Posts Tagged ‘interiors

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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21
Mar
12

Kevin J Miyazaki : ‘Fast Food’ Series (Photography)

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‘Out to Lunch’
Highway 94 Location
Photograph
2006
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‘Absence’
S. Broadway Avenue Location
Photograph
2010
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‘Fast and Loose’
Highway 51 Location
Photograph
2009
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‘Empty/Plenty’
Okemos Road Location
Photograph
2008
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‘Success’
Jones Blvd Location
Photograph
2008
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‘Front Row’
Homer Adams Parkway Location
Photograph
2009
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‘Outside in’
I-75 Location
Photograph
2009
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The series ‘Fast Food’ (2004 – Present) tracks the visual imprint made by the American fast food restaurant on our cultural landscape. These are unsentimental spaces created through corporate analysis of demographics, traffic flow and consumer desire. Yet the spaces have become a familiar comfort to us, quasi-public places experienced widely across common divisions of geography, race and class. The act of eating is pleasurable and intimate, even in these created consumer spaces. When they close, their transformation to urban relic is fast and impersonal, without even a semblance of corporate procedure – often, hand written notes are posted, interiors are disheveled, lights are left on.

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Kevin J Miyazaki : Website

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15
Dec
11

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

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

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Alni Stalke : Website

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Ai : Series : Photography Book

aesthetic investig...
By Azurebumble

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