Posts Tagged ‘depth

23
Apr
12

Azurebumble : ‘AI : Series’ (Photography Book)

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Recently, I’ve curated a number of image series by photographers from ‘Flickr’ on my blog ‘Aesthetic Investigations’. Subsequently, I thought it would be interesting to document these works in a book. Therefore, i’ve arranged a collection of ’39’ abstract and minimal photographic series by these ’32’ artists. A selection of pages from the book can be viewed below, a full book preview can be seen: HERE

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Thank you to everyone who contributed their images to this project.

All graphic content and curations by : Alan Wilson ( azurebumble )

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Book Cover
Front & Back Pages
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Introductory Pages
Copyright & Contents
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Introductory Pages
Tags, Artists & Series Thumbnails
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Photography Series
Gianni Galassi
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Photography Series
Teresa (Colourful Life) & roB_meL
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Photography Series
Camilo Todemann & Olli Kekäläinen
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Photography Series
Brancolina & Barbara Stumm
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Photography Series
Françoise Lucas & Leonie Polah
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Photography Series
Julian Gomez & Tom Mclaughlan
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Artists

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Alec Cheer……………………Annemie Hiele……………………..Azurebumble……………………Barbara Stumm

Brancolina………………….Camilo Todemann…………………..Daniel Molina…………………….Fernandoprats

Françoise Lucas…………….Gianni Galassi…………………….James Withey……………….John Kosmopoulos

Julian Gomez……………Krystina Stimakovits…………………Leonie Polah………………………….Lillykeeper

Lord Jezzer…………………..Lucie Bourassa…………………..Mark Valentine…………………..Olli Kekäläinen

Peter Moons…………………..Phédia Mazuc……………………..Rita Vita Finzi…………………………….roB_meL

Shari Baker……………………Steffen Tuck………………..Teresa (Colourful life)…………..Tom McLaughlan

Visualisarium…………………..Wilma Eras……………………Wouter Hogendorp……………………….Zel Nunes

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VIEW FULL BOOK PREVIEW AND PURCHASE HERE

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04
Feb
12

Mary Christiansen : ‘Multi Plate Etchings’ (Prints)

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‘Himmerland’
multi-plate etching
107 x 107 cm
2008
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‘Untitled 2’
multi-plate etching
16.5 x 18.5 cm
2008
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‘Shadow line’
multi-plate etching
15.5 x 16.5 cm
2008
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‘Tilt’
multi-plate etching
19.5 x 20 cm
2008
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‘Untitled’
multi-plate etching
18 x 20 cm
2007
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‘Untitled’
multi-plate etching
15.5 x 17 cm
2007
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My pre-occupation as an artist is with creating highly distilled, contemplative nuances of feeling in print. I aim to compose images – drawn from nature and memory – of stark yet tactile forms, held momentarily out of balance; forms disappearing into immaterial shadows and configurations of form in spatial settings, undergoing transformation. I’m fascinated by forms appearing like projections onto surfaces, fragile and immaterial articulations, punctuated by the interplay of light and shade. Re-discovering delicate forms in space at distances defined by rhythm and structure, are of interest to me.

My objective is to create a state of suspension of individual elements, caught in a complex of layers with deceptive simplicity. The creation of these images is intuitive in nature. The creative process is ongoing, with every intuition, reflection and configuration, pre-figuring another possibility. The printing process is an integral part of my working process. The separation and building up of layers, multiple overprinting, the use of inks of differing viscosities – these modifications inform the work as it evolves. The tactile qualities of print-making, the depth and richness of surface, are crucial. – [Artists Statement]

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Mary Christiansen : Hughson Gallery

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02
Sep
11

Christopher Wool : Silkscreens

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Untitled
Christopher Wool
Silkscreen ink on linen
2009

Untitled
Christopher Wool
Enamel on linen
2010

Untitled
Christopher Wool
Silkscreen ink on paper
2008

Untitled
Christopher Wool
Enamel on linen
2009

Untitled
Christopher Wool
Enamel on linen
2006

Untitled
Christopher Wool
Enamel on linen
2008

Untitled
Christopher Wool
Enamel on linen
2009

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Christopher Wool is best known for his paintings of large, black, stenciled letters on white canvases. However, Wool possesses a wide range of style – using a combined array of painterly techniques, including spray paint, silkscreen, and hand painting. Christopher provides tension between painting and erasing, gesture and removal, depth and flatness. [Extract : Gagosian Gallery]

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Christopher Wool : Luhring Augustine

Christopher Wool : Website

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16
Nov
10

Peter Lanyon : Paintings

‘Coast’
Watercolour on paper
466 x 620 mm
1953

‘Headwind’
Oil on canvas
1219 x 1981 mm
1961

‘Offshore’
Oil on canvas
1530 x 1842 mm
1959

‘Green Place’
Oil on canvas
760 x 1020 mm
1959

“All Lanyon’s forms derive, in a very strict sense, from sensory experience of his subject: and I do not limit this to visual experience, because he admits feeling, knowledge and experienced sensation from more than one of his senses. What he sees as he walks or rides on his motorbike through the landscape may constitute the larger part of what goes into a picture. But what he experiences physically – the up-and-downness of the path: the sliding pastness of house, rock or hill as he rides along: the going-throughness of a gap between the rocks – equally has a place in the amalgam of his painting, contributing to the totality of his awareness of the landscape … With Lanyon, every canvas recreates a particular hill (or harbour, or cliff) by merging the evidence gained through numerous channels from more than one viewpoint” Patrick Heron

Lanyon took up gliding in 1959 and this had a profound effect on his work as he translated the experiences that he encountered in the air into his paintings, collages and constructions.

‘This is why I do gliding myself, to get actually into the air itself and get a further sense of depth and space into yourself, as it were, into your own body, and then carry it through a painting. I think this is a further extension of what Turner was doing’. Peter Lanyon

Peter Lanyon : Tate Collection

Peter Lanyon : Hazlitt Holland-Hibbert

06
Jul
10

Mark Rothko : Red Abstracts

Mark Rothko. Orange, Red, Orange. Oil on paper.

Mark Rothko. Untitled. Oil on canvas.

Mark Rothko. White stripe. Oil on canvas.

Mark Rothko. Untitled. Oil on canvas.

Mark Rothko. Mauve and Orange. Oil on canvas.

One of the preeminent artists of his generation, Mark Rothko is closely identified with the New York School, a circle of painters that emerged during the 1940s as a new collective voice in American art. During a career that spanned five decades, he created a new and impassioned form of abstract painting. Rothko’s work is characterized by rigorous attention to formal elements such as color, shape, balance, depth, composition, and scale; yet, he refused to consider his paintings solely in these terms. He explained:

“It is a widely accepted notion among painters that it does not matter what one paints as long as it is well painted. This is the essence of academicism. There is no such thing as good painting about nothing.”

Mark Rothko Web Feature




Ai : Series : Photography Book

aesthetic investig...
By Azurebumble

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