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Bill Armstrong, ‘Film Noir #1433’, 2012, Aperture Foundation Benefit Auction
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Bill Armstrong

Film Noir #1433, 2012

C-print
20 × 24 in
50.8 × 61 cm
This is an editioned multiple.
Bidding closed
About the work
Exhibition history
Bibliography
Aperture Foundation Benefit Auction

Artist's Proof, Edition of 10

Medium
Photography
Signature
Signed verso
Image rights
Courtesy Clamp Art, New York and Hackelbury Fine Art, London
Bill Armstrong
American, b. 1952
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Fascinated by the profound effect that color can have on perception and emotions, Bill Armstrong produces lush, semi-abstract, semi-figurative photographs. Working in series, he makes his photographs by taking intentionally blurred photographs of other photographs. For example, for his “Infinity” series, begun in 1997, Armstrong gathers existing photographs—of Roman sculpture, Old Master drawings, or film stills—and alters them in various ways, including cutting them apart or painting over them. He then sets his camera’s lens to “infinity”, an extremely out-of-focus range, and photographs these manipulated images. Explaining his process and its results, he writes: “Extreme de-focusing enables me to blend and distill hues, creating rhapsodies of color that are meditative pieces—glimpses into a space of pure color, beyond our focus, beyond our ken.”

Bill Armstrong, ‘Film Noir #1433’, 2012, Aperture Foundation Benefit Auction
Save
Save
View
View in room
Share
Share
About the work
Exhibition history
Bibliography
Aperture Foundation Benefit Auction

Artist's Proof, Edition of 10

Medium
Photography
Signature
Signed verso
Image rights
Courtesy Clamp Art, New York and Hackelbury Fine Art, London
Bill Armstrong
American, b. 1952
Follow

Fascinated by the profound effect that color can have on perception and emotions, Bill Armstrong produces lush, semi-abstract, semi-figurative photographs. Working in series, he makes his photographs by taking intentionally blurred photographs of other photographs. For example, for his “Infinity” series, begun in 1997, Armstrong gathers existing photographs—of Roman sculpture, Old Master drawings, or film stills—and alters them in various ways, including cutting them apart or painting over them. He then sets his camera’s lens to “infinity”, an extremely out-of-focus range, and photographs these manipulated images. Explaining his process and its results, he writes: “Extreme de-focusing enables me to blend and distill hues, creating rhapsodies of color that are meditative pieces—glimpses into a space of pure color, beyond our focus, beyond our ken.”

Bill Armstrong

Film Noir #1433, 2012

C-print
20 × 24 in
50.8 × 61 cm
This is an editioned multiple.
Bidding closed
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