Posts Tagged ‘landscape painting

31
Mar
09

Publication of ‘Jpegs: Photographs by Thomas Ruff’ from Aperture Foundation

 

“How much visual information is needed for image recognition? A pretty small quantity of data will go a long way for the brain and the computer, both of which take shortcuts for the sake of speedy comprehension. In the Jpegs series, German photographer Thomas Ruff exploits this imprecision in digital technology, locating online jpegs and enlarging them until the pixels emerge in a chessboard pattern of near abstraction. A closer look at these images reveals that, in addition to the degeneration of the image into a digital grid, the color and brightness generated by the algorithms of the compression also become visible. Many of Ruff’s works in this series focus on idyllic, seemingly untouched landscapes, or conversely, on scenes of war and nature disturbed by human manipulation – subjects ill suited to disruptive pixelation, and therefore perfect for Ruff’s purposes. Taken together, these images constitute an encyclopedic compendium of contemporary visual culture that also engages the history of landscape painting. A fittingly deluxe and oversize volume, Jpegs is the first monograph dedicated exclusively to this monumental series.” 

Text from the Amazon website

 

Thomas Ruff. 'jpeg sh01' 2005

 

Thomas Ruff
‘jpeg sh01’
2005

 

Thomas Ruff. 'jpeg ca02' 2004

 

Thomas Ruff
‘jpeg ca02’
2004

 

“Thomas Ruff is among the most important international photographers to emerge in the last fifteen years, and one of the most enigmatic and prolific of Bernd and Hilla Becher’s former students, a group that includes Andreas Gursky, Thomas Struth, Candida Höfer, and Axel Hutte. In 2007, Ruff completed his monumental and very timely Jpegs series in which he explores the distribution and reception of images in the digital age. Starting with images he culls primarily from the Web, Ruff enlarges them to a gigantic scale, which exaggerates the pixel patterns, until they become sublime geometric displays of color. A fittingly deluxe and oversized volume, Jpegs (Aperture, June 2009) is the first monograph dedicated exclusively to the publication of Ruff’s remarkable series.

 

Thomas Ruff. 'jpeg msh01' 2004

 

Thomas Ruff
‘jpeg msh01’
2004

 

jpeg-soi01-2005

 

Thomas Ruff
‘jpeg soi01’
2005

 

When viewed up close the images in Jpegs look abstract; as you move away they merge into decipherable photographic images. Like Impressionistic paintings, Ruff’s photographs require the viewer’s active participation and shift in perspective in order to make a complete assessment of the image content. The work ranges from idyllic, seemingly untouched landscapes and popular tourist spots, to scenes of war and nature disturbed by human manipulation. Places and global events that have defined the visual media world of recent decades are represented, including the familiar, almost iconic pictures of atomic bomb tests; 9/11; scenes of warfare in Baghdad, Beirut, and Grozny; the killing fields of Cambodia; and the ravaged Asian coasts after the 2004 tsunami, among others. Taken together, these masterworks create an encyclopedic compendium of contemporary visual culture that also actively engages the history of landscape painting. Jpegs is a testament to the effects of the digital age on the medium of photography.”

Text from Artdaily.org website


Thomas Ruff. 'jpeg ny02' 2004

 

Thomas Ruff
‘jpeg ny02’
2004

 

Book available from the Amazon website from May 2009

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25
Mar
09

Review: ‘The Big Black Bubble’ exhibition of paintings by Dale Frank at Anna Schwartz Gallery, Melbourne

Exhibition dates: 12th March  – 11th April 2009

 

“The immersive scale of these new paintings at Anna Schwartz Gallery Melbourne allows us to experience their inner qualities of landscape and of transformation. This is painting at fundamental authenticity. The paint is its own agent; it is allowed to act, to behave. The artist is the facilitator of these phenomena of nature and natural forces, whose residue is a metaphor for nature itself.

Black contains all colours, contours and depths. A pink monochrome is transformed by pure varnish into an expressionistic moment of process and performance. All colour is absent from elemental silver aluminium and form and gesture alone survive. New dynamics are possible through an innovative colouration: the emergence of colour through black, and its equivalent power.

Dale Frank’s painting is one of poetry, performance and nature. It represents both the macro and micro. Huge universal forces pulsate with molecular, atomic activities. Imagination is gifted by the artist to the viewer. These are our paintings to create.”

