{"id":3086,"date":"2008-05-05T01:27:02","date_gmt":"2008-05-05T00:27:02","guid":{"rendered":"http:\/\/www.johncoulthart.com\/feuilleton\/2008\/05\/05\/alexey-titarenko\/"},"modified":"2008-05-05T01:33:48","modified_gmt":"2008-05-05T00:33:48","slug":"alexey-titarenko","status":"publish","type":"post","link":"https:\/\/www.johncoulthart.com\/feuilleton\/2008\/05\/05\/alexey-titarenko\/","title":{"rendered":"Alexey Titarenko"},"content":{"rendered":"

\"titarenko.jpg\"<\/a><\/p>\n

Untitled (Crowd 1) (1993).
\n<\/em><\/p>\n

Like Atta Kim<\/a>, Alexey Titarenko<\/a> makes use of time-lapse and\/or multiple exposure in his photographs. Of the two I prefer Titarenko’s work, not least because of his moody and spectral evocations of the streets of Havana<\/a> and St Petersburg<\/a>. His blurring of human figures takes on a sinister cast with the Time Standing Still<\/a> and City of Shadows<\/a> series which turn mundane Russian crowds into a parade of ghosts from a Gogol nightmare.<\/p>\n

Via Ze Frank<\/a>.<\/p>\n

Previously on { feuilleton }
\n\u2022 Abelardo Morell\u2019s camera obscura<\/a>
\n\u2022 Eugene de Salignac<\/a>
\n\u2022 Atta Kim: On-Air<\/a><\/p>\n","protected":false},"excerpt":{"rendered":"

Untitled (Crowd 1) (1993). Like Atta Kim, Alexey Titarenko makes use of time-lapse and\/or multiple exposure in his photographs. Of the two I prefer Titarenko’s work, not least because of his moody and spectral evocations of the streets of Havana and St Petersburg. His blurring of human figures takes on a sinister cast with the … Continue reading “Alexey Titarenko”<\/span><\/a><\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":false,"jetpack_social_options":{"image_generator_settings":{"template":"highway","default_image_id":0,"font":"","enabled":false},"version":2},"jetpack_post_was_ever_published":false},"categories":[2,51,12],"tags":[],"class_list":["post-3086","post","type-post","status-publish","format-standard","hentry","category-art","category-cities","category-photography"],"jetpack_publicize_connections":[],"jetpack_featured_media_url":"","jetpack_shortlink":"https:\/\/wp.me\/pq7rV-NM","jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/posts\/3086","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/comments?post=3086"}],"version-history":[{"count":0,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/posts\/3086\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/media?parent=3086"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/categories?post=3086"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/tags?post=3086"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}