Posts Tagged ‘paint

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″
::

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″
::

Gun-Gun-Gun-New-York-19551-640x533

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

5177807247_8597808736_b-640x533

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

5177807969_4d01b3b81a_z

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

5178409896_ce6bac97ae_b

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

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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25
Oct
11

Sander Steins : ‘Producers For Consumers’ (Mixed Media)

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The industrial revolution brought us prosperity but these days factories are acting more and more like dealers. Our modern society is completely built around them. Factories producing high-tech wares to feed the empty souls for a new controlled and addicted generation. This series shows the portraits of the producers for consumers.

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‘producers for consumers’ 2
mixed media print
40 x 50 cm
2011

‘producers for consumers’ 5
mixed media print
40 x 50 cm
2011

‘producers for consumers’ 4
mixed media print
40 x 50 cm
2011

‘producers for consumers’ 1
mixed media print
40 x 50 cm
2011

‘producers for consumers’ 8
mixed media print
40 x 50 cm
2011

‘producers for consumers’ 3
mixed media print
40 x 50 cm
2011

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It was the summer of 1980 when I was seven years old that I sat in the back seat of my father’s blue Opel Kadett coupé and saw the first smoking chimneys of the German Ruhrgebiet. Those were the declining years of one of Europe’s biggest and heaviest industrial areas and I will never forget the impression it left imprinted on my retina. As a child I rebuilt entire cities including large factories with my building blocks and then lay on the floor to see the chimneys emerge on the horizon. Later I started drawing complete maps with of course lots of space for industrial areas.

That fascination with industry and factories has ever since remained, even though these days – with today’s knowledge – I see things very differently. Most factories in the Ruhrgebiet have been pulled down and a lot of former industrial terrains have been cleaned up and/or have had a change of use. It shows that we, as human beings, continuously build, demolish and rebuild, but still the world is none the better for it. New threats such as overpopulation and the blurring of traditional standards and values through the emergence of the internet are seriously endangering our habitats and have a fundamental influence on life here on earth. This theme plays a crucial role in most of my art. Where for me it started with admiration for all those huge factories and smoking chimneys there now is the realization that mankind should use its knowledge much more to ensure an enjoyable future on this planet for the next generations.

The rapid technological developments make it possible for me to apply new digital techniques in my work. Besides these new techniques I still use traditional techniques and materials like pencils, paint, oil pastels and ink. My way of working also includes building, destroying and rebuilding. I scan paintings and drawings into the computer, cut them into pieces and rebuild and subsequently print them. After that process I can decide to start drawing and painting on the print again. I also can decide to work only the traditional way without using a computer. For me, the choice of medium and ways to edit my materials will always remain a source of experiment that will help me transform my themes into my personal visual language. [artists statement]

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Sander Steins : Website

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17
Oct
11

Michelle Mackey : Paintings

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“I’m currently working in black and white, on black, shiny, resin-coated panels.
Not unlike a hologram, the viewer must move around the surface, so the spatial
depth will be revealed. I am exploring what memory looks like – memory of place.”

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‘Keys’
acrylic and enamel
on resin-coated panel
47″ x 47″

‘Dénouement’
acrylic and enamel
on resin-coated panel
47″ x 47″

‘Trefoil’
acrylic and enamel
on resin-coated panel
47″ x 47″

‘In the Hollow’
acrylic and enamel
on resin-coated panel
47″ x 47″

‘Leap’
acrylic and enamel
on resin-coated panel
47″ x 47″

‘Intermezzo’
acrylic and enamel
on resin-coated panel
47″ x 47″

‘Duality’
acrylic and enamel
on resin-coated panel
47″ x 47″

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In the mind, individuals have a stockpile of images and feelings that merge undaunted by time and space separation. As I walk to the train, I smell the scent of the dogwood blossoms in the crisp morning air; the fresh smell immediately brings me to the front yard of my grandparents house, full of the voices, sounds, and colors so familiar. Likewise, in a painting, the coalescence of different images and actions on one planar surface confounds time, space, and sequence. Layers of images and ideas from different sources co-exist in paint; the associations brought into dialogue with each viewing become a part of the piece. What causes a particular memory (such as my grandparent memory) at a particular time and not at other times is beyond complete explanation; yet, it is not beyond understanding. Sensory understanding exists through experience, not through the medium of words.

The images in my paintings are mainly from the physical structures in my environment. I look at the surface mix of cracked mortar, shiny metal, peeling paint, and rusty scaffolds; I hear the rhythmic distance from chimney to chimney, branch to branch, and window to window; I think of the structural soundness of repetition, from the frame to the brick. As I work, I periodically refer back to these environmental sources, as well as conversations, books, music, patterns and other sources for ideas on color, form, and composition. The story of my process is embedded in layers of paint (layers of choices) visible on the canvas: a trail of past decisions shutting off certain paths to allow other possibilities. I’m searching, tweaking, scratching, both my mind and the image on the canvas, to uncover what I am really seeing and the process of how I see. On my microcosmic-level, I am looking into a larger system beyond the individual. I do not believe in chance or events without purpose, so I do feel that my search will reveal certain truths or aspects of a larger truth. [artist statement]

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Michelle Mackey : Website

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04
Feb
11

Kyung Woo Han : Green House (Site-Specific Installation)

Green House
site-specific installation
furniture, paint, wire
2009

Green House
site-specific installation
furniture, paint, wire
2009

Green House
site-specific installation
furniture, paint, wire
2009

Green House
site-specific installation
furniture, paint, wire
2009

Green House
site-specific installation
furniture, paint, wire
2009

Green House
site-specific installation
furniture, paint, wire
2009

Kyung Woo Han chooses well-known images as the source of his work. Using the straight and narrow perspective of the window, he creates illusions out of real objects and real space. With carefully selected spaces and conscious placements of ordinary objects, certain vantage points construct illusions as the mind fills in the gaps of perception. Space is a crucial aspect of Han’s work. Using physical space to construct installations that engage the viewer, an interaction is created between the reality of objective space and human perception. Often inspired from the space itself, many of his works are directly related to the specific locations of the installment and are exclusively created for the site.

Kyung Woo Han : Website




Ai : Series : Photography Book

aesthetic investig...
By Azurebumble

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