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Denise Scott Brown – Photographs, 1956 - 1966 : photos by the important representative of postmodern architecture as an exhibition at Carriage Trade Gallery, New York

"I’m not a photographer. I shoot for architecture – if there’s art here it’s a by-product," says Denise Scott Brown (* 3 October 1931 in Zambia), who is among the most important representatives of postmodern architecture. With several books, the couple Robert Venturi (who passed in September of this year at the age of 93) and Denise Scott Brown has changed the way we think about and view architecture and has made a significant contribution to architectural theory. Her photos have been published in the book entitled 'Denise Scott Brown – Photographs, 1956-1966' (PLANE-SITE) and are on display at Carriage Trade Gallery in New York through the end of December 2018.

"For Robert Venturi and me, these sequences from Venice to Venice, Los Angeles, and Las Vegas provided inspiration and they still do. And via them, architectural photography initiated a move beyond beauty shots and data. Over the last 60 years, by adding analysis, synthesis, recommendation, and design, it has gone from tool to sub-discipline in architecture," says Denise Scott Brown.

The gallery on the photos : "As one of the first architects/designers to acknowledge the significance of Pop Art as a means of understanding the American vernacular and the commercial strip, Scott Brown’s ideas have often been communicated through the medium of photography. Her pictures of the "electric city" of 1960s Las Vegas as well as the symbolically rich historical architecture of Venice served as visual research for arguments put forth in the seminal Learning From Las Vegas written with her late partner Robert Venturi and Steven Izenour.

In proposing the significance of the image as a means of understanding and engaging with the built environment, Denise Scott Brown’s photographs from the 1950’s and 60’s seem to have anticipated the explosion of visual culture within urban settings. As the static images on billboards yield to video screens, and mobile technologies expand the image world to the palm of our hand, these pictures of the modern and historical city represent early, non-hierarchical investigations into the ongoing rapport between image and site, inspiring much of the research on urbanism and representation that followed. Denise Scott Brown’s photographs are exhibited alongside reproductions of research material and films first produced as part of the Learning From Las Vegas project. The exhibition is accompanied by a catalogue, published by PLANE-SITE and featuring texts by Scott Brown and Andrés Ramirez."
07.11.2018 // show complete article

GoSee Tip : Ganzfeld 'Aural' – an immersive light installation by James Turrell on display in the garden of the Jewish Museum in Berlin takes us to the limits of our perception

"At UPDATE, we saw so much photography all day that we literally needed coffee beans to neutralize our eyes. So we saw the James Turrell exhibition in Berlin the next day, and it was a really special experience. The light installation took us to the limits of our perception. Upon entering the room, it dissolved into a dream-like experience. Surely, everyone sees something different in the installation. For us, the light seemed like a foggy snow field, but that could also be due to the icy autumn wind. Unfortunately, we were not allowed to take photos indoors, but of course that didn't keep us from producing a bit of artwork. The photos outdoors were taken in the Museum Garden by AGNIESZKA DOROSZEWICZ," Julia Obermeyer and Antje List from BMW DESIGN tell GoSee.

In a temporary building in the Museum Garden, Jewish Museum Berlin is presenting the immersive installation Ganzfeld 'Aural' by artist and light sculptor James Turrell thru September 2019. The installation is part of the Ganzfeld Pieces series, in which Turrell creates liminal zones of perception. Upon entering the Ganzfeld “Aural” installation, visitors are immersed in a space that reveals neither its light source nor its dimensions. Their eyes lose their frame of reference; their gaze is unleashed. Light, color, and space melt together.

Light is a central symbol in Judaism that connects the beginning and the end of creation. The works of James Turrell can be considered as some of the most spectacular artistic interpretations of the creation of light. James Turrell (* 1943, Los Angeles) is one of the key figures in contemporary art. For more than fifty years now, he has focused his artistic efforts on exploring how we perceive light. He has investigated the self-awareness of our various senses, conscious and unconscious modes of seeing, and the emotional quality of our feeling for light, space, and time.
27.10.2018 // show complete article

GoSee loves... Christopher Anderson 'Approximate Joy' – his impressive portrait project as an exhibition at Danziger Gallery, New York and as an illustrated book at bei Stanley/Barker – we have a preview for you here on GoSee

“I have seen the future, and it is now – and it is China. There is no need for the past. It can be erased. A new happiness is being constructed, an approximation of joy, better than the real thing” says magnum photographer Christopher Anderson in the introduction of his project which he created in Shanghai and Shenzhe.  'Approximate Joy' is on display thru 20 October at Danziger Gallery New York, and an illustrated book appeared at Stanley/Barker. The cover was taken care of by Designer Eike König. We have a preview of the fascinating close-ups  and moods for you here on GoSee.

The gallery on the exhibition : 'Anderson’s photographs of metropolitan men and women on the streets of Shanghai and Shenzhen, China, taken over the last two years picture a world that is largely unknown to most Westerners. Shenzhen, China’s Silicon Valley, barely existed thirty years ago but today has some twenty million inhabitants. Shanghai, China’s biggest city, has a population of over 24 million. Between the smog and constant development, a grey/blue light hangs over both these cities providing an almost surreal or theatrical illumination to Anderson’s portraits. Whatever our preconceptions, Anderson presents an up to date image of the reality that is modern urban China.

Working almost invisibly, and focusing in on tight close-ups that exclude all context except the unusual light on the faces of his subjects, what first struck Anderson was that people around the world have begun to look and act the same. Yet in the face of this observation, he felt compelled to wonder "Who are these individual people? What do they dream about? What truth do these pictures convey?”

Mysterious, sensual, and visceral, Anderson’s China pictures are a noteworthy addition to the photographic tradition of Walker Evans and Harry Callahan that captures people unaware of being photographed while seeking a psychological truth in the faces and expressions of its subjects. Like Walker Evans, Anderson’s pictures were taken when “the guard is down and the mask is off”. Yet Anderson’s photographs could not have been made without the recent technological developments of digital cameras and lenses that allowed him to not only make color pictures in the ambient night light (when most of them were taken) but also to record the subtlest details and shades of color.

As with his notable predecessors, Anderson’s exploration of the human condition takes place within a rigid conceptual framework, separating his subjects from their background and focusing on their faces and expressions. As Sarah Greenough observed in her writing about Harry Callahan’s “Women Lost in Thought” series: “His refusal to project any kind of narrative or literary interpretation, his respect for his subjects, and his recognition of their need for privacy and reflection in a crowded city also elicits a sense of empathy and kinship. He was at once removed and detached, a dispassionate observer of this modern spectacle, and also one of them."

In a medium that is so often complicit, there is both beauty and shock in seeing people's outer details so nakedly exposed. Anderson’s photographs record the surface while posing unanswered questions about his subjects’ inner lives.'
20.09.2018 // show complete article