Brandon Lattu : Photography (Conceptual)

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“Ultimately, Photography is subversive not when it frightens, repels or even
stigmatizes, but when it’s pensive, when it thinks” R Barthes, Camera Lucida

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‘Miracle Mile looking west, skyline view’
43 x 47 inches
inkjet print
2000
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‘Miracle Mile looking west, north side car view’
43 x 47 inches
inkjet print
2000
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‘Miracle Mile looking west, south side car view’
43 x 47 inches
inkjet print
2000
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‘Miracle Mile looking west, south side pedestrian view’
42 x 47 inches
inkjet print
2000
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‘Miracle Mile looking west, north side pedestrian view’
43 x 47 inches
inkjet print
2000
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Brandon Lattu is a conceptualist who uses photography, sculpture, and digitally based imagery, Lattu has carefully labored over the most intricate details of his images to produce works that seduce with a deceptively simple and elegant beauty. At the same time these images resonate on an equally powerful sentient level. The manipulation, clarity, and overload of information in these images triggers the recognition that we can visually imagine a scene such as this but we will never see in this way. In “Miracle Mile”, Lattu utilizes the extent of photographic technology to produce a series of views looking West down the length of ‘Wilshire Boulevard’ between ‘La Brea’ and ‘Fairfax Avenues’ in Los Angeles.

Presented on a pure field of black, the only images depicted are the illuminated signs. Contrasting this black field of nothingness, each sign is presented in its accurate place and scale in relation to the section depicted. Perspective is eliminated and some signs appear backwards as one might see them while looking in a side view mirror from a car at night. With careful inspection the viewer becomes aware that commercial competition is investigated in this piece through the presence of stores directly across the street from one another. For example, on the north side of the street, Rite Aid, Staples and Blockbuster vie with Sav-on, Office Depot and Hollywood video on the south side offering essentially the same products. Here and throughout Lattu’s oeuvre, the instinctual attraction of sublime visual pleasure becomes inseparable from intellectual engagement. [Extract : Leo Koenig Inc – April 13, 2004]

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Brandon Lattu : Monte Clark Gallery

Brandon Lattu : Leo Koenig Inc

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Manuel Geerinck : Conceptual Photography

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‘Untitled PH 2107’
140 x 120 cm
C-print
2007
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‘Untitled’
140 x 120 cm
C-print
2012
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‘Untitled PH 211’
140 x 120 cm
C-print
2011
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‘Untitled PH 2709’
140 x 120 cm
C-print
2011
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‘Untitled PH 1605’
140 x 120 cm
C-print
2010
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‘Untitled PH 108’
140 x 120 cm
C-print
2011
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This work represent the most recent stage on my personal artistic path. From compositions on paper and paintings, I have expanded my research into conceptual photographs. Selected from raw, elemental works on paper, some drawings are cut apart and set into motion to become the basis of these images devised through a solely analogical method. In the act of displacement, these light sculptures are defined by a gesture of substitution as time caught on a surface. Originating from nameless forms, intact drawings and their constructed counterparts appear in fetish form. As the photographic support contracts and hardens, the transformed image gains strength through the radicalization of the process which progresses from manual drawing to mechanical reproduction. This experiment stands at the limit of this most contemporary field and leads the viewer to re-examine the image’s inner nature; the choreography of its pictorial elements gives it a new status as the dancing parts of the painted image become a photograph in its own original genre. ~ Extract : Artist Statement

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Manuel Geerinck : Website

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Hirsch Perlman : Photography (Long Exposures)

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‘Apparatum Armorum Ineptum #3’
silver gelatin print
24 x 30 in
2004
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Operation Idiocracy Series
‘Roll #10, Frames #14/15’
20 x 24 in
2004
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‘Apparatum Armorum Ineptum #1’
silver gelatin print
24 x 30 in
2004
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Operation Idiocracy Series
‘Roll #19, Frame 18/19’
20 x 24 in
2004
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‘Sketch #3’
silver gelatin print
11 x 14 in
2004
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‘Apparatum Armorum Ineptum #4’
silver gelatin print
24 x 30 in
2004
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‘Sketch #7’
silver gelatin print
11 x 14 in
2004
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‘Apparatum Armorum Ineptum #8’
silver gelatin print
24 x 30 in
2004
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For the series Apparatum Armorum Ineptum and My Reproof all photos were shot at night on the rooftop of the artist’s home over a period of thirteen months. The images feature rockets and eerie sculptural figures that are drawn with light using long exposures. In some photos, Perlman can be seen choreographing his set-up or simply reading while a rocket launches or a figure confronts him. The pieces are simultaneously performative and sculptural. For Perlman, photography is an allegorical process filled with constant experimentation, both conceptual and technical… – [ Extract : Blum & Poe ]

