Posts Tagged ‘stripes

23
Jul
12

Polly Chandler : Photography Series

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“Untitled”
Polly Chandler
Photograph
2005
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“Untitled”
Polly Chandler
Photograph
2005
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“Untitled”
Polly Chandler
Photograph
2005
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“Untitled”
Polly Chandler
Photograph
2005
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“Untitled”
Polly Chandler
Photograph
2005
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“Untitled”
Polly Chandler
Photograph
2005
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“Untitled”
Polly Chandler
Photograph
2005
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“Untitled”
Polly Chandler
Photograph
2005
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Polly Chandler : 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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08
May
12

Sam Moyer : Artworks

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‘Mountain High’
ink, bleach on canvas
5′ x 4′
2011
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‘Untitled’
ink and canvas
4′ x 3′
2011
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‘Untitled’
ink, bleach on canvas
4′ x 3′
2011
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‘High Sea’
ink, bleach on canvas
5′ x 4′
2011
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‘Untitled’
ink, bleach on canvas
47″ x 58″
2010
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‘Untitled’
ink, bleach on canvas
47″ x 58″
2010
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Sam Moyer : Website

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23
Apr
12

Azurebumble : ‘AI : Series’ (Photography Book)

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Recently, I’ve curated a number of image series by photographers from ‘Flickr’ on my blog ‘Aesthetic Investigations’. Subsequently, I thought it would be interesting to document these works in a book. Therefore, i’ve arranged a collection of ’39’ abstract and minimal photographic series by these ’32’ artists. A selection of pages from the book can be viewed below, a full book preview can be seen: HERE

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Thank you to everyone who contributed their images to this project.

All graphic content and curations by : Alan Wilson ( azurebumble )

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Book Cover
Front & Back Pages
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Introductory Pages
Copyright & Contents
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Introductory Pages
Tags, Artists & Series Thumbnails
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Photography Series
Gianni Galassi
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Photography Series
Teresa (Colourful Life) & roB_meL
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Photography Series
Camilo Todemann & Olli Kekäläinen
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Photography Series
Brancolina & Barbara Stumm
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Photography Series
Françoise Lucas & Leonie Polah
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Photography Series
Julian Gomez & Tom Mclaughlan
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Artists

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Alec Cheer……………………Annemie Hiele……………………..Azurebumble……………………Barbara Stumm

Brancolina………………….Camilo Todemann…………………..Daniel Molina…………………….Fernandoprats

Françoise Lucas…………….Gianni Galassi…………………….James Withey……………….John Kosmopoulos

Julian Gomez……………Krystina Stimakovits…………………Leonie Polah………………………….Lillykeeper

Lord Jezzer…………………..Lucie Bourassa…………………..Mark Valentine…………………..Olli Kekäläinen

Peter Moons…………………..Phédia Mazuc……………………..Rita Vita Finzi…………………………….roB_meL

Shari Baker……………………Steffen Tuck………………..Teresa (Colourful life)…………..Tom McLaughlan

Visualisarium…………………..Wilma Eras……………………Wouter Hogendorp……………………….Zel Nunes

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VIEW FULL BOOK PREVIEW AND PURCHASE HERE

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29
Mar
12

Ikko Narahara : Photography

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One of the co-founders of the legendary photo agency VIVO ( Shomei Tomatsu, Eikoh Hosoe, Kikuji Kawada, and others ), which was to be the epicenter for a new generation of Japanese photographers.

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‘Hibiya’
‘Tokyo the ’50s’ series
silver print
1959
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‘Aoyama’
‘Tokyo the ’50s’ series
silver print
1954-1958
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‘Shinjuku’
‘Tokyo the ’50s’ series
silver print
1954-1958
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Dress: Hanae Mori, Model: Hiroko Matsumoto
from the series: ‘Fashion’
silver print
1968
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‘Yurakucho’
‘Tokyo the ’50s’ series
silver print
1954-1958
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‘Engraved arrow, Arizona’
‘Where Time Has Vanished’ Series
silver print
1972
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‘Shimbashi’
‘Tokyo the ’50s’ series
silver print
1954-1958
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In his early work Narahara focused on people who were living in isolation from the everyday world, such as monks in a Trappist monastery or the inmates of a women’s prison. His work aimed at creating a ‘personal document’, he aspired to ‘a process of laying bare the inner form by thoroughly depicting the exterior’ (Ikko Narahara). Walking a tightrope between description and abstraction, objectivity and a personal narrative, Narahara transcended the journalistic documentary photography then prevalent in Japan. Furthermore, Narahara displayed a particular facility for abstraction and the staging of everyday scenes in strict graphic compositions as in, for example, the series ‘Tokyo, the ‘50s’…

At the beginning of the 1970s Narahara went to the USA. This was the location of his best-known series ‘Where Time Has Vanished’. During extensive trips across the country he photographed the mythic sites of the American Dream, vast landscapes, Indian reservations, automobiles, motels and casinos. In contrast to fellow photographers Gary Winogrand and Robert Adams, Ikko didn’t take a critical approach to the American scene. Ikko Narahara’s work is primarily poetic with surreal elements

‘As I drove across the land in Arizona and Utah and New Mexico, I began to have hallucinations that this was not the earth at all and that I had been thrown onto some other planet…’  ~ (Ikko Narahara)

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Ikko Narahara : Galerie Priska

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06
Feb
12

Grant Mudford : Photography

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‘Houston’
Grant Mudford
Photograph
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‘Los Angeles’
Grant Mudford
Photograph
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‘Los Angeles’
Grant Mudford
Photograph
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‘New York’
Grant Mudford
Photograph
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‘Los Angeles’
Grant Mudford
Photograph
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‘Australia’
Grant Mudford
Photograph
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” One of the most dynamic parts of the image to me, whether paintings or photographs, is the frame. Photographs, like paintings, have a frame. They have an extremity and they have a boundary. I’ve always been interested in what goes on in those edges. A lot of my photographs, particularly the early black and white photographs, there’s definitely a concern about the frame and what it’s cutting, what it’s suggesting just outside the frame. I’ve often had this massive building, or whatever, filling up most of the frame, and these slits of information, with backgrounds on the sides or the top, so the frame to me, is more than the time and the place.”

“The light is very important to me and very critical. So it often takes me longer than I would like to shoot a building. If it’s an important building and a decent scale it often takes at least two days to do it. The first day you never get it. If you disregard the light you could probably do it all in one day. But you can never be in the right place. There’s often two or three pictures that need to be shot simultaneously. The light is just right and you only have the time to do the one picture. Then the other two you can shoot, but the light is less than optimum. So you make a mental note or a written note about those pictures and you come back the next day. I tend go back to my architectural training. I’m very traditional when I shoot buildings. I love elevational views of the buildings.” – Grant Mudford

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Grant Mudford : Website

Grant Mudford : Interview

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Ai : Series : Photography Book

aesthetic investig...
By Azurebumble

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