Experiment #1 Artists


RESOURCES ABOUT COLOUR and ARTISTS

 

Go here. It’s an amazing resource of artists.

OR, HERE TO THIS GREAT web-based component to a larger MOMA exhibition about reinventing color

Yves Klein | TATE Modern | MOMA


Go here. It’s an amazing resource of artists.

OR, HERE TO THIS GREAT web-based component to a larger MOMA exhibition about reinventing color

Yves Klein | TATE Modern | MOMA

 

Sophie Calle | Chromatic Diet | Explanation about the project

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JESSICA EATON

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Jessica Eaton | Interview in The Believer | Her personal blog | Her professional site (click on galleries to access images) | Interview in Canadian Art | Good list of interviews
Lenscraft:Jessica Eaton Asks Us to Think About What We See

This following text is from various interviews with Eaton, published or referenced from her blog.

“She was aware of the science of light at work even in what she calls “normal” photographs, aware that subject and content buried those phenomena, preventing viewers from seeing what was there. In 2006, her work shifted and she began to bring those hidden elements to the forefront. She isolated light and color and time, even though to do so was to challenge the classical definition of photography as a way to capture a single moment.

“Using a wide array of experimental, analogue-based photographic techniques such as colour separation filters, multiple exposures, dark slides and in-camera masking Jessica Eaton builds images on sheets of 4×5 film that address fundamental properties of photography such as light, chance, duration, illusion and spatial relations.  Eaton has written: “I often set up parameters for phenomena to express itself. In the best of cases I push things so that the response comes in ways that I could not have thought up until I was shown it on film. Once you get to see or experience something you can use it. Then you can use it to see something else.”

A quote from a TIME magazine article:

“Canadian photographer Jessica Eaton uses her camera to create color invisible to the naked eye. She gives bright hues to gray forms in her series Cubes for Albers and LeWitt, and that work was recently awarded the photography prize at the 2012 Hyères International Festival of Fashion and Photography—a prize for which TIME’s director of photography Kira Pollack sat on the jury.

Jessica Eaton

“We’ve all mixed two colors of paint together, and either it makes another color or, if you keep going, it gets muddy and progressively gets darker,” she explains. “In light, things work really differently.” Eaton explains that she exploits the properties of light through additive color separation: whereas the primary pigment colors (red, blue, yellow) get darker as they blend, the primary colors of light (red, blue, green) move toward white. Eaton applies filters in those three colors to her camera and takes multiple exposures, a process that turns the gray form seen here into the vibrant ones seen above. “The color itself is mixed inside the camera,” she says.

One of the byproducts of Eaton’s process is an element of surprise: because her images are created within the camera, she doesn’t know what she’ll get until the photos are developed. “It’s a bit of a conversation with the world,” she says. “With the forces of time and space and contingency and errors that happen, because often there’s so many steps going into one of these, I get back something that’s also new to me, and those are the pictures that tend to end up in exhibits.”

But the photographer likes challenging definitions, and not just photographic ones. Although she dislikes the term “abstract” as a description of her work—it implies that the light she captures doesn’t exist in reality—Eaton says that her photographs acknowledge “how incredibly limited our ability to perceive the world is.” We lack the sensory mechanisms to see her colors with our naked eyes, and Eaton sees that as a metaphor for our inability to see the extent of the physical universe, whether it includes multiple dimensions or parallel universes. And, in that metaphor, she sees hope. “I love the idea that no matter how bad it gets,” she says, “there’s this wild so-called reality way beyond what we have decided it is.”

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Atira Frankel – Final Project Research

Interest: Abjection, Intervention, Identity/Psychology

Inspirations:

Alexa Meade
Takes the 3D world and transforms it into a 2D painting.

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“Blueprint” (2010)

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“Activate” (2012)

 

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“Risen in progress” (2012)

Website: Alexa Meade
Instagram: @alexameadeart

Jo Spence
Photo-Therapy and The Picture of Health? are both series responding to her cancer diagnoses. Narrative, confrontation, and self-identification are prominent characteristics in her work.

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“Photo-Therapy” (Infantilization – Mind/Body) (1984)

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“The Picture of Health?” (1982-86)

Website: Jo Spence

Richard Renaldi 
His Touching Strangers series has a unique take on the intimacy between two individuals, who have never met, but appear to be cohesive in the photograph through invitation of chance.

