The cover of New York Sleeps by Christopher Thomas. 310 x 285 x 23mm. 160pp. Revised and expanded edition 2016. Prestel Verlag. My first impression is of a New York that I don’t recognise. Sure, I recognise the places, but where are the people? As Frank Sinatra sang: “New York, New York. I want to wake up in a city that never sleeps.”
Right from the start this is a disconcerting book. There is a consistency of vision and technique that makes it a single body of work even though the photographs span 8 years. The sequencing of the images is clear and evidential in its logic, and the print and paper quality is gorgeous. Including the Polaroid film edges in every image give them a ring of authenticity and leads us to make the assumption we are seeing the whole, unadulterated image, and yet the lack of people gives them an other-worldly feel. The more pages I turn the more I have a premonition that some terrible instantaneous event has happened to make everyone disappear while leaving the lights on and the fountains running with only the camera remaining as witness. It’s not so much New York Sleeping as New York Depopulated.
The more I read New York Sleeps the more I find a number of tensions running through it: these are black and white images of a colourful subject but is this done for artistic purpose or to give a documentary impression?; there is a studied static feel to the images, which shatters our preconception of New York as a dynamic city; finally the lack of people lends the images a dream-like surreal atmosphere that is heightened by the time exposure blur in many of the photos.
Times Square. Not a typical image from the book, but one of my favorites. It breaks the rules: the highlights are bleached out, the greys carry little information and the main centre of attention is a trash can. Could it be aliens landing?
After several readings I began to see it increasingly as a work of fiction (or perhaps ‘dream’ is a more appropriate word, given the title) so I decided to treat the book like a storyboard for a movie. It provides the raw material for the readers’ imaginations to find their own answers, make up their own stories and resolve the tensions. To treat this book as a linear set of sequenced images (as good as they are) would be a waste; there are layers beneath this that are worth exploring and for this I would definitely recommend it.
On show for a brief period at Magda Danysz Gallery, London, was the sculpture and photos of the French photographer Charles Petillon. Petillon is a commercial photographer but the exhibition showed his personal work. Inflated white balloons of various sizes are placed or squeezed into various locations, often with associated lighting. They are fascinating interventions in space that play with scale in a fun way; an approach that has lots of potential for the future.
Part of the Charles Petillon exhibition. You can just see some white balloons through the doorway on the left
The sculptures can be like clouds or foam or bubbles, or like droplets of liquid before they coalesce. The installations are transient but preserved as photos, which become the artwork. Or another artwork really. Although not a new concept (c.f. the works of Richard Long or Andy Goldsworthy), the photograph becomes the work rather than simply a record of an ephemeral installation.
Petillon uses the landscape, the built environment and interiors as spaces for his sculptures
Petillon plans to continue with his balloon sculptures internationally over the coming years, so keep your eye out for some fun!
Linda Lashford travels for a living, and photographs as she travels. Hers are not simple documentary records of places though: Linda photographs by theme and the images in this exhibition “Songlines” are grouped into Intimations of Landscape, The Splintered Coast, and Trappings of Light. Her images are on display at the Joe Cornish Gallery, North Yorkshire, UK until 23 September 2015.
As you might guess from the title, Intimations of Landscape are intimate semi-abstract photographs of aspects of landscape such as water, distressed paint or mist using a limited tonal range and colour palatte. Most show close-up details that imply much larger landscapes.
4 images from Linda Lashford’s Intimations of Landscape series.
Most of the 12 images in this series have little in the way of compositional elements to hold them together or guide the eye; the viewer is left to wander through each image and imagine what lies beyond the frame. These aren’t images of something but rather about something. That “something” is really for the viewer to decide based on the emotions and memories the images evoke. The images hover between a physical reality and a spiritual plane. As Minor White would have said: it’s not what is photographed that’s significant but what else is photographed.
3 images from The Splintered Coast series by Linda Lashford
The Splintered Coast contains 6 studies of the coastlines of Cornwall, South Wales and Brittany. Of all Linda’s images these are the most anchored in reality, the most literal of the themes. Unlike her other series, most of these contain horizons – perhaps it is this horizontal reference plane that implies the reality and makes it difficult to make the mental jump to any metaphoric plane. Instead I found myself comparing the similarities and differences of the coastlines depicted, which made it, at least for me, the least satisfying of the series.
