{"id":18316,"date":"2004-05-21T15:09:44","date_gmt":"2004-05-21T15:09:44","guid":{"rendered":"https:\/\/www.philippegronon.com\/ascenseurs-2004-2011\/"},"modified":"2024-07-24T15:34:29","modified_gmt":"2024-07-24T15:34:29","slug":"elevator-doors-2004-2011","status":"publish","type":"post","link":"https:\/\/www.philippegronon.com\/en\/elevator-doors-2004-2011\/","title":{"rendered":"Elevator Doors | 2004-2011"},"content":{"rendered":"\t\t
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Elevator Doors | 2004-2011<\/h2>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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Black and white film photograph laminated on aluminum<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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\n\t\t\t\t\t\t\t\t\tThe\ndoors are vertical planes, and immediately resemble the vertical flatness of\npaintings.
\nThe first two numbers in the series are elevator doors in what was Rockfeller’s\nfirst office building at No. 26 Broadway, in the financial district of Lower\nManhattan.
\nThey bear the number 26 in relief. This brings to mind Gronon\u2019s series\ndepicting safe deposit box doors and stock market quotation boards.
\nTheir grey, shiny metal surface vaguely reflects the outside light coming from\nthe entrance to the building.
\nNumbers 3 and 4 have two double freight elevator doors that close horizontally\nin the middle. Each has a double plane of black sheet metal dented by use,\nwhose surface catches the light, offering the eye the substance of a painting\ncharged with powerful energy.
\nBeyond what the object evokes, what is intended and what is revealed is the\npower of this surface which, caught in the light – and by the light – brings\ntogether the visual qualities that make both painting and sculpture so\ninteresting.
\nHere, the photography is secondary to the reading of the subject, highlighting\nthe structure of a pictorial field.
\nNo. 6 takes the form of a framed painting with three panels whose dark\nreflections allow for  <\/span>interpretation so\nit becomes a watery, twilight landscape.
\nLike many of Philippe Gronon’s works, this piece offers two simultaneous and\nantagonistic aspects: the brutal reality of an industrial object and the\npossibility of reading it from a dreamlike angle.
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\nWhen, as with No. 8, the object proves too baroque in style, its decorative\naspect takes over. The point of the photograph then becomes more documentary,\nand we are intrigued by this industrial metal door which, in a very New York\nspirit (we are reminded of the ceiling plaques that still adorn many lofts),\nstrives to reproduce the charms of cabinetwork from centuries gone by.<\/span>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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1.\u00a0Elevator Door n\u00b01, 26 Broadway, New York,<\/em>\u00a02004
233 x 120 cm<\/p>

2.\u00a0Elevator Door n\u00b02, 26 Broadway, New York,<\/em>\u00a02004
233 x 120 cm<\/p>

3.\u00a0Elevator Door n\u00b01, 526 West, 26th Street New York,<\/em>\u00a02004
215 x 250 cm<\/p>

4.\u00a0Elevator Door n\u00b02, 526 West, 26th Street New York,<\/em>\u00a02004
215 x 250 cm<\/p>

5. Elevator Door, 9 White Street, New York,<\/em>\u00a02006
220 x 160 cm<\/p>

6. Elevator Door, 37 Murray Street, New York,<\/em>\u00a02006
225 x 185 cm<\/p>

7. Elevator Door, 225 East 43 rd Street, Lyceum Kennedy, New York,<\/em>\u00a02004
223 x 87 cm<\/p>

8. Elevator Door, 65 Broadway, New York,<\/em>\u00a02006
228 x 181 cm<\/p>

9. Elevator Door, Mamco , 10 rue des vieux Grenadiers, Gen\u00e8ve,<\/em>\u00a02011
266 x 222 cm<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

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