Marking Time Yossi Milo Gallery 245 10th Avenue New York Through January 19 Chris McCaw’s continuing work on Sunburned, a series of photographs that began in 2006, will be displayed in his solo exhibit Marking Time. By combining a large-format camera with a high-tech lens normally used for military surveillance and inserting expired gelatin silver photo paper, McCaw captures images of the sun, exposing the paper from anywhere between 15 minutes to 24 hours. The extended exposures intensify the sun’s rays on the photo paper burning holes on the photographs. Thus, McCaw is able to capture and track the earth’s orbit around the sun. His photographs are taken at various locations across the globe including the Galapagos, the Sierras, and the Arctic Circle, enabling him to capture different rotations of the sun due to solar eclipses or equinoxes. In his image Sunburned GSP #429 (North Slope Alaska, 24 hours) McCaw captures the trajectory of midnight sun during the Arctic Circle’s summer solstice. The sun’s path dips to the horizon line then rises, marking the beginning of a new day.
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An exhibition of architectural photographer Ezra Stoller’s work will open at the Yossi Milo Gallery tonight in New York and runs through February 12. A few of the photos are instantly recognizable, such as a photo of the Guggenheim lobby featuring women in pillbox hats standing in the foreground. But the gems of the show are those taken off the beaten path, like the roof of the Seagram’s Building or a parking garage in Miami. “We see it as a mini-retrospective,” said Milo. “We wanted to show more than the slam-dunk photos, to give it more depth.” The images show not only Stoller’s precise technical ability, but also reveal the self-effacing nature of architectural photography: that of an artist recording work of another artist. But the depth of Stoller’s appreciation for art and design makes it easy to forget that one is looking at a stand alone work of art. Not only is the genius of Mies, Wright and Saarinen observed, but the works of Picasso, Kandinsky, and Miro peer out from building interiors as well. The artworks act as a magnet, pulling the viewer further in. In a single shot of a Seagram interior one of Rothko’s “Red” paintings hangs next to the next to an Eames sofa which sits across from a Franz Kline. “These were such new ideas. Now people sit with an iPhone and think that’s modern,” Milo said gesturing to the photograph. The gallery owner noted that some photos that didn’t make it into the show revealed the photographer’s intense interest in the building process. “There are photos from the beginning of when the U.N. was being built. He kept going back and going back,” he said. The images show buildings shot at all times of day and in all kinds of weather, taken at night, in the rain, after the rain, or, as in one photo of Saarinen’s TWA terminal, as a lightning storm approaches. That particular silver print holds varying tones of white within the building interior, while simultaneously retaining all the grays and blacks of the approaching storm.