Photography Constructions-2

Photography Constructions

 

  Red Yellow 3, Front, 12  ”  W x 11  ”  H x 2  ”  D, Photo Construction, Cibachrome Print, 1982

Red Yellow 3, Front, 12W x 11H x 2D, Photo Construction, Cibachrome Print, 1982

  Black White 1, Front, 40  ”  W x 53  ”  H x 11  ”  D, Photo Construction, C Print, 1982

Black White 1, Front, 40W x 53H x 11D, Photo Construction, C Print, 1982

  Red Yellow 3, Back, 12  ”  W x 11  ”  H x 2  ”  D, Photo Construction, Cibachrome Print, 1982

Red Yellow 3, Back, 12W x 11H x 2D, Photo Construction, Cibachrome Print, 1982

 
  Black White 1, Back, 40  ”  W x 53  ”  H x 11  ”  D, Photo Construction, C Print, 1982

Black White 1, Back, 40W x 53H x 11D, Photo Construction, C Print, 1982

  Green, Gold Stripe, Front, 26  ”  W x 21  ”  H x 6  ”  D, Photo Construction, Cibachrome Print, 1982

Green, Gold Stripe, Front, 26W x 21H x 6D, Photo Construction, Cibachrome Print, 1982

   
  
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     Green, Gold Stripe, Back, 26  ”  W x 21  ”  H x 6  ”  D, Photo Construction, Cibachrome Print, 1982

Green, Gold Stripe, Back, 26W x 21H x 6D, Photo Construction, Cibachrome Print, 1982

  Red Yellow 10, 24  ”  W x 29  ”  H x 5  ”  D, Photo Construction, Cibachrome Print, 1982

Red Yellow 10, 24W x 29H x 5D, Photo Construction, Cibachrome Print, 1982

   
  
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  Gray Green, White, Front,  16” W x 20”H x  3”D, Photo Construction, C Print, 1982

Gray Green, White, Front,  16” W x 20”H x  3”D, Photo Construction, C Print, 1982

  Gray Green, White, Back, 16  ”  W x 20  ”  H x 3  ”  D, Photo Construction, C Print, 1982

Gray Green, White, Back, 16W x 20H x 3D, Photo Construction, C Print, 1982

  Gray Black 1, 12  ”  W x 8  ”  H x 2 1/2  ”  D, Photo Construction, C Print, 1982

Gray Black 1, 12W x 8H x 2 1/2D, Photo Construction, C Print, 1982


Photography Constructions
1995-1982

"Originality Stands Out in Sculptural Variety"

"The kind of originality in Katinka Mann's work reminds us that one the most powerful characteristics of contemporary art is the spirited license with which materials are creatively combined to invent modes of expression that often have lasting significance.

The Mann pieces are dynamic, angled geometric constructions that rather ingeniously use the camera as part of the approach.

What seems so special here is the way the glistening processed surfaces generate soft effervescent visual qualities.

These are the sofest of tonalities, a bit fuzzy, with spots of very great light intensity. Form, of course is Mrs. Mann's basic sculptural subject, an one reats stronly to the disciplined architecture of space and spatial illusion that simulates movement and a perspective that is iimpressively bold for the modest sie of the weightless photo-sculpture.