JAN GROOVER, LABORATORY OF FORMS - Collective
" Formalism is everything". Jan Groover's statement sums up the plastic ambition of his work, which today embodies one of the defining moments in the history of photography and the still-life genre. Through constant and varied experimentation, Jan Groover's research has focused on forms and their capacity to transform the perception of the image.
In the early 1970s, she came to the attention of the New York art scene for her polyptychs devoted to cars and the urban environment. Around 1978, Jan Groover radically changed her subject matter, turning to still life, which constitutes the core of her work. Produced in the studio, his compositions employ a variety of techniques. In the 1970s and 1980s, they actively contributed to the institutional and artistic recognition of color photography. Jan Groover developed a keen interest in the platinum-palladium process, which dates back to the end of the 19th century.
Edited by Tatyana Franck. With contributions from Bruce Boice, Emilie Delcambre Hirsch, Paul Frèches, Tatyana Franck, Sarah Hermanson Meister, and Pau Maynés Tolosa.
Published by Editions Noir sur Blanc - Musée de l'Élysée, 2019
21.5 cm x 27.7 cm, 192 pages
ISBN 9782882505866
" Formalism is everything". Jan Groover's statement sums up the plastic ambition of his work, which today embodies one of the defining moments in the history of photography and the still-life genre. Through constant and varied experimentation, Jan Groover's research has focused on forms and their capacity to transform the perception of the image.
In the early 1970s, she came to the attention of the New York art scene for her polyptychs devoted to cars and the urban environment. Around 1978, Jan Groover radically changed her subject matter, turning to still life, which constitutes the core of her work. Produced in the studio, his compositions employ a variety of techniques. In the 1970s and 1980s, they actively contributed to the institutional and artistic recognition of color photography. Jan Groover developed a keen interest in the platinum-palladium process, which dates back to the end of the 19th century.
Edited by Tatyana Franck. With contributions from Bruce Boice, Emilie Delcambre Hirsch, Paul Frèches, Tatyana Franck, Sarah Hermanson Meister, and Pau Maynés Tolosa.
Published by Editions Noir sur Blanc - Musée de l'Élysée, 2019
21.5 cm x 27.7 cm, 192 pages
ISBN 9782882505866
" Formalism is everything". Jan Groover's statement sums up the plastic ambition of his work, which today embodies one of the defining moments in the history of photography and the still-life genre. Through constant and varied experimentation, Jan Groover's research has focused on forms and their capacity to transform the perception of the image.
In the early 1970s, she came to the attention of the New York art scene for her polyptychs devoted to cars and the urban environment. Around 1978, Jan Groover radically changed her subject matter, turning to still life, which constitutes the core of her work. Produced in the studio, his compositions employ a variety of techniques. In the 1970s and 1980s, they actively contributed to the institutional and artistic recognition of color photography. Jan Groover developed a keen interest in the platinum-palladium process, which dates back to the end of the 19th century.
Edited by Tatyana Franck. With contributions from Bruce Boice, Emilie Delcambre Hirsch, Paul Frèches, Tatyana Franck, Sarah Hermanson Meister, and Pau Maynés Tolosa.
Published by Editions Noir sur Blanc - Musée de l'Élysée, 2019
21.5 cm x 27.7 cm, 192 pages
ISBN 9782882505866
