Posts Tagged ‘German

27
Nov
12

Cathrin Schulz : “Poolside” Series (Photography)

::

POOLSIDE is a series which is part of a long-term project called AUTHENTI©ITY of AMERICA documenting my vision of America as a German Photographer. Immersing myself in the urban scenery of the United States I perceive its authenticity and diverseness’ and embrace it in soul places. With POOLSIDE I sense a piece of Atlanta’s soul, discovering a part of its culture. The series’ subject matter is a community pool. A location of diverse social environments. It was a collective, public experience to capture it. The energy of the pools, a flat continuation of water obscuring what’s below the surface, was a distinctive emotional atmosphere, sensed intuitively: solitary, still and private. [artist statement]

::

::
AUTHENTI©ITY of AMERICA
‘POOLSIDE’ Series
waterolor print
2011
::

::
AUTHENTI©ITY of AMERICA
‘POOLSIDE’ Series
waterolor print
2011
::

::
AUTHENTI©ITY of AMERICA
‘POOLSIDE’ Series
waterolor print
2011
::

::
AUTHENTI©ITY of AMERICA
‘POOLSIDE’ Series
waterolor print
2011
::

::
AUTHENTI©ITY of AMERICA
‘POOLSIDE’ Series
waterolor print
2011
::

::
AUTHENTI©ITY of AMERICA
‘POOLSIDE’ Series
waterolor print
2011
::

::
AUTHENTI©ITY of AMERICA
‘POOLSIDE’ Series
waterolor print
2011
::

::
AUTHENTI©ITY of AMERICA
‘POOLSIDE’ Series
waterolor print
2011
::

::
AUTHENTI©ITY of AMERICA
‘POOLSIDE’ Series
waterolor print
2011
::

I spend a lot of time finding the perfect place, the purest energy. I return several times to capture an unusual situation – without staging a setting. The images are captured with one and the same camera, no filter, usually short exposure times, same lens. Through the formal reduction and accentuation of particular colors in my photographs, and by using a reduced visual language, careful choice of motifs and precise cropping of the image, I condense singular moments in their own authenticity. The clarity is intensified further through digital manipulation. By heightening contrasts, colors and saturations, I allow individual details and structures that would otherwise escape our attention to emerge in palpable relief. The black background provides a blank canvas, and isolates the subject from time and distance. The aesthetic qualities of my subject matter are placed in the foreground. ~ [ Cathrin Schulz : Process ]

::

Cathrin Schulz : Website

::

19
Dec
11

Uwe Langmann : ‘Winter’ Series (Photography)

::

::
‘Winter’ Series
Uwe Langmann
Photograph
::

::
‘Winter’ Series
Uwe Langmann
Photograph
::

::
‘Winter’ Series
Uwe Langmann
Photograph
::

::
‘Winter’ Series
Uwe Langmann
Photograph
::

::
‘Winter’ Series
Uwe Langmann
Photograph
::

::
‘Winter’ Series
Uwe Langmann
Photograph
::

::
‘Winter’ Series
Uwe Langmann
Photograph
::

Uwe Langmann : Website

Uwe Langmann : Fotoblur

::

04
Dec
11

Peter Keetman : ‘Volkswagen Werk’ Series (Photography)

::

::
‘Volkswagen werk’
gelatin silver print
peter keetman
1953
::

::
‘Volkswagen werk’
gelatin silver print
peter keetman
1953
::

::
‘Volkswagen werk’
gelatin silver print
peter keetman
1953
::

::
‘Volkswagen werk’
gelatin silver print
peter keetman
1953
::

::
‘Volkswagen werk’
gelatin silver print
peter keetman
1953
::

::
‘Volkswagen werk’
gelatin silver print
peter keetman
1953
::

::
‘Volkswagen werk’
gelatin silver print
peter keetman
1953
::

In 1953, Peter Keetman spent a week at the Volkswagen plant in Wolfsburg. The result was a series of exceptionally clear, almost abstractly detailed photographs that document the entire production process of the VW Beetle. Storage stacks of shiny metal bumpers look like so many modernist sculptures; car bodies hovering above the assembly line retrospectively form a surreal Pop Art montage. This oversize publication reproduces the Volkswagenwerk series in full, in their original size, together with texts that refer both to this series and to Keetman’s greater oeuvre.

Keetman was known throughout his career as a photographer of systemically conceived picture series on themes that included close-ups of water and oil drops, a style of working he developed as a member of Fotoform. Fotoform, a German movement of the 1950s of which he was a primary proponent, and was critical in the development of German photography as it is today: the groups subjective photography combined scientific objectivity with abstraction. [P.Keetman : Book Synopsis]

::

Peter Keetman : More Works

::

18
Aug
11

Coma : Playground altona (Music Video)

::

Coma – Playground altona (Famous EP – Kompakt cat. no. 226)

::

10
Feb
11

Christiane Feser : “Folds” Series (Photo Collage)

::

Folded landscapes, digitally arranged from an archive
with photographs of thousands of folded ‘A4’ sheets.

::

Photo Collages
Lambdaprint, Diasec
200 x 140 cm
2007, 2008

Photo Collages
Lambdaprint, Diasec
200 x 140 cm
2007, 2008

Photo Collages
Lambdaprint, Diasec
200 x 140 cm
2007, 2008

Photo Collages
Lambdaprint, Diasec
200 x 140 cm
2007, 2008

Photo Collages
Lambdaprint, Diasec
200 x 140 cm
2007, 2008

Photo Collages
Lambdaprint, Diasec
200 x 140 cm
2007, 2008

::

Christiane Feser : Website

05
Feb
11

Sonja Braas : “Forces” Series (Photography)

Forces #1
C Print, Diasec
170 x 150 cm
2002

Forces #17
C Print, Diasec
170 x 150 cm
2003

Forces #3
C Print, Diasec
170 x 150 cm
2002

Forces #31
C Print, Diasec
170 x 150 cm
2003

Forces #24
C Print, Diasec
170 x 150 cm
2003

Forces #23
C Print, Diasec
170 x 150 cm
2003

Sonja Braas photography is a culmination of a world spanning project which has been in the making for several years. Braas makes photographs in museums of natural history or zoology in which one passes through different environment zones. These are constructed of three-dimensional materials with painted backdrops receding into a mysterious distance. These “sets” can feature stuffed birds with real feathers, plastic or real branches and rocks and artificially simulated daylight, all to instantly convey an atmospheric exotic vision of a far away place. These generalized representations of distant “real” places are in themselves “non” places; though pass on an experience of progressing through rainforest, mountainscape, savannah, desert, wetland etc. Braas frames out the museum surroundings and information plaques of these displays so they appear as nameless natural wilderness. The reputation of photography as truth-teller, “the camera never lies” seals the believability of Braas’ work.

Braas then approaches different environments around the world in the same way. She places her camera in real environments, which the museum displays, represent. When photographing landscapes, she mimics the composition style of the displays, which are constructed by humans to ensure that the given spot where the viewer stands reveals every feature of what is before him/her. The display is made to cater to a human viewpoint, and maybe also to our expectations and anticipation of what nature is like. In turn, when real landscapes when photographed like this they seem held in a suspension of reality where the leaves will never fall and the snow will never melt. When exhibited side by side, one may not know for a while that some are from displays and others not. This is because in interpreting the work, the artist stresses the importance of a lack of clear indicators (as to which is which and where they are located), wishing for them to exist equally and eternally in our imaginations.

[Extract : Galerie Akinci]

::

Sonja Braas : Website

Sonja Braas : Fabian & Claude Walter




Ai : Series : Photography Book

aesthetic investig...
By Azurebumble

email address

Join 496 other followers