Posts Tagged ‘cables

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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16
Aug
12

Andreas Gefeller : The Japan Series (Photography)

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“Poles 41”
Inkjetprint
100 x 100 cm
2010
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“Poles 44”
Inkjetprint
100 x 100 cm
2010
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“Poles 30”
Inkjetprint
100 x 100 cm
2010
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“Poles 45”
Inkjetprint
100 x 100 cm
2010
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“Poles 39”
Inkjetprint
100 x 100 cm
2010
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“Poles 32”
Inkjetprint
100 x 100 cm
2010
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“Poles 31”
Inkjetprint
100 x 100 cm
2010
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Sensitizing and expanding our perception of what is allegedly a familiar reality is the attitude Düsseldorf-based photographer Andreas Gefeller adopts in his work. His most recent photographs are clearly more formal and structural, and they exhibit striking pictorial qualities. The Japan Series originated on the occasion of the European Eyes on Japan project, within the scope of which European photographers are invited each year to capture their impressions of this Far Eastern country on film. Gefeller takes at least two shots of utility poles vertically from below. In the subsequent digital composite the poles disappear, and the innumerable cables and transformers are converted into an abstract composition against a monochrome background. The absence of points of reference and orientation in these works opens up a new perspective on familiar situations. – [ Extract : Hatje Cantz]

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Andreas Gefeller : Website

More Works From Series

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16
Jan
12

Pe Lang : ‘Moving Objects’ Series (Kinetic Art)

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Galerie Mario Mazzoli, Berlin
Actuators, cables, silikon
Size: 200 x 108 cm
Year: 2011

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Dienstgebäude, Zürich, Switzerland
motor, 1’836 spheres (9,5mmø)
Size: 140 x 100 cm
Year: 2010

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Galerie Mario Mazzoli, Berlin
Actuators, cables, silikon
Size: 100 x 56 cm
Year: 2011

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Pe Lang’s poetic and elegant hand built sculptures combine mechanized systems with new materials to mandate and manifest a different approach to kinetic movement. Lang realizes performances and creates installations by ingeniously assembling magnetic, electrical and mechanical devices and even inventing new devices and prototypes. The resulting works are both visually appealing, because of their elegant and minimal kinetic qualities, but also fascinating for their acoustic features. If chance plays an important role in his works, the artist playfully manages to balance between order and chaos by controlling the forces involved in his compositions: the precision of the mechanical devices and the confusion resulted from the collision of the various elements. (Ext : Introduction – Text by Boris Magrini)

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Pe Lang : Website

Pe Lang : Vimeo

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18
Jan
11

Andreas Gefeller : The Japan Series (Photography)

‘Poles 38’
Inkjetprint
100 x 100 cm
2010

‘Poles 08’
Inkjetprint
100 x 100 cm
2010

‘Poles 07’
Inkjetprint
100 x 100 cm
2010

‘Poles 35’
Inkjetprint
100 x 100 cm
2010

‘Poles 39’
Inkjetprint
100 x 100 cm
2010

‘Poles 27’
Inkjetprint
100 x 100 cm
2010

Sensitizing and expanding our perception of what is allegedly a familiar reality is the attitude Düsseldorf-based photographer Andreas Gefeller adopts in his work. His most recent photographs are clearly more formal and structural, and they exhibit striking pictorial qualities. The Japan Series originated on the occasion of the European Eyes on Japan project, within the scope of which European photographers are invited each year to capture their impressions of this Far Eastern country on film.

Gefeller takes at least two shots of utility poles vertically from below. In the subsequent digital composite the poles disappear, and the innumerable cables and transformers are converted into an abstract composition against a monochrome background. The absence of points of reference and orientation in these works opens up a new perspective on familiar situations. [extract : hatje cantz]

Andreas Gefeller : Website

12
Dec
10

Fernandoprats : Photography

Traveling to become humbler

Fernandoprats
‘Traveling to become humbler’
Part of People are people, 2.0 relationships and others.
2010

Absinther

Fernandoprats
‘Absinther’
Part of Prahabsynth series.
2010

Muerte del ángel

Fernandoprats
‘Muerte del ángel’
Part of Songfots series.
2009

for an oleaginous overview

Fernandoprats
‘For an oleaginous overview’
Part of Instant compositions instants.
2010

Answerer

Fernandoprats
‘Answerer’
Part of Prahabsynth series.
2010

Probably you

Fernandoprats
‘Probably you’
Part of “New York Old” series.
2010

Dyslexic dialogue

Fernandoprats
‘Dyslexic dialogue’
Part of Instant compositions instants
2010

This particular sequence is constructed from numerous different series of ‘FotoWorks’ by Fernando. Therefore, I would encourage anyone who is intrigued by these marvelous works to click on each individual image to view texts & tags. This will resignify the speech of each image and each series, allowing for a better understanding of context and a further appreciation of the artists original intent.

Website

More Works

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