planes | Azurebumble

Posts Tagged ‘planes

Nov

Ralston Crawford : Photographs

Categories: photography
Tags: abstract, angles, balanced, black & white, docks, form, lines, photography, planes, Ralston Crawford, shapes, space

“You will make illuminating discoveries.” ~ Ralston Crawford

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“Ship’s Light”
gelatin silver print
8 x 10 in
1947
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“Shelter”
gelatin silver print
8 x 10 in
1974
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“Ship Detail”
gelatin silver print
8 x 10 in
1947
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“Cranes, Coulee Dam”
gelatin silver print
8 x 10 in
1972
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“Junk Car Window”
gelatin silver print
8 x 10 in
1958
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“Grain Elevators, Minneapolis, MN”
gelatin silver print
8 x 10 in
1949
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“Bow and Reflections, Stornoway, Scotland”
gelatin silver print
8 x 10 in
1974
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Ralston Crawford was a painter taking photographs in the 1940s, 50s and 60s, a time in which painting, as a medium, was swelling to its heroic zenith and fine art photography had yet to reach its full stride. This is one reason Crawford’s photographs have been so little shown – Crawford’s paintings and prints found their place where the photographs, seen possibly as mere aids for painting, did not. Though Crawford did paint from photographs at times, there is nothing secondary about them: these rich views of rock formations, of docks and urban life, exhibit the same masterly attention to form as his paintings. The photographs should not be viewed as partial or premature visions of the paintings, but rather as representations of his desultory taste in style, medium and form. Looking at the photographs, one becomes aware of the depth of Crawford’s aesthetic – he depicted the world in the buoyant, semi-abstract terms in which he saw it, full of flat, carefully balanced planes, stiffly-lined contours and the rough-edges of life. His photos of torn paper evoke collage or perhaps the jagged edges of Clyfford Still. The mixture of symbol and space in his pictures of docks and boats recalls Stuart Davis. The formal and stylistic similarity of the paintings to the photos shows not that one supplants or supports the other, but that they’re mutual realizations of his deeply stylized, personal way of seeing. press release

Ralston Crawford : Zabriskie Gallery

Essay : Photography into Painting/ Painting into Photography

Jan

Georges Rousse : ‘Site-Specific Installations’

By azurebumble 2 Comments

Categories: architecture, art, installation and photography
Tags: abandoned, architectural constructions, derelict buildings, ephemeral, fractured, fragments, Georges Rousse, installation, light, mise-en-scène, photography, planes, red, relationships, shapes, site-specific, space, time, transforming

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Georges Rousse
Site-Specific Installation
Photograph
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After he discovered Land Art and Malevich’s Black Square against a white field, Georges Rousse altered his relationship to photography, inventing a unique approach that shifted the relationship of painting to space. He began making installations in the types of abandoned or derelict buildings that have long held an attraction for him – creating ephemeral, one-of-a-kind artworks by transforming these sites into pictorial spaces that are visible only in his photographs.

Rousse is unmistakably a photographer: his photographs are intrinsic to revealing his images, and deciding the composition, cropping and lighting and clicking the shutter are all essential to his process. But he is simultaneously a painter, sculptor, and architect, carrying out the same relationship to his worksites as a painter to his canvas. His raw material is Space: the space of deserted buildings. Taking his inspiration from a site’s architectonic quality and the light he finds there, he chooses a “fragment” and creates a mise-en-scène, keeping in mind his ultimate goal, that of creating a photographic image.

In these empty spaces, Rousse constructs a kind of utopia that projects his vision of the world–his imaginary “universe.” His creation both expresses his artistic intentions and resonates with his impressions of the site, its history and its culture. Finally, this results in a photograph, a flat plane, so the shapes he paints and draws, and the volumes and architectural constructions he creates in those massive spaces seem fractured or split on different levels. His photo brings together painting, architecture, and drawing. It carves out a new space in which the artist’s fictive world becomes visible. At the heart of this questioning, his work deals with our relationship to Space and Time. [Extract : Bio]

Georges Rousse : Website

Sep

Barbara Kasten : Studio Constructs (Photographs)

By azurebumble 1 Comment

“The process of capturing an image through a camera lens requires “an object.” This body of work addresses
the representational value of that object. By photographing a transparent plane, and its shadow, familiar
association with life experience is eliminated. The result is a “concrete photographic” abstract image.”[bk]

Studio Construct 8
Archival pigment print
43.75 x 53.75 in
2007

Studio Construct 51
Archival pigment print
43.75 x 53.75 in
2008

Studio Construct 78
Archival pigment print
43.75 x 53.75 in
2009

Studio Construct 59
Archival pigment print
43.75 x 53.75 in
2008

Studio Construct 69
Archival pigment print
43.75 x 53.75 in
2008

Studio Construct 127
Archival pigment print
53 15/16 x 43 1/2 in
2011

Studio Construct 125
Archival pigment print
53 15/16 x 43 1/2 in
2011

The occurrence of light hitting a plane is distinctive from the recording of the same light thru the lens of a camera. A unique vision occurs through the optical prism that can be captured and ultimately printed, yet cannot be seen by the naked eye. As I directed light on various parts of transparent planes and studied it in the back of a view camera, multicolored abrasions activating the surface appeared. The scratches become a color field of drawing over a normally invisible sheet of plastic.

The perception of a ‘thing’, a recordable reality of representation, is basic to the photographic process. In the series “Incidence”, the rendering of light becomes abstract interpretation of surface and form. However, I do not think of the photograph’s construction in terms of abstraction but as an event. Many abstract notions are conjured up as we view this unique recording of materiality. The synthesis of abstract form and our imagination presents a means of seeing the process of lighting. This phenomenon is the subject of my new work and exhibit ‘abstracting…light’. Barbara Kasten

Barbara Kasten : Website

Almine Rech Gallery

Tony Wight Gallery

Jan

Roseanne Lynch : “Document” Series (Photography)

By azurebumble Leave a Comment

“What is special in the case of conditional experience is, I think, what I sometimes call the
introspective quality of seeing: you see whatever you’re looking at, but you also see the
way you’re seeing… your experience of the thing is integrated as part of the thing itself.”

Olafur Eliasson

‘untitled’
lambda print on diabond
60″ x 40″
2010

‘untitled’
giclee on aluminium
16.4″ x 23.4″
2010

‘untitled’
lambda print on diabond
60″ x 40″
2010

‘untitled’
giclee on aluminium
16.4″ x 23.4″
2010

‘untitled’
lambda print on diabond
60″ x 40″
2010

I am intrigued by the quality that is photographic, and by how the photographic process affects the looking. I explore the photograph, as object, as image, as representation, as illusion, as statement; its physicality, surface, matter and suggestion. A photograph is something you might imagine you can enter into, but it is a surface and pushes you back. Uncertainty interests me. I like not knowing, and the understanding held within that unknowing. I am interested in the possibility of a quality of silence and internal conversation when you encounter artworks.

This body of work presents a sustained investigation of light; light that has no material substance and is illusory. This investigation focuses on the immaterial; through it I observe how light molds and moves, light defining the planes, how our reading of a subject can be altered by its interaction with light – sometimes dramatically. Inquiry is what I am presenting, an opportunity to bring the viewer into the inquiry. To find an answer was never my intention. [extract : ‘document’ series description]

Roseanne Lynch : Website