Posts tagged with "Photography":
The first solo exhibition in the United States of Japanese photographer Sohei Nishino’s work is currently on view at San Francisco Museum of Modern Art (SFMOMA) in New Work: Sohei Nishino. The exhibition presents a new collection of work in the photographer’s Diorama Maps photograph series. Each of the works depicts a different city explosively photographed by Nishino to be seen from above as a type of meticulously collaged and abstracted aerial view. To arrive at this final image, the artist spends months walking a city and snapping photographs that are printed and assembled by hand into a giant collage. That collage is then digitized and finally printed as a large-scale digital photograph. The high-resolution images in New Work: Sohei Nishino feature scenes from Rio de Janeiro, Brazil; London; Havana; and a view of San Francisco made specifically for the exhibition.
New Work: Sohei Nishino San Francisco Museum of Modern Art 151 Third Street, San Francisco Through February 26, 2017
These 31 aerial images showing the salt pans in the Little Rann of Kutch, Gujarat, India, were taken during a ten-day shooting expedition by Edward Burtynsky. They present the pans, wells, and vehicle tracks as abstract, geometric, painterly patterns: subtly colored rectangles crossed by grids of gestural lines; and yet the reality behind the ironic beauty of Burtynsky’s pictures is a harsh one. Each year 100,000 poorly paid Agariya workers toil in the pans, extracting over a million tons of salt. Furthermore, receding groundwater levels, combined with debt, diminishing market values as well as a lack of governmental support, threaten the future of this 400-year-old tradition and those lives dependent upon it. “The images in this book are not about the battles being fought on the ground,” Burtynsky wrote. “Rather, they examine this ancient method of providing one of the most basic elements of our diet; as primitive industry and as abstract two-dimensional human marks upon the landscape.”
Salt Pans by Edward Burtynsky, Steidl, $60.00.
The Museum of Fine Arts, Houston showcases photographer who documented NYC streets for nearly 50 years
The Museum of Fine Arts, Houston will pay tribute to Helen Levitt, the American photographer known for capturing scenes of urban life in New York City. The exhibition, titled Helen Levitt: In the Street, covers her career from the late 1930s to the mid-1980s. It features more than 40 works, as well as her 1948 short film In the Street, which centered on her early photographs of children. Born and raised in Brooklyn, New York, Levitt was included in the inaugural exhibition of the photography department at the Museum of Modern Art, and she had her first of three solo shows there just three years later. By the late 1940s, Levitt had begun experimenting with the moving image, and worked full-time with film until the advent of color photography in 1959. It was then that she picked up the camera to revisit the scenes she had captured in black-and-white.
Helen Levitt: In the Street The Museum of Fine Arts, Houston 5601 Main Street, Houston Through January 2
“Within a historic context of Victorian architecture a reflective swoosh cuts its way into the Birmingham of today. The photo illustrates the transformation of an industrial town into a service industries city and opens up room for different interpretations. What do we see here? And, above all, where are we here?”John Fraser will receive an Eames Plastic Chair from Vitra for his winning image and his photo will be on display alongside 9 entries that were shortlisted. There was an additional contest determined by voting on Facebook, won by photographer Pia Odorizzi after her photo accumulated 245 likes. Odorizzi’s photo will be displayed for two days on the 2,254 Info screens throughout Austria, which entertain more than 1.4 million viewers each week across Austria’s five regional capitals.
The touring exhibition Barbara Kasten: Stages will arrive at the Museum of Contemporary Art in Los Angeles (MOCA) this summer, following presentations at the Institute of Contemporary Art in Philadelphia and the Graham Foundation in Chicago. The exhibition collects works from four decades in the artist’s career, from the 1970s to present. Barbara Kasten: Stages is the first major survey of the artist’s work, incorporating her sculptures and photography with documentation of her artistic process. According to curator Alex Klein, “stages” refers both to the stages of the artist’s career and her own process of staging sculptures in space.
The exhibition includes many of Kasten’s most well-known photographs from the Architectural Sites series, in which she abstracted works of postmodern architecture, like Frank Gehry’s Loyola Law School using an elaborate staging of light, sculpture, and mirrors and then printed them using the dye-destruction method Cibachrome for better depth of color and clarity. Stages will also include Kasten’s work with cyanotypes, which use the same technique used to make blueprints, and her early work with furniture sculptures.
