This Monday AnOther celebrates one realm where technology is blending beautifully into the landscape
Chromogenic print on Kodak Endura paper Signed and numbered on label, verso 24 x 20 inches (Edition of 4) 61 x 50 inches (Edition of 6) This photograph is offered by ClampArt, located in New York City. At first glance, the large-format color photographs from the series “New Trees” seem to depict everyday woody perennial plants, distinctive only because of their oddly oversized proportions. On closer inspection, however, it becomes apparent that these are not trees at all – they are cell phone towers disguised by telecom companies to blend in with urban and rural surroundings. Appropriating the compositional techniques of Bernd and Hilla Becher, while simultaneously moving away from the Bechers’ rigidly “objective” stance, Voit’s images humorously highlight the absurdity of the awkward camouflage. Voit calls attention to the ubiquity of communication and surveillance technology in the present moment, while also subtly hinting to the shifting role of the natural world in the digital age. Voit’s “New Trees” are neither entirely natural nor entirely social – they exist in a liminal space between the real and the artificial. Robert Voit, born in Erlangen in 1969, lives in Munich. He studied under Gerd Winner at the Academy of Fine Arts in Munich and under Thomas Ruff at the Düsseldorf Art Academy. Voit has exhibited at the Fotomuseum and Haus der Kunst in Munich, at the Nuremberg Kunsthalle, and at the Deichtorhallen in Hamburg, among other institutions.
This Monday AnOther celebrates one realm where technology is blending beautifully into the landscape
Chromogenic print on Kodak Endura paper Signed and numbered on label, verso 24 x 20 inches (Edition of 4) 61 x 50 inches (Edition of 6) This photograph is offered by ClampArt, located in New York City. At first glance, the large-format color photographs from the series “New Trees” seem to depict everyday woody perennial plants, distinctive only because of their oddly oversized proportions. On closer inspection, however, it becomes apparent that these are not trees at all – they are cell phone towers disguised by telecom companies to blend in with urban and rural surroundings. Appropriating the compositional techniques of Bernd and Hilla Becher, while simultaneously moving away from the Bechers’ rigidly “objective” stance, Voit’s images humorously highlight the absurdity of the awkward camouflage. Voit calls attention to the ubiquity of communication and surveillance technology in the present moment, while also subtly hinting to the shifting role of the natural world in the digital age. Voit’s “New Trees” are neither entirely natural nor entirely social – they exist in a liminal space between the real and the artificial. Robert Voit, born in Erlangen in 1969, lives in Munich. He studied under Gerd Winner at the Academy of Fine Arts in Munich and under Thomas Ruff at the Düsseldorf Art Academy. Voit has exhibited at the Fotomuseum and Haus der Kunst in Munich, at the Nuremberg Kunsthalle, and at the Deichtorhallen in Hamburg, among other institutions.
b. 1969 Robert Voit Resume Robert Voit, born in Erlangen in 1969, lives in Munich. He studied under Gerd Winner at the Academy of Fine Arts in Munich and under Thomas Ruff at the Düsseldorf Art Academy. Voit has exhibited at the Fotomuseum and Haus der Kunst in Munich, at the Nuremberg Kunsthalle, and at [...]
The 73 photographic plates in Robert Voit's The Alphabet of New Plants each frame a different floral detail, from bursting blooms to twisting branches.
This Monday AnOther celebrates one realm where technology is blending beautifully into the landscape
André Gide se voit adresser une réponse épistolaire par Robert X - le mari de la défunt Éveline X qui fit publier de manière posthume son journal intime, sous le titre L'École des femmes, par les soins de sa fille -, qui demande à l'écrivain de publier son droit de réponse à la suite du dévoilement de sa vie de couple par son épouse. Robert, tout à la fois scandalisé par l'action de sa femme et plus encore de sa fille, présente sa version de l'évolution de son mariage où il transparaît que son amour, toujours intact d'une certaine manière pour Éveline, s'est heurté avec le caractère de plus en plus libre-penseur de sa femme qui s'éloignait du modèle bourgeois et profondément catholique dans lequel il voulait contraindre son ménage. Selon lui, sa femme n'a pas supporté de le voir tel qu'en lui-même, s'attachant avant tout à l'image idéalisée qu'elle se faisait de lui, et sous l'influence de personnes sans morale religieuse a fini par le lui reprocher.
This Monday AnOther celebrates one realm where technology is blending beautifully into the landscape
BLAGUE SUR LA MÉPRISE Robert et Richard sont jumeaux. Robert était propriétaire d'une vieille barque. Par pure coïncidence, la femme de Richard est morte le jour où la barque de Robert coula. Quelques jours plus tard, une veille dame voit Robert et le méprend pour son frère Richard. La conversation s'engage : - Je suis - blague drole
Chromogenic print on Kodak Endura paper Signed and numbered on label, verso 24 x 20 inches (Edition of 4) 61 x 50 inches (Edition of 6) This photograph is offered by ClampArt, located in New York City. At first glance, the large-format color photographs from the series “New Trees” seem to depict everyday woody perennial plants, distinctive only because of their oddly oversized proportions. On closer inspection, however, it becomes apparent that these are not trees at all – they are cell phone towers disguised by telecom companies to blend in with urban and rural surroundings. Appropriating the compositional techniques of Bernd and Hilla Becher, while simultaneously moving away from the Bechers’ rigidly “objective” stance, Voit’s images humorously highlight the absurdity of the awkward camouflage. Voit calls attention to the ubiquity of communication and surveillance technology in the present moment, while also subtly hinting to the shifting role of the natural world in the digital age. Voit’s “New Trees” are neither entirely natural nor entirely social – they exist in a liminal space between the real and the artificial. Robert Voit, born in Erlangen in 1969, lives in Munich. He studied under Gerd Winner at the Academy of Fine Arts in Munich and under Thomas Ruff at the Düsseldorf Art Academy. Voit has exhibited at the Fotomuseum and Haus der Kunst in Munich, at the Nuremberg Kunsthalle, and at the Deichtorhallen in Hamburg, among other institutions.