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Hirsch Perlman : More Works

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Misha Gordin : ‘The New Crowd’ (Conceptual Photography)

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‘crowd 39’
silver gelatin print
25 x 38 in
1996-98
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‘crowd 42’
silver gelatin print
25 x 38 in
1996-98
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‘crowd 47’
silver gelatin print
25 x 38 in
1996-98
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‘crowd 45’
silver gelatin print
25 x 38 in
1999-00
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‘crowd 46’
silver gelatin print
25 x 38 in
1999-00
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‘crowd 50’
silver gelatin print
25 x 38 in
1999-00
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All my images are assembled in a traditional darkroom under one enlarger using a masking technique developed and perfected over many years. This technique has its limitations and I address them when working on ideas. Also, before I print the original, I make tests and adjustments for every single negative that’s going to be printed. I then write the tables where I indicate the proper exposures and all the sequences of manipulations for every negative used. Next is the stage of “dry” printing. This part is the most unforgiving. I meticulously project one negative after another, constantly changing precise masks until the last negative is used. This part is all about discipline and has little to do with art

Next comes the time of “judgment” when the first print emerges from the developer. It’s a very exiting moment for me. I look for possible mistakes as the image reveals itself and a great feeling of relief and accomplishment when a print is “flawless”. I always print editions of seven plus three artist proofs. Unfortunately the technique I’m using has no room for mistakes. It requires complete concentration and can be very exhausting physically and mentally. In this respect digital manipulations are easy and forgiving. But my method, as hard as it is, gives me better and immediate quality control. I do print from original negatives after all. Also, I don’t feel at this time the need to change the approach which works. I don’t know for how long I’ll be in good physical shape to be able to continue working this way. But then I’ll always have the alternative of a switch to digital manipulation. [interview : ventilate magazine]

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Misha Gordin : Website

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Anil Akkus : ‘Still Life’ Series (Photography)

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‘White Fruits’
Photograph
Still life
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‘Water Lily’
Photograph
Still life
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‘Razor’
Photograph
Still life
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‘Peeler’
Photograph
Still life
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‘Spoon II’
Photograph
Still life
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‘Not So Knife’
Photograph
Still life
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Anil specialises in still life and conceptual photography. In the studio his work revolves around playing with light and objects, where he uses ordinary day to day items and tries to reveal an unusual aspect…

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Anil Akkus : More Works

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‘Hypo-X-Series : A Digital Curation’ – Photography (Ebook)

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HYPO-X-SERIES

A Digital Curation by Azurebumble

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double page spreads
sequence selection
photography
2008

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double page spreads
sequence selection
photography
2008

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double page spreads
sequence selection
photography
2008

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double page spreads
sequence selection
photography
2008

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double page spreads
sequence selection
photography
2008

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Almost 3 Years on photography book “Hypo-x-Series”‘ has now been released in ‘Ebook ‘format.

For those who possess an iPad or iPhone a version (epud) is now available for £1.49 (non profit)

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CLICK HERE FOR iPAD / iPHONE VERSION

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For anyone not familiar with this project here is the text that accompanied the original book release:

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This book is the result of an online collaboration between 111 international artists and photographers, where by simply utilising the infrastructure of the photo sharing website ‘flickr’ we have managed to communicate, interact and gather together a stunning collection of over 400 abstract and aesthetic photographic works!

For this project I have reorganised a series of virtual online curations toward interconnected progressions of sensual, thought provoking and emotive works. Selected carefully each double-page spread features a self-contained visual duet…these pairings are also integral to the flow of the sequence as a whole. This continuity allows the viewer to visit any page at will and embark on an intriguing journey into a complex and ethereal world of delicate changing moods.

A space involving unexpected movements of colour, shape and form, minimal tonal progressions with gentle transitions from dark to light and warm to cool, subtle textural, linear and conceptual relationships and occasional mysterious figurative apparitions. Ultimately inviting emotional responses via the poetic adventures of the imagination and the senses. (azurebumble)

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FULL BOOK PREVIEW

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