Arquivos da categoria: Conhecimento
Fotografando em 8×10 e imprimindo em Cibachrome, no enceramento da fabricação comprou um estoque de material para trabalhar por mais 10 anos.
Técnica que usa papel fotográfico tradicional, base de fibra, onde a prata metálica é rebaixada, e na zona da imagem é depositada tinta gráfica, oleosa , que é repelida nas áreas onde a gelatina está umedecida, processo semelhante ao offset ou à litogravura, no aspecto do positivo/ negativo, água / óleo.
fotogramas, quimigramas, tintypes, impressões de colódio sobre metal.
Michael Koerner (Okinawa, Japan, 1963) is the oldest of five brothers. Due to genetic abnormalities and cancer, he is the only remaining living son. His brothers’ fates (and potentially his own one day) can be linked to their mother, who was eleven years old on August 9, 1945 when the atomic bomb was dropped on Nagasaki. She lived in Sasebo, Japan, 45 miles away from the blast. The long-term effects of severe, acute exposure to gamma radiation led to his mother’s death at an early age, and all of his brothers. Koerner’s work explores his family history and genetics through small tintypes, using photographic chemistry to assimilate the bursts and biochemical fallout from the atom bomb.
Cette montagne c’est moi
is about me. Translated literally, it means ‘This mountain that’s me’. It was initially an association of image and meaning that let to the subject matter. The carbon in coal is the same carbon referred to in carbon printing. Carbon printing is a photographic printing process that is excellently suited for reproducing dark tones. Moreover, the black triangle of a coal mountain silhouetted in the landscape is a fitting sequel to my earlier photographs of Dutch landscapes comprised of rectangles. For this project I developed a variation on the carbon printing process, a photographic printing technique from the 19th century. I took a bit of coal from every mountain I photographed. I then ground this coal into a pigment that I used to make photographic paper. I used this paper to make a print of a mountain with the coal originating from that mountain. In other words, the object of the photo, the mountain, has become one with the subject of the photo, the print itself.
2013 – 2016
A Forest Reconstructed
photographs on forestry in Finland, Sweden, France and Belgium
The landscapes I have photographed over the past years cannot be unambiguously regarded as natural or cultural landscapes. In the same way, it is not clear in this work what the most appropriate representation of reality is: a drawing, a negative or a print. Although the photographic image has remained my starting point in this work, I question the self-evident connection with the natural reality that it has taken on in our consciousness.
2013 – 2016
A Forest Reconstructed
One: a blank sheet. 26 white prints in three layers of titanium white on single weight baryta paper. 1 + 1 artist proof.
Two: a forest on a drawing table. A series ‘photographic’ drawings of 54 negatives, complemented by notes of measurements taken in the field. This series is presented as a hand-drawn sketchbook in an edition of 10. Each book contains a ‘multi-layered’ color carbon print of one of the negatives in a 28 x 48 cm format. And 6 ‘multi-layered’ color carbon prints without a book. Every book and every print is unique.
Three: a collection in time and in space is the last part of the project. In this part trees from different negatives are brought together as a collection, based on the concepts of time and space. Carbon print from a digital negative, 23×57 cm. Edition 3 + 2 A.P.
antotipias e daguerreótipos feitos em ampliador
Binh Danh: In the Eclipse of Angkor at the North Carolina Museum of Art reveals Vietnamese born artist Binh Danh’s search to imbue photographs with meaning not only through subject
exposição de pesquisa artística em fotogramas de alunos da Universidade Humbolt de Berlin no Museu de Fotografia