Inspired by Karl Blossfeldt’s “The Alphabet of Plants (Original Forms of Art)” from 1928, Robert Voit playfully repurposes the obsessive indexicality of natural history images in his new body of work. These close-up photographs of artificial plants highlight the tension between nature and its mass-produced simulacra. Extending the themes of his previous series “New Trees,” [...]
This Monday AnOther celebrates one realm where technology is blending beautifully into the landscape
Chromogenic print on Kodak Endura paper Signed and numbered on label, verso 61 x 50 inches (Edition of 6) This photograph is offered by ClampArt, located in New York City. At first glance, the large-format color photographs from the series “New Trees” seem to depict everyday woody perennial plants, distinctive only because of their oddly oversized proportions. On closer inspection, however, it becomes apparent that these are not trees at all – they are cell phone towers disguised by telecom companies to blend in with urban and rural surroundings. Appropriating the compositional techniques of Bernd and Hilla Becher, while simultaneously moving away from the Bechers’ rigidly “objective” stance, Voit’s images humorously highlight the absurdity of the awkward camouflage. Voit calls attention to the ubiquity of communication and surveillance technology in the present moment, while also subtly hinting to the shifting role of the natural world in the digital age. Voit’s “New Trees” are neither entirely natural nor entirely social – they exist in a liminal space between the real and the artificial. Robert Voit, born in Erlangen in 1969, lives in Munich. He studied under Gerd Winner at the Academy of Fine Arts in Munich and under Thomas Ruff at the Düsseldorf Art Academy. Voit has exhibited at the Fotomuseum and Haus der Kunst in Munich, at the Nuremberg Kunsthalle, and at the Deichtorhallen in Hamburg, among other institutions.
This Monday AnOther celebrates one realm where technology is blending beautifully into the landscape
Archival pigment print (Edition of 8 + 2 APs) Signed and numbered, verso This photograph is offered by ClampArt, located in New York City. Inspired by Karl Blossfeldt’s “The Alphabet of Plants (Original Forms of Art)” from 1928, Robert Voit playfully repurposes the obsessive indexicality of natural history images in his series, "The Alphabet of New Plants." These close-up photographs of artificial plants highlight the tension between nature and its mass-produced simulacra. Extending the themes of his previous series, “New Trees,” Voit again blurs the distinction between the natural and the social. Robert Voit, born in Erlangen in 1969, lives in Munich. He studied under Gerd Winner at the Academy of Fine Arts in Munich and under Thomas Ruff at the Düsseldorf Art Academy. Voit has exhibited at the Fotomuseum and Haus der Kunst in Munich, at the Nuremberg Kunsthalle, and at the Deichtorhallen in Hamburg, among other institutions.
Archival pigment print (Edition of 8 + 2 APs) Signed and numbered, verso This photograph is offered by ClampArt, located in New York City. Inspired by Karl Blossfeldt’s “The Alphabet of Plants (Original Forms of Art)” from 1928, Robert Voit playfully repurposes the obsessive indexicality of natural history images in his series, "The Alphabet of New Plants." These close-up photographs of artificial plants highlight the tension between nature and its mass-produced simulacra. Extending the themes of his previous series, “New Trees,” Voit again blurs the distinction between the natural and the social. Robert Voit, born in Erlangen in 1969, lives in Munich. He studied under Gerd Winner at the Academy of Fine Arts in Munich and under Thomas Ruff at the Düsseldorf Art Academy. Voit has exhibited at the Fotomuseum and Haus der Kunst in Munich, at the Nuremberg Kunsthalle, and at the Deichtorhallen in Hamburg, among other institutions.
Ce que ces deux acteurs marseillais débutants font dans "Shéhérazade" est prodigieux. Touchants, naturels, vrais. Des révélations comme on en voit rarement.
June 28 – August 17, 2012 Opening reception: Thursday, June 28, 2012 6:00 – 8:00 p.m. ClampArt is pleased to present “Into the Woods,” a group exhibition including artworks by Corey Arnold, Anna Beeke, Jesse Burke, Caleb Charland, Larry Clark, Lisa DiLillo, Adam Ekberg, Nan Goldin, Gregory Halpern, Collin LaFleche, Sebastian Lemm, Ralph Eugene Meatyard, [...]
This Monday AnOther celebrates one realm where technology is blending beautifully into the landscape
This Monday AnOther celebrates one realm where technology is blending beautifully into the landscape
This Monday AnOther celebrates one realm where technology is blending beautifully into the landscape
The 73 photographic plates in Robert Voit's The Alphabet of New Plants each frame a different floral detail, from bursting blooms to twisting branches.
The 73 photographic plates in Robert Voit's The Alphabet of New Plants each frame a different floral detail, from bursting blooms to twisting branches.
This Monday AnOther celebrates one realm where technology is blending beautifully into the landscape
Ever since I can remember, I've always been quite fond of history. Therefore, it isn't a surprise that I enjoy teaching the history of photography in my lectures at the University. Unfortunately for me, I've always had a hard time with memorizing dates and factoids, but that is a story for another day. Today I want to share with all of you some links to wonderful images from the early twentieth century that you really need to see if you love photography. I want to apologise for the excessive links, but for copyright issues, we don't like posting photographs which
