<?xml version="1.0" encoding="UTF-8"?>
<feed xml:lang="en-US" xmlns="http://www.w3.org/2005/Atom">
  <link href="http://www.eco-villages.org/notes/atom/1361" rel="self" type="application/atom+xml"/>
  <link href="http://www.eco-villages.org/notes/view/1361"/>
  <id>urn:memiki:edouard:art:Contemporary-Art:Contemporary-Photography:note-1361</id>
  <title>Contemporary Photography</title>
  <updated>2010-03-20T20:34:47Z</updated>
  <entry>
    <id>urn:edouard:art:Contemporary-Art:Contemporary-Photography:note-1361</id>
    <title>Note body</title>
    <author>
      <name>edouard</name>
    </author>
    <updated>2009-08-07T09:16:27Z</updated>
    <content type="xhtml">
      <div xmlns="http://www.w3.org/1999/xhtml">
<p>See my <a href="/pages/show/58"><strong>photography page</strong></a></p>


	<h2>Favorite photographer list</h2>


	<p><a href="/pages/show/58#n1358">Stephane Couturier</a></p>


	<p><img src="http://www.we-make-money-not-art.com/wow/0aavalencinnn.jpg" alt="" /><br /><em>(Melting Point) Usine Toyota #1 (Valenciennes, 2005)</em></p>


<blockquote>
	<p>l&#8217;œuvre de Stéphane Couturier est essentiellement constituée de grands formats pris à la chambre ou au moyen-format dans lesquels l&#8217;œil du spectateur se perd, captif de détails.<br />À l&#8217;origine spécialisé dans la photographie d&#8217;architecture, Stéphane Couturier s&#8217;est orienté progressivement vers la photographie plasticienne : ses photographies de chantier révèlent une ville organique, en transformation et en couleurs et se déclinent parfois en diptyques ou triptyques géants<br /><a href="http://fr.wikipedia.org/wiki/St%C3%A9phane_Couturier"><em>wikipedia french article</em></a></p>

</blockquote>




	<p><a href="/pages/show/58#n1360">Edward Burtynsky</a></p>


	<p><img src="http://magazine.art-signal.com/en/wp-content/media/burtynsky1.jpg" alt="" /><br /><em>(three-gorges-dam)</em></p>


<blockquote>
	<p>These images are meant as metaphors to the dilemma of our modern existence; they search for a dialogue between attraction and repulsion, seduction and fear. We are drawn by desire &#8211; a chance at good living, yet we are consciously or unconsciously aware that the world is suffering for our success. Our dependence on nature to provide the materials for our consumption and our concern for the health of our planet sets us into an uneasy contradiction. For me, these images function as reflecting pools of our times.<br /><em>Edward Burtynsky (<a href="http://www.edwardburtynsky.com/">www.edwardburtynsky.com</a> )</em></p>

</blockquote>




	<p><a href="/pages/show/58#n1359">Andreas Gursky</a></p>


	<p><img src="http://i468.photobucket.com/albums/rr42/americansuburbx/Andreas%20Gursky/gursky99cent.jpg" alt="" /><br /><em>99 Cents (I) (1999)</em></p>


<blockquote>
	<p>Andreas Gursky is a German photographer best known for his massive architectural and perspective photographs. He uses extremely wide, panoramic-like angles to create an overwhelming sense of presence and space. He generally shoots subjects that bear some sort of repetition – people, windows, foodstuffs, you name it – and exploits their undiscovered beauty.<br /><a href="http://www.wyendrys.com/archives/933"><em>from wyendrys.com</em></a></p>

</blockquote>




	<p><a href="http://en.wikipedia.org/wiki/Richard_Misrach">Richard Misrach [wikipedia article]</a></p>


	<p><img src="http://www.artinfo.com/media/image/74909/001_Misrach696_052005.jpg" alt="" /></p>


<blockquote>
	<p>On the Beach by Richard Misrach is a collection of large-scale aerial photographs that show the beach-goers as miniatures on sweeping backgrounds of sea and sand. The enormity of the scene that dwarfs the people and the fact that they are so few lends an air of foreboding to a normally happy set. What does nature have in store for the souls who have ventured out to the beach that day?<br /><a href="http://mocoloco.com/art/archives/001923.php"><em>mocoloco.com article</em></a></p>

</blockquote>      </div>
    </content>
  </entry>
</feed>

