Untitled (Alcoa Building atrium sculpture: "Birds in Flight," Mary Callery, 1953), 2012 - Todd Eberle
About the Work
About Untitled (Alcoa Building atrium sculpture: "Birds in Flight," Mary Callery, 1953)
In his architectural photographs, Eberle often transforms well-known monuments of the built environment into compositions that evoke their sculptural qualities. For the exhibition Factory Direct: Pittsburgh, in which contemporary artists did residencies at Pittsburgh-based factories and created work about the ...Read More
In his architectural photographs, Eberle often transforms well-known monuments of the built environment into compositions that evoke their sculptural qualities. For the exhibition Factory Direct: Pittsburgh, in which contemporary artists did residencies at Pittsburgh-based factories and created work about the experience, Eberle photographed the buildings themselves, applying the industrial and corporate architecture of the city to his signature treatment. The grid structure of the work, meanwhile, is an homage to Andy Warhol's 1970s series of "sewn portraits," in which the Pop artist echoed the seriality of his silkscreens by stitching together multiple copies of a photographic image. In this print, a grid of a photograph depicting Mary Callery's 1953 sculpture Birds in Flight, located in the atrium of the Alcoa Building in Pittsburgh, appears as an arrangement of ambiguous shapes and colors. Read Less
About the Artist
About Todd Eberle
Todd Eberle is an acclaimed New York City-based photographer whose work is united by a clean and analytical minimalist aesthetic. Eberle's subjects run the ...Read More
Todd Eberle is an acclaimed New York City-based photographer whose work is united by a clean and analytical minimalist aesthetic. Eberle's subjects run the gamut from political, art, and cultural figures to architectural landmarks and technology. He has worked as photographer-at-large at Vanity Fair since 1998 and has had solo exhibitions at the San Francisco Museum of Modern Art, the Art Institute of Chicago, WPS1/MoMA/The Clocktower, and Tate Modern.
Eberle gained international recognition for his photographs of Donald Judd's art and furniture that he took at the great sculptor's Chinati Foundation in Marfa, Texas, and elsewhere around the world in the 1990s. Informed by this experience, Eberle's photographs are characterized by an ever-presence sense of control, proportion, and symmetry. His celebrity portraits are notable for their witty eye for design, and his architectural photographs have been praised by the curator Joseph P. Rosa for "proposing fresh ways of seeing, thinking about, and interpreting architecture" and for transforming "the figurative into the abstract." In almost every photo, rich colors—almost too vibrant to believe—grip the viewer's attention.
In his recently published monograph Empire of Space (Rizzoli, 2011), Eberle pairs disparate photographs from throughout his 30-year career to create thought-provoking juxtapositions. Dave Hickey, the eminent art critic, writes in his accompanying essay: "There is always a heartless little sting in these images, a frisson of worldly dissonance, like Degas in a newspaper."Read Less
Eberle gained international recognition for his photographs of Donald Judd's art and furniture that he took at the great sculptor's Chinati Foundation in Marfa, Texas, and elsewhere around the world in the 1990s. Informed by this experience, Eberle's photographs are characterized by an ever-presence sense of control, proportion, and symmetry. His celebrity portraits are notable for their witty eye for design, and his architectural photographs have been praised by the curator Joseph P. Rosa for "proposing fresh ways of seeing, thinking about, and interpreting architecture" and for transforming "the figurative into the abstract." In almost every photo, rich colors—almost too vibrant to believe—grip the viewer's attention.
In his recently published monograph Empire of Space (Rizzoli, 2011), Eberle pairs disparate photographs from throughout his 30-year career to create thought-provoking juxtapositions. Dave Hickey, the eminent art critic, writes in his accompanying essay: "There is always a heartless little sting in these images, a frisson of worldly dissonance, like Degas in a newspaper."Read Less
Untitled (Alcoa Building atrium sculpture: "Birds in Flight," Mary Callery, 1953), 2012
by Todd Eberle
Photograph
Artspace Edition
Artspace Editions are exclusive commissioned works developed by our curators in collaboration with leading contemporary artists.
Offered in partnership with:
Description
Print made with archival pigments on fine art rag paperAuthentication
Includes a Certificate of Authenticity signed by the artist.Dimensions
This print contains a border as dictated by the artist to allow for framing and the quoted dimensions are for the paper size and not the printed size of the image itself.Shipping
Unframed works ship in 7-10 business days. Framed works ship in 10-14 business days.ARTSPACE ADVISOR
We are here to help. Please let us know if you have any questions about this work, the artist, collecting in general or artists you'd like to see on Artspace. Please call us at (212) 675-5804 or email service@artspace.com and we'll respond within 24 hours.
Other Works by Todd Eberle
Other Works You Might Like
