Posts Tagged ‘silver gelatin print

10
Jul
13

Henry Wessel :: ‘New Topographics’ (Photography)

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“You’re suddenly seeing the coherence and interconnectedness of everything, left to right, bottom to top, front to back. It’s all connected, and somehow, it’s all in balance. And that’s, when you go ‘Yes!’” H Wessel

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artwork_images_168878_675461_henry-wessel

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‘Waikiki No. 9’
silver gelatin print
Henry Wessel
1979
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jhddg

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‘Incidents No. 16’
silver gelatin print
Henry Wessel
16 × 20 in
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artwork_images_138625_267827_henry-wessel

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‘Pismo Beach, CA’
silver gelatin print
Henry Wessel
1974
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HWE.049_email

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‘Berkeley, California’
silver gelatin print
Henry Wessel
1971
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1276634365

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‘Hollywood, California’
silver gelatin print
Henry Wessel
1972
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13_new-mexico-iii

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‘New Mexico III’
silver gelatin print
Henry Wessel
1969
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tumblr_mgbnfmJu5r1qex654o1_1280

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‘Tucson, Arizona’
silver gelatin print
Henry Wessel
1976
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khggg

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‘Incidents No. 8’
silver gelatin print
Henry Wessel
16 × 20 in
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gghk

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‘Incidents No. 6’
silver gelatin print
Henry Wessel
16 × 20 in
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HWE.045_email

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‘New Mexico’
silver gelatin print
Henry Wessel
1968
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Henry Wessel first gained recognition in the 1970s as part of the New Topographics, a group of photographers who challenged the conventions of documentary and landscape photography, capturing instead the poetry of seemingly mundane scenes and subjects—traffic lights, advertisements, empty landscapes, and suburbia. During the 1970s he moved to San Francisco from New York after falling in love with the brilliant quality of light in California. There, in both black-and-white and color film, he photographed the vernacular architecture and social landscape of his surroundings, in prints with long shadows and rich tonal variations… [Extract]

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gallery focus21

pace/macgill gallery

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19
Feb
12

Torbjørn Rødland : ‘Eighteen Analogue Double Exposures’

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‘Commissure’
Silver gelatin print
27 x 33 x 3 cm
2011
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‘Highlighters’
Silver gelatin print
27 x 33 x 3 cm
2011
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‘Troll’
Silver gelatin print
27 x 33 x 3 cm
2011
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‘Cars and Flowers’
Silver gelatin print
27 x 33 x 3 cm
2011
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‘Laurel Canyon Rooftop’
Silver gelatin print
27 x 33 x 3 cm
2011
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‘Machine Head’
Silver gelatin print
27 x 33 x 3 cm
2011
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‘Tassel’
Silver gelatin print
27 x 33 x 3 cm
2011
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SENTENCES ON PHOTOGRAPHY BY TORBJØRN RØDLAND

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1. The muteness of a photograph matters as much as its ability to speak.
2. The juxtaposition of photographs matters as much as the muteness of each.
3. All photography fattens. Objectification is inescapable.
4. It cannot secure the integrity of its subject any more than it can satisfy the need to touch or taste.
5. Good ideas are easily bungled.
6. Banal ideas can be rescued by personal investment and beautiful execution.
7. Lacking an appealing surface, a photograph should depict surfaces appealingly.
8. A photo that refuses to market anything but its own complexities is perverse. Perversion is bliss.
9. A back-lit object is a pregnant object.
10. To disregard symbols is to disregard a part of human perception.
11. Photography may employ tools and characteristics of reportage without being reportage.
12. The only photojournalistic image to remain interesting is the one that produces or evokes myths.
13. A photographer in doubt will get better results than one caught up in the freedom of irony.
14. Aesthetic eyes are distant eyes. Melancholic eyes are distant eyes. Ironic eyes are distant eyes.
15. One challenge in photography is to outdistance distance. Immersion is key.
16. Irony may be applied in homeopathic doses.
17. A lyrical photograph should be aware of its absurdity. Lyricism grows from awareness.
18. For the photographer, everyone and everything is a model, including the photograph itself.
19. The photography characterized by these sentences is informed by conceptual art.
20. The photography characterized by these sentences is not conceptual photography.

