Posts Tagged ‘monumental

11
Jul
13

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

::

f_flick17653

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

f_flick17701

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

f_flick17700

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

flick 9

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

f_flick17707

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

f_flick17758

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

f_flick17709

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

f_flick17714

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

470_1FLICK_07

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

f_flick17718

::
‘AR79060-19’
‘Arena’ series
16 x 20 in
1979
::

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 ]

::

Robert Mann Gallery

::

23
Jun
12

Ezra Stoller : Architectural Photography

::

::
Seagram Building, Mies van der Rohe, New York
Gelatin Silver Print
16″ × 20″
1958
::

::
TWA Terminal, Eero Saarinen, New York
Gelatin Silver Print
16″ × 20″
1962
::

::
Seagram Building, Mies van der Rohe, New York
Gelatin Silver Print
16″ × 20″
1958
::

::
Guggenheim Museum, Frank Lloyd Wright, New York
Gelatin Silver Print
16″ × 20″
1959
::

::
Louis Isidore Kahn, Olivetti Underwood Factory, Harrisburg
Gelatin Silver Print
Ezra Stoller
1966-1970
::

::
Rare Book and Manuscript Library, Yale University
Gelatin Silver Print
16″ × 20″
1963
::

::
Milwaukee War Memorial, Eero Saarinen
Gelatin Silver Print
16″ × 20″
1952
::

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]

::

Ezra Stoller : Yossi Milo Gallery

::

23
Apr
12

Azurebumble : ‘AI : Series’ (Photography Book)

::

::

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

::

Thank you to everyone who contributed their images to this project.

All graphic content and curations by : Alan Wilson ( azurebumble )

::

::
Book Cover
Front & Back Pages
::

::
Introductory Pages
Copyright & Contents
::

::
Introductory Pages
Tags, Artists & Series Thumbnails
::

::
Photography Series
Gianni Galassi
::

::
Photography Series
Teresa (Colourful Life) & roB_meL
::

::
Photography Series
Camilo Todemann & Olli Kekäläinen
::

::
Photography Series
Brancolina & Barbara Stumm
::

::
Photography Series
Françoise Lucas & Leonie Polah
::

::
Photography Series
Julian Gomez & Tom Mclaughlan
::

Artists

::

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

::

VIEW FULL BOOK PREVIEW AND PURCHASE HERE

::

::

01
Feb
12

Alisdair Miller : ‘Urban’ Series (Photography)

::

::
‘Arrival’
Alisdair Miller
Photograph
::

::
‘Untitled’
Alisdair Miller
Photograph
::

::
‘Amongst Giants’
Alisdair Miller
Photograph
::

::
‘Infinity’
Alisdair Miller
Photograph
::

::
‘The Bridge’
Alisdair Miller
Photograph
::

::
‘Modernity’
Alisdair Miller
Photograph
::

::
‘New Light’
Alisdair Miller
Photograph
::

::

Alisdair Miller : Website

::

19
Nov
11

Phédia Mazuc : Photographic Works

::

::
‘untitled’
phédia mazuc
photograph
2011
::

::
‘untitled’
phédia mazuc
photograph
2011
::

::
‘untitled’
phédia mazuc
photograph
2011
::

::
‘untitled’
phédia mazuc
photograph
2011
::

::
‘untitled’
phédia mazuc
photograph
2011
::

::
‘untitled’
phédia mazuc
photograph
2011
::

::
‘untitled’
phédia mazuc
photograph
2011
::

::
‘untitled’
phédia mazuc
photograph
2011
::

Phédia Mazuc : Photography

::

09
Apr
11

Gerry Judah : 3D Paintings

Gerry Judah
Relief Paintings
2011

Gerry Judah
Relief Paintings
2011

Gerry Judah
Relief Paintings
2011

Gerry Judah
Relief Paintings
2011

Gerry Judah
Relief Paintings
2011

Gerry Judah
Relief Paintings
2011

::

Judah’s equal parts ominous and alluring three-dimensional paintings take war and destruction as their subject, giving us in dramatic aerial view. He lovingly builds his unlovable buildings with model-maker’s care only to deconstruct the resulting forlorn, innards-spewing wrecks with equally meticulous destructiveness. The monochrome, painterly alloverness of these architectural funerary portraits is aestheticizing, almost indeed ethereal, despite their ash-strewn sense of doom. And yet Judah’s chromophobia also operates non-metaphorically, sparking stark associations of grainy satellite images. The destruction detailed is remote and visceral, dainty and monumental, abstract and chillingly real.

[Extract : David Cohen, artcritical.com, 25 January 2011]

::

Gerry Judah : Website

::




Ai : Series : Photography Book

aesthetic investig...
By Azurebumble

email address

Join 488 other followers