Black and White “Who would have thought that so much wonder could still be created with straight photographs in a time given to digital manipulation?” Alan G. Artner, Chicago Tribune German photo artist Thomas Kellner is known for his photographs of seemingly dancing architectural exteriors and interiors of tourist attractions...
Black and White
“Who would have thought that so much wonder could still be created with straight photographs in a time given to digital manipulation?” Alan G. Artner, Chicago Tribune
German photo artist Thomas Kellner is known for his photographs of seemingly dancing architectural exteriors and interiors of tourist attractions from all over the world. Even though his photographs show popular motives that have been mass-produced, his work is unique due to his new artistic method called “visual analytical synthesis” in which he does not take one shot but several thoughtfully planned ones in order to create a picture out of contact sheets. His work is often referred to Cubism considering that his creative process includes a construction but the results resemble a deconstruction. Thomas Kellner’s works imitate the wandering look of the eye, showing us segments of the total which come together as one image. Therefore his photographs do not deconstruct architecture but reconstruct our view on it. At the same time his work also reflects the flood of pictures we live in nowadays and furthermore contains the question of decaying cultural values.
Those who have followed Kellner’s photography over the years know that most of his works have been published and exhibited in color. However, there was a time when Kellner worked in black and white.
Starting with his first sketches of the Eiffel Tower as a homage to Robert Delaunay and Orphism (the French offshoot of cubism) in Paris in 1997, Kellner totally turned his attention from landscape to architecture and the growing complexity of his compositions. He creates ageless classic images in his newly invented visual language based on Cubism. In Kellner’s early black-and-white images, the observer can see how he focuses on the structure itself. The balance between the object and its visual form are at the center of his creations.
The presentation will be accompanied by a catalogue including an essay by Harris Fogel.
40#06, New York, Skyline at Brooklyn Bridge, 2003
40#28, New York, Brooklyn Bridge, 2003
41#02, Washington, Capitol, 2004
33#39, England, Lacock Abbey, 2002
33#35, England, Stonhenge, 2002
14#12, London, Tower Bridge, 1999
37#13, Barcelona, La Sagrada Familia, 2003
14#01, London, Big Ben, 1999
42#14, San Francisco, Afternoon at Golden Gate Bridge, 2004
02#10, Paris, Tour Eiffel, 1997