Synopsis
Dmitry Konradt trained as a geologist and went on to become one of St Petersburg’s most famous photographers. After his celebrated black and white images of performers on and off stage at the legendary Leningrad Rock Club, he switched to cityscapes and began working in colour in the 1990s. In his work Konradt seems to recall his first profession and everything he photographs – crumbling courtyards, fire-walls, playgrounds, makeshift garages and broken tiles on stairwells – looks like the geological stratification of multi-coloured rocks. His spaces are always enclosed rather than panoramic, overlaid with layers of cultural fragments. His is a St Petersburg of calm and peace, where nothing changes apart from the seasons; it is a stage devoid of actors. It is also unexpectedly gentle and tender, with hope glimmering through its colour. Konradt is an artist with deep roots. His predecessors are American photographers of the 1970s (primarily William Eggleston) with their new colour photography depicting the crumbling signboards, abandoned barns and buzzing flies of Alabama and Georgia. Konradt is one of few artists who alter our focus. We start seeing common sights from a different angle; we notice what we once failed to see: a life that still bursts through in the Piranesian ruins.
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From the Back Cover
Dmitry Konradt trained as a geologist and went on to become one of St Petersburg’s most famous photographers. After his celebrated black and white images of performers on and off stage at the legendary Leningrad Rock Club, he switched to cityscapes and began working in colour in the 1990s. In his work Konradt seems to recall his first profession and everything he photographs – crumbling courtyards, fire-walls, playgrounds, makeshift garages and broken tiles on stairwells – looks like the geological stratification of multi-coloured rocks. His spaces are always enclosed rather than panoramic, overlaid with layers of cultural fragments. His is a St Petersburg of calm and peace, where nothing changes apart from the seasons; it is a stage devoid of actors. It is also unexpectedly gentle and tender, with hope glimmering through its colour. Konradt is an artist with deep roots. His predecessors are American photographers of the 1970s (primarily William Eggleston) with their new colour photography depicting the crumbling signboards, abandoned barns and buzzing flies of Alabama and Georgia. Konradt is one of few artists who alter our focus. We start seeing common sights from a different angle; we notice what we once failed to see: a life that still bursts through in the Piranesian ruins.
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Search results for Dmitry Konradt: State and Time
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Dmitry Konradt: State and Time (Signed)
Published by
White Space Gallery, UK, 2017
ISBN 10: 0955739489
ISBN 13: 9780955739484
Used
Hardcover
First Edition
Signed
Seller: Marcus Campbell Art Books, London, United Kingdom
Seller rating 4 out of 5 stars
Hardcover. Condition: Near fine. No dj, as issued. First Edition. 25 x 28cm 144pp near fine hardback signed by the photographer on the title page with colour reproductions throughout. Seller Inventory # 19285
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Dmitry Konradt: State and Time book by Dmitry Konradt
Seller: West Cove UK, Wellington, United Kingdom
Seller rating 5 out of 5 stars
Hardcover. Condition: Very Good. Immediate dispatch from Somerset. Nice book in great condition. Pages in excellent condition. Hardcover. English. See images for condition. About the book >.>.> Dmitry Konradt is part and parcel of St Petersburg. I can't remember when we met: ages ago, some time in the late 1970s, amidst the burgeoning rock and new music scene of Leningrad. I organised concerts and festivals, he photographed musicians. "The Second Culture', as we called the underground art world we both belonged to, did not wish or strive for official recognition. We felt quite content in our isolated, small and yet unlimited realm of self-created freedom. Video cameras were rare and unaffordable and it is only thanks to enthusiastic photographers like Konradt that we now have visual documentation of the golden age of the Russian music underground. The only outlet then for publishing these images was a couple of typewritten 'samizdat' rock periodicals: bi-monthlies or even quarterlies, they could let only a handful of these photographs see the light of day. And yet Dima carried on. At every concert he would be seen crouching inconspicuously with his camera at the corner of the stage, looking for the right. Seller Inventory # Batch-FM601-VG-12683
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