Valérie Belin

La beauté arrêtée停滯的美麗
(翻譯自EXPORAMA期刊 第八期)

Uta Barth

uta barth

One thing I sometimes think happens is that we see work by a photographer and we can see there is something there. It immediately says something to us. But somehow we don't quite like it (though perhaps like isn't quite the right word). Each time we come across it we say to ourselves "oh yes, that stuff, I remember that". Then - sometimes quite a while later - it almost imperceptibly just clicks.


For me that's the case with Uta Barth's photographs. And right now I'm going "ah yes - now I get it" and want to look at more of it. It's probably all in response to the how the areas and ideas I'm investigating right now resonate with the things she has done in her work. But there's a sort of double pleasure to it. Coming to the realisation that yes, your suspicion was right, there was something to it. But mostly, the excitement of pouring over some pictures that you had probably seen before and yet now they seem fresh and intriguing in a way you couldn't quite perceive before.

From Uta Barth: In Between Places: "Deceptively simple, Uta Barth's photographic works question the traditional functions of pictures and our expectations of them. By photographing in ordinary anonymous places - in simple rooms, city streets, airports and fields - Barth uses what is natural and unstudied to shift attention away from the subject matter, and redirect focus to a consciousness of the processes of perception and the visceral and intellectual pleasures of seeing....

...Uta Barth provides a compelling look at the nature of our own experience.Her beautifully composed photographs, most often created in places that seem somehow familiar, prompt our consciousness of visual sensations and a deeper consideration of what looking really means.

...Barth has used photography exclusively in her aesthetic projects, experimenting with depth of field, focus and framing to create photographs that are suggestive rather than descriptive, alluding to places rather than describing them explicitly. Her interiors and landscapes engage the viewer in an almost subliminal way, testing memory, intellect and habitual responses..."

There also a fairly in-depth interview with Barth here

A few tasters: ...We assume that the photographer observed a place, a person, an event in the world and wanted to record it, point at it. There is always something that motivated the taking of a photograph. The problem with my work is that these images are really not of anything in that sense, they register only that which is incidental and peripherally implied... I have never been interested in making a photograph that describes what the world I live in looks like, but I am interested in what pictures (of the world) look like.... My primary project has always been in finding ways to make the viewer aware of their own activity of looking at something (or in some instances, someone.) ...

SYLVIA PLIMACK MANGOLD

SYLVIA PLIMACK MANGOLD

Sylvia Plimack Mangold
Summer Maple, 2008
Drypoint/Aquatint
Image: 16 3/4 x 21 inches
Paper: 22 1/4 x 26 inches
Ed: 30
20419

SELECTED WORKS

	Sylvia Plimack Mangold Winter Pin Oak A & B, 2005 A set of two drypoints with aquatint Image size: 22 1/4 x 9 inches each sheet Paper size: 29 x 17 inches each sheet Edition: 30 16964 Available as a set only
Sylvia Plimack Mangold Maple Tree, 1999 Drypoint and aquatint Paper: 26 5/8 x 20 3/4 inches Image: 19 3/4 x 14 3/4 inches Edition: 30 18457
	Sylvia Plimack Mangold Pin Oak Crown, 2006 Aquatint and Drypoint Image and Paper: 17 3/4 x 23 x 3/4 inches Edition: 34 17809
Sylvia Plimack Mangold Maple Tree, 1998 Drypoint and etching Paper: 22 1/2 x 17 7/8 inches Image: 13 3/4 x 10 7/8 inches Edition: 25 12565
	Sylvia Plimack Mangold Winter Elm, 1997 Drypoint and aquatint Paper: 13 x 17 inches Edition: 25 14704
Sylvia Plimack Mangold Black and White Elm, 1997 Drypoint and aquatint Paper: 13 x 17 inches Edition: 40 8878
	Sylvia Plimack Mangold Pin Oak (State I), 1989 Drypoint Paper: 20 1/4 x 25 1/2 inches Edition: 35 14702
Sylvia Plimack Mangold Pin Oak (State II), 1991 Drypoint Paper: 13 x 17 inches Edition: 25 14703

GUILLERMO KUITCA

GUILLERMO KUITCA

Guillermo Kuitca
Puro Teatro
Portfolio of 12 etchings, 2003
hardground and spitbite aquatint
15 3/4 x 16 inches each
Edition: 25, 6 AP
Available as a complete set only

