Posts Tagged ‘compositions

24
Jun
12

Julius Shulman : Architectural Photography

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“Architecture Series”
Julius Shulman
Photograph
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“Architecture Series”
Julius Shulman
Photograph
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“Architecture Series”
Julius Shulman
Photograph
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“Architecture Series”
Julius Shulman
Photograph
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“Architecture Series”
Julius Shulman
Photograph
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“Architecture Series”
Julius Shulman
Photograph
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“Architecture Series”
Julius Shulman
Photograph
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“Architecture Series”
Julius Shulman
Photograph
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Photographer of architecture, naturalist, educator, and commentator on urban form. One of the leading architectural photographers of the 20th century, Julius Shulman developed close association with the modernist architects, principally those active in Southern California such as Gregory Ain, John Lautner, Richard Neutra, and R.M. Schindler. Shulman’s images played a major role in crafting the image of the Los Angeles and “Southern California lifestyle” to the rest of the nation and world during the 1950s and 1960s. A prolific author, consultant, lecturer, exhibitor, and editor of his own vast archive. [Extract]

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Julius Shulman : Visual Acoustics

Julius Shulman : Craig Krull Gallery

Julius Shulman : Modernity and the Metropolis

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02
Feb
12

Juergen Bergbauer : ‘Nature Studies’ (Photography)

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‘untitled’
inkjet print
27 x 21 cm
2008
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‘untitled’
inkjet print
27 x 21 cm
2008
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‘untitled’
inkjet print
27 x 21 cm
2008
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‘untitled’
inkjet print
27 x 21 cm
2008
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‘untitled’
inkjet print
27 x 21 cm
2008
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‘untitled’
inkjet print
27 x 21 cm
2008
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‘untitled’
inkjet print
27 x 21 cm
2008
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Archive comprises 665 photographs of 152 different objects found at roadside, depicted from various vantage points and arranged by form and applicability. ’42 Studies’ show compositions of the objects from the archive. The assortment of studies is based on variations of the following compositional criteria: – form of the used objects, expansion and positioning of the objects within the defined space…

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Juergen Bergbauer : Website

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15
Jan
12

Pavel Odvody : ‘Still Lives & Compositions’ (Photography)

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It is only the shade that describes the light

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‘Reflections’
Pavel Odvody
Photograph
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‘Reflections’
Pavel Odvody
Photograph
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‘Listened to Ligeti’
Pavel Odvody
Photograph
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‘Listened to Ligeti’
Pavel Odvody
Photograph
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‘Five Minutes of Ligeti’
Pavel Odvody
Photograph
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‘Five Minutes of Ligeti’
Pavel Odvody
Photograph
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‘Five Minutes of Ligeti’
Pavel Odvody
Photograph
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This is a truly phenomenal, extremely unusual collection of novel picture themes that have barely anything to do with the uncountable daily offerings of photographed pictures in the media, taken in public places or at art museums. So Pavel Odvody’s picture world may appear strange to us at first sight… we are unable to associate a visual experience with it, with only a few capable of sharing his perspective. But of one thing we can be certain: this isn’t today’s way of taking pictures – either as an applied photographer or a so-called free photographer.

But at second glance, it gradually crystallizes what he is driven by. He is not concerned with exterior reality, i.e. the subjective presentation of an objective physical world. Rather, his passion lines in the visualization of an inner reality. He doesn’t focus on the expression of a concrete human face, for example, but the expressive power of the face in itself; nor the beauty of a certain body, but the manner in which bodies converge into something like ‘beauty’, fully elementarily in changing light and moving phases; not the form or material of an object, but the conditions and stipulations needed to make the ‘essence’ – that which prevails over an object’s transience – visually graspable.

