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Photographer's Note

After Sam

Looking at the huge artwork here on one of the walls in the Whitney Museum again most people will be convinced that you are looking at a photo but this is also a painting of oil on canvas.

Probably not everybody will like this picture. We are looking to an unexpected, unusual even provoking image.
The man, the painter himself is lying on a bed, annoyed looking at the visitor of the exhibition. The label next to the art-work calls it: lies slumped on a bed in a state of melancholy and self-reflection.
Beautiful painting? NO
It is painted with excellent skills, but it is not a work just to pleasure the viewers. But art is not only meant to be beautiful. It is telling something of the time in which it was made.

Many people adore the art of the past and despise most modern art, but you must realize that the art of the past is a selection of the best works of their time. In modern art we see everything without filters.
Time will select the best artworks telling the truth of our time. Dont forget Vincent van Gogh

Artist Rudolf Stingel (1956-)
Title: Untitled (After Sam)
Date: 2005-06
Medium: Oil on canvas
Dimensions: Overall: 139 1/2 188 in. (354.3 477.5 cm) Image: 132 180 in. (335.3 457.2 cm)

Object Label
Untitled (After Sam) is part of a series of photo-realistic paintings based on black-and-white photographs of Rudolf Stingel taken by artist Sam Samore, who is referenced in the title of this work. Like the footprints and graffiti that Stingel recorded in earlier canvases, the photographic self-portraits act as an index of the artists physical body, but the subject of his investigation moves here from the materiality of painting to the psychological material of the painter. In the painting, Stingel lies slumped on a bed in a state of melancholy and self-reflection. The despondency of both his pose and his expression possibly signal a moment of creative crisis. Stingels strategy draws on self-portraiture as a historical genre, yet the move from photograph to painting prompts a consideration of the distinction between the twowhat has been gained, or lost, in the transcription? The artist presents himself as larger-than-life, contemplative, and even vulnerable at the same time as he draws attention to the mediation of this intimate representation by mechanical means. (website Whitney Museum New York)

Make: SONY
Model: ILCE-6300
Software: PaintShop Pro 19,00
Exposure Time: 1/160 sec
F-Stop: f/3.5
ISO Speed Ratings: 2500
Focal Length: 18 mm
Date Taken: 2016-08-02 13:07
Metering Mode: Pattern
Flash: Flash did not fire, compulsory flash mode
File Size: 698 kb

Photo Information
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Points: 68
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Additional Photos by Rob Zwemmer (alvaraalto) Gold Star Critiquer/Gold Star Workshop Editor/Gold Note Writer [C: 5397 W: 324 N: 10007] (39346)
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