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PROPERTY FROM A PRIVATE ITALIAN COLLECTION
PROPERTY FROM A PRIVATE ITALIAN COLLECTION
VERA LUTTER (B. 1960)
Costa Luerssen Werft: August 21, 1997
已結束2017年5月18日
成交價
GBP 13,750
更多資訊
VERA LUTTER (B. 1960)
Costa Luerssen Werft: August 21, 1997
gelatin silver print, mounted on canvas
signed in ink on titled and dated typed gallery label (frame backing board)
overall: 55 ¾ x 127 ¾ in. (141 x 324 cm.)
This work is unique.
Costa Luerssen Werft: August 21, 1997
gelatin silver print, mounted on canvas
signed in ink on titled and dated typed gallery label (frame backing board)
overall: 55 ¾ x 127 ¾ in. (141 x 324 cm.)
This work is unique.
VERA LUTTER (B. 1960)
Costa Luerssen Werft: August 21, 1997
gelatin silver print, mounted on canvas
signed in ink on titled and dated typed gallery label (frame backing board)
overall: 55 ¾ x 127 ¾ in. (141 x 324 cm.)
This work is unique.
Costa Luerssen Werft: August 21, 1997
gelatin silver print, mounted on canvas
signed in ink on titled and dated typed gallery label (frame backing board)
overall: 55 ¾ x 127 ¾ in. (141 x 324 cm.)
This work is unique.
Galerie Max Hetzler, Berlin.
Acquired from the above by present owner.
Acquired from the above by present owner.
Vera Lutter’s imposing, ethereal images are taken using a room-sized camera obscura, also known as a pinhole camera. This process projects a reversed image of the outside world onto a vast sheet of photosensitive paper, resulting in a unique negative photograph. The long exposure time, which for Lutter ranges from several hours to a period of months, captures static objects with clarity while also recording blurs, wisps and traces of movement. These monumental pictures carry a ghostly sense of temporality, glimmering with the mysteries of how time, motion and light become image. The sublime, luminous ship in Costa, Luerssen Werft: August 21, 1997 is under construction by a German shipbuilding company: Lutter explains that ‘I’ve been exploring the medium of transportation – ships, trains, zeppelins, oil rigs, planes – in the industrial environment they were built in, relating the transfer of merchandise to the transfer of light within the camera.’ Appropriately, she often rents a shipping container as her camera – the image of the ship is thus an apt echo of her first ever pinhole photograph, for which she used a room to photograph a building.
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