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Elliott KaufmanStreet Dance 3.12 x 16 (Graphic Abstract Black & White Grid Urban Photograph)2012
2012
About the Item
archival chromogenic digital print
image size: 19 x 23 inches
unframed
Elliott Kaufman describes New York City as a laboratory in constant movement. In his series “Street Dance,” Kaufman photographs repetitive actions of passersby – such as riding a bicycle or entering a subway station – from a single vantage point and arranges the images in a grid.
Key to his series, Kaufman explains, was calculating how changing light would affect the environment. “The bicycles had to be back-lit at the very end of the day,” he says. “The subway steps were calculated so that the light would cast perfect north/south shadows.” He also shot a varying number of exposures at each scene to relay the “staccato rhythm” he sought – as many as 225. “The camera catches the commonality of movement,” he says, “until what endures is a patter of dance and motion.”
A number of artists have led him in this direction, including the Bauhaus and the collaborative media which they pioneered, the 1977 film Powers Of Ten, which depicts the relative scale of the universe in factors of ten, Mike Figgis’ experimental film Timecode, as well as the multiple sequences by photographers Harry Callahan, Ray K. Metzger, Eadweard Muybridge and Jerry Ulesman.
This particular print depicts highly contrasted images of figure's shadow against subway tiled floors.
Additional sizes available up on request.
- Creator:Elliott Kaufman (American)
- Creation Year:2012
- Dimensions:Height: 29 in (73.66 cm)Width: 23 in (58.42 cm)Depth: 0.1 in (2.54 mm)
- Medium:
- Movement & Style:
- Period:
- Condition:
- Gallery Location:Hudson, NY
- Reference Number:1stDibs: LU2272251943
Elliott Kaufman
Elliott Kaufman, is acclaimed for a series titled Abandoned in which he gained entry into various historical sites to photograph crumbling interiors. Kaufman's career path is unique but has always revolved around architectural motives. When he began shooting in the mid 70s his orientation was toward the fine arts. He developed ideas for site-specific photomurals and wall art much before this concept became a mainstream art venue.
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