"Playing the role of scientist, [Thomas] Allen enlists mid 20th-century books on the natural phenomenon of science(astronomy, physics, electricity, biology) and presents his research as if through the eyes of his 8-year old daughter. How would she understand and portray these theories and absolutes of science?
Allen's signature use of cutting and repurposing book illustrations has not vanished. Instead of the pulp fiction genre, Allen plays with 50's era versions of clean cut youths and domesticated moms. His unmistakable talent for creating the illusion of 3D in photography with his deft cuts and crimps, establishes a magical world in which a boy and girl play tag creating their own kind of electricity, a milkman makes a very special delivery in space, young toughs play marbles with the solar system and a mother busily sews her own version of 'string theory.'"
(Foley Gallery, 2012, New York NY)
Fig.1 Bearings, 2012. Fig.2 Eclipsed, 2012.
"I often work within the realm of fairy-tales and folk-lore. I began making a series of book-sculpture, cutting-out images from old books to create three-dimensional diorama's, and displaying them inside wooden boxes. ...
For the cut-out illustrations, I tend to lean towards young-girl characters, placing them in haunting, fragile settings, expressing the vulnerability of childhood, while also conveying a sense of childhood anxiety and wonder. There is a quiet melancholy in the work, depicted in the material used, and choice of subtle colour."
Fig.1 Su Blackwell (2008). "The Girl in the Wood" [http://www.sublackwell.co.uk/portfolio-book-cut-sculpture/]
Kurt Kranz: Programming of beauty, Exhibition marking the 100th birthday of Kurt Kranz
19th November 2010 to 29th May 2011.
"Inspired by a lecture by László Moholy-Nagy, Kurt Kranz came to the Bauhaus Dessau in April 1930. In Walter Peterhans's photography class, Kranz began to experiment with photographic techniques and created some of the most striking abstract picture series to emerge from the Bauhaus. Alienated and abstracted faces and hands appear repeatedly in his dynamic picture series. These show Kranz’s early affinity for film as, page for page, the abstract forms interact with one another. Kranz drafted his first concepts for abstract films at the Bauhaus, although he was first able to realise these decades later in 1972.
The exhibition to mark the artist's 100th birthday shows works from Kranz's Bauhaus years and his later work as an advertising graphic designer, and focuses on a selection of his large picture cycles. Strikingly diverse leporellos dating from the 1960s onwards take centre stage, as do the so-called 'Matrix- und Schiebebilder'."
(Bauhaus Dessau Foundation)
Fig.1 Kurt Kranz, Versinkende (Sinking one), 1931, Ingrid Kranz / Stiftung Bauhaus Dessau [http://artblart.com/2011/05/18/exhibition-kurt-kranz-programming-of-beauty-at-the-bauhaus-dessau/].