Only the anxious look at the exterior, at the pictures’ superimposed, interlocked, divided and recombined segments, focuses our eyes to the interior, to acquired and approved arrangements which – precisely because they are familiar and expected – no longer have to be perceived exactly. Only the disproportion sharpens the eye for proportions. Only the blurring contours allow an object, a figure or grouping of bodies to become clear. Only the concentration of movements sensitizes us to the question of how and when movement transforms a body into a figure and how it even leaves traces in things at rest. Finally: only an irreverent relationship for the theme teaches us to respect and become passionate for the theme. Only the shade describes the light… [Prof. Peter von Kornatzki : text – 2005]

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Pavel Odvody : Website

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02
Dec
11

Alexis Cladière (36recyclab) : ‘PARASIT’ (Street Art)

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The work of Alexis Cladière (36recyclab) incorporates architecture, design and engineering as well as sculpture, graphic arts and skateboards culture. He builds everything himself from 3D structures, photos, fonts and logos to large scale street exhibitions of tape cutting and 3D modelling. His style has become synonymous with clean, contemporary architectural design and structured visceral compositions, which use the interplay between angles and solidity to create fresh perspectives. [Ext]

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36RECYCLAB
Alexis Cladière
‘Poster’
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36RECYCLAB
Alexis Cladière
‘Poster’
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36RECYCLAB
Alexis Cladière
‘Poster’
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36RECYCLAB
Alexis Cladière
‘Poster’
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36RECYCLAB
Alexis Cladière
‘Poster’
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36RECYCLAB
Alexis Cladière
‘Poster’
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“These posters you see in the streets of Paris (Bastille-Gare De Lyon) are urban grafts that represent an architecture project of mine, started in 2004 called ‘PARASIT’: it’s an independent structure which is fixed on a building, that lives due to an existent apparatus and lives off of it’s resources (water, electricity, gas, communication networks).

The little part is the inside apartment, the biggest part outside, in front of the building, and it houses the tubes and piping that it feeds off of. I made 3D models of ‘PARASIT’ recently and put them in the streets, completely assembled. Passers by seemed to think that they were machines, photocopiers or survelliance cameras. That is the brilliance of art….People see what they want to see.” Alexis Cladière

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36recyclab

Alexis Cladière : Interview

Alexis Cladière : Galerie Lasecu

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09
Feb
11

Adam Magyar : “Stainless” Series (Photography)

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“In the “Stainless” series I scan rushing subway trains arriving to stations. The images record a number of tiny details of this moment. We see people staring towards their destinations standing at the doors framed by the sliding door windows. They’re scrutinizing the uncertain future. Similarly to all my images, their main motivation is arrival. The darkness of the tunnels deep below the city turns these chemically clean mock-ups into fossils of our time.” A. Magyar

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#8191
New York
231 x 80 cm
2010

#6423
Tokyo
214 x 80 cm
2010

#03621
Tokyo
197 x 80 cm
2010

#26872
Tokyo
280 x 120 cm
2010

#7649
New York
270 x 120 cm
2010

#7258
New York
180 x 80 cm
2010

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While spending extensive time in cities like Tokyo, Hong Kong, Shanghai, Kolkata and New York, I was getting increasingly fascinated by man-made structures. I consider all man’s scientific achievements an integral part of human evolution. So, to me the city is not less of a natural environment than the rain forest. It is an ever-present human desire to go further and leave some trace behind in the fraction of the time we are given. My drive is not different. I aim to grasp the devices at hand, push towards new frontiers by converting already existing technologies for photography in the hope of coming up with something new, a new device, a new language, a new frontier.

The factor of time is essential both in our private history and for humanity as a community. I am more interested in the drama of our own transience. In my works I capture man’s finite time in infinity. In my images I “stage” a situation where people are seen from a distance and I depict them as particles in a system. The observer of this scene is an imaginary person, looking at the whole as an outsider, as if exempt from the laws of time. I also perceive time and events taking place subjectively, consequently inappropriately. I find particular events more important than others, so I would instinctively emphasize them in my compositions. To eliminate this problem, I’m experimenting with systems that relate to reality like watches and record series of events objectively. I build digital camera systems, adopt industrial machine-vision cameras and set up script-driven post processing methods. [artist statement]

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The images above and other series can be zoomed and magnified at the link below.

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Adam Magyar : Website




Ai : Series : Photography Book

aesthetic investig...
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