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Mitchell Funk, Chrysler Building Manhattan Blur, Chrysler Building Abstract, 1975
Mitchell Funk, Chrysler Building Manhattan Blur, Chrysler Building Abstract, 1975
Mitchell Funk, Chrysler Building Manhattan Blur, Chrysler Building Abstract, 1975
Mitchell Funk, Chrysler Building Manhattan Blur, Chrysler Building Abstract, 1975

Mitchell Funk

Chrysler Building Manhattan Blur, Chrysler Building Abstract, 1975
Inkjet Archival Print
40 × 60 in / 101.6 × 152.4 cm
$ 6,500.00
Enquire
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View on a Wall
Embracing a need to innovate in color photography in 1975, Mitchell Funk, takes a new approach to the interpreting the New York skyline. In 'Chrysler Building Manhattan Blur' Funk depicts...
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Embracing a need to innovate in color photography in 1975, Mitchell
Funk, takes a new approach to the interpreting the New York skyline. In
"Chrysler Building Manhattan Blur" Funk depicts the vibrant emotion of
the city rather than a straight forward document of it. The blur
technique and subject matter are a perfect fit for the city that never
sleeps. Signed and dated on lower right, numbered on verso. Edition:
2/15 Unframed, other size available printed later, Printed on Hahnemühle
Fine Art paper
Beginning in the late 1960’s, Mitchell Funk has spanned 5 decades of photo innovation.
He’s a 10 trick pony.
His
oeuvre includes: Raw Street Photography, Golden Magical Light,
Landscapes and Cityscapes, Multiple Color Exposures, Negative Color,
Blurs/Swish Pans of Color, Abstraction, Exacto Knives and Burning
Emulsion with Matches, Fantasy/ SciFi Images
Mitchell Funk is a pioneer of "Color Photography." In 1970, he participated in one of the first "Color Photography" shows at a major museum. The Brooklyn Museum exhibition "Images en Couleur". In 1971, He was included in the visionary book "Frontiers of Photography" by Time-Life. As well as "Color ! " American Photography Transformed. Amon Carter Museum, and he is in the Coca-Cola Archives. He has had more than 50 Photography Magazine Covers, and has had covers on Newsweek, Fortune, Life Magazine and New York Magazine, and has been in The Smithsonian American Art Magazine
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