Posts Tagged ‘Los Angeles

11
Jul
13

Robbert Flick :: ‘Arena’ Series (Urban Photography)

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f_flick17653

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‘AR77159-21’
‘Arena’ series
16 x 20 in
1977
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f_flick17701

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‘AR77159-19’
‘Arena’ series
16 x 20 in
1977
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f_flick17700

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‘AR77156-22’
‘Arena’ series
16 x 20 in
1977
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flick 9

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‘AR79032-13’
‘Arena’ series
16 x 20 in
1979
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f_flick17707

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‘AR78119-12A’
‘Arena’ series
16 x 20 in
1978
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f_flick17758

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‘AR77166-30’
‘Arena’ series
16 x 20 in
1977
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f_flick17709

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‘AR79026-33’
‘Arena’ series
16 x 20 in
1979
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f_flick17714

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‘AR79044-10A’
‘Arena’ series
16 x 20 in
1979
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470_1FLICK_07

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‘AR78101-32’
‘Arena’ series
16 x 20 in
1978
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f_flick17718

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‘AR79060-19’
‘Arena’ series
16 x 20 in
1979
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What Ansel Adams did for Yosemite, Los Angeles photographer Robbert Flick did for a parking garage in Inglewood. He made the place into the object of his obsession and the focus of his commanding technical skill, and in the process he transformed it into a site of exquisite wonder for us. Obviously there are some differences between Half Dome and parking level 3. One is unique, the other prosaic. But the humdrum anonymity of Flick’s raw subject matter only serves to makes his gorgeous prints more impressive. The subject of parking structures is universal in the modern world, while also standing as an icon for the distinctive urban experience that Los Angeles represents. Flick’s notion of photographing inside a parking garage was not a gimmick or a passing fancy. For more than two years — 1977 through 1979 — he lugged his cameras, lenses, tripods and other equipment to the multistory concrete structure near his studio, and he photographed no other landscape. No cars or people intrude upon the pristine wilderness of this parking structure. It is “an unsettled, uncultivated region left in its natural condition,” as my dictionary defines it…

And it’s gorgeous — a complex construction of imposing planar walls, taut steel cables and orthogonal spaces composed on a multidimensional grid. The labyrinth is infused with a mixture of natural and fluorescent light, which the artist manipulates in the rich tonalities of his exquisite black and white prints. Scuffed pavement, cinder block walls, concrete pillars and directional signs emerge with the physical dignity and emotional gravity of the Pantheon in Rome or the Temple of Quetzalcoatl at Teotihuacan. Except for an occasional glimpse of sky, nothing but a man-made environment is ever seen. That’s probably the biggest difference between Flick’s parking structure and Adams’ Yosemite. The Angeleno is incisively photographing within a landscape shaped by the organizing principle of the automobile, rather than the organic template of nature. This is its shrine. In fact two modern machines intersected in the making of Flick’s art — the car and the camera. He calls attention to both simultaneously — the unseen car through subject matter and the unseen camera through a combination of obviously artful composition, exquisite printing technique and frank visual acknowledgment of the pictorial tradition of artistic landscape photography (including Watkins and Adams). Never coy, condescending or ironic, the photographs are instead epic — even primeval. His pictures record the junction of car and camera with sincerity and reverence. And, why not? It is the monumental landscape within which we live… [ Extract :: Christopher Knight – The Los Angeles Times ]

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Robert Mann Gallery

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24
Jun
12

Julius Shulman : Architectural Photography

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“Architecture Series”
Julius Shulman
Photograph
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“Architecture Series”
Julius Shulman
Photograph
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“Architecture Series”
Julius Shulman
Photograph
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“Architecture Series”
Julius Shulman
Photograph
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“Architecture Series”
Julius Shulman
Photograph
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“Architecture Series”
Julius Shulman
Photograph
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“Architecture Series”
Julius Shulman
Photograph
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“Architecture Series”
Julius Shulman
Photograph
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Photographer of architecture, naturalist, educator, and commentator on urban form. One of the leading architectural photographers of the 20th century, Julius Shulman developed close association with the modernist architects, principally those active in Southern California such as Gregory Ain, John Lautner, Richard Neutra, and R.M. Schindler. Shulman’s images played a major role in crafting the image of the Los Angeles and “Southern California lifestyle” to the rest of the nation and world during the 1950s and 1960s. A prolific author, consultant, lecturer, exhibitor, and editor of his own vast archive. [Extract]

