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€ 800 - 1.200
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€ 903
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Vintage C-print
cm 30,4 x 39,5 (cm 27,8 x 36 picture) | 12 x 15.6 in. (10.9 x 14.2 in. picture)
Monog GC and dated in black ink on the white inferior recto margin
In Giovanni Chiaramonte's poetics, photography shot in medium and large format and printed from color negative plays a central role because here technique is not for its own sake, but functional to the message it wants to convey. Immersed in a philosophical dimension that tends openly toward the spiritual, the photographer's path confronts authors such as Andrej Tarkovskij (of the director he discovers and disseminates, publishing it in a book, the photographic activity) in search of Mediterranean-style atmospheres emphasized, as in these two examples, by warm and delicate chromatics that he captures in Italy, Europe and the Middle East, but which he also transfers to the American landscape. In Texas, in a small town with the high-sounding name of Corpus Christy, he photographs a large parking area in the style that has in its time characterized American photography of the so-called Dialectical Landscape. The space is defined by a distant horizon while it is the tall poles in the shape of an inverted L that ideally dialogue with the white stripes of the pavement. The photograph appears in the volume “Westword” published in 2014 by Ultreya.
cm 30,4 x 39,5 (cm 27,8 x 36 picture) | 12 x 15.6 in. (10.9 x 14.2 in. picture)
Monog GC and dated in black ink on the white inferior recto margin
Literature
U. Fiori, Giovanni Chiaramonte, Penisola delle figure, 24ore Cultura, Milan, 1993, p. 15
Giovanni Chiaramonte (Varese 1948 - Milan 2023) immediately has references both in the photography of Alfred Stieglitz and Minor White and, above all, in the work on the Italian landscape of Luigi Ghirri with whom he formed a friendship that led him to found with him the Punto e Virgola publishing house and to collaborate on projects such as “Viaggio in Italia” and “Esplorazioni sulla via Emilia.” If wide and varied was his activity as an author characterized by the use of color that led him to create important exhibitions collaborating with international institutions, equally significant was his activity as a cultural promoter also in the direction of series for the publishers Motta, Jaca Book, SEI, Meridiana, Ultreya. In Giovanni Chiaramonte's poetics, photography shot in medium and large format and printed from color negative plays a central role because here technique is not for its own sake, but functional to the message it wants to convey. Immersed in a philosophical dimension that tends openly toward the spiritual, the photographer's path confronts authors such as Andrej Tarkovskij (of the director he discovers and disseminates, publishing it in a book, the photographic activity) in search of Mediterranean-style atmospheres emphasized, as in these two examples, by warm and delicate chromatics that he captures in Italy, Europe and the Middle East, but which he also transfers to the American landscape. In Texas, in a small town with the high-sounding name of Corpus Christy, he photographs a large parking area in the style that has in its time characterized American photography of the so-called Dialectical Landscape. The space is defined by a distant horizon while it is the tall poles in the shape of an inverted L that ideally dialogue with the white stripes of the pavement. The photograph appears in the volume “Westword” published in 2014 by Ultreya.
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