Concurrent with Moholy-Nagy: Future Present, this exhibition, which features books on artists, highlights experimental photography's collaborations with light and time, and the simultaneous generosity and violence of the sun.
Commencing with a reproduction of H. Fox Talbot's six-installment publication The Pencil of Nature, this exhibition emanates from his definition of photographs as "photogenic drawings" generously "impressed by the agency of Light alone," an interpretation that draws attention to the indexicality and medium-specificity of photography and its fundamental qualities: light and time.
Featuring books and periodicals on experimental photographers Chris McCaw and Charles Ross, who both collaborate with the sun, encouraging a concentration of the sun's light and heat through lenses to burn marks into film and wood, respectively, evidencing the sun's destructive capabilities and its ability to author its own marks.
Two editions of Kikuji Kawada's The Map document the violent "black stain" effect of the "intense sunlight of Hiroshima" produced by the Atomic Bomb. These are accompanied by an anonymously created book, which speaks of a black sun that lives within the center of our planet.
Books documenting László Moholy-Nagy's light sculptures are represented alongside representations of Otto Piene's installation The Proliferation of the Sun, detailing how mid-20th century artists harnessed electric light within time-based performances to elicit the sun's energy and vibrance.
Finally, connections are made with a collection of books depicting the solar writings of Kukulkán at Chichen Itza, the mythic son of the sun Akhenaten, and album covers of the jazz musician Sun Ra, who composed music of the sun with his Solar Arkestra.
Chris McCaw. Sunburned GSP#360 (Pacific Ocean), 2009. Reproduced from Chris McCaw: Sunburn. Richmond, VA: Candela, 2012.
5 hours 1 min ago The Art Institute of Chicago “One day, I had a dream… there were three black boots in the middle of the road, with very high houses."
These are the words of Tarsila do Amaral, one of the leaders behind Anthropophagy, a national art movement that arose in 1920s Brazil with the goal of “cannibalizing” aspects of European modern art in order to make a new, more distinctly indigenous style. #5WomenArtists
Explore Tarsila’s work in depth when Tarsila do Amaral: Reinventing Modern Art in Brazil opens at the Art Institute this October.
Image: Tarsila do Amaral. City (The Street), 1929. Collection of Bolsa de Arte.
7 hours 1 min ago The Art Institute of Chicago NOW ON VIEW—Who Builds Your Architecture?
Whether majestic skyscrapers, eye-catching museums, or sprawling residential complexes, buildings emerge from intricate, lengthy processes of design and construction that involve a host of different actors. The New York–based group Who Builds Your Architecture? (WBYA?), who gives the show its name, presents research related to migrant workers and the global construction industry.
1 day 2 hours ago The Art Institute of Chicago Saints & Heroes brings the spiritual, domestic, and chivalric worlds of the Middle Ages and Renaissance to life in the 21st century.