[attachment=68307]
Jeff Wall
Exposure
Commissioned by Deutsche Guggenheim
03.11.2007 - 20.01.2008
Jeff Wall: Exposure, a special exhibition commissioned by the Deutsche Guggenheim, presents, for the first time, four new, large-scale, black-and-white photographs by artist Jeff Wall. This remarkable body of new work is shown in conjunction with five earlier pieces—gelatin-silver prints as well as transparencies mounted in lightboxes—creating an ensemble that resonates both formally and thematically.
Wall has summarized the formative influences on his work as the history of painting and cinema, and the theoretical arguments that developed around these discourses in the wake of 1968. He first became known for pioneering the artistic presentation of large, color, photographic transparencies in lightboxes, which combined the scale of painting with the luminosity of the cinema screen. Wall’s engagement with the history of the photographic medium informed his subsequent characterization of his oeuvre according to two modes of production: documentary photographs that record found locations and subjects, and cinematographic photographs that are staged for the camera. In the mid-1990s, he began to create monumentally-scaled, black-and-white prints.
Of the four new photographs in Jeff Wall: Exposure, three take a cinematographic approach. Each composition realistically depicts people in familiar circumstances: a group of unemployed workers hoping to be selected for temporary jobs; a woman returning to her dreary apartment building, presumably after a hard day trying to make a living; and a group of boys playing a game with toy guns in an empty lot. The fourth work in this group of new photographs is a documentary image that does not include figures. This magnificent picture depicts a frigid cold storage facility, a desolate environment that quite literally threatens exposure for those who work there.
In this exhibition, Wall engages the twinned histories of documentary photography and neorealist film. Like the auteurs of these traditions, he takes an unvarnished look at the lives of the underprivileged, made all the more stark through the monochromatic gelatin-silver medium. He shoots his photographs on location, and he uses non-actors to achieve a sort of honesty devoid of dramatic affectation.
Photography is a uniquely realistic medium. In the fluidity with which he moves from color to black and white, from the documentary to the cinematographic mode, and from fantastic and imaginary subjects to realistic ones, Wall raises questions about the nature of photographic realism.
Jennifer Blessing, Curator
[url]www.deutsche-guggenheim-berlin.de
[attachment=68308]
Curator
Jennifer Blessing, Solomon R. Guggenheim Museum, NY
Location
Deutsche Guggenheim
Unter den Linden 13/15
10117 Berlin
Opening hours
Daily 10 a.m. to 8 p.m.
Thursdays to 10 p.m.
Including MuseumsShop and Café
Christmas Holidays:
24.12. closed
25.12. closed
31.12. from 10 a.m. to 4 p.m.
01.01. from 2 p.m. to 8 p.m.
Jeff Wall
Exposure
Commissioned by Deutsche Guggenheim
03.11.2007 - 20.01.2008
Jeff Wall: Exposure, a special exhibition commissioned by the Deutsche Guggenheim, presents, for the first time, four new, large-scale, black-and-white photographs by artist Jeff Wall. This remarkable body of new work is shown in conjunction with five earlier pieces—gelatin-silver prints as well as transparencies mounted in lightboxes—creating an ensemble that resonates both formally and thematically.
Wall has summarized the formative influences on his work as the history of painting and cinema, and the theoretical arguments that developed around these discourses in the wake of 1968. He first became known for pioneering the artistic presentation of large, color, photographic transparencies in lightboxes, which combined the scale of painting with the luminosity of the cinema screen. Wall’s engagement with the history of the photographic medium informed his subsequent characterization of his oeuvre according to two modes of production: documentary photographs that record found locations and subjects, and cinematographic photographs that are staged for the camera. In the mid-1990s, he began to create monumentally-scaled, black-and-white prints.
Of the four new photographs in Jeff Wall: Exposure, three take a cinematographic approach. Each composition realistically depicts people in familiar circumstances: a group of unemployed workers hoping to be selected for temporary jobs; a woman returning to her dreary apartment building, presumably after a hard day trying to make a living; and a group of boys playing a game with toy guns in an empty lot. The fourth work in this group of new photographs is a documentary image that does not include figures. This magnificent picture depicts a frigid cold storage facility, a desolate environment that quite literally threatens exposure for those who work there.
