Posts Tagged ‘rhythm

27
Jul
12

Jeremy Blake : Artworks

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“silent symmetry”
jeremy blake
2012
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“industrial prose”
jeremy blake
2012
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“industrial prose #3”
jeremy blake
2012
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“rusted reflection”
jeremy blake
2012
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“mare”
jeremy blake
2012
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“lost legend”
jeremy blake
2012
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Rhythm can be experienced both aurally and visually, and I am intrigued by this notion of visual cadence. This body of work represents a personal synthesis of these principles. The forms and tonalities in the final images are my rendering of the effects I undergo when translating these minor and major chords. I equate the emotional attributes of these chords with a subdued yet inflective element of a unified sequence. It is the evasive and ever changing element of rhythm that fascinates me, and the work is my interpretation of this delicate balance between harmony and discord: capturing the moment which causes refrain, the pause of introspection, in which the rhythms are viewed through individual terms. When viewed on a fundamental level, rhythm is innate. Specifically, when one contemplates the function of rhythm in such acts as breathing, the blinking of the eyes and the beating of the heart. In essence, the experience of rhythm is an intrinsic aspect in the experience of life. It is through the questioning and exploration of this concept that I arrived at the notion of visual cadence. This body of work is meant to explore the kaleidoscopic nature of perception where terms such as wrong or right do not apply for perception itself changes as much as the individual. ~ [Artist Statement]

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Jeremy Blake : Website

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24
Jun
12

Julius Shulman : Architectural Photography

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“Architecture Series”
Julius Shulman
Photograph
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“Architecture Series”
Julius Shulman
Photograph
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“Architecture Series”
Julius Shulman
Photograph
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“Architecture Series”
Julius Shulman
Photograph
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“Architecture Series”
Julius Shulman
Photograph
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“Architecture Series”
Julius Shulman
Photograph
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“Architecture Series”
Julius Shulman
Photograph
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“Architecture Series”
Julius Shulman
Photograph
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Photographer of architecture, naturalist, educator, and commentator on urban form. One of the leading architectural photographers of the 20th century, Julius Shulman developed close association with the modernist architects, principally those active in Southern California such as Gregory Ain, John Lautner, Richard Neutra, and R.M. Schindler. Shulman’s images played a major role in crafting the image of the Los Angeles and “Southern California lifestyle” to the rest of the nation and world during the 1950s and 1960s. A prolific author, consultant, lecturer, exhibitor, and editor of his own vast archive. [Extract]

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Julius Shulman : Visual Acoustics

Julius Shulman : Craig Krull Gallery

Julius Shulman : Modernity and the Metropolis

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23
Jun
12

Ezra Stoller : Architectural Photography

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Seagram Building, Mies van der Rohe, New York
Gelatin Silver Print
16″ × 20″
1958
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TWA Terminal, Eero Saarinen, New York
Gelatin Silver Print
16″ × 20″
1962
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Seagram Building, Mies van der Rohe, New York
Gelatin Silver Print
16″ × 20″
1958
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Guggenheim Museum, Frank Lloyd Wright, New York
Gelatin Silver Print
16″ × 20″
1959
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Louis Isidore Kahn, Olivetti Underwood Factory, Harrisburg
Gelatin Silver Print
Ezra Stoller
1966-1970
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Rare Book and Manuscript Library, Yale University
Gelatin Silver Print
16″ × 20″
1963
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Milwaukee War Memorial, Eero Saarinen
Gelatin Silver Print
16″ × 20″
1952
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Ezra Stoller’s gelatin silver prints include images of architectural interiors and iconic landmarks. Based on his background in architecture and industrial design, Stoller used a large-format camera to photograph monumental 20th century buildings, including the Guggenheim Museum, the TWA terminal at Idlewild Airport (now John F. Kennedy International Airport), the Seagram Building, the Salk Institute, Yale Art and Architecture Building and Fallingwater. In addition to well-known photographs of these locations, these works also include lesser-known photographs of small homes and guest houses which provide a fresh look at the masterful eye that established Stoller as the preeminent photographer of modern architecture. A pioneer in the field of architectural photography, Ezra Stoller was commissioned by architects such as Frank Lloyd Wright, Paul Rudolph, Eero Saarinen, I.M. Pei, Marcel Breuer and Richard Meier, because of his unique ability to capture the building according to the architect’s vision and to lock it into the architectural canon. His photographs convey a three-dimensional experience of architectural space through a two-dimensional medium, with careful attention to vantage point and lighting condition, as well as line, color, form and texture. – [Extract : Press Release – Yossi Milo Gallery]

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Ezra Stoller : Yossi Milo Gallery

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16
Apr
12

El Lissitzky : ‘Prouns’ Series

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the station where one changes from painting to architecture.” ~ El Lissitzky

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‘Announcer’
El Lissitzky
1923
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‘Globetrotter in Time’
El Lissitzky
1923
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‘Neuer (New Man)’
El Lissitzky
1923
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‘Untitled’
El Lissitzky
1923
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‘Proun’
El Lissitzky
1923
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‘Tatlin at Work’
El Lissitzky
1921
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‘Proun G7’
El Lissitzky
1923
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‘Proun’
El Lissitzky
1923
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‘Proun’ was essentially El Lissitzky’s exploration of the visual language of suprematism with spatial elements, utilizing shifting axes and multiple perspectives; both uncommon ideas in suprematism. Suprematism at the time was conducted almost exclusively in flat, 2D forms and shapes, and El Lissitzky, with a taste for architecture and other 3D concepts, tried to expand suprematism beyond this. His Proun works spanned over a half a decade and evolved from straightforward paintings and lithographs into fully three-dimensional installations. They would also lay the foundation for his later experiments in architecture and exhibition design. While the paintings were artistic in their own right, their use as a staging ground for his early architectonic ideas was significant. In these works, the basic elements of architecture – volume, mass, color, space and rhythm – were subjected to a fresh formulation in relation to the new suprematist ideals. Through his Prouns, utopian models for a new world were developed. This approach, in which the artist creates art with socially defined purpose, could aptly be summarized with his edict “das zielbewußte Schaffen” – “task oriented creation.” ~ [Ext]

