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Photography, Black & White on Paper
Size: 24 W x 20 H x 0.1 D in
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222 Views
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Artist featured in a collection
In photography, recording and manipulation are in promiscuity. But art and decoration are irreconcilable. The desire for harmony is common to both, even rhythm, but they differ in the most intimate and decisive part of forms: the tension that inhabits rhythm. Decoration is in this world and is integrated with it; the work of art is constituted in a separate world. That is why it is autonomous, and derives its being from its internal balance. Art and decoration have seen their limits vary throughout history. In the early arts they did not stand as they do today. Certain great artists (Matisse) rejoiced in their contiguity. But their separation is permanent. They have a beautiful being in physical space, but they are not in the same aesthetic space. All reality may be harmonious, but not all reality is alive. Jazz gives us a good example.: neither regularity, nor force, nor balance of time are enough, there is a need for “swing,” this imperceptible difference makes everything reopen, come alive and relaunch melodic invention. The work is offered in an edition of 7 copies. The silver salts print is made using photographic papers of the highest quality. The photograph undergoes a final conservation process to prevent deterioration due to exposure to light. The image is made with large format analog film and printed by Attilio Scimone.
2007
Black & White on Paper
7
24 W x 20 H x 0.1 D in
Not Framed
Not applicable
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Attilio Scimone was born in Riesi in 1951 in a small town in the Sicilian hinterland. He began photographing during his university studies at the Faculty of Architecture in Palermo. His first photographs were in the areas of architecture and landscape. During those years he took courses with philosopher Rosario Assunto on landscape aesthetics. These were fundamental years for his specific preparation in the aesthetic language of architecture and landscape, which in the years to follow he would devote to the complexity of that of Sicily. In those years he frequents Sicilian art movements making several collaborations with artists in the field of experimentation. The series “Parcel Man” made with artist Salvatore Salamone is from 1974. One of the works “Liberation” from 1976 is part of the Collection of the Diocesan Museum Palazzo Arcivescovile, Palermo. From the beginning he personally prints photographs exploring the aesthetic and creative possibility of photographic chemistry. He works on several projects using photography and black and white printing as an expressive element, thus beginning an artistic journey that will be a point of reference in the following decades. In the 1980s he devoted himself to photography of landscape, architecture and industrial archaeology. He is commissioned by the Regional Province of Caltanissetta to make a study entitled “Caltanissetta and its Territory,” from the extensive photographic documentation produced using large-format cameras. The photographic work in effect becomes a study of the landscape and identity of the territory of Central Sicily. An exhibition is held with the most significant images, and the entire work is published by the promoting body in five volumes. In those years, in addition to collaborating with various educational institutions in teaching the language of photography, he produces other research such as the documentation made again with large-format and black-and-white cameras on Sulfur Mines in Sicily. The documentation produced takes on a remarkable importance as all those structures that represented the economy of central Sicily for so many years are photographed, as well as all the international technologies applied to the structures and machinery for the extraction, processing and transport of sulfur.
Artist featured by Saatchi Art in a collection
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