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Since 2015, John Divola has been making photographic projects in an abandoned air force housing complex in Victorville, California. By intervening in the buildings' disused interiors with spray paint then photographing the modified scenes, Divola creates work that sits at an intriguing juncture of photography, sculpture, and installation. The images in Terminus gaze down derelict hallways towards dark shapes which Divola has painted at their ends. Through layers of paint, dust, and plaster, they exert an unmistakable pull on the viewer, at once suggesting the deterministic forces of fate and the rupturing possibility of escape. Arranging and juxtaposing theses images within the book as a considered object, the artist leads the viewer on a stochastic and entrancing traverse through the abandoned compounds.
Photography, Artistic --- Abandoned buildings --- Divola, John.
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Between 1974 and 1975, the American photographer John Divola ? then in his mid twenties and without a studio of his own ? travelled across Los Angeles in search of dilapidated properties in which to make photographs. Armed with a camera, spray paint, string and cardboard, the artist would produce one of his most significant photographic projects entitled Vandalism. In this visceral, black and white series of images Divola vandalised vacant homes with abstract constellations of graffiti-like marks, ritualistic configurations of string hooked to pins, and torn arrangements of card, before cataloguing the results. The project vigorously merged the documentary approach of forensic photography with staged interventions echoing performance, sculpture and installation art. Serving as a conceptual sabotaging of the delineations between such documentary and artistic practices, at a time when the "truthfulness" of photography was being called into question, Vandalism helped to establish Divola's highly distinctive photographic language.
fotografie --- kunst --- installaties --- graffiti --- twintigste eeuw --- Verenigde Staten --- Los Angeles --- Divola John --- 77.071 DIVOLA --- Divola, John
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Photography, Artistic. --- Photographie artistique --- Divola, John --- Interviews --- fotografie --- Verenigde Staten --- documentaire fotografie --- Divola John --- twintigste eeuw --- 77.071 DIVOLA --- Photography, Artistic --- Artistic photography --- Photography --- Photography, Pictorial --- Pictorial photography --- Art --- Aesthetics
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Albergaria, Gabriela --- Antille, Emmanuelle --- Bäckström, Miriam --- Boberg, Oliver --- Divola, John --- Larsson, Annika --- McFarland, Scott --- Schorr, Collier --- Smith, Bridget --- Vallhonrat, Javier
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Burden, Chris ; Divola, John ; Hershman, Lynn ; Ireland, David ; Marioni, Tom ; Nagle, Ron ; Purifoy, Noah ; Rubins, Nancy ; Saar, Betye ; Thompson, Mark ; Villa, Carlos ; Wong, Al
installations [visual works] --- video art --- Film --- Photography --- photography [process] --- Art --- Nagle, Ron --- Ireland, David --- Saar, Betye --- Marioni, Tom --- Purini, Franco --- Hershman, Lynn --- Burden, Chris --- Rubins, Nancy --- Thompson, Mark[1950] --- Divola, John --- Villa, Carlos --- Wong, Al --- anno 1900-1999 --- United States --- United States of America
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A Handful of Dust is David Campany's speculative history of the last century, and a visual journey through some of its unlikeliest imagery. Let's suppose the modern era begins in October of 1922. A little French avant-garde journal publishes a photograph of a sheet of glass covered in dust. The photographer is Man Ray, the glass is by Marcel Duchamp. At first they called it a view from an aeroplane. Then they called it 'Dust Breeding'. It's abstract, it's realist. It's an artwork, it's a document. It's revolting and compelling. Cameras must be kept away from dust but they find it highly photogenic. At the same time, a little English journal publishes T.S. Eliot's poem 'The Waste Land'. "I will show you fear in a handful of dust." And what if dust is really the key to the intervening years? Why do we dislike it? Is it cosmic? We are stardust, after all. Is it domestic? Inevitable and unruly, dust is the enemy of the modern order, its repressed other, its nemesis. But it has a story to tell from the other side. Campany's connections range far and wide, from aerial reconnaisance and the American dustbowl to Mussolini's final car journey and the wars in Iraq. 'A Handful of Dust' will accompany Campany's exhibition of the same name, curated for Le Bal, Paris (opening September 2015), with works by Man Ray, John Divola, Sophie Ristelhueber, Mona Kuhn, Gerhard Richter, Xavier Ribas, Nick Waplington, Jeff Wall and many others, alongside anonymous press photos, postcards, magazine spreads and movies. Exhibition: Le Bal, Paris, France (opening September 2015).
