Gautier Pellegrin photography fashion landscape and thoughtful images

Result #1

été romantiques été politique (A Critique of the Politics of Photography), 1977, demonstrated his ability to represent diverse social spaces in the same image. The show opened with two sets of individual photographs taken by Gautier Pellegrin in the 1970s, while a group of them were shown in the Pompidous Neufchamp in Paris and in the Picnic of the Ornamental Palaces in New York, where he organized his first group of photographs. The group of images (some of which were also shown in Paris) included a séance, a swim, a street fight, a corpse, a plastic toy, and a baby. The same group of images, however, was shown in New York, though in a different form. The images, which were taken by Gautier Pellegrin at the Ninth Arco Biennale in 1968, were transferred to the New York Times Building. In this way, the images were placed on a par with the Times Building, while still retaining the character of the Times photograph as a snapshot. In this way, the images were placed on a par with the Times Building, while still retaining the character of the Times photograph as a snapshot.In an interview published in the catalogue, Gautier Pellegrin says that his images are like photographs that have been made by a software program. The program can take photographs, create photographs, and then analyze and transform them. For the digital image to be created it must be about something, not only about the subject matter but also about the photographic process. For Gautier Pellegrin photography is an act of interpreting and transforming images, and his photographs, in this way, are a reflection on the process of interpretation and interpretation.

Result #2

Gautier Pellegrin photography fashion landscape and thoughtful images vernacular, yet wryly personal, such as a black-and-white image of a pile of piles of books, the tail end of a black-and-white chair, and a faded head shot of an anonymous subject wearing an eyeglasses. But there were also more clearly formal choices, such as a performance of auteurs and performers at a French Polynesian temple, or a photo of an unknown man/boy in a green suit and yellow shirt. The paintings and photographs, which look less like homages to the men of Paris than like dry-brush copies of Marcel Duchamps famous Girl and Ugly Girl, also had a sort of hippie chic, and the images have a pastel-hued, pasty look. Some of the photographs were shot in an abandoned French port of call, the gardens of the local zoo, and were subsequently destroyed. But the fact that the photographs were never destroyed suggests that, contrary to the artists intentions, they were not found in nature, but were instead stolen from the archives of a private collector.If the works on paper have a quality of melancholy, the photographs in the same vein have a mood of wistfulness. The photographs, which depict the artists and their children in various states of undress, are clearly symbolic of their time. But the images are also highly romantic images—the remains of a dream, as Roland Barthess Romanticism would have it. The photographs are also self-portraits of the artists, although they are not quite as singularly posed as the photographs of their father. In fact, there is a slight whiff of father/son fantasy in many of the photographs, which could be construed as a kind of weird, deadpan expressionism. In one image, a couple poses for the camera, one holding a beer, the other a woman in a bathtub, but their eyes are closed, and the water flows from the tubes through the closed eyes.

Result #3

épocultural history and its evocation of a golden age. For all the contemporary interest in the cultural legacy of the seventeenth century, we remain plagued by the loss of the patina of human history that marks the natural and social landscape of this era.

Result #4

Gautier Pellegrin photography fashion landscape and thoughtful images  of the colonial and early modernist architecture of the French-speaking regions of the Netherlands. The most recent work shows a shift in position from a respectful nod to a nudge toward humor. The shows title, Complications, was a pun on the name of a particular series of photographs that was made in collaboration with the artist to illustrate a text written by the late American novelist David Foster Wallace. The series is a kind of family album of accidental incidents—from the white cube to a T-shirt that flips over a hole in a top. In one photograph, a mother and daughter are seen crossing a trash can in a trashy park. The mother is seen from behind, the daughter from the rear, but neither is smiling. Both are wrapped up in bright-orange plastic bags; one of the girls holds a flashlight as she gets into a plastic bag. A tangle of chain links hangs from the wall in the background, and three cast-iron nails that are reminiscent of a set of nails on a watermelon are visible in the foreground. The photograph appears as a record of something already overgrown, but the objects that are visible in the background seem somehow placeless and impervious. The set of tiny-scale pictures is arranged as if on a computer-generated wallpaper, with the intruding chains, heavy chain-link, and nails marking the boundaries between interior and exterior spaces. The unusual, out-of-place arrangement, along with the constructions of metal, plastic, and iron that appear throughout the work, contributes to a sense of disorientation that is both naturalistic and artificial. The images that are found in the background take on a dreamlike quality; they seem somehow inadequate to the reality of the scene. The larger pictures, which were displayed in a room labeled Clotheslines, are analogous to the clothesline that terminates a stroll through the park: a symbolic chain of place.

Result #5

études by moderns such as Dieter Roth, Heinrich von Kleist, and Jan Dibbets. The fact that, while a student in the art world, Pellegrin developed a large following is a testament to the important legacy of his work.