Olafur Eliasson Nine Works: Landscapes 1995 Color photographs. 8 x 11 1/2 in. (20.3 x 29.2 cm) each. This work is from an edition of two and each photograph is signed, dated "Olfaur Eliasson 1995" and numbered of two on the reverse.
Provenance Galleria Emi Fontana, Milan Catalogue Essay “These individual photographs usually function as part of a larger ensemble, being grouped according to subject types and displayed in an overall, non-hierarchical grid pattern. Looked at one at a time, each of them displays in rich detail the idiosyncratic features of a particular aspect of nature. When they are configured as a group, becoming co-dependent, their more formal aspects come to the fore, such as their equality of scale, their generally similar forms and shapes, the overall consistent horizon line that turns the ensemble into a lateral composition of alternating sky-white and earth colors. They thus engage in a continual back-and-forth between individuality and uniformity, expressive subjectivity and purported objectivity. While Eliasson’s systematic approach to and serial presentation of his subject matter find clear precedents in the photographs of German Bernd and Hilla Becher there are differences: where the Bechers work in black and white, Eliasson uses the inherently less austere medium of color photography, and his subject matter welcomes more eccentric topographic anatomies than the Bechers’ industrial series.” M. Grynsztejn “Attention Universe: The Work of Olafur Eliasson”, D. Birnbaum, M. Grynsztejn; M. Speaks, Olafur Eliasson New York, 2002, p. 60 Read More
Olafur Eliasson Nine Works: Landscapes 1995 Color photographs. 8 x 11 1/2 in. (20.3 x 29.2 cm) each. This work is from an edition of two and each photograph is signed, dated "Olfaur Eliasson 1995" and numbered of two on the reverse.
Provenance Galleria Emi Fontana, Milan Catalogue Essay “These individual photographs usually function as part of a larger ensemble, being grouped according to subject types and displayed in an overall, non-hierarchical grid pattern. Looked at one at a time, each of them displays in rich detail the idiosyncratic features of a particular aspect of nature. When they are configured as a group, becoming co-dependent, their more formal aspects come to the fore, such as their equality of scale, their generally similar forms and shapes, the overall consistent horizon line that turns the ensemble into a lateral composition of alternating sky-white and earth colors. They thus engage in a continual back-and-forth between individuality and uniformity, expressive subjectivity and purported objectivity. While Eliasson’s systematic approach to and serial presentation of his subject matter find clear precedents in the photographs of German Bernd and Hilla Becher there are differences: where the Bechers work in black and white, Eliasson uses the inherently less austere medium of color photography, and his subject matter welcomes more eccentric topographic anatomies than the Bechers’ industrial series.” M. Grynsztejn “Attention Universe: The Work of Olafur Eliasson”, D. Birnbaum, M. Grynsztejn; M. Speaks, Olafur Eliasson New York, 2002, p. 60 Read More
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