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Hung from the wall, his stacks of large, framed ink-jet prints crash through each other, leaving ripped paper and broken glass where one image pierces the others.

The photos themselves are studiously casual—they show friends and messy studios—but many include an emblem of photography or digital culture.

Cut from negatives and contact sheets, each fragment is recognizable, at least to her.

Pointing to a shard of film, “This is Belize, I can tell by the shape of those palms,” she says in her sunny studio in her Brooklyn apartment.

In Summer 2010 (Computer on 20” Slingerland Bass Drum, Accident/The Wood Fell On Me In Studio May 20 2010 #5, “Poster For Dialog With The Band Aids Wolf” Screens in Studio, Flower in Patty’s Gazebo 2), 2010, the photo on top shows a computer monitor running Photoshop, resting on a drum.

Other works depict a stack of photographs or a cell phone’s glowing screen.

In response, artists are looking to the history of pre-digital photographic processes with a fresh interest in experimentation.

Carol Squiers, the ICP show’s curator, says she wanted to explore “what it might mean for the analog era to end in photography and the digital era to completely take over.”What Squiers found was a sort of anarchic esthetic in which artists rebel against the prescribed uses of their materials.

There were sheets with mirroring around the edges like tarnish, where the silver in the paper had oxidized.

On some sheets, she found traces where fingerprints or mold had disturbed the emulsion, and faint marks where light had slowly leaked through the packaging, leaving the paper “roasted by time,” she says.

“I was cutting the pieces up so nobody would take them from the waste bin,” she recalls.

Also in the trash was an acetate negative sleeve, a long plastic envelope used to protect film.

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