bicycle life of the downtowners, scooting around, some at inmo gallery.
Tuesday, February 26, 2008
Monday, February 25, 2008
indoor velodrome racecars
I have been riding around with my friends in downtown Los Angeles, they all have bicycles. its a lot of fun riding through the streets. beats driving by a million miles, you have just got to watch out for all the maniacs and phsychotic bus drivers. I tell you, those bus drivers...
these are all taken with my crack shot point and shoot Minolta 35
Sunday, February 24, 2008
excerted from the Bechers conversation with Michael Kohler
MK.
How did you develope that specific view of objects which has become typical of your work?
HB.
...and at the same time a view that makes the objects comparable-as long as we stick to it. because its only really when you have the same vantage point that you can lay the photos along side one another and realize what they have in common, what is specific to the basic form of a blast furnace or a cooling tower and what is individual variation.
MK.
But in that case the photographer completely abandons personal expression in favor of subservience to the particular object?
BB.
That's right, the object is in the foreground and not the photographer. The more precisely you get the object in the picture the more its individuality is highlighted. And that is what we, at least, consider to be most important. It allows us to excesise our subjective preferences in the choice of object we photograph; we then use these in tableaus or include them in exhibitions or in our books.
What Hilla and Bernd Becher are talking about here really strikes a chord with me in my portrait series. I definately regard their methodology as a key understanding and approach. With this in my mind, I think I would like to present the portraits in this style of grouping, in sets of three, a total of 9 images per set, and in accompaniment large single shots.https://www.artsy.net/artist/bernd-and-hilla-becher
How did you develope that specific view of objects which has become typical of your work?
HB.
...and at the same time a view that makes the objects comparable-as long as we stick to it. because its only really when you have the same vantage point that you can lay the photos along side one another and realize what they have in common, what is specific to the basic form of a blast furnace or a cooling tower and what is individual variation.
MK.
But in that case the photographer completely abandons personal expression in favor of subservience to the particular object?
BB.
That's right, the object is in the foreground and not the photographer. The more precisely you get the object in the picture the more its individuality is highlighted. And that is what we, at least, consider to be most important. It allows us to excesise our subjective preferences in the choice of object we photograph; we then use these in tableaus or include them in exhibitions or in our books.
What Hilla and Bernd Becher are talking about here really strikes a chord with me in my portrait series. I definately regard their methodology as a key understanding and approach. With this in my mind, I think I would like to present the portraits in this style of grouping, in sets of three, a total of 9 images per set, and in accompaniment large single shots.https://www.artsy.net/artist/bernd-and-hilla-becher
Tuesday, February 19, 2008
eric kroll and friends in Detroit
kroll in the basement of C pop gallery, Detroit
les barany and kroll
kroll solo
dirty show Detroit
anne-marie
on route from bt's to Detroit
kroll and bt in niagara and colonel's house
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