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"People often say that my paintings remind them of particular scenes from films or certain passages from books, but I think it’s a different thing altogether. [...] I am trying to create something that is questionable, something that is difficult, if not impossible, to put into words. […] I often use heightened colours to create a sense of the experience, or mood or feeling of being there." (Peter Doig)

More works by Doig in this week’s edition of As I Was Moving Ahead Occasionally I Saw Brief Glimpses of Beauty, my newsletter on modern and contemporary art.

"People often say that my paintings remind them of particular scenes from films or certain passages from books, but I think it’s a different thing altogether. [...] I am trying to create something that is questionable, something that is difficult, if not impossible, to put into words. […] I often use heightened colours to create a sense of the experience, or mood or feeling of being there." (Peter Doig)

More works by Doig in this week’s edition of As I Was Moving Ahead Occasionally I Saw Brief Glimpses of Beauty, my newsletter on modern and contemporary art.

"Fresh out of photography school in Vevey between 1989 and 1990, Thomas Flechtner received his first assignment. The director of the Musée de l’Elysée Charles-Henri Favrod asked him to do a work on India, with a focus on [Le Corbusier’s buildings in] Chandigarh. […]

The result is a series of 36 images that capture the architecture without the presence of humans – in a discreet, quiet and thoughtful way." (Architecture Suisse)

More works by Flechtner in this week’s edition of As I Was Moving Ahead Occasionally I Saw Brief Glimpses of Beauty, my newsletter on modern and contemporary art.

"Fresh out of photography school in Vevey between 1989 and 1990, Thomas Flechtner received his first assignment. The director of the Musée de l’Elysée Charles-Henri Favrod asked him to do a work on India, with a focus on [Le Corbusier’s buildings in] Chandigarh. […]

The result is a series of 36 images that capture the architecture without the presence of humans – in a discreet, quiet and thoughtful way." (Architecture Suisse)

More works by Flechtner in this week’s edition of As I Was Moving Ahead Occasionally I Saw Brief Glimpses of Beauty, my newsletter on modern and contemporary art.

"Fresh out of photography school in Vevey between 1989 and 1990, Thomas Flechtner received his first assignment. The director of the Musée de l’Elysée Charles-Henri Favrod asked him to do a work on India, with a focus on [Le Corbusier’s buildings in] Chandigarh. […]

The result is a series of 36 images that capture the architecture without the presence of humans – in a discreet, quiet and thoughtful way." (Architecture Suisse)

More works by Flechtner in this week’s edition of As I Was Moving Ahead Occasionally I Saw Brief Glimpses of Beauty, my newsletter on modern and contemporary art.

“Beate Gütschow is a German contemporary artist who works primarily through photography. […] For her series HC, Hortus Conclusus, she delved into the subject of ‘Enclosed gardens,’ a recurring iconographic motif in Renaissance and Medieval paintings which would depict an idyllic scene contained in the space of a fenced or walled green space inaccessible to an exterior public.” (Mariabruna Fabrizi)

“For each work, she takes up to 150 photos of individual objects, such as walls, benches and plant troughs, to assemble them digitally as photogrammetric models.” (Sara Hilnhütter)

More works by Gütschow in this week’s edition of As I Was Moving Ahead Occasionally I Saw Brief Glimpses of Beauty, my newsletter on modern and contemporary art.

“Beate Gütschow is a German contemporary artist who works primarily through photography. […] For her series HC, Hortus Conclusus, she delved into the subject of ‘Enclosed gardens,’ a recurring iconographic motif in Renaissance and Medieval paintings which would depict an idyllic scene contained in the space of a fenced or walled green space inaccessible to an exterior public.” (Mariabruna Fabrizi)

“For each work, she takes up to 150 photos of individual objects, such as walls, benches and plant troughs, to assemble them digitally as photogrammetric models.” (Sara Hilnhütter)

More works by Gütschow in this week’s edition of As I Was Moving Ahead Occasionally I Saw Brief Glimpses of Beauty, my newsletter on modern and contemporary art.

“James Casebere photographs the buildings that structure our social fabric, not during on-site visits to architectural structures, but rather from tabletop models he fabricates in his studio. These models [...] remain empty of detail and human figures. [...] Photographed in this way, his images suggest the psychologically charged spaces of the institutions that organize and control society.” (Solomon R. Guggenheim Museum)

More works by Casebere in this week’s edition of As I Was Moving Ahead Occasionally I Saw Brief Glimpses of Beauty, my newsletter on modern and contemporary art.

“James Casebere photographs the buildings that structure our social fabric, not during on-site visits to architectural structures, but rather from tabletop models he fabricates in his studio. These models [...] remain empty of detail and human figures. [...] Photographed in this way, his images suggest the psychologically charged spaces of the institutions that organize and control society.” (Solomon R. Guggenheim Museum)

More works by Casebere in this week’s edition of As I Was Moving Ahead Occasionally I Saw Brief Glimpses of Beauty, my newsletter on modern and contemporary art.