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

Je m’effondrai en larmes sur le lit, 1978, Gelatin silver print.
Raymonde April, Je m’effondrai en larmes sur le lit, 1978 Je m’effondrai en larmes sur le lit, 1978, Gelatin silver print.
Lio dans les herbes, 1984, Painted Chromogenic print.
Pierre et Gilles, Lio dans les herbes, 1984 Lio dans les herbes, 1984, Painted Chromogenic print.
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.
Rescue Effort, 2007, Digital chromogenic print, 1/5.
Carlos & Jason Sanchez, Rescue Effort, 2007 Rescue Effort, 2007, Digital chromogenic print, 1/5.
Vertical Pull 1, 1977, 12 gelatin silver prints.
Suzy Lake, Vertical Pull 1, 1977 Vertical Pull 1, 1977, 12 gelatin silver prints.
Double Talk, 1982, Tinted gelatin silver print, 3/10.
George Legrady, Double Talk, 1982 Double Talk, 1982, Tinted gelatin silver print, 3/10.
Le Corps du ciel, 1992, 2 chromogenic prints mounted on plexiglass, 1/2.
Geneviève Cadieux, Le Corps du ciel, 1992 Le Corps du ciel, 1992, 2 chromogenic prints mounted on plexiglass, 1/2.
Generic Man, 1987-1989, printed of 2002, Duratrans display transparency and light box.
Jana Sterbak, Generic Man, 1987-1989, printed of 2002 Generic Man, 1987-1989, printed of 2002, Duratrans display transparency and light box.
Blindsight, 2005, Digital chromogenic print, 2/5.
Isabelle Hayeur, Blindsight, 2005 Blindsight, 2005, Digital chromogenic print, 2/5.
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.
Shipbreaking No. 29, Chittagong, Bangladesh, 2001, printed of 2002, Chromogenic print, 2/10.
Edward Burtynsky, Shipbreaking No. 29, Chittagong, Bangladesh, 2001, printed of 2002 Shipbreaking No. 29, Chittagong, Bangladesh, 2001, printed of 2002, Chromogenic print, 2/10.
El Primer Dia, 2003, 1 colour Inkjet print and 4 black and white Inkjet prints.
Sergio Vega, El Primer Dia, 2003 El Primer Dia, 2003, 1 colour Inkjet print and 4 black and white Inkjet prints.
Irises, after Van Gogh (from Pictures of Magazines), 2004, Chromogenic print, 5/6.
Vik Muniz, Irises, after Van Gogh (from Pictures of Magazines), 2004 Irises, after Van Gogh (from Pictures of Magazines), 2004, Chromogenic print, 5/6.
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.
ID, 1990, 2 gelatin silver prints, frames and engraved plastic plates, 3/4.
Lorna Simpson, ID, 1990 ID, 1990, 2 gelatin silver prints, frames and engraved plastic plates, 3/4.
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