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El Lissitzky : More Works

El Lissitzky : Russian Constructivists

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22
Mar
12

Pansa Sunavee : Photography

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‘Alone in the city’
Pansa Sunavee
Photograph
2010
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‘Dancing raindrop’
Pansa Sunavee
Photograph
2011
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‘Pause’
Pansa Sunavee
Photograph
2012
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‘Way of Yarn 4’
Pansa Sunavee
Photograph
2011
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‘Roof’
Pansa Sunavee
Photograph
2010
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‘Way of Yarn 7’
Pansa Sunavee
Photograph
2011
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‘Circle label’
Pansa Sunavee
Photograph
2010
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‘Chinese pharmacy’
Pansa Sunavee
Photograph
2010
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‘Miss you mom’
Pansa Sunavee
Photograph
2010
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Art, in my meaning.
is working with creative independent spiritual and by natural way.
I has never expected the thing till job finished.
That is also consciousness aware of present and feel relax.
Moreover; I can find, all the completed work,
the movement in placeful, the brightness in the dark and the harmony inconflict
which are changing state and stable state in the same time.

Whenever, the more I am trying to learn what it means, the worse I can understand.
However, I has given up to understand the meaning neglected myself, then I can get it.
Nevertheless, no word can be explained, the answer has been in my work.

………

For me, photography is just like a door conveying the aesthetics of art.
It is a kind of art created from the real situation around me which can happen every second.
Sometimes I seek for the beauty of things surrounded and then shoot them
with personal perspectives and feeling towards the objects or incidents.
Sometimes when I would like to forward my idea to the others,
I will bring and redesign all stuff with beauty and hidden message to the viewers of my photos.

In part of photography, I never focus on any preferred photography style
as I do not want to frame myself with specific kind of photo shooting
and be more loyal to my own feeling. When I am clear with myself,
the outcome is always marvelous.

Pansa Sunavee

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Pansa Sunavee : More Works

Pansa Sunavee : Website

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28
Feb
12

F.X. Combes : ‘Building Series’ (Screen Capture Photographs)

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The portrayal of urban space is at the heart of FX Combes’ work. His series ‘Buildings’, continues along these lines. How do you portray the City? The City in its ultimate truth, bare, naked. According to the artist, by starting with the ordinariness of the basic building in mind. With the most traditional vision, the least cluttered possible, of a building garnered in a few basic lines. Then, this ordinariness is reorganized, structured, given shape and colour, assigned order, rhythm and meaning, and restored in the layers of a fixed time – past, present, and future piled together. In a way that the urban concept in itself emerges from the raw material; The purest, and most refined City from the concrete building…

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‘untitled – buildings series’
inkjet print on textured paper
140 x 120 cm
2009
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‘untitled – buildings series’
inkjet print on textured paper
140 x 120 cm
2009
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‘untitled – buildings series’
inkjet print on textured paper
140 x 120 cm
2009
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‘untitled – buildings series’
inkjet print on textured paper
140 x 120 cm
2009
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‘untitled – buildings series’
inkjet print on textured paper
140 x 120 cm
2009
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‘untitled – buildings series’
inkjet print on textured paper
140 x 120 cm
2009
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In practice, F.X. Combes begins by taking photos of buildings, that he then photographs again through the screen of his computer, in order to attain the desired distance between what is real and what is suggested without using photo retouching software. In this way, he obtains a series of nearly identical pictures of the same pattern, nearly being the key word. These successive screen captures create each time micro differences in shape, the tiniest shifts in light. And, as a result, there are so many occurrences of the unpredictable that the artist then takes great care to systematize either through a process of multiplication – juxtaposition of the images (the horizontal series) or through a process of reconstruction using a fragment, an imaginary building or an ideal City (the vertical series).

Actually, what is the building really behind its undecipherable facade, its impenetrable walls and blind windows? What is the City in its intimate nature and beyond its immediate materialisation? Originally it was the foremost human meeting place. Man built the city to live there, to thrive and prosper there. But in its arrogant proliferation the city ended up rejecting man into an anonymity that is a form of denial. The realisation of this presence/absence of man in the city that he himself made is one of the issues that is at stake in these images. The City according to FX Combes is most certainly an inhabited place but by a being who, after having left a sign of his time spent there, finds himself from then on in the process of fading out completely.

This bluish trembling, this nearly vibrating halo that enshrouds the buildings rising into their metaphysical sky – each of these effects is evidence of this gradual disappearance, this evanescence in progress. The succession of layers of the present and of past generations who lived there is still visible, virtually through chance circumstances that are less and less discernible, but the City has already transformed into another condition of its own location. Beyond the man who made it, the City remains and endures, and pulls itself up to the pinnacle of its definitive self. The City approaches more and more surely the ideal of Platonism. Underneath the deceptive ordinariness of buildings, the fundamental archetype is revealed. – [Extract : from press release by Vincent Gracy – NextLevel Galerie]

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F.X. Combes : Website

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Ai : Series : Photography Book

aesthetic investig...
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