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Titre:
Chroma: John Divola

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Prix:
$70.00
(disponible sur commande)

Résumé:
''Chroma'' is the name Californian artist John Divola has given to a large body of work made in the early 1980s that brought together a number of his interests – unnatural color (from gels covering his flash); geometry and nature; and the way photographs slip between symbolic meanings and actuality. At the same time, Divola was switching from color negative that he was using for Zuma to large format color transparency. He became aware that the early C-type color prints faded badly and was trying to use a new, more stable material. This was Cibachrome, which printed from transparencies. It was very industrial and artificial, with deep color saturation and contrast. It was a very flawed material for conventional images but with unique properties that he ended up embracing for the Chroma images. Edition of 800 copies.

Titre:
John Divola: Vandalism

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$58.00
(disponible en magasin)

Résumé:
Between 1974 and 1975, the American photographer John Divola – then in his mid twenties and without a studio of his own – travelled across Los Angeles in search of dilapidated properties in which to make photographs. Armed with a camera, spray paint, string and cardboard, the artist would produce one of his most significant photographic projects entitled Vandalism. In this visceral, black and white series of images Divola vandalised vacant homes with abstract constellations of graffiti-like marks, ritualistic configurations of string hooked to pins, and torn arrangements of card, before cataloguing the results. The project vigorously merged the documentary approach of forensic photography with staged interventions echoing performance, sculpture and installation art.

Titre:
John Divola Continuity

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$35.00
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Résumé:
The creation of seamless illusion remains a driving tenet of Hollywood cinema. In order to preserve this illusion, it is crucial that there are no jarring disruptions of cinematic space and time. This preservation of order is called continuity, and it has been the focus of John Divola's photographic work for the past several years, as beautifully represented in this striking book. Divola takes the original still photographs he has collected of Warner Bros. film sets from the 1930s, which were used to maintain continuity, and creates haunting installations of fictive reality. Divided into subject categories such as "Hallways" and "Broken Furniture and Evidence of Aggression," these images possess a glorious beauty, made possible by the use of 8 x 10 negatives, while being grounded in an intelligence found in the best of conceptual art. Features an elucidating essay by the noted film writer and critic Edward Dimendberg.