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“Tim, Alaina, and Charlie” (2012)

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“Chris and Amaira” (2012)

Website: Touching Strangers Series

 

Post from Marina

Consumption

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Geoff Johnson-Behind the Door

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Geoff Johnson-Behind the Door

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Geoff Johnson-Behind the Door

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Geoff Johnson-Behind the Door

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Brian Ulrich- Copia

Copia, Retail

Brian Ulrich- Copia

Copia, Retail

Brian Ulrich- Copia

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Brian Ulrich

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Chris Jordan

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Chris Jordan- Circuit boards

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Chris Jordan- Cell phones #2

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Andreas Gursky

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Andreas Gursky-99 Cent

 

Final Project – Research Presentation: Framing the Everyday

Joel Sternfeld

The collective American identity through the documentation of everyday people and locations

http://www.luhringaugustine.com/artists/joel-sternfeld

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Vineland, New Jersey, March 1972

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Grafton, West Virginia, February 1983

William Eggleston

“Monumentalize” everyday subject matter

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http://www.egglestontrust.com

https://www.artsy.net/artist/william-eggleston

 

Helen Levitt

Street photography

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https://www.moma.org/artists/3520

“7 lessons Helen Levitt has taught me about street photography”

Jordan Walters – Research Presentation

The Technical, Conceptual, and Formal  – Liz Deschenes – Green Screengreen-screen

A project of mine from 2001 is titled Green Screen Process. It’s a series of photographs that literally have green screens as their “subject matter.” The large green monochrome backdrop is a photograph, and could “act” as the thing that it is depicting.   -What does the Camera know, but never capture?

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In the ‘Passages’ (2009) series, nebulous large-scale colour prints confess their trajectory through an airport X-ray machine in the form of blurred lines and hazy irregularities. Echoing the processes of fingerprinting and body scans used in the increasingly politicized zone of the airport, the images are an appreciable evocation of the legislative and ideological transformations of a post- 9/11 world, as felt by every traveller. (The project is an intentional exercise stemming from an earlier accident, when film Beshty had taken of the deserted Iraqi Diplomatic Mission in Berlin was run through X-ray machines during his journey, and later shown at the 2008 Whitney Biennial.) They are also thoroughly charming abstract fields of fading colour: the new systems of corporeal degradation exercized in airports since September 2001, which establish a state of exception as a civic norm, are rendered oddly palatable.

 

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Adam Broomberg and Oliver Chanarin have been concerned with Undisclosed images, and the ability to employ it as a technique to point out a kind of simplistic politically charged seeing that occurs in traditional war photography.  Abstract photography could be understood as photography that is free of representational qualities, but that would assume it as having the same linear history alongside the history of abstraction in painting. In my understanding, there really is not abstract photography, except from our sloppy use of the term ‘abstract.’ We call something abstract the moment it references some gesture that we recognize from a modernist painting, or if the photo doesn’t disclose to us right away what it is. So, the phrase abstract photography usually means, “This image has not disclosed its meaning/sense to me right away.” Undisclosed, is a more precise term. It describes those images that offer us objects “defined by their concrete, material existence, referring to nothing outside themselves.” To be undisclosed does not mean that disclosure is not possible—it just means that at this moment in time, that is not what is going on.  These images are unidsclosed, for the purpose of revealing.  It only reveals what is truly there, what it truly going on in the war, by avoiding the representational qualities.

 

John Hilliard – Camera recording its own condition.

John Hilliard  – 60 Seconds of Light.

Both of these works are concerned with Light and its dual-function.  Light discloses.  Light conceals.  Light, understood through the photographic processes, is has a dual-function.   It is both that which reveals and that which conceals. The light in a photograph can make present the detail of something, but the absence of it can conceal something that we may know to be there. To bring it back to Gordon Matta-Clark, his Splitting work mimics the dual-function of light in photography. The saw that cut through the house both revealed a strip of light that echoed back to the domestic object that it once was and called forth a new understanding.  Similarily, Hilliard is making work that reveals the functioning of the camera in its creation.  Splittincannot be understood apart from the act of the saw and what it did to the object that was there before the saw came into it.  Hilliard’s work cannot be understood apart from the camera and its particular qualities of representation.  The camera never records raw-data.  The setting of the aperature, the shutter speed, etc… are all concerns of the photographer and could be called abstraction in the loose-sense.

 

Are We done Photographing Things?

If we shift our focus away from asking, “Is there anything left to photograph?” we can begin to explore ways of looking/understanding that doesn’t depend on things, but rather, the thing that makes their thingness present at all. Light, time, memory, space, objects, processes, understanding, looking, and seeing. These are not things that occur in the world of cups, tables, chairs, laptops, walls, windows, and atoms. They are a different kind of thing.  

Exploring “Abstraction” without talking about it.

Can the way the vernacular language around photography, that associates anything that is not immediately disclosed, as abstract be used to our advantage.  What does this implicit interpretative model bring to our toolbox as photographers?hing that makes our understanding of things possible.