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阿蒙卡特美國美術館藏系列—拍賣收益撥捐美術館購藏資金

183

愛德華.伯汀斯基

《世紀之石 #14,佛蒙特州巴里E.L.史密夫採石場廢棄的花崗岩部分》

1992年作
彩色沖印(2001年印)
40 x 50 英吋 (101.6 x 127 公分)
整體:49 x 59 英吋 (124.5 x 149.9 公分)
款識:簽名、印刷標題、日期、編號 AP1(後板背攝影師標籤)
共有5版與2版藝術家試作版。
The photographs in this sale offered as lots 168 through 186 come from the collection of the Amon Carter Museum of American Art and are being sold to benefit acquisition funds. Photography has been a focus of the museum since its founding in 1961 when Dorothea Lange approached the museum about acquiring her portraits of Western painter Charles Russell. Director Mitchell A. Wilder readily made the acquisition, initiating an active engagement with photography and photographers that continues today. In its history, the museum has pursued ambitious exhibition and publication programs, including Marnie Sandweiss’s groundbreaking Photography in Nineteenth Century America (1991) and John Rohrbach’s definitive Color: American Photography Transformed (2013). It was the Amon Carter Museum that commissioned Richard Avedon to produce the series of portraits exhibited and published in 1985 as In the American West.

Driven by a succession of dynamic photography curators, the Amon Carter early-on established a robust photography acquisition program, collecting singular masterworks as well as entire archives. The collection now encompasses more than 45,000 exhibition-quality photographs ranging from one of the first photographs created in the United States to works made as recently as this year. It also includes eight artist archives – including those of Laura Gilpin, Carlotta Corpron, Eliot Porter, and Karl Struss – that allow scholars opportunities to delve deeply into the working methods of these seminal photographers.

愛德華.伯汀斯基

Canadian | 1955

Universally termed 'industrial landscapes', Edward Burtynsky's photographs are rooted in the complex, symbiotic and, at times, destructive relationship we have with the earth. In depicting his subjects, Burtynsky balances an exacting, documentarian objectivity with a breathtakingly finessed beauty. His oversized works, whose subjects include quarries in Vermont, shipyards in China and oil refineries in Canada, have a sense of grandiosity and monumentality. There is an initial visual appeal of vibrant colors, details and scale; however, on closer inspection, the environmental dilemma unfolds. They are introspective and meditative, capturing a 'contemplative moment' where landscapes provide visual and emotional resonance.

瀏覽藝術家