Progress

Photographic Inspiration

TIM SESSLER

Epilogue (2014)

EIRIK JOHNSON

 from Barrow Cabins

from Borderlands (2005)

from The Mushroom Camps

ANTOINE BRUY

from Scrublands (in progress)

 ERIC HOLUBOW

Decay of Style

Schlitz Brew House (2012)

from Abandoned: America's Vanishing Landscape

DAVID HILLIARD

Andreu (1997)

Lost Bouquet (2011)

Rock Bottom (2008)

Anything But

1. Finding abandoned vacuum cleaners.

2. Double Blind No.1
https://vimeo.com/channels/staffpicks/119089169

3. Littmus Lozenges in Because of Winn Dixie (Kate diCamillo)

4. “We die containing a richness of lovers and tribes, tastes we have swallowed, bodies we have plunged into and swum up as if rivers of wisdom, characters we have climbed into as if trees, fears we have hidden in as if caves.

I wish for all this to be marked on by body when I am dead. I believe in such cartography - to be marked by nature, not just to label ourselves on a map like the names of rich men and women on buildings. We are communal histories, communal books. We are not owned or monogamous in our taste or experience.”
― Michael Ondaatje, The English Patient

5. Antonio Lopez Garcia, "Sink and Mirror," 1967

6. Hungry Ghost - Starfucker
https://www.youtube.com/watch?v=qPjZu14uAfE

7. Without You - Lapalux

https://www.youtube.com/watch?v=jkWWJ9W5300

8. Il me semble que je serais toujours bien là où je ne suis pas

Photo Collage

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 McMurdo Sound, 1915

This is lost photograph from Ernest Shackleton's Ross Sea Party (1914-1917) at Scott's Cape Evans Antarctic base. Negatives were recovered from the darkroom there recently and carefully separated and developed. I like this image because it captures a moment in time that would have been forgotten otherwise, and the passage of time has left physical marks on the film that then contribute to its formal qualities.

ABE MORELL

Camera Obscura - View of Central Park Looking North, Summer 2008 and Winter 2013

I'm intrigued by these images because they deal with time in two dimensions. On one level, they are a series that depicts the same landscape over four seasons (also including fall and spring). More interesting to me is the passage of time inherent in the photograph. My understanding is that these had to have been very long exposures in order to let enough light from the room (lit only by a pinhole in the opposite wall) into the camera. I like that these photographs have time both as subject and process.

JOHN DIVOLA

 Three Acts (1977)          Zuma #41 (1977)  

 The first two images were taken at an abandoned building, which seems to be the same place with a slightly different camera angle. This series includes many pictures that somehow intervene on or modify the room; as the room and sea change, however, the scene remains equally lonely and destructed. I chose these two for the comparison of the sense of movement between the two; the first feels completely stagnant both in the head-on camera angle and the emptiness of the scene while the second shows a hectic scene mid-motion (the flying book), augmented by the off kilter angle.

The picture below was interesting to me primarily in the context of the above series. It also captures movement and time but in a much more spontaneous way. The fact that one artist made both images makes me wonder about the conceptual similarities between the two. The grainy black and white photographs and the extensive treatment of dogs running reminds me of Muybridge's running horses studies.

Dogs Chasing My Car in the Desert (1996-2001, published 2004)

IRINA WERNING

        Cecile 1987 and 2010, France       Nico Mella 1990 and 2010, France

Nico 1986 and 2010, Buenos Aires

These are from a project called Back to the Future. While such an obvious subject of time passing could be trite, I think these are incredibly successful because of how accurately she is able to replicate the entirety of the scene in terms of location, subject, color, focus. I'm particularly impressed by the lighting - she has taken snapshots (with overall bad light) and meticulously recreated every shadow, down to the precise angle of the flash. I'd love to see what other photographs she took to end up with these final image pairs.


NICHOLAS NIXON

Brown Sisters (1975-2014)

Like Werning's series, Nixon is quite literally capturing the changes that come with passing time. I like that he does not seem to force a particular pose or mood on his subjects, but allows them to act naturally - in this way the honesty of the sister's personalities comes through over the many images. I wanted to include another artist with this series but I could not find her name. She was a feminist photographer working in the 60's or 70's (I think) who photographed herself daily for a month of not eating. They seem similar to me in that the artist is interested in a comparison over time, as if documenting a progression of change.


SUSAN DOBSON

 Untitled from Sense of an Ending (2013)

This photograph feels like a connection between True Fiction and Over Time; Dobson took pictures of existing buildings and modified them to reflect the effects she imagines the passage of time would have on the spaces. She creates an alternate reality out of a real place, and it is something that could feasibly become true.


JOHN CLANG

Time (Apple Store) (2009)

Like Dobson, Clang is manipulating his photographs to create another sense of time and space. Here he's compiling fragments of time in one place as if they could coexist in one moment.

DAVID HURN

Jumping Cactus, Arizona (1980)