Monthly Archives: May 2009

Abelardo Morell


Camera Obscura Image of Santa Maria della Salute with Scaffolding in Palazzo Bedroom, 2007


Blurry Upright Camera Obscura Image of Santa Maria della Salute, 2004


Camera Obscura Image of the Coliseum inside Room #23 at the Hotel Gladiatori, Rome, 2007


Camera Obscura image of The Pantheon in Hotel Albergo Del Sole al Pantheon, Room # 111, Rome, Italy, 2008

Camera Obscura: View of the Grand Canal Looking Northeast From Room in Ca’ Foscari. Venice, Italy, 2008


Camera Obscura: View of Volta Del Canal in Palazzo Room Painted With Jungle Motif, Venice, Italy , 2008

Abelardo Morell

Carroll and sons

Google Street Photography competition

San Francisco


Google Map offers a Street View from its website thanks to a smart camera. To see this street views, simply zoom on the map. Then you’ll be able to navigate inside this virtual space of the city and the country.

This competition is based on this incredible bank of images, and only pictures from Street View can be used for it.

The question of photography in this competition deals with images, mechanically taken. Technique is thought differently: what you need is not a camera but a computer screen.
For the first time, street photography doesn’t need the usual technical aspect of photography. Also, it deals only with wandering and observation. Free of a major restraint, this is a new proposition of representation, of an experimental practice.

see also on Streetpulse :

Peter Zumthor


ISBN/EAN : 9783764388416
175 x 240 mm, 76 p.


Dans cette publication basée sur une conférence donnée le 1er juin 2003 dans la Grange des arts au château Wendinghausen, Peter Zumthor définis en neuf chapitres le processus d’observation et les références qu’il a à l’esprit quand il crée l’atmosphère de ses maisons.
Les images des espaces et des bâtiments qui l’affectent sont aussi important que la musique ou les livres qui l’inspirent.
De la composition au choix des matériaux en passant par le traitement des dimensions et de la lumière cette poétique d’architecture permet au lecteur de récapituler ce qui importe vraiment dans le processus de conception.


La magie du réel


La lumière sur les choses

Thomas Ruff


Thomas Ruff ,Essay by Bennett Simpson

11 1/8″ x 15″
132 pages
65 color images

Thomas Ruff is among the most important international photographers to emerge in the last fifteen years, and one of the most enigmatic and prolific of Bernd and Hilla Becher’s former students, a group that includes Andreas Gursky, Thomas Struth, Candida Höfer, and Axel Hutte.

In 2007, Ruff completed his monumental Jpegs series in which he explores the distribution and reception of images in the digital age. Starting with images he culls primarily from the Web, Ruff enlarges them to a gigantic scale, which exaggerates the pixel patterns until they become sublime geometric displays of color. Many of Ruff’s works in the series focus on idyllic, seemingly untouched landscapes, and conversely, scenes of war, and nature disturbed by human manipulation.

Taken together, these masterworks create an encyclopedic compendium of contemporary visual culture that also actively engages the history of landscape painting. A fittingly deluxe and oversized volume, Jpegs is the first monograph dedicated exclusively to the publication of Ruff’s remarkable series.

Thomas Ruff, JPegs, 2005. C-print. 188 x 257 cm.
Thomas Ruff, JPegs, 2004. C-print. 188 x 311 cm.
In an interview, the artist explained its history as follows : “Everything began with 9/11, the attack on the World Trade Center. That week […] I was in New York […]. I took many photos. When I got the negatives back from the lab in Germany, they were all blank. […] I finally downloaded a lot of images from the web. […] That was when I began to experiment with the ‘jpeg’ images […] The 9/11 images were iconic, but of terribly low resolution. With the […] jpeg structure and the results from work with image structures I managed to modify the terribly poorly resolved but still visually aesthetical images my way. ‘Terribly beautiful’ images they were.” In a nutshell, this is the idea behind jpegs. Ruff eventually expanded his jpegs into a rather large set, the subject of two large shows at Zwirner gallery, and the subject of Jpegs.
Jpeg, 2007 , C-Print with Diasec
72 7/8 x 98 1/4 inches 185.1 x 249.6 cm
Edition of 3
Jpeg, 2007 , C-Print with Diasec
104 3/4 x 72 7/8 inches 266.1 x 185.1 cm
jpeg, 2004, C-Print with Diasec
Framed: 74.02 x 113.78 inches 188 x 289 cm

see JM Colberg’s review on Jpegs
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