Title: Chroma
Artist: John Divola
Skinnerboox, 2020
Designed by Federico Carpani
Hardcover
200 x 240 mm
80 pages
Text / Interview by David Campany
Text in English
First edition
ISBN: 9788894895339
디볼라의 도서는 현재 절판되어 서점에서 보유하고 있는 책들이 마지막 입고분이 될 것 같습니다. 참고 바랍니다.
Immediately after “Zuma” I made some rather straightforward photographs of the abandoned MGM Studios New York City back lot, in Culver City, Los Angeles.
These were in black and white. I then decided to try something entirely different and around 1980 I started a body of work about things you can’t photograph: Gravity, Magnetism, which way water drains, and the things I see when I press my eyes with the palms of my hands. All of these images required the construction of some kind of visual metaphor. […] At the same time, I was switching from color negative that I was using for “Zuma” to large format color transparency. I had become aware that the early C-type color prints faded badly and was trying to use a new, more stable material. This was Cibachrome, which printed from transparencies. It was very industrial and artificial, with deep color saturation and contrast. It was a very flawed material for conventional images but with unique properties that I ended up embracing for the “Chroma” images.
- From the interview with David Campany
Immediately after “Zuma” I made some rather straightforward photographs of the abandoned MGM Studios New York City back lot, in Culver City, Los Angeles.
These were in black and white. I then decided to try something entirely different and around 1980 I started a body of work about things you can’t photograph: Gravity, Magnetism, which way water drains, and the things I see when I press my eyes with the palms of my hands. All of these images required the construction of some kind of visual metaphor. […] At the same time, I was switching from color negative that I was using for “Zuma” to large format color transparency. I had become aware that the early C-type color prints faded badly and was trying to use a new, more stable material. This was Cibachrome, which printed from transparencies. It was very industrial and artificial, with deep color saturation and contrast. It was a very flawed material for conventional images but with unique properties that I ended up embracing for the “Chroma” images.
- From the interview with David Campany