“Film Noir” revisits the themes of the classic black-and-white films of the 40s and 50s, but with the lush, saturated colors for which Bill Armstrong is known. The solitary figures contemplating the unknown reference the ethical and philosophical dilemmas laid out in those stories. Armstrong’s mysterious images remain unresolved, however, hinting at the increased uncertainties of the contemporary viewpoint.


Like the other portfolios in his “Infinity” series, the photographs are made from appropriated images taken from a variety of sources—advertising, stock photographs, and landscape painting—which are then collaged and rephotographed out of focus as Armstrong subverts the photographic process, setting his lens at infinity (normally used for distance) and then shooting close up.


 

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