The beautifully titled Trappings of Light series was taken in an abandoned cork factory in Portugal. “Oh no, not another abandoned-factory-stroke-urban-decay project” you may be thinking. Well no, it isn’t another me-too project about decay; Linda’s control of the photographic process and her eye for isolating and composing details out of visual noise show their strength in this series of 8 images. Form and texture interact with controlled abandon; there is light and shade but the highlights have detail and the shadows never block up. The light is without doubt trapped by these images and give pleasure and intrigue to the viewer that, like Intimations of Landscape, is rewarded by lingering with each photograph in a meditative frame of mind.
Top row: 3 images from Trappings of Light. Bottom row: 3 images from Intimations of Landscape. Photographs by Linda Lashford
Songlines is a varied and satisfying set of images from a talented photographer. My only reservation isn’t about the images but about their display: the presentation and framing of each image is excellent but the hanging splits the series between walls and floors in the gallery, making them less coherent as bodies of work, and appears to associate images by superficial visual similarity rather than developing an underlying theme or narrative. This is understandable as the gallery is quite crowded with images from various photographers and tends towards a hard-working emporium of pictures rather than an art gallery, but it is a commercial enterprise and if that’s what’s needed to keep it running then I’m not going to knock it. Just control your expectations if you go there – and I recommend that you do!
Posted in Art, exhibition, galleries, Landscape, Photography, reviews
Tagged Art, exhibition, Joe Cornish Gallery, landscape, Linda Lashford, photographic exhibitions, photography, Songlines
OnLandscape, an on-line photography magazine, organised a weekend conference from 21-23 November 2014. I don’t think of myself as a landscape photographer but walking and photography have been synonymous for most of my life so I thought I’d attend. Here are my thoughts.
It’s a fungus! No, it’s a highly eroded landscape! No it’s a vast underground city! Yes, it’s a metaphor!! ©Malcolm Raggett
A glance at the OnLandscape Web site and the type of photographs that many of the contributing photographers take shows the narrow definition of “Landscape” to be expected at the conference. We’re talking “Natural Landscape” here: the urban or built environment is anathema to most of these photographers, as is any sort of environmental activism. The overwhelming aesthetic derives from that long thread stretching back from today’s Joe Cornish and Paul Gallagher (colour and black & white respectively) through Eliot Porter and Ansel Adams to the American Sublime and the English Landscape painters.
Most of the conference speakers (all male, I note) talked about the business, craft and practicalities of their photography, though David Ward considered cultural origins of colour, Rafael Rojas gave an excellent analysis of his approach to fine art photography and Jem Southam showed how he used the photographic process to satisfy his curiosity about contested spaces, narrative and metaphor. Southam’s talk was the closest we got to offering an alternative aesthetic in landscape photography and, judging from my conversations with other delegates afterwards, caused strong division of opinions amongst those who heard it.
Pushing a little harder at this division, there are those who think that a photograph should depict the subject in front of the camera in the most conventionally beautiful way possible. The recent winner of Take-a-View’s Landscape Photographer of the Year was held as an example of this, and two of his prints displayed at the conference did show a distinct tendency towards oil-painting qualities. I didn’t gather opinions from everyone at the conference but my perception is that the majority of those present fell into this “conventional beauty” camp. The concept that what a photograph is of and what a photograph is about can be entirely different hasn’t occurred to many viewers, or that a series of images can be greater than the sum of the parts was only acknowledged in a superficial way (such as a book being a collection of someone’s best photographs).
Is it a road cone by a field of rape? Or is it a king leading his army into battle? Oh no, it’s another metaphor! ©Malcolm Raggett
The photograph has a powerful hold in many peoples’ minds as a reproduction of reality. Much has been written to dispel this myth but still it persists, perhaps because that is how most of us serve our photographic apprenticeship: recording photographically as an aid to memory. Yet one of the characteristics that is unique to our species (as far as we currently know) is our use of metaphor. It seems to be inate, starting with children seeing clouds that are shaped like animals through fictions that represent real life, to lines on paper that represent gods. Why then can’t aspiring photographers make the same associations in theirs and other photographs? Perhaps because the photographer never intended it? Or because the viewer never thought to push themselves outside their normal mental comfort zone?
As David Clapp pointed out in his talk, we strive for originality within familiarity but this diagram indicates we are not likely to find it there!