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Julius Shulman : Visual Acoustics

Julius Shulman : Craig Krull Gallery

Julius Shulman : Modernity and the Metropolis

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13
Feb
12

Thomas Michael Alleman : ‘Sunshine & Noir’ Series

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‘Sunshine & Noir’
Thomas Michael Alleman
Photography Series
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‘Sunshine & Noir’
Thomas Michael Alleman
Photography Series
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‘Sunshine & Noir’
Thomas Michael Alleman
Photography Series
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‘Sunshine & Noir’
Thomas Michael Alleman
Photography Series
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‘Sunshine & Noir’
Thomas Michael Alleman
Photography Series
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‘Sunshine & Noir’
Thomas Michael Alleman
Photography Series
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‘Sunshine & Noir’
Thomas Michael Alleman
Photography Series
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Thomas Michael Alleman is currently finishing “Sunshine and Noir”, a book-length collection of black-and-white “urban landscapes” made in the neighborhoods of Los Angeles.’ – [Thomas Michael Alleman]

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Thomas Michael Alleman : Website

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21
Sep
10

Jenny Okun : Photography

Bergamot White Triptych
Los Angeles, California, U.S.A.
Inkjet Print
1997

Morphosis Beverly Building Triptych
Los Angeles, California, U.S.A.
Inkjet Print
1988

Getty Shadows Triptych
Los Angeles, California, U.S.A.
Inkjet Print
1997

Getty Terrace Triptych
Los Angeles, California, U.S.A.
Inkjet Print
1997

Carmy House Floor Triptych
Los Angeles, California, U.S.A.
Inkjet Print
1995

Okun records architectural structures through multiple exposures. Using a large-format Hasselblad camera, she takes a picture, then advances the film only slightly to achieve a layering effect. A single image may comprise six such overlays, which might then become part of a triptych. Okun’s background is in film, so it follows that the spatial information unfolds sequentially; the images are fragmented and superimposed, causing unexpectedly lyrical interpretations of buildings and space to emerge.

Yet for all their abstraction, what is also compelling about these images is their essentially traditional approach to the documentation of architecture. These days, architectural photography tends to consider circumstances beyond the built form:- climate, use, landscape, and human accessibility — to position the building in its social and environmental context. Okun, however, sticks to the structural facts; her images read as formal records and revelations of space, form, color, and light.

[Extract : Metropolis Magazine, May 1996 : Harmonious Fragments By Akiko Busch]

Craig Krull Gallery

Jenny Okun : Website

Kashya Hildebrand Gallery

05
Aug
10

John Millei : Paintings (Maritime Series)

Maritime #43, 2007
Oil and Acrylic on Canvas
84″ (H) x 77″ (W)

Maritime #44, 2007
Oil and Acrylic on Canvas
84″ (H) x 77″ (W)

Maritime #42, 2007
Oil and Acrylic on Canvas
36″ (H) x 40″ (W)

Maritime #41, 2006
Oil and Acrylic on Canvas
98″(H) x 110″(W)

Maritime #6 (Ship’s Deck), 2004
Oil and Acrylic on Canvas
10′(H) x 10′ 6″(W)

Maritime #25 (View from the Deck), 2004
Oil and Acrylic on Canvas
2′(H) x 2’2″(W)

Los Angeles Artist John Millei talks about his latest show at Ace Gallery.

John Millei’s “Maritime” paintings (2004–07) and “White Squalls” (2005) are enormous, magnificent paintings, mural-like in their panoramic scope and imposing scale, and executed in what can only be called a grand Abstract-Expressionistic manner. Full of the raw, turbulent energy characteristic of what Harold Rosenberg called “action painting,” they have its famously “unfinished” look, suggestive of unfinished revolutionary business — the “revolution against the given, in the self and the world,” bringing with it a sense of “open possibility,” [Extract : Through History to Authenticity : by Donald Kuspit]

John Millei : Ace Gallery

Donald Kuspit : Article




Ai : Series : Photography Book

aesthetic investig...
By Azurebumble

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