Angela Grauerholz

Chemin de fer, 1994

© Angela Grauerholz • Photo: Richard-Max Tremblay

Angela Grauerholz, Chemin de fer, © Angela Grauerholz • Photo: Richard-Max Tremblay
Artist
Angela Grauerholz
Title
Chemin de fer
Dimensions and medium
Silver gelatin print, 1/3, 121.8 × 182.7 cm
Artwork description
With its beautifully poetic, hazy atmosphere, Chemin de fer belongs to an intellectually-driven concept of photography that considers the mnemonic value of an image in relation to its real-life representation. The notion of time, as suggested by the photographic blur, emerges suddenly. This fluidity of the image plays with the fascinating, dizzying, and dreamlike aspects of time. As with Grauerholz’s black and white images from the 1980s and early ‘90s, Chemin de fer is imbued with a transitory and temporal quality that gives the work a metaphysical and surreal dimension.

See Also

Petits riens, 2002, Digital chromogenic print mounted on composite support, 1/2.
Nicolas Baier, Petits riens, 2002 Petits riens, 2002, Digital chromogenic print mounted on composite support, 1/2.
Exposure #44, Barmsee, Bavaria, 08.18.06, 4:37 p.m., 2006, Inkjet print, 5/5.
Barbara Probst, Exposure #44, Barmsee, Bavaria, 08.18.06, 4:37 p.m., 2006 Exposure #44, Barmsee, Bavaria, 08.18.06, 4:37 p.m., 2006, Inkjet print, 5/5.
Palais Garnier Paris XXXI, 2005, Chromogenic print, 3/6.
Candida Höfer, Palais Garnier Paris XXXI, 2005 Palais Garnier Paris XXXI, 2005, Chromogenic print, 3/6.
Self Portrait with Skeleton, 2003, Cibachrome print, 4/5.
Marina Abramovic, Self Portrait with Skeleton, 2003 Self Portrait with Skeleton, 2003, Cibachrome print, 4/5.
Debout sur le rivage, 1984, 9 silver gelatin prints.
Raymonde April, Debout sur le rivage, 1984 Debout sur le rivage, 1984, 9 silver gelatin prints.
Rat Poison Suicide (de la série « The Morgue »), 1992, Cibachrome print, 1/3.
Andres Serrano, Rat Poison Suicide (de la série « The Morgue »), 1992 Rat Poison Suicide (de la série « The Morgue »), 1992, Cibachrome print, 1/3.
The Last Image. Blind with couch, 2010, 4 Inkjet prints mounted on aluminum, 2 plexiglass casings, and 2 metal frames, 1/3.
Sophie Calle, Aveugle au divan (de la série « La Dernière image », 2010), 2010 The Last Image. Blind with couch, 2010, 4 Inkjet prints mounted on aluminum, 2 plexiglass casings, and 2 metal frames, 1/3.
Venetian Blind, 1970, printed of 2002, 24 Chromogenic prints, Edition of 3.
Michael Snow, Venetian Blind, 1970, printed of 2002 Venetian Blind, 1970, printed of 2002, 24 Chromogenic prints, Edition of 3.
Red Man, 2004, Inkjet print face-mounted on plexiglass and mounted on composite aluminum panel, 1/7.
Chih-Chien Wang, Red Man, 2004 Red Man, 2004, Inkjet print face-mounted on plexiglass and mounted on composite aluminum panel, 1/7.
Fragments (de la série « Le Chasseur d’images », 1991 - 1994), 1992, 82 silver gelatin prints, 82 wood frames, and pins, 1/3.
Roberto Pellegrinuzzi, Fragments (de la série « Le Chasseur d’images », 1991 - 1994), 1992 Fragments (de la série « Le Chasseur d’images », 1991 - 1994), 1992, 82 silver gelatin prints, 82 wood frames, and pins, 1/3.
Blindsight, 2005, Digital chromogenic print, 2/5.
Isabelle Hayeur, Blindsight, 2005 Blindsight, 2005, Digital chromogenic print, 2/5.
Histoire naturelle VI (Nubilæ), 1988-1991, 2 silver gelatin prints and oil on masonite.
Charles Gagnon, Histoire naturelle VI (Nubilæ), 1988-1991 Histoire naturelle VI (Nubilæ), 1988-1991, 2 silver gelatin prints and oil on masonite.
Vertical Pull 1, 1977, 12 gelatin silver prints.
Suzy Lake, Vertical Pull 1, 1977 Vertical Pull 1, 1977, 12 gelatin silver prints.
Réminiscence, 2012, Inkjet print on aluminum, A.P..
Nicolas Baier, Réminiscence, 2012 Réminiscence, 2012, Inkjet print on aluminum, A.P..
Cathexis No. 48 (de la série « Cathexis Series », 1982), 1982, printed of 1993, Chromogenic print and decals.
Joseph Kosuth, Cathexis No. 48 (de la série « Cathexis Series », 1982), 1982, printed of 1993 Cathexis No. 48 (de la série « Cathexis Series », 1982), 1982, printed of 1993, Chromogenic print and decals.
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