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Matthew Brandt, Mole Sauce, 2009 / Josef Breitenbach, Patricia, 1942
The Crystal Chain takes its name from a correspondence between artists and architects about utopian architecture initiated by Bruno Taut in 1919. Though this exchange predates the photographs shown here, it embodies the struggle of intellectuals in the early part of the twentieth century to get their ideological footing, and in particular to define a future for their medium.
In the broadest sense, the works in this show take their cues from history. Less decisive moments than summits of accumulation, these photographs show the cyclical reprocessing of the past and its reincarnation in the present.
IMAGE SOURCE

Matthew Brandt, Mole Sauce, 2009 / Josef Breitenbach, Patricia, 1942

The Crystal Chain takes its name from a correspondence between artists and architects about utopian architecture initiated by Bruno Taut in 1919. Though this exchange predates the photographs shown here, it embodies the struggle of intellectuals in the early part of the twentieth century to get their ideological footing, and in particular to define a future for their medium.

In the broadest sense, the works in this show take their cues from history. Less decisive moments than summits of accumulation, these photographs show the cyclical reprocessing of the past and its reincarnation in the present.

IMAGE SOURCE

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