I wonder if Jem Southam’s unuttered plea for delegates to think more deeply about their photography, to let go of the camera-as-craft and use it as a tool of enquiry, will have fallen on deaf ears. If a few people are encouraged along this line of thought then I think the conference will have been a success. It certainly helped me to see the different levels and diversity there is even within the narrowly defined scope of the conference. The conference was subtitled “A Meeting of Minds”; I do hope those minds have been encourages out of their comfort zones!
Posted in Art, Landscape, Photography
Tagged American sublime, Ansel Adams, art and photography, comfort zone, conference, David Ward, Eliot Porter, English Landscape, Jem Southam, Joe Cornish, landscape, OnLandscape, photography, Rafael Rojas
65 photographers, most of whom have had some association with the Light & Land company are exhibiting a selection of their images – around 350 in total – at the Mall Galleries this week. The exhibitors range from full-time professionals to keen amateurs so, not surprisingly, the standard of photography varies too.
Most of the images are pictures of a place: photographically competent but lacking depth of meaning. Certainly good enough for a travel brochure, having that instant ‘ooh’ or ‘ah’ appeal but little beyond. They are what I call landscape porn, that is, meant to appeal to the dopamine junky in us all. I frequently wished I had a saturation slider on my glasses so that I could turn down the colour that shouted at me from the image.
Having got that out of my system, there were some images that grabbed my attention for the right reasons; that were of a place but were about something a bit deeper. Individual images that stood out as having a spiritual or temporal dimension were Kasia Novak’s ‘Taksang Monastery’, Norma Brandt’s ‘Salt’ and Pete Nixon’s ‘Swirling Leaves’ (I apologise for the reflections in my images here, there was no angle that would remove them).
‘Taksang Monasery’ by Kasia Nowak
‘Salt’ by Norma Brandt
‘Swirling Leaves’ by Pete Nixon. Cropped by Malcolm Raggett
A few photographers showed a themed body of images. Notable were Patrick Kaye and Kate Somervell for their studies in time, and Davina Clift’s use of blue.
Untitled images by Patrick Kaye
Davina Clift’s studies in blue: ‘Fade to Grey’
Is the exhibition worth seeing? Yes, but there are a lot of images and it would be easy to get visual overload. Be prepared to be selective and, with a critical eye, you should find something that makes your visit worthwhile.
The Korean photographer Boomoon (b.1955) has a selection of images on show at Flowers Gallery, Cork Street, London at the moment (ends 5 April 2014). He is an artist who deals in big ideas: studies in time and/or space. Although these are big, conceptual topics he manages to interpret them within sets, each of which is narrowly defined and therefore manageable for photographer and viewer alike.
Boomoon’s photographs at Flowers Gallery are reproduced at an impressively large size, though I didn’t find this necessary in order to appreciate their artistic intent.
The series that particularly drew me to the gallery was Naksan – a set of images charting the progress of a snowstorm at the coast of north east Korea. It is a cinematic sequence in which the viewer’s imagination can supply the sounds and smells of the sea as well as the freezing temperature and wind-chill; it certainly made me want to reach for a warm coat! The pictures are of a snowstorm but they are about time as the storm’s fury increases, changes direction then abates.
Another discovery was the series of blue ice images, part of Boomoon’s Northscape work, beautifully presented in large acrylic-faced mounts.
This is a very impressive show and has left me wanting to see more of Boomoon’s work. Recommended, even if you aren’t into landscape photography.
Beetles + Huxley Gallery (renamed in 2018 to Huxley-Parlour) are currently showing aerial photographs by Alex Maclean. All of the images show either the presence or influence of man in or on the landscape. When people are present they often just give scale, though several images illustrate the randomness of humans in contrast to the geometry of man’s machine-made environment.
Some of the images in Alex Maclean’s exhibition at Beetles + Huxley Gallery (Huxley-Parlour as of 2018).
I am ambivalent about aerial photographs in general: I enjoy the other-worldly abstract nature of the images, making me see a view of the world in a different and sometimes revealing way. On the other hand the very abstract nature detaches me from the lanscape as I am used to experiencing it, causing me to be less emotionally and intellectually involved with the image. Even though Maclean’s images are excellent examples of the aerial genre, they do not challenge me, involve me or offer significant insights beyond the superficial. If you like aerial photographs I’m sure you will enjoy this show. Otherwise I can’t recommend it.