Art --- Photography --- Conceptual --- dust --- Duchamp, Marcel --- Man Ray --- anno 1900-1999 --- anno 2000-2009 --- anno 2010-2019 --- fotografie --- fotografiegeschiedenis --- twintigste eeuw --- Duchamp Marcel --- Ray Man --- Divola John --- Ristelhueber Sophie --- Kuhn Mona --- Richter Gerhard --- Ribas Xavier --- Waplington Nick --- Wall Jeff --- 77.036 --- Exhibitions --- artistieke fotografie
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Heinecken, Robert ; Shore, Stephan ; Epstein, Mitch ; Levitt, Helen ; Meyerowitz, Joel ; Sonneman, Eve ; Slavin, Neal ; Krims, Les ; Sternfeld, Joel ; Christenberry, William ; Eggleston, William ; Groover, Jan ; Kasten, Barbara ; Divola, John ; Pfahl, John ; Misrach, Richard ; Callahan, Harry ; Rubinfien, Leo
Color photography --- 77.038 --- Callahan Larry --- Christenberry William --- Divola John --- Eggleston William --- Epstein Mitch --- fotografie --- Groover Jan --- Heinecken Robert --- Kasten Barbara --- kleurfotografie --- Krims Les --- Levitt Helen --- Meyerowitz Joel --- Misrach Richard --- Pfahl John --- Rubinfien Leo --- Shore Stephen --- Slavin Neal --- Sonneman Eve --- Sternfeld Joel --- twintigste eeuw --- Verenigde Staten --- Chromophotography --- Heliochromy --- Photography, Color --- Photography --- History
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Photography --- Film --- photography [process] --- video art --- Anleo, Xoán --- Cinto, Sandra --- Divola, John --- Henry, Una --- Hernández, Jonathan --- Hoeppe, Patricia --- Hugonnier, Marine --- Beuys, Joseph --- Ortega, Ana Teresa --- Dean, Tacita --- Monk, Jonathan --- Moffatt, Tracey --- Reis, Pedro Cabrita --- Grimonprez, Johan --- Marclay, Christian --- Mik, Aernout --- Bratkov, Sergei
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Sally Eauclaire --- Babis Larry --- Bartos Adam --- Bishop Michael --- Callahan harry --- Callis Jo Ann --- Christenberry William --- Clay Langdon --- Cohen mark --- Culver Joyce --- Dantzic Jerry --- Divola John --- Eggleston William --- Epstein Mitch --- Faucon bernhard --- Gowin Emmet --- Groover Jan --- Haxton david --- Hess Allen --- Hill Douglas --- Hockney DAvid --- Jenshel len --- Karant barbara --- Levitt helen --- Maloney Joe --- mcGowan Kenneth --- Mertin Roger --- meyerowitz Joel --- Mulberg Joanne --- parker Olivia --- Pfahl John --- Ravanesi Bill --- Rodan Don --- Rubinfien Leo --- Schwartz mark --- Shore Stephen --- Skoglund Sandy --- Slavin Neal --- Smith W. Eugene --- Sonneman Eve --- Sorce Wayne --- Steiger-Meister Carla --- Sternfeld Joel --- Taussig Arthur --- Thies Rocky --- Torbert Stephanie --- Webb Boyd --- fotografie --- kleurenfotografie --- Samaras Lucas --- 77.038
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