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“Sentences on Photography” was initially published in “Triple Canopy”, Issue #12: May 5, 2011

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Torbjørn Rødland : Standard (Oslo)

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27
Sep
11

Gabriel Benaim : “Wall Art” Series (Photography)

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Untitled N#7
Silver Gelatin Print
15″ x 15″
2007

Untitled N#10
Silver Gelatin Print
15″ x 15″
2007

Untitled N#8
Silver Gelatin Print
15″ x 15″
2007

Untitled N#2
Silver Gelatin Print
15″ x 15″
2007

Untitled N#3
Silver Gelatin Print
15″ x 15″
2007

Untitled N#1
Silver Gelatin Print
15″ x 15″
2007

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Artist Statement

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I photograph in order to learn something new about what’s in front of me. The process of photographing is, for me, one of discovering visual interest in the myriad forms presented to us, and of overcoming the habits that make our perceptions grow dull. Against Duchamp, I believe in retinal art, and attempt in my work to avoid preconceptions and formulas. For me, the visual is primary, and I expect any work of art, especially my own, to stand on its own visually, without recourse to an intellectual or even conceptual scheme. Following Duchamp, I do see in the Ready-made a paradigm for how one should approach photography, in the sense that photographing creates a new version of an existing subject. The act of framing transposes a commonplace object into a work of art, if done successfully, and this transposition is for me the point of photographing. This, then, to come without preconceptions and leave with a new way of seeing, summarizes my approach to photography.

In doing this, every square inch of the photograph is important. I want the viewer of my photographs to explore the whole composition, to take in the inter-relations and tensions inherent in the view I’ve chosen. In this sense, no part is more important than any other, and where something is placed relative to the frame is more important than what it is. The edges do just as much work, if not more, as the middle, and I pay special attention to what’s placed on the edge, to the beginning and the end of the visual space. It is, in large part, this attention to the whole frame which coaxes the viewer, in turn, to navigate from one element to the next, and to then appreciate the visual relationships present.

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Gabriel Benaim : Website

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01
Apr
11

Vivian Maier : “Shadows” (Photography)

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“We anticipate her collection of works will take on a life of its own and are curious
to see where it may go. In fact, we’re fascinated by the progress made thus far…”

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‘reflection in car window’
silver gelatin print
‘shadow’ series
vivian maier

vivian’s shadow viii
silver gelatin print
‘shadow’ series
vivian maier

vivian’s shadow vi
silver gelatin print
‘shadow’ series
vivian maier

vivian’s shadow v
silver gelatin print
‘shadow’ series
vivian maier

vivian’s shadow vii
silver gelatin print
‘shadow’ series
vivian maier

vivian’s shadow x
silver gelatin print
‘shadow’ series
vivian maier

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Driven by her sequestered, private motivations, Vivian Maier captured our cities, suburbs and rural towns. A nanny for many years, herself childless, Maier revealed the beauties and complexities of domesticity. Her photographs demonstrate an intimate exploration of family life, as well as seemingly allegorical treatments of “home”—a space sometimes idyllic and whole, and sometimes troubled—as in her photographs of homes destroyed by tornadoes or street riots. In this present collection, we witness her sophisticated, expansive approach to setting and subject matter both intimate and grand.

The photographic subjects range from Salvador Dali to Nixon; from poignant self-portraits to photos of the unnamed on the street. She documented the exhilaration of Macy’s parades, along with the quiet of cemeteries, scenes of road kill, the life of flowers and her worldwide travels. In addition to Europe and the United States, those travels included places as diverse as Egypt, Malaysia, the Philippines and more. Through surveying her selection of deeply varied subject matter, we are allowed an intimate view of Vivian Maier, obscure photographer extraordinaire. [Extract : Vivian Maier – The Story]

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Vivian Maier : Website

Vivian Maier : Her Discovered Work

Vivian Maier : Russell Bowman Art Advisory

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Ai : Series : Photography Book

aesthetic investig...
By Azurebumble

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