances for the development of new spatial languages experienced within the context of contemporary architecture and sculptural discourse. Through technology, collaboration and experimentation Tull creates radical asymmetries, ordering systems and dynamic geometric progressions as applied to site-specific contexts and computer-generated models. Tull’s works aim to establish an alternative perceptual approach to spatial applications through the employment of computer-aided fabrication technology and space manipulation.

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Jordan Tull : Website

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30
Nov
11

Saul Leiter : Photography (Early Colour)

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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.

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saul leiter
photograph
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saul leiter
photograph
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saul leiter
photograph
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saul leiter
photograph
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saul leiter
photograph
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saul leiter
photograph
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“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.

Saul Leiter : Jackson Fine Art

Saul Leiter : Lens Culture




Ai : Series : Photography Book

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