The books are sold as a set, inviting the viewer to make connections between the projects and overarching theme. This inventive and clever photographic ode to the printed word captures all the powerful possibilities contained on the page. Copyright © 2020 CBS Interactive Inc.All rights reserved. The vistas first captured by nineteenth-century explorers still influence people today who visit the parks to partake in the view themselves. “Flowers are part of a long tradition of still life in art,” writes Morell. The passage of time and capturing it in a photograph has long fascinated Morell. Photographs by Abelardo Morell. As kids, everything kind of seems interesting - ‘A little light on the wall? Heyliger, on designÂing a light proof tent which can project views of the surÂroundÂing landÂscape, via periscope type optics, onto the surÂface of the ground inside the tent. A rooftop’s asphalt provides the texture of Morell’s tent camera image of Midtown Manhattan in 2010. Each picture is accompanied by a short commentary, encouraging readers to look closely and use their imagination to understand key ideas in photography such as light, gesture, composition—and, ultimately, how there is wonder all around us when viewed through the lens. Bulfinch Press, New York 2004. The project Interior Gaze, organized by two institutions attached to the Ministry of Culture, the Lazaro Galdiano Foundation and the State Agency of Cultural Commemorations (SECC), reinforces this relationship between yesterday’s gaze, that of the collector, and today’s, that of five of the most outstanding contemporary international photographers. Continuum is a part of Yoffy Press’ Triptych series and features Abelardo Morell, Irina Rozovsky and Alyssa McDonald. Distributed for the Yale University Art Gallery A collection of inspiring essays by the photographer Robert Adams, who advocates the meaningfulness of art in a disillusioned society In Art Can Help, the internationally acclaimed American photographer Robert Adams offers over two dozen meditations on the purpose of art and the responsibility of the artist. Smithsonian Institution Press, Washington, D.C. 1995, “Abelardo Morell has distinguished himself in the ‘90s as an artist of unique technical elegance and resourcefullness … Not only has he taken startling pictures unlike any others in the history of photography, but he has done so within the confines of a ‘straight’ aesthetic, without resorting to the stale tricks of surrealist collage or computerized postmodern manipulation.” —Richard Woodward, Luc Sante on the Year’s Best Photography Books, His Three Loves: Photography, Art History and Lisa, Diana Gaston, Curator of the exhibition: Abelardo Morell and the Camera Eye. Essays by Charles Simic and Jennifer Gross A dazzling performance, arriving, as it happens, in the nick of time. “They were, I think, in awe,” he said. Photographs by Abelardo Morell, Irina Rozovsky & Alyssa McDonald. Whether the image is simple, like one that shows the spine of a book titled ‘Thought, 5, 1930–31,’ or complex, like ’ A Tale of Two Cities,’ in which Dickens’ famous beginning is blurred by type bleeding through from the reverse side of the page, Morell manages to make pictures seem symbolically rich as words. How delightful it must be to stretch in a bed with the upside-down image of the Empire State Building in midtown Manhattan hovering over one’s head! What happens if the president doesn't accept the election results? This continuum is one of many lineages in the unending and ever-changing collective evolution of photography. His eye can’t help being drawn to romantic decay, to the Laocoon-like contortions of bound pages damaged by flood or a box of shredded, worthless money. Bulfinch Press, New York 2002, “At least in a figurative sense, this book…is a bibliophile’s dream. Like Lewis Caroll’s White Rabbit, Morell tests the malleability of the everyday world, presenting ordinary objects from absurd or unfamiliar vantage points … Like the photographer, who transforms his subjects through unexpected perspectives and mesmerizing description, the viewer becomes transfixed by the potential of the commonplace .” –Diana Gaston, Curator of the exhibition: Abelardo Morell and the Camera Eye, By Lewis Carroll. Introduction by Nicholson Baker Nothing is quite what it appears to be. That struck me as a deep experience.”, Pictured: Abelardo Morell’s “View of Eiffel Tower in the Hotel Frantour, 1999.”. In an effort to find new ways to use this techÂnique, I have worked with my assisÂtant, C.J. While visiting this community, Sacks took a botanical side trip to the island of Rota, home to an astonishing array of ferns and cycads. In 2009 we celebrated the centennial of the creation of the building that houses these collections, holdings that are among the jewels of Spanish artistic and cultural heritage. Since 1991 I have conÂverted rooms into CamÂera Obscuras in order to phoÂtoÂgraph the strange and delightÂful meetÂing of the outÂside world with the roomâs inteÂrior. Pictured: “View of Saint Lazare Train Station, Paris, France, 2015.”