The Museum of Contemporary Art Pacific Design Center 8687 Melrose Avenue West Hollywood, CA 90069 Through August 14
Hosted at Chicago’s Western Exhibitions, Chimera is a presentation of the architectural photomontages by Chicago-based architect Marshall Brown. Using a technique Brown refers to as “stealth collage,” images of buildings are cut and pasted into diverse, incompatible alignments. The specific pieces on display were created in 2014 as a set of 100 14- by 17-inch compositions. Chimera is the second solo show for Marshall Brown at Western Exhibitions. Marshall Brown is a practicing architect and an associate professor at the Illinois Institute of Technology College of Architecture. His practice, Marshall Brown Projects, has work currently on exhibit as part of the United States Pavilion at the 15th Venice Architecture Biennale.
Chimera: The Work of Marshall Brown was on show at Western Exhibitions, 845 West Washington Boulevard, 2nd Floor, Chicago, IL, through June 25.
Huntington Library showcases Yasuhiro Ishimoto’s photographs of Greene and Greene’s Pasadena architecture
Aerial photography, by nature, usually reveals patterns that are hard to comprehend as a pedestrian. Large-scale features such as infrastructure, landscape, and human geography can be put into perspective and thanks to Google Maps and other online satellite mapping services, this is information is all readily available at our fingertips.
However, as one photographer has pointed out, much still goes unnoticed. A resident of Cape Town, South Africa since 2012, Johnny Miller has captured the city’s housing landscape and highlighted a problem that's still plaguing post-Apartheid South Africa. As his project title Unequal Scenes suggests, Miller’s images portray the scale and proximity of inequality still present in Cape Town.
"There's a very uniquely South African form of spatial segregation that was developed during the apartheid," said Miller in an interview with The Architect's Newspaper (AN), adding how city planning and infrastructure carved Cape Town's social and racial demographics. "So, for example, roads, rivers, train tracks: the apartheid government did very well at separating people through architecture," he continued. "You see just in the way that the city is designed, it’s going be pretty difficult to redistribute wealth and facilitate the free movement of people."
Miller said he likes how his detailed images facilitate long-term viewing. The physical structure of communities becomes visible, allowing the disparity to be instantly apparent. The homes of the wealthy are arranged in a clearly structured and planned fashion. The "townships" of the poorer, black community however, show roads—if they can be called that—meandering in every which way. As a result, keeping track of dwellings, keeping them on the electric grid and part of the plumbing system, is difficult though most visibly, however, is perhaps the change in color from one side to the other. For instance, one township is adjacent to a golf course: a wealth of greenery covers the wealthier area while the township shows only shack rooftops and dusty dirt-tracks.
With the rise of the Nelson Mandela, the apartheid government lost power in 1994. More than twenty years on, Miller explains that change hasn't been easy. There's been a failure in communication between the government and its people, leading to mistrust in state power. "There’s a lot of inequality, disenfranchised people who are really angry," said Miller. But he's is hopeful his project will finally spark a constructive dialogue between the authorities and the population. “I’m trying to promote a peaceful dialogue where people can share their opinions and become aware…. I think awareness is the only tool to defeat the fear that I see as really the root problem,” he added.
Miller hopes the legacy of his project will be the government's response to the questions that arise from his photography. Already, government officials have responded to his work, remarking on their awareness of the issue and stating that they are working on the problem. "What gets me excited about this project... you start to hear those answers, which is really what people want to hear," Miller implored.
Merely photographing the from above, though, isn't Miller's only ambition. He estimates that very few individuals within these poorer communities have even heard about his work. Despite his doing the rounds in South Africa’s printed media, mobile-media remains the dominant form of communication for many in townships. Cellular data tariffs can be pricey. Miller subsequently intends to display his work to residents within the photographed townships, providing what he thinks is an unseen perspective on where they live. “I think it would be really fascinating to show the person on the rich side and the poor side, just see what they have to say.”
In light of the responses Miller’s work has drawn, especially in comments on his Facebook page, it seems that his photography illuminates what appears to be an inconvenient truth for many. “In my opinion, I think it’s a lot of fear that drives these negative comments. Fear of the other, not understanding the person on the other side of the fence."
“Perhaps it takes flying above people, two to three hundred meters, to take away that humanity and reduce humans to mass clearings, or agglomerations, for people to pay attention," he continued, noting how some may have become desensitized to the traditional imagery of poverty: the African child with a bloated stomach looking into the camera. Indeed, "that face" can come from anywhere in the Third World, whereas Miller's drone images illustrate that poverty literally is on their doorstep, something which is arguably more personal.
What is apparent from Miller's work is that the drone provides a new perspective that, in Miller's words, “people really respond to. Seeing something they thought they knew in a different way" is evidently something that resonates—with the wealthier side for now, at least. If you want to follow Johnny Miller's project, you can do so through his Twitter feed, here. You can also find more videos here.