John Dolan

Fell, Berkshire, MA, 2007

2007

Amodaj created the Hoop and Ball series of photographs in June 2010 with dancer and author Shawnrey Notto. The photographs were based on an earlie...

Amodaj created the Hoop and Ball series of photographs in June 2010 with dancer and author Shawnrey Notto. The photographs were based on an earlie...

This item is available unframed or framed, They are in edition of 20 in he 16" x 20" paper size. Amodaj created the Hoop and Ball series of photographs in June 2010 with dancer and author Shawnrey Notto. The photographs were based on an earlier series of drawings Nenad made of Notto wearing parts of the deconstructed wedding dress during his figure drawing study in Michael Markowitz’s 23rd Street studio in San Francisco. The hoop skirt serves as an augmentation device, a skeletal extension meant to alter the visual perception of the human form. To realize the full associative power of the hoop, Amodaj created a counter-shape to the hoop, a white sphere (the Ball) made from plaster strips, to match the cloth texture and placed it in a dynamic relationship with his model. Notto improvised the poses from Nenad’s drawings in constant slow motion. The whole project was done in two 3-hour sessions with no rehearsals and no replays. The minimalistic setting, uniform lighting, and central vantage point shift perception from a trivial reality to a metaphysical one. The intent was to induce the spectator to spontaneously alternate between the three aspects: the human form, the symbolic function of the skirt, and the geometry of the cone and sphere. The spontaneity of dynamic poses and the imperfections of a handheld camera balance this sparse imagery. The exhibition presents a selection of 15 photographs from a project collection of over a hundred. Most of the series are gelatin-silver prints from a 35 mm film, with a few exceptions for large-scale digital color prints. Amodaj was influenced by the work of Bernd and Hilla Becher's typologies of industrial buildings and František Drtikol’s nudes. In the spirit of Becher’s “typologies,” Amodaj’s Hoop and Ball series of photographs explores endless mutations of the hoop skirt architecture, a clothing item with a curios geometric form that can be classified as a “flexible cone.” It is a form that appears both in nature and in artifice: flowers, bells, horns, nuclear power plants...

Amodaj created the Hoop and Ball series of photographs in June 2010 with dancer and author Shawnrey Notto. The photographs were based on an earlier series of drawings Nenad made of Notto wearing parts of the deconstructed wedding dress during his figure drawing study in Michael Markowitz’s 23rd Street studio in San Francisco. The hoop skirt serves as an augmentation device, a skeletal extension meant to alter the visual perception of the human form. To realize the full associative power of the hoop, Amodaj created a counter-shape to the hoop, a white sphere (the Ball) made from plaster strips, to match the cloth texture and placed it in a dynamic relationship with his model. Notto improvised the poses from Nenad’s drawings in constant slow motion. The whole project was done in two 3-hour sessions with no rehearsals and no replays. The minimalistic setting, uniform lighting, and central vantage point shift perception from a trivial reality to a metaphysical one. The intent was to induce the spectator to spontaneously alternate between the three aspects: the human form, the symbolic function of the skirt, and the geometry of the cone and sphere. The spontaneity of dynamic poses and the imperfections of a handheld camera balance this sparse imagery. The exhibition presents a selection of 15 photographs from a project collection of over a hundred. Most of the series are gelatin-silver prints from a 35 mm film, with a few exceptions for large-scale digital color prints. Amodaj was influenced by the work of Bernd and Hilla Becher's typologies of industrial buildings and František Drtikol’s nudes. In the spirit of Becher’s “typologies,” Amodaj’s Hoop and Ball series of photographs explores endless mutations of the hoop skirt architecture, a clothing item with a curios geometric form that can be classified as a “flexible cone.” It is a form that appears both in nature and in artifice: flowers, bells, horns, nuclear power plants...

Amodaj created the Hoop and Ball series of photographs in June 2010 with dancer and author Shawnrey Notto. The photographs were based on an earlier series of drawings Nenad made of Notto wearing parts of the deconstructed wedding dress during his figure drawing study in Michael Markowitz’s 23rd Street studio in San Francisco. The hoop skirt serves as an augmentation device, a skeletal extension meant to alter the visual perception of the human form. To realize the full associative power of the hoop, Amodaj created a counter-shape to the hoop, a white sphere (the Ball) made from plaster strips, to match the cloth texture and placed it in a dynamic relationship with his model. Notto improvised the poses from Nenad’s drawings in constant slow motion. The whole project was done in two 3-hour sessions with no rehearsals and no replays. The minimalistic setting, uniform lighting, and central vantage point shift perception from a trivial reality to a metaphysical one. The intent was to induce the spectator to spontaneously alternate between the three aspects: the human form, the symbolic function of the skirt, and the geometry of the cone and sphere. The spontaneity of dynamic poses and the imperfections of a handheld camera balance this sparse imagery. The exhibition presents a selection of 15 photographs from a project collection of over a hundred. Most of the series are gelatin-silver prints from a 35 mm film, with a few exceptions for large-scale digital color prints. Amodaj was influenced by the work of Bernd and Hilla Becher's typologies of industrial buildings and František Drtikol’s nudes. In the spirit of Becher’s “typologies,” Amodaj’s Hoop and Ball series of photographs explores endless mutations of the hoop skirt architecture, a clothing item with a curios geometric form that can be classified as a “flexible cone.” It is a form that appears both in nature and in artifice: flowers, bells, horns, nuclear power plants...

