Posts Tagged ‘narrative

14
Jul
12

Brandt Campbell : “Cinemascapes” Series (Photography)

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My ‘Cinemascapes’ are an ongoing series of [mostly] street photos shot in such a way that they
appear cinematic and invoke a sense of narrative, which is open to the viewer’s interpretation.

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“Cinemascapes” Series
Brandt Campbell
Photograph
2012
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“Cinemascapes” Series
Brandt Campbell
Photograph
2012
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“Cinemascapes” Series
Brandt Campbell
Photograph
2012
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“Cinemascapes” Series
Brandt Campbell
Photograph
2012
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“Cinemascapes” Series
Brandt Campbell
Photograph
2012
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“Cinemascapes” Series
Brandt Campbell
Photograph
2012
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“Cinemascapes” Series
Brandt Campbell
Photograph
2012
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“Cinemascapes” Series
Brandt Campbell
Photograph
2012
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I took an interest in the arts at a very early age, beginning to draw as soon as I could hold a crayon. By the time I entered high school I had already earned a reputation with students and teachers for my ability to draw with photographic precision. From there, my artistic career evolved and branched off in many directions. Aside from a class I took about camera functions and darkroom basics, I lack any formal training and am entirely self-taught. My inspiration comes from all kinds of things, and changes with the seasons. I draw from the aesthetics and moods of music, nature, film, paintings, weather, and people. I absolutely love art; I live and breathe art. If I couldn’t be creative anymore I truly believe I’d have lost my purpose in life, that purpose being to create beauty from inspiration and emotions. Extract

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Brandt Campbell : Website

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11
May
12

Graham Gillmore : Paintings (Works on Panel)

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‘Sunset Applause’
Oil and enamel on panel
Graham Gillmore
80 X 60 in
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‘Answers To The Questions To The Answers’
Oil and enamel on panel
Graham Gillmore
72 X 60 in
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‘After You’
Oil and enamel on panel
Graham Gillmore
72 X 60 in
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‘Trash the Planet’
Oil and enamel on panel
Graham Gillmore
80 X 72 in
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‘Damp Wounds Sorely Mist’
Oil and enamel on panel
Graham Gillmore
90 X 72 in
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‘Don’t be so Naive’
Oil and enamel on panel
Graham Gillmore
72 X 60 in
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‘Wash Away Yovr Tears’
Oil and enamel on panel
Graham Gillmore
72 X 60 in
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The nature of my project has never been about boiling anything down, but rather exposing the complexities of human experience; particularly one’s self as subject and the world as object. The ‘self’ and the ‘other’ play a pivotal role as subject matter within my manipulations with language – locating, defining and ultimately obscuring any kind of singular ‘meaning’ behind or beneath the surfaces of the world. These games (self imploding sentences, misreadings , backfirings revisions, second thoughts etc.) offer access to the hope for authentic – if flawed – communication while confronting the indeterminacy of language, both literary and abstract. I use these self-conscious devices for a ‘defamiliarizing’ effect. Text allows the work to maintain a narrative thread while maintaining an allegiance to non-figurative imagery. I play the role of scavenger when it comes to the texts I use. I think of these selected fragments as a kind of linguistic ‘road kill’ – skeletons on which to hang the material of the painting. I am engaged with texts that evoke a certain prickliness or an emotional angle that is slightly askew, with an emphasis on themes rooted in an emotional or psychological realm rather than intellect. Sensation overides thought, just as fantasy takes the place of history. Statement

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Graham Gillmore : Monte Clark Gallery

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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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10
Jan
12

Doug Aitken : ‘Altered Earth’ (Arles, City of Moving Images)

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The surreal, cratered salt mines and desolate marshlands of the Camargue region of Southern France are hauntingly navigated in this exclusive excerpt from ALTERED EARTH: Arles, City of Moving Images, a new multimedia production from artist Doug Aitken. The culmination of three years’ work, ALTERED EARTH explores the ever-evolving geography and ecosystem of the Camargue, a boundless wilderness between the tributaries of the Rhone south of Arles. “It’s so remote, a natural place that does not seem to change. But then you start to notice that everything is in flux,” explains Aitken. [Ex : Nowness]

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“The project came out of a casual dinner amongst friends who had connections with the Camargue. They were speaking about this place that has an incredible resonance. It’s very surreal, very stark. There is a rawness and sense of survival that captured my imagination. I had a glass of wine that was on a paper napkin and I noticed drips from the red wine starting to bleed into the pulp of the napkin, just as they were talking about the Rhone River and how it cuts through the wetlands.

I felt like I was holding the geography in my hand almost, this perfect square with a river running through it. I began to fold the napkin as they were speaking into an origami-like shape and realized that what I was actually doing was taking the landscape and dividing it. When you divide something and multiply it, it creates shapes, forms and structure, which eventually creates architecture.

The idea came to me really quickly that it would be interesting to take the geography of Camargue itself and divide it—in so doing creating this set of restrictions, that this region, this space, will be the only space we film in. We’ll look at the different symptoms of this place and move from there; let the landscape, and what you find when exploring and discovering it, create the texture of the narrative.”

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Doug Aitken : Website

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Ai : Series : Photography Book

aesthetic investig...
By Azurebumble

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