SELECTED WORKS

Portfolio of 12 etchings" border="0" height="167" width="200">	Guillermo Kuitca Puro Teatro (#1 of 12) Portfolio of 12 etchings, 2003 hardground and spitbite aquatint 15 3/4 x 16 inches Edition: 25, 6 AP Available as part of the complete set only
Guillermo Kuitca Puro Teatro (#2 of 12) Portfolio of 12 etchings, 2003 hardground and spitbite aquatint 15 3/4 x 16 inches Edition: 25, 6 AP Available as part of the complete set only	Portfolio of 12 etchings" border="0" height="167" width="200">
Portfolio of 12 etchings" border="0" height="168" width="200">	Guillermo Kuitca Puro Teatro (#3 of 12) Portfolio of 12 etchings, 2003 hardground and spitbite aquatint 15 3/4 x 16 inches Edition: 25, 6 AP Available as part of the complete set only
Guillermo Kuitca Puro Teatro (#4 of 12) Portfolio of 12 etchings, 2003 hardground and spitbite aquatint 15 3/4 x 16 inches Edition: 25, 6 AP Available as part of the complete set only	Portfolio of 12 etchings" border="0" height="168" width="200">
Portfolio of 12 etchings" border="0" height="170" width="200">	Guillermo Kuitca Puro Teatro (#5 of 12) Portfolio of 12 etchings, 2003 hardground and spitbite aquatint 15 3/4 x 16 inches Edition: 25, 6 AP Available as part of the complete set only
Guillermo Kuitca Puro Teatro (#6 of 12) Portfolio of 12 etchings, 2003 hardground and spitbite aquatint 15 3/4 x 16 inches Edition: 25, 6 AP Available as part of the complete set only	Portfolio of 12 etchings" border="0" height="167" width="200">
Portfolio of 12 etchings" border="0" height="167" width="200">	Guillermo Kuitca Puro Teatro (#7 of 12) Portfolio of 12 etchings, 2003 hardground and spitbite aquatint 15 3/4 x 16 inches Edition: 25, 6 AP Available as part of the complete set only
Guillermo Kuitca Puro Teatro (#8 of 12) Portfolio of 12 etchings, 2003 hardground and spitbite aquatint 15 3/4 x 16 inches Edition: 25, 6 AP Available as part of the complete set only	Portfolio of 12 etchings" border="0" height="168" width="200">
Portfolio of 12 etchings" border="0" height="171" width="200">	Guillermo Kuitca Puro Teatro (#9 of 12) Portfolio of 12 etchings, 2003 hardground and spitbite aquatint 15 3/4 x 16 inches Edition: 25, 6 AP Available as part of the complete set only
Guillermo Kuitca Puro Teatro (#10 of 12) Portfolio of 12 etchings, 2003 hardground and spitbite aquatint 15 3/4 x 16 inches Edition: 25, 6 AP Available as part of the complete set only	Portfolio of 12 etchings" border="0" height="168" width="200">
Portfolio of 12 etchings" border="0" height="169" width="200">	Guillermo Kuitca Puro Teatro (#11 of 12) Portfolio of 12 etchings, 2003 hardground and spitbite aquatint 15 3/4 x 16 inches Edition: 25, 6 AP Available as part of the complete set only
Guillermo Kuitca Puro Teatro (#12 of 12) Portfolio of 12 etchings, 2003 hardground and spitbite aquatint 15 3/4 x 16 inches Edition: 25, 6 AP Available as part of the complete set only	Portfolio of 12 etchings" border="0" height="169" width="200">
	Guillermo Kuitca devotional benches, confessional booths, mercy seats and altars, From The Neufert Suite, 2002 One of a suite of six cyanotypes 46 1/2 x 46 1/2 inches ED: 9 Available both individually and as a suite of six cyanotypes
Guillermo Kuitca fundraising tables, From The Neufert Suite, 2002 One of a suite of six cyanotypes 46 1/2 x 46 1/2 inches ED: 9 Available both individually and as a suite of six cyanotypes
	Guillermo Kuitca gambling tables, From The Neufert Suite, 2002 One of a suite of six cyanotypes 46 1/2 x 46 1/2 inches ED: 9 Available both individually and as a suite of six cyanotypes
Guillermo Kuitca workout machines, From The Neufert Suite, 2002 One of a suite of six cyanotypes 46 1/2 x 46 1/2 inches ED: 9 Available both individually and as a suite of six cyanotypes
	Guillermo Kuitca peep show and video booths, From The Neufert Suite, 2002 One of a suite of six cyanotypes 46 1/2 x 46 1/2 inches ED: 9 Available both individually and as a suite of six cyanotypes
Guillermo Kuitca work stations, From The Neufert Suite, 2002 One of a suite of six cyanotypes 46 1/2 x 46 1/2 inches ED: 9 Available both individually and as a suite of six cyanotypes

SCOTT HADFIELD

SCOTT HADFIELD

Scott Hadfield
Mineral (Green), 2007
Oil on canvas
60 x 40 inches
19697

SELECTED WORKS

	Scott Hadfield Mineral (Blue) F.S., 2007 Oil on canvas 60 x 40 inches 19696
Scott Hadfield Falling, 2005 oil on canvas 50 x 40 inches
	Scott Hadfield Northampton (winter), 2005 oil on canvas 50 x 40 inches
Scott Hadfield Museum Pond (summer), 2005 oil on canvas 50 x 40 inches
	Scott Hadfield River, 2005 oil on wood 64 x 48 inches
Scott Hadfield Diving, 2005 oil on canvas 50 x 40 inches
	Scott Hadfield North Light Tide, 2005 oil on canvas 20 x 16 inches
Scott Hadfield Museum (Winter), 2005 oil on canvas 20 x 16 inches
	Scott Hadfield Duck's Wake, 2005 oil on canvas 14 x 11 inches
Scott Hadfield Morning Structure, 2005 oil on canvas 14 x 11 inches
	Scott Hadfield City Garden (Night), 2005 oil on canvas 14 x 11 inches
Scott Hadfield Over Clayhead,, 2003 oil on wood 32 x 24 inches
	Scott Hadfield Dapple, 2003 Oil on wood panel 31 x 41 inches
Scott Hadfield Blue Line, 2003 oil on wood panel 31 x 41 inches
	Scott Hadfield Untitled, 2004 Alkyd enamel with pencil on paper 15 x 11 inches (17279)
Scott Hadfield Untitled, 2003 Alkyd enamel with pencil on paper 15 x 11 inches (17278)
	Scott Hadfield Untitled, 1999 colored pencil and paint on paper 15 x 10 inches (12065)
Scott Hadfield Yellow Dash (History), 2000 colored pencil and paint on paper 14 3/4 x 11 inches
	Scott Hadfield Building Color History, 2000 colored pencil and paint on paper 14 1/4 x 10 3/4 inches inches