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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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“The idea for the colour and graphics comes from the red lines
photographers put around their choices on a contact sheet.” W.K.
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William Klein
‘painted contact’ series
silver gelatin print with paint,
20 x 24″
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William Klein
‘painted contact’ series
silver gelatin print with paint,
20 x 24″
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William Klein
‘painted contact’ series
silver gelatin print with paint,
20 x 24″
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William Klein
‘painted contact’ series
silver gelatin print with paint,
20 x 24″
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William Klein
‘painted contact’ series
silver gelatin print with paint,
20 x 24″
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William Klein
‘painted contact’ series
silver gelatin print with paint,
20 x 24″
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William Klein
‘painted contact’ series
silver gelatin print with paint,
20 x 24″
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William Klein
‘painted contact’ series
silver gelatin print with paint,
24 x 20″
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Klein returned to still photography in the 1980’s, ever progressive and unrelenting in his approach. Revisiting his work to that date, he made large-scale blow-ups of his photographic contact sheets, revealing on an unparalleled scale the frames before and after the decisive image. Liberally applying gloss brush strokes in bold colours to these mural-sized prints, Klein brought together key elements from his long career: graphic form, composition and colour from the early murals and paintings juxtaposed with ground-breaking fashion and street photos, along with the narrative and bold visual language of his experimental films. A defining moment where his unique vision came full circle. – Extract
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William Klein + Daido Moriyama : Tate Modern – Exhibition
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“No 15”
Luis Mallo
‘In Camera’ Series
2001-2
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“No 24”
Luis Mallo
‘In Camera’ Series
2001-2
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“No 22”
Luis Mallo
‘In Camera’ Series
2001-2
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“No 10”
Luis Mallo
‘In Camera’ Series
2001-2
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“No 3”
Luis Mallo
‘In Camera’ Series
2001-2
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“No 19”
Luis Mallo
‘In Camera’ Series
2001-2
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Luis Mallo’s large-scale urban landscapes (most made in his Brooklyn neighborhood) are cleverly realized perceptual puzzles. In each photo, chicken wire, slats, net or fencing of some sort occupies the picture’s foreground, interrupting but not entirely obscuring our view of the factory, parking lot or construction site beyond. Like a curious passerby, our eye is drawn to the open spaces and tears in these heavy-duty scrims, and Mallo invites us to fill in the entire landscape based on the strips and swatches we see. Both thwarting and redirecting our vision, the work is as perverse as it is engaging.
[Review by Vince Aletti, 2003]
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Alfred Hitchcock’s ‘Rear Window’ comes readily to mind when you look at Gail Albert Halaban’s large color photographs. Most depict tall New York apartment buildings viewed from a high window opposite.
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Gail Albert Halaban
‘Out My Window’ Series
Photograph
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Gail Albert Halaban
‘Out My Window’ Series
Photograph
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Gail Albert Halaban
‘Out My Window’ Series
Photograph
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Gail Albert Halaban
‘Out My Window’ Series
Photograph
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Gail Albert Halaban
‘Out My Window’ Series
Photograph
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Gail Albert Halaban
‘Out My Window’ Series
Photograph
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Gail Albert Halaban
‘Out My Window’ Series
Photograph
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Gail Albert Halaban
‘Out My Window’ Series
Photograph
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Initially, these images resemble formal studies in which architectural grids create syncopating, all-over visual rhythms. Then you notice that there are people in some of the apartments. None of them are doing anything exciting. There is no sex or violence. But there is something compelling about being able to see into the private worlds of ordinary people. The voyeuristic, slightly melancholy effect recalls certain paintings by Edward Hopper. Halaban also took pictures of people while in their apartments with them, and these have a poignant intimacy. They resemble photographs by Philip-Lorca diCorcia. One breathtaking example shows a woman wrapped in a bath towel sitting on the edge of her bathtub and gazing out through glass walls over the city. While the photographs shot from distant windows suggest a kind of surveillance, in fact the artist collaborated with her subjects and asked them to pose and position themselves in their homes for the camera. So they are a form of portraiture. Scale is important too. Because the people are so tiny in proportion to the whole picture, there is an expansive effect. And for the same reason, there is a sense of social amplitude: so many buildings, so many people, so many stories in the big city.. ~ [ Extract : The New York Times – Art in Review – Ken Johnson ]
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“The flow of people in a setting, their changing relationships to each other and their environment, and their ever changing expressions and movements – all combine to create dynamic situations that provide the photographer with limitless choices of when to push the button. By choosing a precise intersection between subject and time, he may transform the ordinary into the extraordinary and the real into the surreal.” – c.m.
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‘Times Square at Night’
New York City
Photograph
2002
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‘Times Square at Night’
New York City
Photograph
2002
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‘Times Square at Night’
New York City
Photograph
2002
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‘Times Square at Night’
New York City
Photograph
2002
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‘Times Square at Night’
New York City
Photograph
2002
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‘Times Square at Night’
New York City
Photograph
2002
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‘Times Square at Night’
New York City
Photograph
2002
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Magnum photographer Constantine Manos explores the dynamic intersection between subject and time, the real and the surreal. Manos captures the varied spectrum of contemporary life in all its offbeat and charming strangeness. These moments are elusive and varied, asking questions without giving ready answers. Ordinary people drift between technicolor landscapes and dark shadows, whilst Manos’s lens unleashes a cacophony of brilliant colours so often overlooked in day to day observation…
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Constantine Manos : Magnum Photos
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‘Ready Made Series’
Ronan Guillou
C-Print
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‘Yippee Series’
Ronan Guillou
C-Print
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‘Intra Muros Series’
Ronan Guillou
C-Print
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‘Driven Series’
Ronan Guillou
C-Print
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‘Intra Muros Series’
Ronan Guillou
C-Print
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‘Driven Series’
Ronan Guillou
C-Print
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Catching places, cities, glances: Ronan Guillou translates his pleasure and desire for keeping traces of them during his walks. Cities, and the people who animate them, are the basis of his humanistic approach. Aside from his commercial campaigns, Guillou’s personal work records moments of ordinary life, where men and women are photographed during their daily routines in urban landscapes. Initially influenced by cinematic environments and the aesthetics of American cities, his work also extends to cities in Asia, Europe and South America. Without criticism, Guillou feels affection and empathy for his characters, giving the images a pictorialist and poetic depth… – [Extract : Bio – Sous Les Etoiles Gallery]
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Azurebumble 