Anonymous text from the exhibition flyer.

 

Dale Frank. 'The Big Black Bubble' installation view at Anna Schwartz Gallery, Melbourne 2009

 

Dale Frank
‘The Big Black Bubble’ installation view
Left to right: ‘Timothy Oliphant’ (2008), ‘Ryan Gosling’ (2008/2009) and ‘Matthew Macfadyen’ (2008)
2009

 

Dale Frank. 'The Big Black Bubble' installation view at Anna Schwartz Gallery, Melbourne 2009

 

Dale Frank
‘The Big Black Bubble’ installation view
Left to right: ‘Daniel Radcliffe’ (2008/2009), ‘Khan Chittenden’ (2009) and ‘Rupert Grint’ (2008/2009)
2009

 

This is a brilliant exhibition by Dale Frank, one of my favourites so far this year in Melbourne.

Six large varnish on linen landscape paintings are presented in the beautiful Anna Schwartz gallery space in Melbourne. Photographs really do not do the paintings justice – they can only give an impression of the size and scale of the work but not of their intimacy or smell. The smell of varnish permeates the air. The serendipity of the natural convulsions of the varnish and the facilitations of the hand of the artist, his performance, have been caught like bugs in amber in the final molecular structure of the painting. Here are pendulous, globular goops of varnish, immersive heroic tone poems that form images in the mind of the viewer. Moving close to the paintings you are surrounded by flows and eddies, the macro and the micro; details become more apparent as you study the work.

While disagreeing that these paintings are the viewers to create (the viewer as author) what I can say is that the artist offers the viewer the ability to generate their own resonances with the painting, to use the imagination of ‘equivalence’ to suggest what these paintings stand for – and also what else they stand for. States of being, of transformation, wonder and joy emerge in the playfulness of these works. Perhaps this is where the titles of the paintings come from, referencing film actors in the pop tradition, but this is the only thing that did not ring true with the work, their titles. The use of this trope seems to me a bit facile given the nature of the work.

The hot pink painting ‘Rupert Grint’ (2008/2009, above) is hotter and lighter than in the photograph above, the varnish more translucent, the effect altogether mesmeric. You are drawn into the work, the intensity of the colour, the thickness of the hanging varnish. Two cosmological galaxies (‘Timothy Oliphant’ (2008) and ‘Matthew Macfadyen’ (2008)) surround the most complex painting in the exhibition, the darkness and light that is ‘Ryan Gosling’ (2008/2009, below).

 

Dale Frank. 'Ryan Gosling' (2008/2009)

 

Dale Frank
‘Ryan Gosling’
2008/2009

 

This painting is a tour de force. With the poetic structure of an oil spill, the varnish forms intricate slick upon slick contours that are almost topographical in their mapping. The black oozes light, becomes ‘plastic’ black before your eyes, like the black of Rembrandt’s backgrounds, illusive, illuminative and hard to pin down – perpetually hanging there in two dripping rows, fixed but fluid at one and the same time (you can just see the suspensions in the photograph above).

The painting reminds me of the black paintings of Mark Rothko that he undertook for The Rothko Chapel in Houston, Texas (see below). As with the Rothko paintings, this painting is not just black (physically there are swirls of purple as in the Rothko paintings), not about darkness at all. What both artists do is create a contemplative, transformative space  – in Frank’s case for a world on the edge of oblivion. This is a post post-modern landscape: process and nature, performance and chance coalescing in the colour : black!

This painting is one of the most overwhelming syntheses of art and nature, of universal forces that I have seen in recent contemporary art. This exhibition is an electric pulsating universe of life, landscape and transformation. Magnificent!

M Bunyan

 

The Rothko Chapel, Houston, Texas

 

The Rothko Chapel
Houston, Texas

 

 

Anna Schwartz Gallery

185 Flinders Lane
Melbourne 3000
Australia

+61 3 9654 6131

Tuesday – Friday 12-6pm
Saturday 1-5pm




Marcus Bunyan black and white archive: ‘Études’ 1994

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Dr Marcus Bunyan

Dr Marcus Bunyan is an Australian artist and writer. His work explores the boundaries of identity and place. He writes the Art Blart blog which reviews exhibitions in Melbourne, Australia and posts exhibitions from around the world. He has a Dr of Philosophy from RMIT University, Melbourne and is currently studying a Master of Art Curatorship at The University of Melbourne.

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