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Lot Essay
Présente dans certaines des plus grandes collections permanentes de musées comme celles du Metropolitan Museum, du MoMA, du Whitney et du Guggenheim à New York, le travail de Vera Lutter se distingue par le procédé qu’elle utilise : le Sténopé, aussi appelé Camera Obscura. Ce dernier lui permet de capturer des images immédiates, empreintes directes de ce qu’elle voit, et d’expérimenter en tant que photographe. Elle transforme l’espace dans lequel elle travaille en un appareil photographique taille humaine afin de retranscrire ses sujets le plus vraisemblablement possible. Dès lors, bien qu’inversé, le monde extérieur plonge dans sa pièce photographique et se projette sans faille sur des papiers photosensibles grands formats, disposés sur le mur opposé au trou duquel provient la lumière. Lutter ne conserve alors que l’image négative et ne réalise aucun multiples ou reproductions de ses travaux, créant des tirages uniques. Par cela, elle conserve la franchise et la moindre altération de ce qu’elle voit.
Travaillant d’abord sur la ville de New-York dont elle retourne les buildings et rues symétriques et où elle vit et travaille aujourd’hui, Lutter exporte également cette technique à l’international. Elle photographique l’architecture des chantiers, aéroports ou usines en Egypte, Grèce et Angleterre à l’image de cette œuvre qui présente la Nabisco Factory.
Present in some of the largest permanent collections of museums such as those of the Metropolitan Museum, the MoMA, the Whitney andr the Guggenheim in New York, the work of Vera Lutter is noteworthy because of the process she employs: a pinhole camera, also called Camera Obscura. This device allows her to capture and transpose immediately an image, and to experiment as a photographer. She transforms the space in which she works into a human-sized camera in order to render her subjects as lifelike as possible. ,Although inverted, the outside world plunges into her photographic room and projects itself flawlessly onto large-format photosensitive papers, arranged on the wall opposite the hole from which the light comes. Lutter then retains only the negative image and does not make any multiples or reproductions of her work, creating unique prints. By this, she retains the frankness and the reality of what she sees.
Working first in New York city, whose buildings and symmetrical streets she depicts and where she lives and works today, Lutter also exports this technique internationally. She photographs the architecture of construction sites, airports or factories in Egypt, Greece and England, and this present work is depicting the Nabisco Factory.
Travaillant d’abord sur la ville de New-York dont elle retourne les buildings et rues symétriques et où elle vit et travaille aujourd’hui, Lutter exporte également cette technique à l’international. Elle photographique l’architecture des chantiers, aéroports ou usines en Egypte, Grèce et Angleterre à l’image de cette œuvre qui présente la Nabisco Factory.
Present in some of the largest permanent collections of museums such as those of the Metropolitan Museum, the MoMA, the Whitney andr the Guggenheim in New York, the work of Vera Lutter is noteworthy because of the process she employs: a pinhole camera, also called Camera Obscura. This device allows her to capture and transpose immediately an image, and to experiment as a photographer. She transforms the space in which she works into a human-sized camera in order to render her subjects as lifelike as possible. ,Although inverted, the outside world plunges into her photographic room and projects itself flawlessly onto large-format photosensitive papers, arranged on the wall opposite the hole from which the light comes. Lutter then retains only the negative image and does not make any multiples or reproductions of her work, creating unique prints. By this, she retains the frankness and the reality of what she sees.
Working first in New York city, whose buildings and symmetrical streets she depicts and where she lives and works today, Lutter also exports this technique internationally. She photographs the architecture of construction sites, airports or factories in Egypt, Greece and England, and this present work is depicting the Nabisco Factory.