Posts Tagged ‘form

21
Nov
12

Ralston Crawford : Photographs

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“You will make illuminating discoveries.”  ~ Ralston Crawford

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“Ship’s Light”
gelatin silver print
8 x 10 in
1947
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“Shelter”
gelatin silver print
8 x 10 in
1974
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“Ship Detail”
gelatin silver print
8 x 10 in
1947
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“Cranes, Coulee Dam”
gelatin silver print
8 x 10 in
1972
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“Junk Car Window”
gelatin silver print
8 x 10 in
1958
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“Grain Elevators, Minneapolis, MN”
gelatin silver print
8 x 10 in
1949
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“Bow and Reflections, Stornoway, Scotland”
gelatin silver print
8 x 10 in
1974
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Ralston Crawford was a painter taking photographs in the 1940s, 50s and 60s, a time in which painting, as a medium, was swelling to its heroic zenith and fine art photography had yet to reach its full stride. This is one reason Crawford’s photographs have been so little shown – Crawford’s paintings and prints found their place where the photographs, seen possibly as mere aids for painting, did not. Though Crawford did paint from photographs at times, there is nothing secondary about them: these rich views of rock formations, of docks and urban life, exhibit the same masterly attention to form as his paintings. The photographs should not be viewed as partial or premature visions of the paintings, but rather as representations of his desultory taste in style, medium and form. Looking at the photographs, one becomes aware of the depth of Crawford’s aesthetic – he depicted the world in the buoyant, semi-abstract terms in which he saw it, full of flat, carefully balanced planes, stiffly-lined contours and the rough-edges of life. His photos of torn paper evoke collage or perhaps the jagged edges of Clyfford Still. The mixture of symbol and space in his pictures of docks and boats recalls Stuart Davis. The formal and stylistic similarity of the paintings to the photos shows not that one supplants or supports the other, but that they’re mutual realizations of his deeply stylized, personal way of seeing. press release

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Ralston Crawford : Zabriskie Gallery

Essay : Photography into Painting/ Painting into Photography

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28
Jun
12

Dominique Bollinger : Photography

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“Noto 7, Sicile”
Dominique Bollinger
Photograph
2002
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“Pierre Volcanique, Stromboli”
Dominique Bollinger
Photograph
1997
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“Stromboli 8, Isole Eolie”
Dominique Bollinger
Photograph
1997
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“Stromboli 7, Isole Eolie”
Dominique Bollinger
Photograph
1997
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“Monteporzio 3”
Dominique Bollinger
Photograph
2006
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“Frascati 4, Rome”
Dominique Bollinger
Photograph
2006
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Dominique Bollinger : Website

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23
Jun
12

Ezra Stoller : Architectural Photography

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Seagram Building, Mies van der Rohe, New York
Gelatin Silver Print
16″ × 20″
1958
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TWA Terminal, Eero Saarinen, New York
Gelatin Silver Print
16″ × 20″
1962
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Seagram Building, Mies van der Rohe, New York
Gelatin Silver Print
16″ × 20″
1958
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Guggenheim Museum, Frank Lloyd Wright, New York
Gelatin Silver Print
16″ × 20″
1959
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Louis Isidore Kahn, Olivetti Underwood Factory, Harrisburg
Gelatin Silver Print
Ezra Stoller
1966-1970
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Rare Book and Manuscript Library, Yale University
Gelatin Silver Print
16″ × 20″
1963
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Milwaukee War Memorial, Eero Saarinen
Gelatin Silver Print
16″ × 20″
1952
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Ezra Stoller’s gelatin silver prints include images of architectural interiors and iconic landmarks. Based on his background in architecture and industrial design, Stoller used a large-format camera to photograph monumental 20th century buildings, including the Guggenheim Museum, the TWA terminal at Idlewild Airport (now John F. Kennedy International Airport), the Seagram Building, the Salk Institute, Yale Art and Architecture Building and Fallingwater. In addition to well-known photographs of these locations, these works also include lesser-known photographs of small homes and guest houses which provide a fresh look at the masterful eye that established Stoller as the preeminent photographer of modern architecture. A pioneer in the field of architectural photography, Ezra Stoller was commissioned by architects such as Frank Lloyd Wright, Paul Rudolph, Eero Saarinen, I.M. Pei, Marcel Breuer and Richard Meier, because of his unique ability to capture the building according to the architect’s vision and to lock it into the architectural canon. His photographs convey a three-dimensional experience of architectural space through a two-dimensional medium, with careful attention to vantage point and lighting condition, as well as line, color, form and texture. – [Extract : Press Release – Yossi Milo Gallery]

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Ezra Stoller : Yossi Milo Gallery

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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

Boris Savelev : Photography

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“The camera need not be a cold mechanical device. Like the pen, it is as good as
the man who uses it. It can be the extension of mind and heart…” John Steinbeck

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‘Self Portrait, Madrid’
Boris Savelev
Photograph
2007
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‘Trolley Bus, Moscow’
Boris Savelev
Photograph
2002
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‘Untitled’
Boris Savelev
Photograph
2007
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‘Moncloa, Madrid’
Boris Savelev
Photograph
2008
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‘Speaking Lady, Moscow’
Boris Savelev
Photograph
1988
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‘Untitled’
Boris Savelev
Photograph
2007
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‘Untitled’
Boris Savelev
Photograph
2007
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It’s often said that the camera never lies, it does not always tell us the most meaningful of truths and the task of the fine art photographer is to endow the raw image with further layers of meaning. And the degree of success achieved is, in my view, entirely commensurate with the integrity and honesty with which that task is carried out. Savelev’s work amply exudes these admirable qualities. His photographs observe their subjects mutely yet intelligently rather than exposing them to glare or seeming to intrude on them unnecessarily. His photographs are painterly in composition and in effect.

While Savelev’s photographs have a cool and confident feeling about them, they are never brash or strident. The overt subject matter of his work varies greatly but throughout there is a consistent preoccupation with painterly techniques of composition. The use of colour in is reminiscent of colour field paintings and lyrical abstraction.There are also nods to Russia’s constructivist past in much of his work, and even hints of Neo-Plasticism. The many photographs of scenes in Chernowitz, where Savelev was born, and Moscow, where he lives, avoid the overt politics and sentimentality that frequently accompany works which attempt to be documentary in nature. In Savelev’s work, the purity and beauty of the image, the arrangement of colour, form and light are always paramount in a way that often seems alien to fine art photography today. – [Extract : John Kavanagh’s Review – Colour Construction.]

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Boris Savelev : Factum-Arte

Boris Savelev : Betty Guereta Gallery

Boris Savelev : Russia, Spain, Ukraine

Boris Savelev : Michael Hoppen Gallery

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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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Ai : Series : Photography Book

aesthetic investig...
By Azurebumble

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