Posts Tagged ‘painting

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

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William Klein
‘painted contact’ series
silver gelatin print with paint,
20 x 24″
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5177807247_8597808736_b-640x533

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William Klein
‘painted contact’ series
silver gelatin print with paint,
20 x 24″
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5177807969_4d01b3b81a_z

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William Klein
‘painted contact’ series
silver gelatin print with paint,
20 x 24″
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5178409896_ce6bac97ae_b

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William Klein
‘painted contact’ series
silver gelatin print with paint,
20 x 24″
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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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27
Mar
12

Louise Belcourt : Paintings

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‘Mound 3’
Oil on Canvas
76 x 85 in
2011
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‘Hedgeland #19’
Oil on Canvas
57 x 67 in
2010
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‘Mound 2’
Oil on Canvas
61 x 67 in
2011
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‘Mound 1’
Oil on Canvas
30 x 41 in
2011
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‘Hedgeland #15’
Oil on Panel
22 x 28 in
2010
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‘Hedgeland #18’
Oil on Canvas
42 x 61 in
2011
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‘Hedgeland #16’
Oil on Panel
22 x 26 in
2010
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All of these paintings began with looking at real things in the world. For over a decade my focus has been on hedges and buildings for the simple reason that they are in my day to day periphery. Either in Brooklyn as the view out of the window or in Canada, where I go each year, these forms routinely are what are in my way by either blocking a ‘view’ or as a presence that I have to go around . They command my attention for their solidity and the way they sit on the earth’s surface. Constantly acknowledging these forms allows me to feel parallels with my own existence in the world.

Finding the color that will produce light, space and the feeling of hope, (goodness, elegance, rightness of purpose) in each work is part of my drive. But I also work with many of painting’s other elements to push for a physical sense of vastness. Through spatial and coloristic interplay, issues of space vs illusionism, conceptualism vs physicality, classicism vs newness, exist together. It’s in these co-existences that I hope to create in paintings, a freshness and a place where art, myself and the outer world, mesh. This is how I approach painting. It’s not that I’m painting a ‘landscape,’ it’s that I know I’m fundamentally a part of it and the reason for painting is to find out a bit more about that. – statement

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Louise Belcourt : Website

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02
Mar
12

Ursula Mumenthaler : ‘Peter Merian Haus’ (Installation)

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‘Le champ bleu’
Peter Merian Haus, Bâle
Installation
1997-1999
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‘Le champ bleu’
Peter Merian Haus, Bâle
Installation
1997-1999
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‘Le champ bleu’
Peter Merian Haus, Bâle
Installation
1997-1999
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‘Le champ bleu’
Peter Merian Haus, Bâle
Installation
1997-1999
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‘Le champ bleu’
Peter Merian Haus, Bâle
Installation
1997-1999
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Installation : ‘le champ bleu’
Architect : Zwimpfer Partner
Project : Peter-Merian-Haus

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Ursula Mumenthaler : Website

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15
Feb
12

Hélène de Gottal : Artworks

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‘Untitled’
Hélène de Gottal
Mixed Media on Paper
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‘Untitled’
Hélène de Gottal
Mixed Media on Paper
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‘Untitled’
Hélène de Gottal
Mixed Media on Paper
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‘Untitled’
Hélène de Gottal
Mixed Media on Paper
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‘Untitled’
Hélène de Gottal
Mixed Media on Paper
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‘Untitled’
Hélène de Gottal
Mixed Media on Paper
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Hélène de Gottal : Galerie Faider

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12
Feb
12

Eve Calingaert : Artworks (Calligraphy)

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Eve Calingaert
Calligraphy
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Eve Calingaert
Calligraphy
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Eve Calingaert
Calligraphy
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Eve Calingaert
Calligraphy
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Eve Calingaert
Calligraphy
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Eve Calingaert
Calligraphy
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Studied calligraphy with a Japanese master, for ten years,
who encouraged him to work the ground and in large format.

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Eve Calingaert : Galerie Faider

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26
Nov
11

Arthur Ou : ‘Test Screens’ Series (Photo-Media)

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Arthur Ou
‘Test Screens’
Archival pigment print
2011
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Arthur Ou
‘Test Screens’
Archival pigment print
2008
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Arthur Ou
‘Test Screens’
Archival pigment print
2008
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Arthur Ou
‘Test Screens’
Archival pigment print
2008
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Arthur Ou
‘Test Screens’
Archival pigment print
2008
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Arthur Ou
‘Test Screens’
Archival pigment print
2010
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Arthur Ou is a Taiwanese artist currently living and working in New York. He is an Associate Professor of Photography at Parsons New School for Design in New York and is exhibiting in Sydney for the first time. He is showing a selection from his Test Screens series of innovative landscape photo-media works in which he intentionally interferes with the direct view by incorporating a layer of ‘drawing’ or ‘painting’ with light into the photographic space.

The artist manipulates the black and white film at negative stage with bleaching and masking techniques. After shooting the coastal locations for his Test Screen series, a bleach solution is applied to the black and white negative film. This removes the emulsion to form clear areas on the negative where the light goes through and which will appear as black in the finished print. In some works a stencil is prepared for the text or lines are masked out and bleach is applied through the mask for more defined edges. This is a subtractive process but these forms appear added or overlaid when printed.

His overall practice incorporates architecture, sculpture, ceramics and photo-media. East-West themes and aesthetics are a constant in his art; aligned with his personal cultural experience and history. While his works embody a notion of transience, operating within and expressive of the space where cultures meet, the pervading implication throughout his practice is the migration of ideas through art.

[Extract : Artereal Gallery]

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Arthur Ou : Website

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Ai : Series : Photography Book

aesthetic investig...
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