In this exhibition, Wall engages the twinned histories of documentary photography and neorealist film. Like the auteurs of these traditions, he takes an unvarnished look at the lives of the underprivileged, made all the more stark through the monochromatic gelatin-silver medium. He shoots his photographs on location, and he uses non-actors to achieve a sort of honesty devoid of dramatic affectation.
Photography is a uniquely realistic medium. In the fluidity with which he moves from color to black and white, from the documentary to the cinematographic mode, and from fantastic and imaginary subjects to realistic ones, Wall raises questions about the nature of photographic realism.
Jennifer Blessing, Curator
[url]www.deutsche-guggenheim-berlin.de
[attachment=68308]
Curator
Jennifer Blessing, Solomon R. Guggenheim Museum, NY
Location
Deutsche Guggenheim
Unter den Linden 13/15
10117 Berlin
Opening hours
Daily 10 a.m. to 8 p.m.
Thursdays to 10 p.m.
Including MuseumsShop and Café
Christmas Holidays:
24.12. closed
25.12. closed
31.12. from 10 a.m. to 4 p.m.
01.01. from 2 p.m. to 8 p.m.
德国古根海姆馆为杰夫•沃举行个展，艺术家的4张大幅黑白摄影将头次展出。同时展出的还有他以前的五件作品—这些作品在形式上和主题上相互呼应。
沃将对他作品的形式影响归于绘画和电影的历史，以及1968年末关于这些话语的理论之争。 他成名于对装裱在灯箱里的大型彩色照片幻灯的探索，他的作品将绘画的尺寸和电影屏幕的亮度综合起来。沃的作品主要分为两大类：对现成场景和物体的记录摄影和摆拍的电影摄影图片。90年代中期他开始创作超大尺寸的黑白照片。
在这个名为“曝光”的摄影中有三张以剧场方式的图片，真实地展现熟悉场景中的人们：一群失业工人期望着被能够被选中作一份临时工作；一个女人在辛苦一天之后筋疲力尽地回到了她居住的死气沉沉的公寓，一群男孩在一个空地上用玩具枪玩打仗游戏。第四幅是一个无人物的纪实摄影。这张巨幅图片展现的是一个巨大的冷藏设施，一片荒凉的场景，似乎在那里工作的人都会暴露在外。
这个展览中体现了杰夫沃的作品中纪录摄影和新现实主义电影的历史纠结。像那些风格派导演一样，他对弱势群体进行不加修饰的关注，用单色银盐介质呈现荒凉的现实。他在外景地摄制作品，使用非职业演员以取得一种完全没有喜剧矫饰感的真实。
沃将对他作品的形式影响归于绘画和电影的历史，以及1968年末关于这些话语的理论之争。 他成名于对装裱在灯箱里的大型彩色照片幻灯的探索，他的作品将绘画的尺寸和电影屏幕的亮度综合起来。沃的作品主要分为两大类：对现成场景和物体的记录摄影和摆拍的电影摄影图片。90年代中期他开始创作超大尺寸的黑白照片。
在这个名为“曝光”的摄影中有三张以剧场方式的图片，真实地展现熟悉场景中的人们：一群失业工人期望着被能够被选中作一份临时工作；一个女人在辛苦一天之后筋疲力尽地回到了她居住的死气沉沉的公寓，一群男孩在一个空地上用玩具枪玩打仗游戏。第四幅是一个无人物的纪实摄影。这张巨幅图片展现的是一个巨大的冷藏设施，一片荒凉的场景，似乎在那里工作的人都会暴露在外。
这个展览中体现了杰夫沃的作品中纪录摄影和新现实主义电影的历史纠结。像那些风格派导演一样，他对弱势群体进行不加修饰的关注，用单色银盐介质呈现荒凉的现实。他在外景地摄制作品，使用非职业演员以取得一种完全没有喜剧矫饰感的真实。
王庆菘学他出了名
