Posts Tagged ‘graphic

04
Dec
12

William Klein : “Painted Contact Sheets” Series

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“The idea for the colour and graphics comes from the red lines
photographers put around their choices on a contact sheet.” W.K.

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106442

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William Klein
‘painted contact’ series
silver gelatin print with paint,
20 x 24″
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William Klein_gordas

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William Klein
‘painted contact’ series
silver gelatin print with paint,
20 x 24″
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William-Klein-Dakar-school’s-out-1985.-Painted-contact-1998-640x537

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William Klein
‘painted contact’ series
silver gelatin print with paint,
20 x 24″
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Gun-Gun-Gun-New-York-19551-640x533

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William Klein
‘painted contact’ series
silver gelatin print with paint,
20 x 24″
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5177807247_8597808736_b-640x533

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William Klein
‘painted contact’ series
silver gelatin print with paint,
20 x 24″
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5177807969_4d01b3b81a_z

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William Klein
‘painted contact’ series
silver gelatin print with paint,
20 x 24″
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5178409896_ce6bac97ae_b

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William Klein
‘painted contact’ series
silver gelatin print with paint,
20 x 24″
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5178408408_2a6ef687de_b

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William Klein
‘painted contact’ series
silver gelatin print with paint,
24 x 20″
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Klein returned to still photography in the 1980’s, ever progressive and unrelenting in his approach. Revisiting his work to that date, he made large-scale blow-ups of his photographic contact sheets, revealing on an unparalleled scale the frames before and after the decisive image. Liberally applying gloss brush strokes in bold colours to these mural-sized prints, Klein brought together key elements from his long career: graphic form, composition and colour from the early murals and paintings juxtaposed with ground-breaking fashion and street photos, along with the narrative and bold visual language of his experimental films. A defining moment where his unique vision came full circle. – Extract

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William Klein + Daido Moriyama : Tate Modern – Exhibition

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30
Nov
12

James Bourret : “Winter’s Veil” Series (Photography)

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“I seek to create richly evocative, emotional images from nature,
reflecting the mood, form, colors, and patterns of a scene.” J Bourret

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‘Winter’s Veil’ #10
Giclée Print
8 x 10″
2009
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‘Winter’s Veil’ #26
Giclée Print
8 x 10″
2009
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‘Winter’s Veil’ #28
Giclée Print
8 x 10″
2009
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‘Winter’s Veil’ #27
Giclée Print
8 x 10″
2009
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‘Winter’s Veil’ #2
Giclée Print
8 x 10″
2009
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‘Winter’s Veil’ #7
Giclée Print
8 x 10″
2009
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‘Winter’s Veil’ #7
Giclée Print
8 x 10″
2009
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‘Winter’s Veil’ #6
Giclée Print
8 x 10″
2009
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‘Winter’s Veil’ #44
Giclée Print
8 x 10″
2009
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The water’s edge has been a source of fascination for me since I can remember. The changing landscape, the effects of current and water volume, light, and temperature all make the river’s edge different from day to day. Seasonal progression brings further changes, with winter bringing the growing and changing veil of ice along the bank, increasing until the surface is solid. Even then, the ice changes in shape and transparency on a daily basis, thinning, clearing, cracking, buckling, melting and freezing again, and eventually moving tectonically downstream.

These highly abstract images seek to transcend boundaries of formal and scale recognition. Flowing lines and curved forms in the ice are interrupted by spiky, angular forms and layered textures. The seemingly random crystalline forms and structures evoke associations with landforms (aerial photography) and microcrystalline structures (photomicrography) and leave room for endless possibilities of interpretation. Therefore, as a photographer, they offer the opportunity to find and make strongly graphic yet highly detailed, rich images. [artist statement]

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James Bourret : Portfolio

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21
Nov
12

Evan Caminiti : “Absteigend” (super 8mm film)

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from Dreamless Sleep : available now for pre-order – Thrill Jockey Label

The first 500 Dreamless Sleep LPs are pressed on maroon vinyl.

