“the structures in the bechers’ original photographs are almost identical, though in khan’s hands the images’ contrast and opacity is adjusted to ensure each layer can be seen and has presence. though khan works in mechanised media and his images are of industrial subjects, their effect is of a soft ethereal energy. they exude a transfixing spiritual quality in their densely compacted details and ghostly outlines.”

27/06/2012 § 3 Comments

works by idris kahn
from the top down:  every… bernd and hilla becher gable sided house (2004)
every… bernd and hilla becher prison type gasholder (2004)
every… bernd and hilla becher spherical type gasholder (2004)

 

when bernd and hilla becher first went around the german countryside to photograph various industrial complexes they, like most any one, felt as though gasholders were all the same.  it wasn’t until they began accruing more and more portraits of the steam punk objects, that individual characteristics began to appear.  so maybe its fitting that idris kahn’s ‘super-image,’ as he refers to them, obliterated any differences by overlaying all the portraits revealing an ideal form of a gasholder, or a gable.

 

single super-image

a young hare

 

 

notes:

[title + images]     today’s title and image were taken from idris kahn’s artist profile on the saatchi gallery website.

[for more typology]     bernd and hilla were previously mentioned here on ayh.  and, i can’t help but link to an older post on alec soth’s studies of old texas theaters.

§ 3 Responses to “the structures in the bechers’ original photographs are almost identical, though in khan’s hands the images’ contrast and opacity is adjusted to ensure each layer can be seen and has presence. though khan works in mechanised media and his images are of industrial subjects, their effect is of a soft ethereal energy. they exude a transfixing spiritual quality in their densely compacted details and ghostly outlines.”

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You are currently reading “the structures in the bechers’ original photographs are almost identical, though in khan’s hands the images’ contrast and opacity is adjusted to ensure each layer can be seen and has presence. though khan works in mechanised media and his images are of industrial subjects, their effect is of a soft ethereal energy. they exude a transfixing spiritual quality in their densely compacted details and ghostly outlines.” at a young hare.

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