John Dolan’s photographs revel in the extraordinary that lies beneath everyday, fleeting occurrences. And in this eloquent collection of twenty images shot in ravishing color and black and white over the past twenty years, the often hidden essences of people, places, and objects are made plain, as if in dreams. Frequently placing his subjects at center, Dolan extracts from them their raw spirit and underlying energies, creating gripping drama within a short story-type form. A New York-based photographer for the past thirty six years, John Dolan was raised outside of Washington DC. After graduating from Beloit College with a B.A. in Art, he worked as a master printer for Sylvia Plachy and became well known for his photographs of celebrity...

Modern Masters of Photography. Japan (1960-2003) is a limited edition portfolio of contemporary Japanese photography by 12 internationally renowned photographers. The 12 photographs are printed on photo rag paper in an edition of 100 and presented in a hard-case portfolio. The prints are hand-signed by the artists, each with an edition number. Printed in 2005 under the direction of the photographers the 13” x 19” photographs are in the portfolio "Masters of Modern Photography. Japan,” published by Swaminathan Foundation in Japan edition, Tokyo. The complete portfolio edition available is 97/100 - with only (10) remaining portfolios. Included in the portfolio of (12) photographs by renowned contemporary Japanese photographers: - Daido Moriyama, Stray Dog, Misawa, 1971 - (#1) - Hiroshi Yamazaki, The Sun is Longing for the Sea, 1978 ( #2) - Eikoh Hosoe, Kazuo Ohno Breathing in the Spirit of Shohaku Soga, 1997 - (#3) - Yasuhiro Ishimoto, Joy of Color, 2002 - (#4) - Shigeichi Nagano, Monk of Kita Kamakura, 1950 - (#5) - Masahisa Fukase...

Miami Stripes 03. B&W & Color. 2016. Archival Pigment Print Size: 27 H in x 80 W in. Edition of 5 + 1AP unframed Miami Skin is one of the few “Still photo” projects realized only in...

Seascape II by Frank Schott 22 x 22 inches / 56cm x 56cm signed edition of 50 42 x 42 inches / 107cm x 107cm signed edition of 25 archival quality fine art pigment print limited a...

Edition of 8 Fixed is a series of photographs made by Rachel Phillips' alter-ego Madge Cameron: Until this project, Madge Cameron (b. 1935) had always seen photography as a sep...

Abruzzo, located in southern Italy, is known as the ‘green region of Europe’ because of the system of parks and nature reserves covering more than one-third of its territory. It has ...

'Studio 54 Portfolio, 1977-1981' by American photographer, Allan Tannenbaum. Archival pigment prints, Ed. 11/30, 36 prints. Image: 6 x 9 in. / Paper: 11 x 14 in. This rare 36-print portfolio features photographs taken between 1977-1981 at the famed nightclub, Studio 54. Images of well-known celebrities include such luminaries as Liz Taylor, Andy Warhol, Bianca Jagger, and Michael Jackson. Allan Tannenbaum's career in photography spans more than four decades. Born in Passaic, New Jersey, in 1945, he received a B.A. in Art from Rutgers University in 1967, where he photographed for The Targum – the campus newspaper – and made films for his art courses. In 1973, when the SoHo Weekly News commenced publication, Tannenbaum became the Photo Editor and Chief Photographer. The newspaper started out as an eight-page free paper, but soon became a popular newsstand seller that rivaled the established Village Voice. Tannenbaum relentlessly covered the art world, music scene, politics, show business, and nightlife until 1982 when the SoHo News folded. Tannenbaum has also done documentary and feature photography in places like Thailand, Indonesia, Palau, Jordan, Bahrain, Mozambique, Zimbabwe, Namibia, Brazil, Israel, Iceland, and Mexico. He has covered numerous political campaigns, nominating conventions and news stories in the U.S. such as the Oklahoma City bombing and the Columbine massacre. His work has appeared in many photo books and exhibitions, as well as appearing regularly in NEWSWEEK, TIME, LIFE, ROLLING STONE, PARIS MATCH, and STERN. His photographs have graced the covers of TIME three times, and NEWSWEEK five times. He now works as an international photojournalist contributing to various noted publications including Time, Life, and Newsweek. He is the author of three other books of his photography, including New York in the 70s (Feierabend, 2003), New York (Feierabend, 2004), and John and Yoko: A New York Love Story...