. Inspired by Sack’s observation on color blindness as well as by his description of the plant life of Rota, Morell and Muehling have created a tactile volume in black-and-white and sepia that reconceives the author’s text and responds to his sense of deep geological and botanical time. Introduction by Oliver Sacks. Without photography, our understanding of these inherently visual spaces would be limited to descriptive words and artists’ renderings. The Visual Delights of the Camera Obscura (video), CBS News, January 2017 I made my first picture using camera obscura techniques in my darkened living room in 1991. Alyssa McDonald became Irina Rozovsky’s student and then Abelardo Morell’s assistant. Camera Obscura and Tent Camera photos by Abelardo Morell, Abelardo Morell, Massachusetts College of Art and Design, By CBSNews.com senior producer David Morgan. This invigorating work reaffirms the importance of books and serves as a reminder of their fragile but enduring presence in our history and psyche. Abelardo Morell taught at the Massachusetts College of Art and Design for more than thirty years. “But somehow, by using this roundabout way of looking at it, it looks fresh.”. If they could talk, those books would thank him for rediscovering them and adding, through his genius, such grace and sentiment to the essence of their existence on the pages of yet another book” —Edward K. Owusu-Ansah, Library Journal, “Although we may have been taught not to judge a book by its cover, photographer Abelardo Morell reverses the old saying and delightfully shows us how to relish a book by its look. The 52 well-reproduced photographs are paeans to the materiality of bookness, as imagined from every possible tangent — books on shelves, books stacked in piles, book spines, book edges, book pages, open books, big books and small books. Tent-Camera Image on Ground: View of the Manhattan Bridge on Wood Boards, New York, 2015 Tent-Camera Image: Rooftop View of Manhattan Looking Southwest From 48th Street, 2017 Tent-Camera Image: Rooftop View of Manhattan Looking East From 48th Street, 2017 An aging book slowly decays in a stark image of paper so fragile it has practically turned to dust. (Sometime he flips the projections with a prism, making the images right side-up.). Twelve are bound into the book: the thirteenth is placed loose in the book’s box. Tent Camera Morell sets up his tent camera on the Brooklyn waterfront. Interview and Essay by Richard B. Woodward. The fact that what he finds in these shadows is quite ordinary — books, kids’ toys, a paper bag — makes the results magically disorienting and (as in the cover image of a vase perched on the edge of a table) precarious. Images on the Ground: Since 1991 I have converted rooms into Camera Obscuras in order to photograph the strange and delightful meeting of the outside world with the room’s interior. By himself practicing more than one photography, he has enriched the possibilities for his contemporaries, whatever their artistic faith … Morell thinks big by keeping his focus small. By utilizing a basic principle of optics once used by Renaissance artists like Canaletto and Vermeer, photographer Abelardo Morell builds a “camera obscura” with which to capture unique views of landscapes and architectural wonders. “View of Tower Hill, Yellowstone National Park, Wyoming, 2013” by Adelardo Morell. The book explores gardens from many angles: the symbolism of plants and flowers, how humans cultivate the landscapes that surround them, the change of the seasons, and the gardener at work. Bulfinch Press, New York 2003, “As Kennedy explains, this collection of essays and photographs by Cubans, Cubans in exile and interested Americans isn’t so much about the politics of Cuba as ‘the consequence of politics to Cuba.’ While its structure is simple enough-short essays on themes like spirituality, the new middle class and rural life coupled with sets of photos, introduced by artists’ statements-its texture is delightfully varied and idiosyncratic… The kaleidoscope of images — Virginia Beahan’s breathtakingly empty landscapes, Sylvia Plachy’s vibrant urban scenes, Abelardo Morell’s haunting camera obscura projections of cityscapes on interiors-will open readers’ eyes to a country not so much ‘third world’ as ‘other world.’” —Publisher’s Weekly, Smithsonian “Photographers at Work” Series. Most luminous are the sculptural renditions, fluid pages curving over their spines like majestic mountains in the distance. Our experience of the parks is so connected to photography that we cannot escape the feeling of being inside a photograph in some these iconic places…” —Jamie M. Allen, Emanations: The Art of the Cameraless Photograph. The present volume focuses on the nineteenth century and some of its contemporary progeny. Abelardo Morell told Serena Altschul, “Looking at the world through these little lenses maybe kind of brings you back to your first experiences of seeing, which were fabulous. He gained attention for intimate, black-and-white pictures of domestic objects from a child’s point of view, inspired by the birth of his son in 1986, as well as images in which he turns a room into a giant camera obscura, projecting exterior views onto interior spaces; and photographs of books that revel in their sensory materiality.
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