Posts Tagged ‘relationship

14
Jul
13

Robert Adams :: Photography

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Are there affirmable days or places in our deteriorating world? Are there scenes in life, right now, for which we might conceivably be thankful? Is there a basis for joy or serenity, even if felt only occasionally? Are there grounds now and then for an unironic smile?” ~ Robert Adams

For four decades Adams has photographed the changing landscape of the American West, finding there a fragile beauty that endures despite our troubled relationship with nature, and with ourselves. His photos are distinguished not only by their economy and lucidity, but also by their mixture of grief and hope. [Ext]

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robert_adams_04-sm

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‘Colorado Springs, Colorado’
Robert Adams
photograph
1968
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‘A backyard, Colorado’
Robert Adams
photograph
1968
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Robert-Adams-83

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‘The New West series’
Robert Adams
photograph
1969
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pikespeak-web

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‘Pikes Peak, Colorado Springs’
Robert Adams
photograph
1969
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robert_adams_06-sm

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‘Longmont, Colorado’
Robert Adams
photograph
1979
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edencolorado-web

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‘Eden, Colorado’
Robert Adams
photograph
1969
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robert-adams-from-summer-nights-walking-1976-82

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‘Longmont, Colorado’
Robert Adams
photograph
1976-1982
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‘Untitled’
Robert Adams
photograph
1978
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Robert Adams was born in New Jersey in 1937. He was a professor of English literature for several years before turning his full attention to photography in the mid 1970s. His work is largely concerned with moments of regional transition: the suburbanization of Denver, a changing Los Angeles of the 1970s and 1980s, and the clear-cutting in Oregon in the 1990s. His many books, well-known to those concerned with the American Landscape, include The New West, From the Missouri West, Summer Nights, Los Angeles Spring, To Make It Home, Listening to the River, West From the Columbia, What We Bought, Notes for Friends, California, Summer Nights, Walking, What Can We Believe Where? and The Place We Live. [Ext]

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Robert Adams :: The Place We Live

Robert Adams :: Fraenkel Gallery

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12
Dec
10

Fernandoprats : Photography

Traveling to become humbler

Fernandoprats
‘Traveling to become humbler’
Part of People are people, 2.0 relationships and others.
2010

Absinther

Fernandoprats
‘Absinther’
Part of Prahabsynth series.
2010

Muerte del ángel

Fernandoprats
‘Muerte del ángel’
Part of Songfots series.
2009

for an oleaginous overview

Fernandoprats
‘For an oleaginous overview’
Part of Instant compositions instants.
2010

Answerer

Fernandoprats
‘Answerer’
Part of Prahabsynth series.
2010

Probably you

Fernandoprats
‘Probably you’
Part of “New York Old” series.
2010

Dyslexic dialogue

Fernandoprats
‘Dyslexic dialogue’
Part of Instant compositions instants
2010

This particular sequence is constructed from numerous different series of ‘FotoWorks’ by Fernando. Therefore, I would encourage anyone who is intrigued by these marvelous works to click on each individual image to view texts & tags. This will resignify the speech of each image and each series, allowing for a better understanding of context and a further appreciation of the artists original intent.

Website

More Works

Y Sin Embargo Magazine

12
Jul
10

Donald Judd : ‘The Simple Expression Of Complex Thought’.

Donald Judd
Cloth in Illustrated Jacket
1993

Donald Judd
Untitled
1987

Donald Judd
Menziken 87-55
1987

Donald Judd
Untitled
1974

Donald Judd
Untitled
1971

Donald Judd
Untitled (Core Piece)
1969

Donald Judd
Untitled
1972

One of the most significant American artists of the post-war period, Donald Judd changed the course of modern sculpture. Working in New York in the 1960s, Judd became known as one of the key exponents of ‘Minimalism’, but it was a label that he strongly rejected. Although he shared many of the principles identified with Minimalist art — the use of industrial materials to create abstract works that emphasise the purity of colour, form, space and materials — he preferred to describe his own work as ‘the simple expression of complex thought’.

In the late 1940s he began to practice as a painter, but by the late 1950s was working to free his painting of traditional ‘European’ preoccupations with composition and illusionism. In the early 1960s, Judd began to introduce three dimensional elements onto the surface of his works, at first creating reliefs, and then moving towards entirely free-standing structures which he called ‘specific objects’. By 1963 he had established an essential vocabulary of forms — ‘stacks’, ‘boxes’ and ‘progressions’ — which preoccupied him for the next thirty years.

Judd broke new ground in his exploration of volume, interval, space and colour . He rejected the tradition of artistic expression and craftsmanship by using industrial materials such as Plexiglas, sheet metal and plywood, and from the mid-1960s his works were fabricated by external manufacturers. By encouraging concentration on the volume and presence of the structure and the space around it, Judd’s work draws particular attention to the relationship between the object, the viewer, and its environment. This relationship became a central focus of Judd’s career, and he devoted much of his later life to the sympathetic installation of his own work.

Judd’s engagement with philosophy, architecture, design and politics informed his own work, and influenced succeeding generations of artists and designers. His pared-down forms and sensuous use of industrial materials remain a feature of much contemporary art, architecture and design. [Extract : Tate Modern]

Donald Judd : Tate Collection

Nick Serota on Donald Judd : Videos




Ai : Series : Photography Book

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