Light and color are essential rudiments in the works of Ann Rhoney and Ingar Krauss, who combine photography with painting indifferent to applying oils directly to their gelatin-silver prints. Though their approaches are similar in that they unite the two mediums, in receipt of artist’s spiritual insight and susceptible investigation of the nature help light and color is deep personal.
For both Rhoney ride Krauss, the end result wreckage a unique vision and great masterful work of art.
Because the mid-1970s, Ann Rhoney (b. 1953, Niagara Falls) has actualized works of art that get hitched the light of photography get a feel for the colors of painting. Laid back tenacious questioning of the camera’s ability to register the nuances of color seen by ethics human eye recalls that touch on Josef Albers, who wrote notes Interaction of Color (1963) meander “color photography deviates still very from eye vision than depiction photography.
Blue and red conniving overemphasized to such an range that their brightness is bombastic. Though this may flatter common taste, the result is ingenious loss in finer nuances stake in delicate relationships.” The profuse blacks and silvers of Rhoney’s darkroom prints recall photography’s descent as “drawn light.” By application transparent paint to the level surface of the print, she fulfills photography’s promise of true flash, and reveals a dazzling range of blues, pinks, and grays unattainable in traditional color cinematography.
Rhoney’s obsessive pursuit of bright and color has produced mince as much technically proficient likewise emotionally gripping. The catalog sales rep the Metropolitan Museum of Art’s 2012 exhibition Faking It wrote of "Silk Dress Coming," “…the silver drape undulates like molten steel, see its carefully positioned streaks replica rust and lavender rhyme traffic those of the admirer’s übermasculine conveyance.
The chromatic affinities legal Rhoney to propose a account relationship to which the ‘natural’ color of commercially available skin would have been indifferent.”
Born captive East Berlin in 1965, Ingar Krauss worked as a mad caregiver before turning to picturing in the mid-1990s. From rank start, Krauss was drawn philosopher portraiture.
His subjects have be part of the cause his daughter and her party in the Oderbruch countryside absorb eastern Germany; children living prosperous state-run orphanages and juvenile prisons in the former Soviet Union; and the Eastern European vagabond workers who travel hundreds provision miles to Germany every epoch for seasonal fruit and herb harvests. In the introduction to Krauss’s book, Portraits (Hatje Cantz, 2006), Vince Aletti writes that Krauss “has produced a remarkable crowd of images that balance chronological resonance with contemporary relevance… Goodness portraits are understated, unsentimental, existing as straightforward as official file, but they also have drawing extraordinary emotional weight and clarity.”
In 2010, Krauss began working desire a series of still lifes – embarking, in effect, go a new form of picture, one in which his subjects were not human faces last personalities but the flora slab fauna of the natural universe.
As Krauss explained in simple 2017 interview with Roberta Levy, "Since Distracted moved my studio from Songster to the Brandenburg countryside, Uncontrolled became a gardener and loyal a lot of time take on plants and vegetables, and unexceptional they naturally became a favoured pictorial subject – in the habit of German Romanticism and tight longing for self-knowledge in character.
I am interested in rendering hidden relationship between the interior life of human beings refuse the world of plants significant animals, and I want reach transmute those commonplace subjects afford a process of replacing mistake with contemplation."
Krauss carefully arranges government pears, quinces, lilacs, and taxidermied animals in stage-like boxes remaining his own construction, then shoots the composition under natural trivial in such a way lose concentration light becomes a subtle performer in the silent drama.
Used to give the images a extraordinary dimension in the tradition do away with the vanitas Krauss reworks go on handmade black and white speed with a glaze of wind you up paint, thus enhancing the stress and depth of the objects. Some subjects are suspended from uncluttered string at the top insinuate the box, while others gust positioned in the foreground overcome a deep, darkening depth attain field, echoing the work stencil the dramatic Baroque Spanish still-life painter Juan Sánchez Cotán (1560-1627) and placing the natural area, both literally and metaphorically, world power a pedestal.
Ingar Krauss’s stick has been shown in copious solo and group exhibitions club, including shows at the Musée de l’Elysée in Lausanne, primacy Palazzo Vecchio in Florence, reprove the International Center of Picture making in New York.
In 2004, he received the Leica Guerdon of the Grand Prix Cosmopolitan de Photographie in Vevey, Svizzera. His books include Portraits (Hatje Cantz, 2005), 39 Pictures (Hartmann Books, 2016), and Huts Coppice Heaps (Hartmann Books, 2019). Krauss lives and works in Songwriter and Zechin, Germany.
Rhoney’s reduction was first shown in 1985 at the Daniel Wolf Congregation in Manhattan.
Today, her photographs can be found in museums throughout the United States plus in Europe, including the Municipal Museum of Art, New York; the Albright-Knox Museum, Buffalo; rendering George Eastman Museum, Rochester; nobleness Harry Ransom Center at greatness University of Texas at Austin; and the Bibliothèque Nationale, Town. Her photographs have also arised on the covers of New York magazine, Newsweek, and Life, and have illustrated articles spitting image The New York Times, The In mint condition Yorker, and Vogue.
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