14 of 365 (MN_WBS 2015)

2015-01-14

14 of 365
2015_01_14
Matt Niebuhr
West Branch Studio
www.mattniebuhr.com
shop.mattniebuhr.com

6 of 365 (MN_WBS 2015)

2015-01-06

6 of 365
2015_01_06
Matt Niebuhr
West Branch Studio
www.mattniebuhr.com
shop.mattniebuhr.com

Notes on bubble chamber inspiration

untitled, (desktop) by Matt Niebuhr - copyright 2010 - all rights reserved

untitled  (photographs from a desktop series)
2010_03_15
Matt Niebuhr

The topside of my drawing / drafting table is way more like the bubble chamber…  more so than I’ve been able to intentionally make so far in another visual form on paper  (even though I have really, really tried to do so)…

I just love those bubble chamber diagrams / photographs…. on so many levels.  So, I’m accepting and embracing the imprint left behind  (pictured above)  as the meaningful record of those attempts. Perhaps my actions are not all together hopeless… These photos will serve as documents to the history of other actions.

Finding good source imagery (by this I mean images that trigger an action)  is a lot like panning for gold.  In the  blog-o-sphere… if you’re lucky, you might find the occasional nugget.  I became aware of the bubble chamber via and I’m so glad for that…

Imagine growing up in a world where the internet (for all the good and the bad it encompasses) has always existed !

783 sheets (and counting) – Richter’s Atlas

I’ve finally had a chance to look through some of Richter’s Atlas (published by d.a.p.)- and with so much imagery – so many photos, sketches, models, I am amazed at the sheer volume – 783 sheets so far. It is a wonderful book – a glimpse into the images about / around / behind /before / after the painted works…

One of my favorites is at the Des Moines Art Center…

But, I wonder what is the atlas really collecting and what’s the purpose of publishing it as a body of work ? Memories and reasons for paintings?

Some of the photographs are so well composed, I have to wonder if the desired image was already formed in the mind and the photograph is a way of testing it out – before it is transformed into a painting.

I find it interesting where the impulse to finally paint an image comes from – the creative tipping point. Photographs are like rough drafts. A collection of image models. Or, as the introduction suggests, a way of filtering all the possible images to locate the “right image”.

Of interest are the photographic experiments – double exposures and self portraits – sometimes labeled “for prints”.

I don’t know that there are any Richter photographs that are themselves catalogued as finished work. It would be interesting if there were – would they look like Richter’s paintings or be something else?

Where a painting is a “one of a kind” object – existing as its own image – Photography is always of something – and can never seem to escape that … Both involve the hand of the artist – decisions, exclusions, technique, product are all employed to produce – to create “the image”.

“One only makes a photo to make a photo, and if you’re lucky, you will discover it later for a painting. – Gerhard Richter”