Tim Hawkinson | Octopus | Cindy Sherman | Untitled Film Still #82 | Robert Glenn Ketchum | Lakeshore in Morning Fog | Abelardo Morell | Camera Obscura Image of the Grand Tetons in Resort Room, Jackson Hole, Wyoming | John Sanchez | Rachel Rosenthal, Artist | Mitch Epstein | Buena Vista, Colorado | Leland Rice | Volkswagen With Figure | Catherine Wagner | The Lamps of 1900 | Ned Sloane | Telephone Pole Piece, Los Angeles: Photograph of Kim Jones | Andrew Freeman | #3.4.04- Don Becker's Garage & Guesthouse, Independence, California N36O.48.229 - W118O.11.620 | Ken Gonzales-Day | Franklin Avenue (1920) | Jo Ann Callis | Man in Tie | Bruce Nauman | Burning Small Fires (Artist Book) | Annie Leibovitz | Scarlett Johansson, Chateau Marmont, West Hollywood | David Maisel | Oblivion 1382-52p | Gilbert B. Weingourt | Timothy Leary | Richard Misrach | Untitled (Ocotillo) | Edward Steichen | Sylvia Sidney, Hollywood | Ruben Ochoa | Fwy Wall Extraction | Hunter S. Thompson and others | From "Gonzo" | Henry Wessel | Las Vegas No. 15 | James Fee | Epiphany | John Baldessari | Face (with Red Nose): Plus Four Alternate Noses | Anthony Hernandez | Everything #2 | Ansel Adams | Graduation dress | Loretta Ayeroff | Mountain View, Edris Drive | Grant Mudford | Walt Disney Concert Hall, Under Construction #7 | Frederick Sommer | Stendhal | Tina Modotti | Interior of the Church Tower at Tepotzotlan | Henri Cartier-Bresson | Mexico City | Irving Penn | Hell's Angels, San Francisco | William Dassonville | From Glacier Point | Christina Fernandez | Fashion International | Mark Laita | Air Traffic Controller, Todd Phipps, Palmdale, California, May 5, 2006
Juggler, Sergey Gripkov, Los Angeles, February 21, 2000 | Mark Wyse | Untitled Landscape | U.S. Air Force 1352nd Photographic Group, Lookout Mountain Station | Sugar, 1.2 Kilotons, Nevada | Julius Shulman | Von Sternberg Residence, Northridge | Joaquin Trujillo | Amy, Los Ninos | Robert Heinecken | Shiva Manifesting as a Single Mother | Han Nguyen | Tsunami | Melanie Einzig | Bikram Yoga Instructor, North Beach, San Francisco | John Patrick Salisbury | Untitled No. 134 | Karen Halverson | Gamble House Entry | Bill Owens | 4th of July Parade, Pleasanton, California | Catherine Opie | My Studio, Suzanne's Work | Eliot Porter | Reflections in Pool, Escalante River, Utah | Adam Bartos | Los Angeles | Stan Honda | From the Heart Mountain Barracks Project | Hiromu Kira | The Thinker | Jeff Mermelstein | Yosemite National Park, California | Lewis Baltz | West Wall, Unoccupied Industrial Structure, 20 Airway Drive, Costa Mesa | Dennis Hopper | Robert Irwin | Hansel Mieth and Otto Hagel | S.F. Water Front | Edward Burtynsky | Oxford Tire Pile #8, Westley, California | Beahan & McPhee | Almond Trees and Flood Irrigation, Oakdale | Larry Sultan | Boxers, Mission Hills | Isabel Gomes | Blue Horizon, Santa Rosa Island | Edward Weston | Cabbage Leaf | Anthony Friedkin | Offshore Winds, Zuma Beach | Richard Long | Donner Pass Circle: Along a 20 Day Walk from Ebbetts Pass to the North Fork Feather River Sierra Nevada California 2005 | John Swope | Dorothy McGuire, Beverly Hills | Hans-Christian Schink | LA Night #1 | Herve Friend | Redlands From Smiley Hill | Joel Sternfeld | Queen of the Prom, the Range Nightclub, Slab City, California |
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| Mark Wyse Untitled Landscape 1998 Courtesy Mark Wyse LL/16186 Photo Synthesis
Colin Westerbeck
This is an elegantly formal photograph. The point of view gives the elements in the composition a relationship to each other that makes the picture seem complete, self-contained. The houses rim the hillside in an undulating line that the pink flowers underscore and the rock-filled drainage channel imitates. It's picture-perfect.
Yet Mark Wyse denounces photographic "high formalism" of the sort he himself creates. In an exchange we had, he also rejects the viewer's need to know where the picture was taken or even what flowers these are. His reasoning can become involuted. He says that "photographs, as static seeing, provide the experience of seeing oneself seeing." He refuses to supply any information because his goal is to "heighten photographic transparency to a level that collapses in on itself."
Aren't the flowers a mix of wild and cultivated? A colleague who knows flora better than I do says the pink ones are rose ice plant, while the yellow are wild mustard. It's a landscape carefully manicured to look natural a classic California paradox. But the desired effect gets dry-gulched by that expert drainage channel winding along the bottom like a snake slithering through the Garden of Eden. I sure wish I knew where this is.
[Originally published in West Magazine : September 3, 2006, p.9]
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