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Diptychs, Triptychs and Polytychs (Open Thread)


Steve Ricoh

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Plus Minus IV
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Strand
Sketch Notes for Film Short
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Mare's Tail II
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On 5/29/2019 at 10:11 AM, Ernest said:

Strand
Sketch Notes for Film Short
M246 APO 50
M-A APO 50 ADOX Color Implosion & E100

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Wow! This is insane! Some of the panels work incredibly well as stand-alone pieces - the lower left one for instance really stands out. As a whole it sets my mind to thinking of movies where the beach plays a significant part. For some reason the lower right panel reminds me of the final scene of Death In Venice where, famously, it was the last scene actually shot and the rest of the crew were partying while Dirk Bogarde did his dying thing. Also parts of Stanley Kramer's adaptation of Nevil Shute's story On the Beach, parts of which were filmed in the town in which I grew up. Perhaps this matrix beckons thoughts of the history of cinema and the folklore of it as well? Anyway, it is absolutely brilliant!

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On ‎5‎/‎31‎/‎2019 at 12:22 AM, stray cat said:

Wow! This is insane! Some of the panels work incredibly well as stand-alone pieces - the lower left one for instance really stands out. As a whole it sets my mind to thinking of movies where the beach plays a significant part. For some reason the lower right panel reminds me of the final scene of Death In Venice where, famously, it was the last scene actually shot and the rest of the crew were partying while Dirk Bogarde did his dying thing. Also parts of Stanley Kramer's adaptation of Nevil Shute's story On the Beach, parts of which were filmed in the town in which I grew up. Perhaps this matrix beckons thoughts of the history of cinema and the folklore of it as well? Anyway, it is absolutely brilliant!

The still-image short film and its possibilities for provocation has intrigued me since I saw Chris Marker's La Jetee when it was released in the 60s. Now, there's critical interest in the essay film or the slow film, as it is sometimes defined. For me, the still-image short film is an extension of the image fragmentation of diptychs, the "unseen" gaps between "seen" images. This area plays with metaphor and allegory, the implied subtext of images set in the context of other images. The elliptical construction of poetry comes into play, as well. Music does this, just as indeterminate cinema, literature, and plays--works with implied endings that shuttle back to the beginning and play again in the mind. Anyway, this is what I want to sketch out in these little pieces--kind of like short visual poems. But, there's a hodgepodge factor that allows the random ordering of the images, although the upper left image is invariably the start for Western readers, and the bottom right is the end. It's open ended, though. Oddly, convoluted, too. The permutations are wide open. Then, there is the lexicon of images, as you have hit on, associating beach scenes from a number of films. Oh, my, Dirk Bogarde in Visconti's Death in Venice. There are all the clichés to work with and against. Context can undermine cliché, but sometimes the less said implies more room for novelty. The whole thing can get really labyrinthine, fast.

I added the color swatches to this construct as constant statement that disallows involvement in the photographs themselves, a reminder that this is a fabricated order of its disorder. I should probably run this by Borges, if only he were here. 

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Stream of Sand: Eclectic Second Reader
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Polyptych Palette Sketching
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Projection: Still-image Short Film
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No Go Rim IV
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Image transparency & color field study. An anti-photograph? A question of subject, blurred, in contrast to focused color field of seemingly nothing. Color is the object. Caution zone challenges the status of the subject. Vision as common denominator.  Somehow a postcard sneaked on stage; a postcard, mail to whom? An anti-photograph or only a photograph?

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  • 3 weeks later...

Shutters II Diptych
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Nikon F2 Micro-Nikkor 55mm RGB (Mobile, Alabama-1976)

Another edit of the film that never dies shot 43 years ago and reborn in polyptychs.

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Edited by Ernest
revision
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Triple Gray
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Souveniers
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Four Square V
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Edited version of Josef Albers: Interaction of Color. Ten separate color fields, various steel, cement, glass, and stucco textures. Happy Bauhaus 100th Birthday.

BTW: I highly recommend the newly released publication Robert Rauschenberg: Rauschenberg in China. Unusual tri-book binding with the first publication of Rauschenberg's 1/4 Mile Furlong, as well as 35mm and 2-1/4 (Hasselblad) photographs Rauschenberg shot in China--looking at China through Rauschenberg's eyes! I anticipate this book will be available only on the secondary market at very high prices. As I have mentioned before, Rauschenberg studied at Black Mountain College under Josef Albers. The preponderance of Rauschenberg's work starts with either his own photography or images culled from media. One interesting example is his Dante's Inferno work--thirty-four illustrations he spent two-and-a-half years developing with a unique solvent transfer process he developed. Life magazine also published a unique fold-out of another version of his Dante's Inferno in 1965, which illustrates his use of contemporary media imagery to define his visual interpretation of Inferno.

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Conspiracy of Rectangles Sketch
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Arch Grid II Sketch
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Mannequin Triptych
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  • 2 weeks later...

Filmemory
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On 3 August 2019 at 3:03 AM, Ernest said:

Filmemory
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I find this image really plays with my vision and attention, flicking around but always following the pathway, but I guess you planned it that way.

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23 hours ago, Steve Ricoh said:

I find this image really plays with my vision and attention, flicking around but always following the pathway, but I guess you planned it that way.

Thanks, Steve, for the comment because I was experimenting with the idea of the depth in a photograph, the illusion of 3-D and the fallibility of images in memory, even documented in a photograph. So, I wanted to create depth using the pedestrian image of a tree (black-and-white, full frame) and a related image, actually in color with shadow branches that mimic the black-and-white photo frame shot. The abstract arrangement echoes a view camera construction, perhaps a Linhof Technikardan. I am looking for ways to challenge the tyranny of the rectangle and this is what leads me to fragmented images.

Cheers, Rog 🎬

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