Thomas Joshua Cooper, ‘The mouth of the Water of Leith, Rennie's Lock, Edinburgh, Scotland’, 1997 / 2014, Ingleby Gallery
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The mouth of the Water of Leith, Rennie's Lock, Edinburgh, Scotland, 1997 / 2014

Silver gelatin print, hand toned & printed by the arti
14 4/5 × 17 7/10 in
37.5 × 45 cm
Edition of 4
.
Contact For Price
Location
Edinburgh, London
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About the work
Thomas Joshua Cooper
American, b. 1946
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Using an 1898 Agfa field camera and specially made photographic plates, Thomas Joshua Cooper creates extraordinary, meditative landscape photographs printed with selenium-toned silver gelatin. Each work begins as a location found on a map, which Cooper then exhaustively researches and tracks down. Composing only outdoors, he captures each site in a single exposure, stressing the “made” and “built” quality of each print over its documentary or snapshot elements. In his ongoing “Atlas Project” (1989-), Cooper charts the extremities of land in the Atlantic Basin, from South Africa and Scandinavia to the Arctic, Antarctica, and South America. “These accumulative picture-spaces could be anywhere or everywhere,” he says. “Yet the collective results that continue to drive, inform, and complete the Atlas may well tell us something about a more difficult and allusive territory of human concern.” Cooper cites among his influences Edward Weston, Alfred Stieglitz, Paul Strand, and Robert Frank.

Thomas Joshua Cooper, ‘The mouth of the Water of Leith, Rennie's Lock, Edinburgh, Scotland’, 1997 / 2014, Ingleby Gallery
Save
Save
View
View in room
Share
Share
About the work
Thomas Joshua Cooper
American, b. 1946
Follow

Using an 1898 Agfa field camera and specially made photographic plates, Thomas Joshua Cooper creates extraordinary, meditative landscape photographs printed with selenium-toned silver gelatin. Each work begins as a location found on a map, which Cooper then exhaustively researches and tracks down. Composing only outdoors, he captures each site in a single exposure, stressing the “made” and “built” quality of each print over its documentary or snapshot elements. In his ongoing “Atlas Project” (1989-), Cooper charts the extremities of land in the Atlantic Basin, from South Africa and Scandinavia to the Arctic, Antarctica, and South America. “These accumulative picture-spaces could be anywhere or everywhere,” he says. “Yet the collective results that continue to drive, inform, and complete the Atlas may well tell us something about a more difficult and allusive territory of human concern.” Cooper cites among his influences Edward Weston, Alfred Stieglitz, Paul Strand, and Robert Frank.

The mouth of the Water of Leith, Rennie's Lock, Edinburgh, Scotland, 1997 / 2014

Silver gelatin print, hand toned & printed by the arti
14 4/5 × 17 7/10 in
37.5 × 45 cm
Edition of 4
.
Contact For Price
Location
Edinburgh, London
Have a question? Visit our help center.
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