Ion Zupcu

Modern Prefab

2012

Toned gelatin silver print Signed and numbered in pencil, verso 15 x 15 inches (Edition of 10) 30 x 30 inches (Edition of 3) From the series, "American Homes" This artwork is offered by ClampArt, located in New York City. Please note that prices increase as editions sell. Ion Zupcu writes: “The houses showcased in this series illustrate the spirit and evolution of common houses found throughout North American neighborhoods from the past four centuries. They represent a range of homes from Folk Houses to McMansions. The development of these styles is a reflection of our ever-changing taste and sensibility. "The photographs in ‘American Homes’ are the result of my passion and investigation for architecture, structure, and light. My experience with three-dimensional forms has created a fluid transition into a deeper understanding of the history and design of American homes. "Through a collaborative process, architectural models were carefully selected, designed, and constructed for these photographs with architect Tagore Hernandez. During the iterative processing beginning with detailed models, I became aware that what captivated me the most about domestic homes was their outline and form. Initial detail models were stripped down, recreated, and presented in a way that allowed their sculptural forms to emerge. "All the houses are put on the stage before the public. These houses are not landmarks, they are icons of the places in which we sleep, eat, and raise our families. I have lived with my wife and daughter in a Shed Modern home for the past seven years in Upstate New York.” Ion Zupcu first explored his interest in photography by working in a studio in Romania when he was a young man. A few years later, after getting married and having his first child, Zupcu found himself spending long hours caring for his daughter. With a desire to continue pursuing his interest in photography, he began shooting still-life compositions at home with vases and flowers. It was during this time that he also began researching the work of early 20th-century Modernist photographers in depth, which ultimately influenced his aesthetic a great deal. In 1991 Zupcu moved to New York City to start a new life for himself. His first job was driving a yellow taxi...

Toned gelatin silver print Signed and numbered in pencil, verso 15 x 15 inches (Edition of 10) 30 x 30 inches (Edition of 3) From the series, "American Homes" This artwork is offe...

Toned gelatin silver print Signed and numbered in pencil, verso 15 x 15 inches (Edition of 10) 30 x 30 inches (Edition of 3) From the series, "American Homes" This artwork is offe...

Toned gelatin silver print Signed and numbered in pencil, verso 15 x 15 inches (Edition of 10) 30 x 30 inches (Edition of 3) From the series, "American Homes" This artwork is offe...

José Yalenti, (1895-1967) Brazilian Photographer "Beiras" (Sides) Photo, numbered 5/15, circa 1950, (printed later) on premium luster photo paper with ultrachrome ink. Art: 15" H x 11" W; Frame: 20 1/4" H x 14 1/4" W. Provenance: Dickinson Roundell Gallery José Yalenti’s Architecture photos seem at first disorienting, abstract black & white and grey surfaces, cut through by startlingly straight lines and a variety of surface textures. Much of his work is of mid-century Latin American architecture, by the likes of Oscar Niemeyer and Roberto Burle Marx. José Yalenti was born in São Paulo, Brazil in 1895. On April 28, 1939, a group of photography aficionados, including Yalenti, formed the Foto Clube Bandeirante, later changed to Foto Cine Clube Bandeirante, or FCCB. Starting in the late 1940s, a contingent of FCCB photographers began creating photographs of abstracted architectural motifs (as in Architecture or Twilight), and eventually became known as the Escola Paulista, or “Paulista School.” Yalenti was among the members of the unofficial Paulista School. Between 1945 and 1960, the Paulista School photographers explored the rapidly changing formal qualities of São Paulo. By photographing skyscrapers and stairways at steep angles, creating closely cropped compositions from found geometric motifs, and capturing the flattening effects of shadows, Paulista School photographers investigated the new physical perspectives emerging in the urban environment. They created a distinctively Modern aesthetic that used strong contrasts of light and dark, geometric forms, linear compositions, and collapsed space to assert photography’s status as an artistic medium. As part of their pursuit of photographic Modernism, Yalenti and his fellow Brazilians adapted the stylistic innovations of U.S. and European photographers such as f.64, New Objectivity, Dada, Surrealism, and the Bauhaus, to the Brazilian context. Along with his FCCB compatriots—Thomaz Farkas, Geraldo de Barros, and German Lorca, among others—Yalenti explored the formal properties of black-and-white image-making. Yalenti and the Paulista’s School’s abstract photographs responded to the new trends in Brazilian Modernist architecture being developed by young architects in São Paulo and Rio de Janeiro. In 1939, Lúcio Costa, Oscar Niemeyer, and Affonso Reidy broke ground on the Ministry of Education and Health Building (MES), the building that would define Brazilian architectural modernism. The Rio-based team combined elements of Le Corbusier’s undecorated structural purity with Brazilian regional design to produce a more organic and “tropical” Modernism that responded to the local culture and climate. The sinuous and sensuous curves of Yalenti’s photograph are directly influenced by stylistic developments in architecture at the MES, including the building’s covered entry and its organically abstract contours. By 1957, when Yalenti created Architecture or Twilight, Brazil was globally recognized as an architectural leader. MoMA in New York City organized a popular exhibition of Brazilian architecture in 1943 (“Brazil Builds”), and highlighted the country again in its survey show "Latin American Architecture since 1945," that ran from 1955–56. Brazilian photography...

Black and white photographs that reveal the various facets and aesthetic searches of the legendary Colombian photographer, recognized as the creator of memorable realistic, abstract ...

Frames that capture the transformation from everyday life into another reality. Images that explore how the future will look. The proposal comes from the contemporary but goes beyond...

8 x 10 in. Vintage gelatin silver print by Ida Lansky. Artist stamp on print verso Ida G. Lansky was born in 1910 in Toronto, Canada. She pursued many careers in her lifetime including Nursing, Art, and Library Science. In 1928 she moved to New York City and later attended New York University, The Jewish Hospital in Brooklyn, NY and Cornell University. In 1942 she received a B.S. in Public Health Nursing. Ida Lansky moved to Hawaii in 1945 and married Irving Lansky. She then moved to Norman, Oklahoma and then to Denton, Texas where she studied art and was mother to two children, Ellen and Michele. From 1954 - 1959 she was in the Visual Art studies program at Texas Women’s University in Denton with an emphasis on photography. She studied under Carlotta Corpron. 1959 marked a peak in her art career when she exhibited her photographs in a group exhibition curated by Henry Holmes Smith...