Lambri’s careful framing in Untitled (Miller House, #02) redefines our understanding of this iconic mid-century modernist building located in Palm Springs, California. Commissioned by industrialist J. Irwin Miller and his wife Xenia Simons Miller, and built by Richard Neutra in 1937, the Miller house’s open and flowing layout expands upon modernist architectural traditions. It features a flat roof, stone and glass walls, with rooms configured beneath a grid pattern of skylights and supporting cruciform steel columns. Rather than a distanced view of the overall structure—favored by modernist architectural photographers like Julius Shulman—Lambri instead works from the inside, focusing on Saarinen’s windows and the soft, even light. The resulting image is a poetic abstraction, an architectural photograph that yields not only a picture of a building, but suggests what it actually feels like to be in that architectural space.
Rudolph Schindler’s designs, part of a practice he called “Space Architecture,” marry interior with exterior and space with light. The architect’s longtime studio and residence, which he built in Los Angeles in 1922, exemplifies this philosophy, and has since become an influential part of the modernist architectural canon. In Untitled (Schindler House #01) (2007), Luisa Lambri describes Schindler’s studio by capturing its aftereffects—the play of light and shadow cast through branches onto a surface. The photograph is an ethereal portrait of Schindler’s work and ethos, evoking the building without actually depicting its concrete slabs and untreated wood.
Rudolph Schindler’s designs, part of a practice he called “Space Architecture,” marry interior with exterior and space with light...
The Italian photographer Tina Modotti is known for her documentation of the mural movement in Mexico...
Modotti’s Diego Rivera Mural: Billionaires Club; Ministry of Education, Mexico D...
Ammo Bunker (2009) is a multipart installation that includes large-scale wall prints and an architectural model...
Memory Mistake of the Eldridge Cleaver Pants was created for the show Paul McCarthy’s Low Life Slow Life Part 1 , held at California College of the Arts’s Wattis Institute in 2008 and curated by McCarthy himself...
#17 Pink is a photogram, a photographic image produced without the use of a camera...
Golden Bridge is part of “Golden Journey”, a series of site-specific performances and installations created during Lin’s residency at Kadist San Francisco...
Welling employs simple materials like crumpled aluminum foil, wrinkled fabric and pastry dough and directly exposes them as photograms, playing with the image in the process of revealing it...
Catherine Opie’s candid photograph Cathy (bed Self-portrait) (1987) shows the artist atop a bed wearing a negligee and a dildo; the latter is attached to a whip that she holds in her teeth...
Although best known as a provocateur and portraitist, Opie also photographs landscapes, cityscapes, and architecture...
Every work in Hoeber’s 2011 series Execution Changes is titled in alphanumeric code...
In this work, a woman sits on a couch with her shirt pulled up to expose her pierced nipples, which are connected by a chain...
Constructed out of metal or glass to mirror the size of FedEx shipping boxes, and to fit securely inside, Walead Beshty’s FedEx works are then shipped, accruing cracks, chips, scrapes, and bruises along the way to their destination...
Visalia Livestock Market, Visalia, California results from Lockhart’s prolonged investigation of an agricultural center and community...
From the series the Old and the New (XI) by Carlos Garaicoa belongs to the series Lo viejo y lo nuevo / Das Alte und das Neue (The Old and the New) which was first exhibited in 2010 at Barbara Gross Gallery in Germany...
Lockhart’s film Lunch Break investigates the present state of American labor, through a close look at the everyday life of the workers at the Bath Iron Works shipyard—a private sector of the U...