Anthony Hernandez, an American photographer best known for his street photography of 1970s Los Angeles.
Gloria Baker Feinstein has one of the largest, most diverse, and most impressive portfolios I have seen this year.
The following are photographs taken using very long photographic exposures. The first one is of the suspension bridge at Bristol and was taken by Justin Quinell using a pinhole camera with an exposure of six months. The streaks of light are the sun passing across the sky – at its lowest in the winter, and higher in the sky in summer.
The next, of the construction of the Museum of Modern Art (MOMA) New York, was taken by German photographer Michael Wesely with shutter exposures of nearly 3 years.
and here is another by Wesley is a year long exposure of an office.
via itchyi where there are more examples.
On the morning of 7 August 1974, after months of meticulous planning, the French high-wire artist Philippe Petit strung a steel cable across the 140ft gap between the twin towers of the newly constructed World Trade Centre, New York. At 7.15am he stepped out onto the wire and for the next 45 minutes, suspended more than 1300ft above the pavement he walked and danced on the wire, crossing it eight times whilst police helicopters buzzed overhead. The walk itself was a work of art, of street theatre on a huge scale.
What Petit would not have known when he did his walk was that more than 30 years later it would eventually lead to three other great works of art.
The first of these is Petit’s own book To Reach For The Clouds a compelling account of the high wire walk and its preparation. Petit’s beautiful, poetic writing captures the tension of the walk and of the build-up, including overcoming some incredible technical difficulties (for example the towers were designed to sway significantly in the wind; the cable could snap in a gust of wind).
“Victorious, I linger at the very middle of the crossing, exactly where the void, now defeated, used to vent its might.
I even sit down and survey the scene.
I rejoice at witnessing the disorder created by the announcement of my aerial escapade. The anthill is in turmoil! Voices and sirens scream orders and counterorders on the roofs and in the streets, but I hear mostly the streets, where the voice of the crowd overcomes that of emergency units.”
In 2008 British director James Marsh’s film Man on Wire, based on Petit’s book, was released.
The film uses archive footage, some of which had never been seen before, photographs, re-enactments, and interviews with Petit, whose energy and passion for life are as alive today as when he did the walk. Marsh has commented that he saw the film as a heist movie – the need to plot carefully down to the finest details, to evade security, and to do something almost unimaginable. It is a wonderful film - one of the finest documentaries, and finest films, of recent years - and has gone on to win many awards including the Oscar for best documentary.
The third great work inspired by the walk is the 2009 novel Let The Great World Spin by Irish writer Colum McCann.
“Those who saw him hushed. On Church Street. Liberty. Cortlandt. West Street. Fulton. Vesey. It was a silence that heard itself, awful and beautiful. Some thought at first that it must have been a trick of the light, something to do with the weather, an accident of shadowfall. Others figured it might be the perfect city joke – stand around and point upwards, until people gathered, tilted their heads, nodded, affirmed, until all were staring upward at nothing at all, like waiting for the end of a Lenny Bruce gag. But the longer they watched, the surer they were. He stood at the very edge of the building, shaped dark against the gray of the morning. A window washer maybe. Or a construction worker. Or a jumper.”
The connection is loose; McCann uses Petit’s walk as an event, as a literary conceit, from which he tells a range of stories of people living in New York, many of whose lives overlap (it recalls the movie Crash). The cast is diverse: an Irish priest, an artist, a prostitute, middle class mothers who have lost sons in Vietnam. Some of the stories are more successful than others (the Priest voice was more realistic for me than that of the prostitutes he was trying to protect). But where the book really succeeds is in how well it evokes New York in 1974. You can feel the grime, seediness and energy of the city on every page. For weeks after I wanted to immerse myself in 70′s American soul music and early 1970s American films and TV. Very highly recommended.
Completely original work from Kamil Vojnar.