Posts Tagged ‘empty

10
Jul
13

Henry Wessel :: ‘New Topographics’ (Photography)

::

“You’re suddenly seeing the coherence and interconnectedness of everything, left to right, bottom to top, front to back. It’s all connected, and somehow, it’s all in balance. And that’s, when you go ‘Yes!’” H Wessel

::

artwork_images_168878_675461_henry-wessel

::
‘Waikiki No. 9’
silver gelatin print
Henry Wessel
1979
::

jhddg

::
‘Incidents No. 16’
silver gelatin print
Henry Wessel
16 × 20 in
::

artwork_images_138625_267827_henry-wessel

::
‘Pismo Beach, CA’
silver gelatin print
Henry Wessel
1974
::

HWE.049_email

::
‘Berkeley, California’
silver gelatin print
Henry Wessel
1971
::

1276634365

::
‘Hollywood, California’
silver gelatin print
Henry Wessel
1972
::

13_new-mexico-iii

::
‘New Mexico III’
silver gelatin print
Henry Wessel
1969
::

tumblr_mgbnfmJu5r1qex654o1_1280

::
‘Tucson, Arizona’
silver gelatin print
Henry Wessel
1976
::

khggg

::
‘Incidents No. 8’
silver gelatin print
Henry Wessel
16 × 20 in
::

gghk

::
‘Incidents No. 6’
silver gelatin print
Henry Wessel
16 × 20 in
::

HWE.045_email

::
‘New Mexico’
silver gelatin print
Henry Wessel
1968
::

Henry Wessel first gained recognition in the 1970s as part of the New Topographics, a group of photographers who challenged the conventions of documentary and landscape photography, capturing instead the poetry of seemingly mundane scenes and subjects—traffic lights, advertisements, empty landscapes, and suburbia. During the 1970s he moved to San Francisco from New York after falling in love with the brilliant quality of light in California. There, in both black-and-white and color film, he photographed the vernacular architecture and social landscape of his surroundings, in prints with long shadows and rich tonal variations… [Extract]

::

gallery focus21

pace/macgill gallery

::

16
Dec
11

Christophe Caudroy : ‘Home’ Series (Photography)

::

::
‘Home’ Series
Christophe Caudroy
Photograph
2003
::

::
‘Home’ Series
Christophe Caudroy
Photograph
2003
::

::
‘Home’ Series
Christophe Caudroy
Photograph
2003
::

::
‘Home’ Series
Christophe Caudroy
Photograph
2003
::

::
‘Home’ Series
Christophe Caudroy
Photograph
2003
::

::
‘Home’ Series
Christophe Caudroy
Photograph
2003
::

::
‘Home’ Series
Christophe Caudroy
Photograph
2003
::

“I have lived in eight houses in six cities. I’ve learned not to be attached to them. They’re just nice places. My house as a child was always my Grandmother’s. For more than fifty years, my family met there for parties and vacations. That never changed, never went away. My grandmother died last year. I felt a lot of sadness when I returned to the house. In the morning, there was no longer the smell of coffee. Every object recalled the past to me. It could not be otherwise, for everything was the way it had been the day before, as though she was going to return any minute. I tried to save my memories and feelings of life which were still in the house, through the ordinary things, like the daily newspaper. Some places still carry a sense of what was, but most of the house is now empty. I felt as an intruder, a foreigner. This is for me an anonymous house, that I do not know anymore…” – Christophe Caudroy

::

Christophe Caudroy : Website

::

15
Dec
11

Alni Stalke : ‘[Ex]Pride’ Series (Photography)

::

::
‘[Ex]Pride’ Series
archival ink prints
50cm x 50cm
2004-08
::

::
‘[Ex]Pride’ Series
archival ink prints
50cm x 50cm
2004-08
::

::
‘[Ex]Pride’ Series
archival ink prints
50cm x 50cm
2004-08
::

::
‘[Ex]Pride’ Series
archival ink prints
50cm x 50cm
2004-08
::

::
‘[Ex]Pride’ Series
archival ink prints
50cm x 50cm
2004-08
::

::
‘[Ex]Pride’ Series
archival ink prints
50cm x 50cm
2004-08
::

::
‘[Ex]Pride’ Series
archival ink prints
50cm x 50cm
2004-08
::

Industry in Soviet times was one of supreme pride and supporting points of Soviet ideology. After the nineties, when the Soviet Union collapsed, the great part of factories underwent difficult economical crisis because of various reasons. Raw materials of goods and prime cost of energy rapidly increased though society’s purchasing ability remained the same as well as manufactured production in its quality dropped behind imported goods from western countries. Even now, years after, the larger half of corps of old factories are sold and used as warehouses, or they just remain empty and vandalized.

The theme ‘Pride’ in my essay of photographs is interpreted as [Ex] Pride, having a look in interiors of factories and carrying a subjective visual research about former pride. As the essence in my photographs I have used inner environment of factories what even now doesn’t seem to be lifeless and goes on with its inner quiet life. …Noise of dropping water, wind in broken windows, old posters and documents, books from soviet times, personal belongings of workers…

I didn’t look for anything specific. I put my focus more on symbolic and broadly interpreted things and compositions what would be possible to understand with wide comprehension and in multi-levels. From my childhood I remember times when sirens in mornings and evenings announced beginning and end of a working day, and I remember times when suddenly closed territories of factories became approachable to anybody.

A great part of my youth passed in these forsaken corps and it was one of the main subjective motives why I choose this exact visual interpretation for the concept ‘pride’. Nowadays people who come here are very different. These are children and teenagers who come here to play, or have fun vandalizing. There are also people who try to find something useful for household or selling. – [Extract : [Ex]Pride]

::

Alni Stalke : Website

::




Ai : Series : Photography Book

aesthetic investig...
By Azurebumble

email address

Join 496 other followers