IV Nurse Day
January 25, 2016

abelardo morell, tent camera

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 design­ing a light proof tent which can project views of the sur­round­ing land­scape, via periscope type optics, onto the sur­face 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 tech­nique, I have worked with my assis­tant, 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 con­verted rooms into Cam­era Obscuras in order to pho­to­graph the strange and delight­ful meet­ing of the out­side world with the room’s inte­rior. 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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