Super 8mm film by Paul Clipson – Within Mirrors

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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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30
Mar
12

Kikuji Kawada : ‘Chizu – The Map’ Series (Photography Book)

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‘Scraps’
Chizu (The Map) series
gelatin silver print
1959-1965
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‘The Japanese National Flag’
Chizu (The Map) series
gelatin silver print
1960
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‘Scraps’
Chizu (The Map) series
gelatin silver print
1959-1965
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‘Scraps’
Chizu (The Map) series
gelatin silver print
1959-1965
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‘Atomic Dome, Ceiling, Stain of Blood’
Chizu (The Map) series
gelatin silver print
1960-1961
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‘Atomic Dome, Scriblings by Tourists’
Chizu (The Map) series
gelatin silver print
1960-1961
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‘Atomic Dome, Ceiling, Stain of Blood’
Chizu (The Map) series
gelatin silver print
1960-1961
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“No photobook has been more successful in combining graphic design with complex photographic narrative… [as its] various layers inside [are] peeled away like archaeological strata, the whole process of viewing the book becomes one of uncovering and contemplating the ramifications of recent Japanese history — especially the country’s tangled relationship with the United States… His photographs are a masterly amalgam of abstraction and realism, of the specific and the ineffable, woven into a tapestry that makes the act of reading them a process of re-creation in itself. In the central metaphor of the map, in the idea of the map as a series of interlocking trace marks, Kawada has conjured a brilliant simile for the photograph itself: scientific record, memory trace, cultural repository, puzzle and guide…”

[Extract : The Photobook: A History, Volume 1, by Martin Parr and Gerry Badger]

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Kikuji Kawada : SFMOMA

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29
Mar
12

Ikko Narahara : Photography

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One of the co-founders of the legendary photo agency VIVO ( Shomei Tomatsu, Eikoh Hosoe, Kikuji Kawada, and others ), which was to be the epicenter for a new generation of Japanese photographers.

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‘Hibiya’
‘Tokyo the ’50s’ series
silver print
1959
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‘Aoyama’
‘Tokyo the ’50s’ series
silver print
1954-1958
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‘Shinjuku’
‘Tokyo the ’50s’ series
silver print
1954-1958
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Dress: Hanae Mori, Model: Hiroko Matsumoto
from the series: ‘Fashion’
silver print
1968
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‘Yurakucho’
‘Tokyo the ’50s’ series
silver print
1954-1958
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‘Engraved arrow, Arizona’
‘Where Time Has Vanished’ Series
silver print
1972
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‘Shimbashi’
‘Tokyo the ’50s’ series
silver print
1954-1958
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In his early work Narahara focused on people who were living in isolation from the everyday world, such as monks in a Trappist monastery or the inmates of a women’s prison. His work aimed at creating a ‘personal document’, he aspired to ‘a process of laying bare the inner form by thoroughly depicting the exterior’ (Ikko Narahara). Walking a tightrope between description and abstraction, objectivity and a personal narrative, Narahara transcended the journalistic documentary photography then prevalent in Japan. Furthermore, Narahara displayed a particular facility for abstraction and the staging of everyday scenes in strict graphic compositions as in, for example, the series ‘Tokyo, the ‘50s’…

At the beginning of the 1970s Narahara went to the USA. This was the location of his best-known series ‘Where Time Has Vanished’. During extensive trips across the country he photographed the mythic sites of the American Dream, vast landscapes, Indian reservations, automobiles, motels and casinos. In contrast to fellow photographers Gary Winogrand and Robert Adams, Ikko didn’t take a critical approach to the American scene. Ikko Narahara’s work is primarily poetic with surreal elements

‘As I drove across the land in Arizona and Utah and New Mexico, I began to have hallucinations that this was not the earth at all and that I had been thrown onto some other planet…’  ~ (Ikko Narahara)

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Ikko Narahara : Galerie Priska

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Ai : Series : Photography Book

aesthetic investig...
By Azurebumble

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