Architectural black and white photography.
Result #1
Architectural black and white photography. The pictures are in the process of being prepared for the installation, yet they must remain in their original state. The black and white black-and-white is in the process of being prepared for the installation is a familiar, long-standing problem that has developed in new and experimental ways. For example, the production of optical images has moved from conventional image-printing techniques and become the unusual and hitherto unexploited photographic method of producing images. The physical processing of the images is the subject matter of these new photographs, and the results of the physical process provide the background for the photomechanical structures in the photographs.In these new photographs, a series of sequential photographs are taken in black and white using an unusual, unusual process, called onliew. From images of a particular type of human or natural phenomenon, the photomechanical structures are manipulated in order to achieve the desired form. For instance, the plastic of a window is cut into lines, painted, and mounted on white polypropylene, which makes the lines more orderly and clear than they could be in a black-and-white photograph. The plastic, by virtue of its physical structure, is more rigid than it is when it is white and the lines are more loosely drawn. The white plastic and the yellow plastic—the plastic that is both transparent and opaque—play a similar role in the work. Another photo, an illustration of a split-second moment in time, demonstrates the perpearance of a moving line in the way it is formed by the thick black line.The new photographs take their shape from the split-second moment of consciousness experienced in waking and in which the world itself is seen as a subject. The photos are made up of the same systematic procedures as the previous work, but this time the processes are designed to achieve the desired effect.
Result #2
Architectural black and white photography. This title calls to mind the photograph, but the process of production is to the photographer, not the photograph, so that the photographs are more like gestural paintings than architectural models. Pertinent here, I think, is the difference between the image and the photographically reproduced image, or, at least, the images that are not photographically reproduced. The photograph, as Pertinent notes, is always made up of a series of points of view, from a great many different angles, in various intensities of color, and multiple viewpoints. By contrast, the photographs with digital magnification and the ones with more remote light sources, such as those from TV sets, have a more limited number of views. Consequently, the resulting image is denser and more diffuse than the real photo, and the images cannot be seen as photographs. Pertinent too seems to suggest that by using an enlarged or more distant camera, and by limiting the number of views, we are more accurately imaging the objects in the photographs. But to take this point further would require the images to be the result of a process of accurate measurement, as opposed to a mere recording of the objects. Rather, the question is, can we use an image as an accurate method for measuring the objects in a photograph?Pertinent is interested in the laws of perception, in how we perceive space and the things we see. But the idea is not to make an image like a photographic image by adjusting the size of the image. On the contrary, the closer you get to a photograph, the more apparent the deception, the more often the illusionism, which is the critical ingredient in a photograph. In other words, the illusionism, or the fabrication, of the illusion, comes from the way the illusion is made and the way the illusion is made.
Result #3
Architectural black and white photography. The scene is one of several she has photographed over the past decade, while she maintains a keen interest in the informal areas of image-making, and in her own memory, as a substitute for the formal methods of the modern world. An older black and white photograph of an uninhabited bridge between Seoul and the Bay of Bengal, for example, served as the basis for the 2013 collection of three photographs entitled The Yümen tokkan (The City to the West), which appeared in the same exhibition at São Paulo's Centro Cultural Cienal.In March 2014, the curators of the first of the Yümen tokkan showed the same images at the exhibition Frieze, a discussion event organized by the Deichtorhallen in Düsseldorf. Since then, the latter event, along with a number of similar events at the Frieze, served as an initial text for the second, titled Rücken auf (If You Want to Be a Writer), which was presented in 2014. (The latter exhibition took place in two parts: The Yümen tokkan was organized as a book.) While the two exhibitions were not directly linked, the Yümen tokkan was, according to the catalogue, a series of forty-five photographs depicting anonymous passersby in the street in Seoul in the middle of the sixteenth century. More than fifty years of film, photos, and books from that era were organized into four compendia, titled Käule mit Tragäum (Book with Tragic) (Käule mit Tragic), each composed of forty-five black-and-white images of street scenes. These were arranged on two identical sheets of plywood, mounted on the same stretcher. Each sheet was arranged on a four-inch stretcher, leaving a one-third to a one-quarter inch gap between them.
Result #4
Architectural black and white photography. The juxtaposition of the black and white images is, of course, clear and important. If one does not know the color and the same is true for the black-and-white photographs, one doesnt understand the show. In this sense, Surrealism is indeed a contemporary manifestation of 19th-century idea of the invisible and the unseen. The same idea, in fact, is at work in the modern architecture photography, which is made to appear unseen.What is surprising about these photographs is not what they depict, but the way they render their subjects. In other words, they render a mass, an audience or the world at a glance. What one can see in the photographs is what one must see in a building, a structure, a landscape, a fashion, a single scene. The architectural images themselves are controlled by the architects, by the photographer, but Surrealist architects and photographers do not let themselves be controlled by their own work. Instead, they control the audience—or the crowd, as we call it—and they do so with the bareest essentials, from a piece of paper to a camera—to the very rawst detail.The photographs seem to surface, in part, because the subjects are made to appear opaque or off-limits. The architecture photographs usually cast their subjects in shadows, but as the shadows are all but lost in the black-and-white photography, the light does not alter the shadows. In these photographs, one cannot make out the shadows. The shadow, then, is a very specific, subjective, personal feeling; it is a feeling that does not depend on either the architect or the photographer.In the photographs, the shadow does not reside in the shadow of the building, but in the shadow of the shadow of the building. In one of the most memorable photographs, by the architect-photographer Charles A. Jacobs, the shadows of the human figure in the shadow of a building are almost indistinguishable.
Result #5
Architectural black and white photography. Exercises on mechanical reproduction, to use the terms of the exhibition catalogue, were numerous, and several pieces were designed to repeat the same set of features, the mechanical key being for example a mirrored surface. So, for example, the Logs of Lighting, 2001, was made up of a pair of mirrors in a sliding frame; the mirrored screen, in turn, mirrored a mirror, sometimes several times. Other pieces displayed digital images of mechanical operations, such as those of a handwashing machine, the same watch as that used to produce the mirrored screen and a display of blocks of wood. (The wood blocks were made by drilling into the wood and then sanding the material, producing the dabs.)The installation at the Whitney Biennial did not substantially differ in theme from the exhibition at the U.S. Pavilion; although one side was dominated by the last surviving two large-scale pieces, including the original model from 1961, and the other by the Large Mechanical Company, the latter was less grandiose and thus more experimental. The change was noted by the bright, living-room-style lighting (in the 200-plus-foot ceiling) that illuminated many of the works, in an installation that echoed the objects themselves, but also echoed the atmosphere in the museum. My father, a retired city marshal, once told me he once sat at a table with his son, and during a brief time each morning he was impressed by the luminous heat, the way it magnified the floor. If the Bauhaus is one of many ways in which the most innovative form of modernism can be preserved, its reflected in the kind of spirit the artists who built it often pursued. Silas and Corrigan are not Bauhaus artists, as much as they are Baudelaireians—in the work of both they point to the possibility of adapting modernism to the postmodern environment.Not all of the works on view here were new.
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