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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Roberta Vilić : Paintings

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‘Untitled’
Roberta Vilic
Painting
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‘Untitled’
Roberta Vilic
Painting
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‘Untitled’
Roberta Vilic
Painting
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‘Untitled’
Roberta Vilic
Painting
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‘Untitled’
Roberta Vilic
Painting
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‘Untitled’
Roberta Vilic
Painting
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‘Untitled’
Roberta Vilic
Painting
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Works of Roberta Vilić act as “fields of memory (reminiscence)“- they are places of intimate, symbolical exchange, where private perception transforms into a visual code. “The work itself is a screen of the authors interior“, wrote Janja Feric for the occasion of Roberta Vilic’s exhibition in gallery Galežnica end 2002. Evocational character of the matter transforms the painting surface into a suggestive field. In the tactile game of associations, from structure of the matter itself rise or disperse diagrams and traces. Leaving an imprint of time eroded walls and evocate a metaphorical picture of passing of time.

Moreover, Roberta’s works constitute researches of space and surface/plane, structure, matter, and material. These are abstract compositions of reduced coloring, summarized to approbation of patterns of monochrome surfaces, grey, black or white, they are close to minimalism, and they address void and surface as central figures, activating the relation between positive and negative. On the surface of the painting, layer closest to the observer, one can sense words or letters as the only reference to the world of externality, and which in subsequent elaborations and research loses its narrative character by becoming an unobtrusive symbol, and by adopting abstract character of the sign. During this sublimation process a shift is apparent, deep ponderation, which results with cumulative sense of easement of the structure, its purification and appeasement.

The new works are produced in the continuity of the author’s expression, certain form-content patterns, and visible close communication with the heritage of informell. In time we find revelations and researches of a technical nature. Alongside parts of text and letters, cuts, scratches, ruptures and gaps appear as peer elements. The author addresses them as one does a graphical matrix. These are all messages inserted in the matter and contribute its expressive power and re-evaluation of our comprehension of elementary world of matter. Without evocating objective signs and symbols by principle of tautology. By conceptualization of reduction and recurrence methods, in almost monotone repetitiveness rhythm and change are bought by minimal and discreet shifts which emphasize uniqueness of multi-layered structure of each individual work. – Extract: Branka Benčić – Marisall Gallery

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Roberta Vilić : Marisall Galerija

Roberta Vilić : More Works

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Alni Stalke : ‘[Ex]Pride’ Series (Photography)

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‘[Ex]Pride’ Series
archival ink prints
50cm x 50cm
2004-08
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‘[Ex]Pride’ Series
archival ink prints
50cm x 50cm
2004-08
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‘[Ex]Pride’ Series
archival ink prints
50cm x 50cm
2004-08
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‘[Ex]Pride’ Series
archival ink prints
50cm x 50cm
2004-08
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‘[Ex]Pride’ Series
archival ink prints
50cm x 50cm
2004-08
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‘[Ex]Pride’ Series
archival ink prints
50cm x 50cm
2004-08
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‘[Ex]Pride’ Series
archival ink prints
50cm x 50cm
2004-08
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Industry in Soviet times was one of supreme pride and supporting points of Soviet ideology. After the nineties, when the Soviet Union collapsed, the great part of factories underwent difficult economical crisis because of various reasons. Raw materials of goods and prime cost of energy rapidly increased though society’s purchasing ability remained the same as well as manufactured production in its quality dropped behind imported goods from western countries. Even now, years after, the larger half of corps of old factories are sold and used as warehouses, or they just remain empty and vandalized.

The theme ‘Pride’ in my essay of photographs is interpreted as [Ex] Pride, having a look in interiors of factories and carrying a subjective visual research about former pride. As the essence in my photographs I have used inner environment of factories what even now doesn’t seem to be lifeless and goes on with its inner quiet life. …Noise of dropping water, wind in broken windows, old posters and documents, books from soviet times, personal belongings of workers…

I didn’t look for anything specific. I put my focus more on symbolic and broadly interpreted things and compositions what would be possible to understand with wide comprehension and in multi-levels. From my childhood I remember times when sirens in mornings and evenings announced beginning and end of a working day, and I remember times when suddenly closed territories of factories became approachable to anybody.

A great part of my youth passed in these forsaken corps and it was one of the main subjective motives why I choose this exact visual interpretation for the concept ‘pride’. Nowadays people who come here are very different. These are children and teenagers who come here to play, or have fun vandalizing. There are also people who try to find something useful for household or selling. – [Extract : [Ex]Pride]

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Alni Stalke : Website

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Adolph Gottlieb : Paintings

Adolph Gottlieb
Pink and Indian Red
Oil on canvas
1946

Adolph Gottlieb
The Seer
Oil on canvas
1950

Adolph Gottlieb
Pictograph-Symbol
Oil on canvas
1942

The story of Adolph Gottlieb is typical of that of the group of Abstract Expressionists. Close friends with Milton Avery and Mark Rothko from the early 1930s, he was a founder in 1935 of “The Ten,” a loosely defined group of Expressionist painters. Studiously attentive to the European avant-garde, Cubism and Surrealism in particular, he developed a pictorial format in the 1940s that he termed the Pictograph, a grid into which he inserted a personal symbolic language of forms, evocative of primitive myth.

In 1950 Gottlieb was the organizer of “The Irascibles,” a group that formed in protest to its exclusion from the Metropolitan Museum of Art and which has been immortalized in a photograph by Nina Leen. His work became more abstract, gestural and expressionist in the 1950s, leading up to a series of images, Bursts, for which he is now best known. [Extract : Adolph Gottlieb. A Retrospective]

Adolph Gottlieb : Selected Works

The Adolph and Esther Gottlieb Foundation