ARTIST SERIES

Bill Armstrong, After Francis Frith, Pyramid II
After Francis Frith, Pyramid II
Bill Armstrong, After Roger Fenton
After Roger Fenton
Bill Armstrong, After Gustave Le Gray
After Gustave Le Gray
Bill Armstrong, After Timothy O'Sullivan
After Timothy O’Sullivan
Bill Armstrong, After T.E.M. and G.F. White
After T.E.M. and G.F. White
Bill Armstrong, After Gustave Le Gray #2
After Gustave Le Gray #2
Bill Armstrong, After Gustave Le Gray #3
After Gustave Le Gray #3
Bill Armstrong, After Bernice Abbott
After Bernice Abbott
Bill Armstrong, After Alvin Langdon Coburn
After Alvin Langdon Coburn
Bill Armstrong, After Paul Strand
After Paul Strand
Bill Armstrong, After Atget
After Eugene Atget
Bill Armstrong, After Alfred Steiglitz
After Alfred Steiglitz
Bill Armstrong, After Wanda Wulz
After Wanda Wulz
Bill-Armstrong,-After-EJ-Bellocq
After E. J. Bellocq
Bill Armstrong, After Edward Weston
After Edward Weston
Bill Armstrong, After Francis Frith, Acropolis
After Francis Frith, Acropolis
Bill Armstrong, After Eadweard Muybridge
After Eadweard Muybridge
Bill Armstrong, After Linnaeus Tripe
After Linnaeus Tripe
Bill Armstrong, After Francis Frith, Pyramid
After Francis Frith, Pyramid
Bill Armstrong, After Alexander Gardner
After Alexander Gardner
Bill Armstrong, After Thomas Cuccione
After Thomas Cuccione

In ‘After: Dreaming in Color,’ Bill Armstrong imagines the history of photography as if in a dream, making color interventions into iconic photographs from the first century of photography, from the beginning up until the invention of Kodachrome.

Armstrong’s process is to transform appropriated images by re-photographing and injecting color, either digitally or by manually using color filters and a light table—or a combination of both. ‘After: Dreaming in Color’ continues the arc of Mr. Armstrong’s investigation into layering found or appropriated images that he has been pursuing since the late 1970’s, first with collages made from advertising posters and then with the blurred images of the ‘Infinity’ series that he is known for.

In his research, Armstrong has found that the standard histories of photography often somewhat arbitrarily pass over the fact that color has been around since the beginning: in Anna Atkins’ cyanotypes; in opalescent daguerreotypes; in hand–colored and sepia toned photographs. In response to this oversight he has created his own dreamlike history of color photography. It’s a reverie filled with wit, humor and visual puns—and, as always, an eye for the contrast and harmony of color.

Work by Bill Armstrong