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Haunter of Ruins by Clarence John Laughlin,John H. Lawrence,Patricia Brady Schmit,Patricia Brady Pdf
Called "Edgar Allan Poe with a camera", Clarence John Laughlin (1905-1984) reveals New Orleans at its most brooding and mysterious in 69 never-before-published images. Compiled by the Historic New Orleans Collection, this volume brings together an eerie gallery of French Quarter facades, funerary sculpture, and other details that summon up the Acadian gothic described by six distinguished writers. 69 illustrations.
Clarence John Laughlin by Keith F. Davis,Nancy Barrett,John H. Lawrence,Clarence John Laughlin Pdf
This volume provides a much-needed reassessment of the life and work of Clarence John Laughlin (1905-1985). Born in Lake Charles, Louisiana, Laughlin lived most of his life in New Orleans, He discovered the literature of Baudelaire and the French Symbolists in the mid-1920s and began writing poetry and Gothic fiction at that time. In 1934, influenced by the work of Stieglitz, Strand, Weston, Man Ray, and Atget, Laughlin took up photography. Devoted to the documentation of historic buildings and artifacts, Laughlin was at the same time committed to a highly personal application of photography to evoke the underlying mystery of the world. He used multiple exposures, theatrical arrangements, and lengthy captions to bridge the gap between the visible world and an allusive, metaphorical realm of intuition and fantasy. Laughlin's work seems particularly relevant today. The last decade of American photography has been characterized by an artistic focus on issues of theatricality, the tension between photographic truth and invention, and the linkage between world and pictures.
Many photographers have been intrigued with the baffling distortions--both subtle and disquieting--that can occur when the camera "captures" the real world. Not always intentional, some images dazzle with impossible juxtapositions or disorienting spatial orders, while others confound the viewer's belief in the documentary promise of photography. Drawn from the highly respected collection of Allan Chasanoff, the photographs in this intriguing volume confront viewers with the challenge of doubt and confusion in so-called "straight" pictures. Featured are perceptually provocative images by Manuel Alvarez Bravo, Clarence John Laughlin, Imogen Cunningham, and Lee Friedlander, among others. The book's essays raise awareness of the interpretive nature of the lens and the interpolative nature of the medium. Distributed for the Yale University Art Gallery Exhibition Schedule: Yale University Art Gallery (October 7, 2008 - January 4, 2009)
Renowned photographer A. J. Meek takes the novitiate on an inspired visual journey with eighty-eight color photographs of the interiors of churches and synagogues located in south Louisiana, mostly along the lower Mississippi River valley. Tourists may crowd the famous European cathedrals such as Notre Dame in Paris and Westminster Abbey in London. Yet the splendors of local churches in America all too often remain cloistered and unheralded. Meek's beautiful photographs correct this oversight for Louisiana, a state that features a great many beautiful and long-standing holy places. Often incorporating long exposures and select framing, the images in the first section of Sacred Light encompass altars, chancels, and sanctuaries. The second section contains photographs of statues representing deities, angels, madonnas, and saints, often seen with intense color derived from stained-glass windows or artificial light. Light itself is the subject of the third and last section. In several photographs, light is transformed by a window into a kaleidoscope of color on a wooden pew or pulpit chair. Other times the light seems to radiate a living presence of its own. Additionally, the book includes an essay by Louisiana State University art historian and liturgical space consultant, Marchita Mauck. Sacred Light also contains photographs of some of the church and synagogue restoration projects after Hurricane Katrina. Meek relates that the now-famous storm of August 2005 was the shadow he was looking for that defines blessed light. He places emphasis on restoration, not destruction, as a testimony to the resilience of the human spirit.
The author seeks to discern the distinctive character of photography as an art, asking why similar images affect us differently and how our reaction to a photograph of a painting is different to the response to the painting. She demonstrates "perceived realism" and the transformation of images.
In Picturing the South: 1860 to the Present, the High Museum of Art in Atlanta has brought together more than 160 photographs taken since the Civil War era. This assembly documents the South's cultural heritage and psychological identity, as well as its transformation from a land decimated by war to the bustling New South of today.
Guy Davenport,Museum of Modern Art (New York, N.Y.)
Author : Guy Davenport,Museum of Modern Art (New York, N.Y.) Publisher : Unknown Page : 170 pages File Size : 41,8 Mb Release : 1991 Category : Architecture ISBN : UOM:39015021977775
Until recent catastrophic events, little attention was paid to the landscape and ecology of the American Gulf Coast. Acclaimed photographer Richard Sexton's evocative black-and-white images capture this often-overlooked terrainthrowing into haunting relief the marshes, forests, and bayous from the Mississippi River to the Florida Panhandle. Sexton focuses on the intersection between human culture and natural phenomena, creating a body of work attuned to the passage of time, loss, and renewal. Essays by museum directors J. Richard Gruber and John Lawrence place the images in the context of southern photography, while horticulturist Randy Harelson illuminates the environmental challenges unique to the region. Terra Incognita is the first book to so strikingly illustrate the vulnerability, resilience, and splendor of America's third coast.
Since the invention of photography almost 175 years ago, the medium has proven itself understandably adept at capturing what is there to be photographed: the solid, the concrete, that which can be seen. Another tradition exists, however; a parallel tradition in which photographers and artists have attempted to depict via photographic means that which is not so easily photographed: dreams, ghosts, god, thought, time. The Unphotographable explores this parallel tradition, and is published to coincide with an exhibition of the same name at Fraenkel Gallery in San Francisco, presenting photographs by anonymous amateurs alongside those of artists such as Diane Arbus, Bruce Conner, Liz Deschenes, Adam Fuss, Man Ray, Christian Marclay, Ralph Eugene Meatyard, Alfred Stieglitz and Hiroshi Sugimoto. Jules-Bernard Luys and Émile David are represented by a photograph taken toward the end of the nineteenth century, of fluidic emission from the fingers of two hands; Richard Misrach captures a sandstorm in California in 1976; and Conner is represented by "Angel Light," one of the Angels series of dramatic, life-sized photograms he created in 1973-75, and which explore the disjunction between vision and phenomenological experience. Since opening in 1979, Fraenkel Gallery has presented close to 300 exhibitions exploring photography and its interrelations with the other arts, and The Unphotographable is one of its most ambitious projects to date. The catalogue is edited with an essay by Jeffrey Fraenkel, and includes 50 images in color.
Clarence John Laughlin by Keith F. Davis,Nancy Barrett,John H. Lawrence,Clarence John Laughlin Pdf
This volume provides a much-needed reassessment of the life and work of Clarence John Laughlin (1905-1985). Born in Lake Charles, Louisiana, Laughlin lived most of his life in New Orleans, He discovered the literature of Baudelaire and the French Symbolists in the mid-1920s and began writing poetry and Gothic fiction at that time. In 1934, influenced by the work of Stieglitz, Strand, Weston, Man Ray, and Atget, Laughlin took up photography. Devoted to the documentation of historic buildings and artifacts, Laughlin was at the same time committed to a highly personal application of photography to evoke the underlying mystery of the world. He used multiple exposures, theatrical arrangements, and lengthy captions to bridge the gap between the visible world and an allusive, metaphorical realm of intuition and fantasy. Laughlin's work seems particularly relevant today. The last decade of American photography has been characterized by an artistic focus on issues of theatricality, the tension between photographic truth and invention, and the linkage between world and pictures.
