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.
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...
Every work in Hoeber’s 2011 series Execution Changes is titled in alphanumeric code...
Unlike many of his earlier films which often present poignant critiques of mass media and its deleterious effects on American culture, EASTER MORNING , Conner’s final video work before his death in 2008, constitutes a far more meditative filmic essay in which a limited amount of images turn into compelling, almost hypnotic visual experience...
Shot in the streets of Tokyo, Collapse , is a meditation on the passing of time and on the complicated way in which we are smashed between the past and the future...
In this photographic series, Yto Barrada was interested in the logos of the buses that travel between North Africa and Europe...
Visalia Livestock Market, Visalia, California results from Lockhart’s prolonged investigation of an agricultural center and community...
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...
7-headed Lalandau Hat by Yee I-Lann is an intricately woven sculpture evoking the ceremonial headdress worn by Murut men in Borneo...
Barbara Kasten’s Studio Construct 51 depicts an abstract still life: a greyscale photograph of clear translucent panes assembled into geometric forms, the hard lines of their edges converging and bisecting at various points...
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...
McCarthy’s Mother Pig performance at Shushi Gallery in 1983 was the first time he used a set, a practice which came to characterize his later works...
The Damaged series by Lisa Oppenheim takes a series of selected photographs from the Chicago Daily News (1902 – 1933) as its source material...
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...