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March 21, 2013 | By Leah Ollman
Kelly Barrie's show at Marine Contemporary starts in the parking lot with a 10-foot fiberglass skate ramp, a steep comma that mimics the curve and rise of a swimming pool. Barrie built the portable ramp (which appears to be getting some use) as a homage to a humble icon of skate culture from the late '70s. His re-creation evokes a cultural moment but not much more, and the studies for it are only tangentially interesting. The show lifts off thanks to a second group of images based on another functional/sculptural form attractive to skaters: the huge concrete pipes of the Central Arizona Project, a massive water-delivery system.
February 13, 2014 | By Leah Ollman
Ron Jude's "Lick Creek Line" is an essay in the less common sense of the term: an attempt, or effort. It doesn't build an argument or deliver much in the way of information to do so, but instead issues impressions, propositions toward a loose understanding of its ostensible subject, a fur-trapper in rural Idaho. The constellations of color photographs accumulate a kind of emotional heft, though more so in book form, as originally conceived, than on the wall, as at Gallery Luisotti, where the project is too abbreviated to grab hold.
April 27, 2012 | By Leah Ollman
Alex Prager's recent work at M+B has the proper look to be taken seriously these days. The photographs, in vivid color, are large, self-consciously contrived and assertively cinematic. They are displayed in groupings, mostly pairs. In each set, one big picture depicts a staged accident or disaster of some sort -- a burning or flooded house, a woman caught in power lines, a man hurt in a car crash. The smaller image, hung alongside, tightly frames a single eye, usually a woman's, elegantly made-up, theatrically lighted and generally impassive.
April 11, 2014 | By Leah Ollman
Born in Berlin in 1938, Ursula Schulz-Dornburg is a contemporary of Bernd and Hilla Becher and shoots with the same typological clarity, focusing on a single architectural form and cataloging its variants. Each of the bus shelters in her photographs at Luisotti occupies the center of its frame with declarative plainness. The directness of this approach evolved out of New Objectivity photography of the 1920s and '30s (Renger-Patzsch, Blossfeldt) and into New Topographics of the '70s onward.
October 22, 2012 | By Leah Ollman
Chris McCaw's stunning photographs start with a small act of defiance: shooting directly into the sun, a basic no-no. Other deviations follow, but the work never strays from its grounding in awe and reverence. The pictures pay homage to photography's essential nature as a record written by light, and they chronicle, with profound beauty and elemental simplicity, what it means to occupy a specific place on earth at a specific time.  McCaw's third show at Duncan Miller extends the "Sunburn" series he launched, by accident, nearly a decade ago when an overnight exposure burned a hole through his negative.
December 26, 2013 | By Monte Morin
Can the eyes of photographed crime victims help authorities spot their victimizers? According to new research published Thursday in the journal PLOS One, high-resolution photographs can be "mined" for hidden information. Specifically, the authors said that photographs of faces can reveal enough visual information on bystanders to identify them. In a small sampling of 32 study participants, test subjects were able to spot familiar faces reflected in the pupils of someone who was photographed 84% of the time, researchers said.
September 2, 1997
Santa Monica College will inaugurate a show on the Holocaust Sept. 8 with a display of about 40 photographs by Alfred Benjamin. Benjamin, 81, of Santa Monica, was nearly killed for photographing the Nazi destruction of a Jewish synagogue in Hamburg. "I was interrogated by the Gestapo and told to get out of Germany within 24 hours. I left 16 hours later," he said. He moved to England and then to Santa Monica, where he teaches photography. The show, which runs through Oct.
No charges will be filed against Laguna Beach photographer Marilyn Lennon over photographs she took of a partially nude 12-year-old girl at a professional workshop in Santa Fe, N.M. "There's not going to be a criminal prosecution," said Caroline Bass, an assistant district attorney in Santa Fe. Bass said she made the determination after reviewing a file prepared by investigators with the Santa Fe Police Department.
February 17, 1997 | GALI KRONENBERG, SPECIAL TO THE TIMES; Gali Kronenberg is a freelance writer based in Los Angeles
Spread across Joe Nolte's desk are photos of scenes that never took place. An old man in South America (long dead) stands next to a grandson he's never met. In another photo, a Los Angeles woman (not an actress) in a negligee sits in Scarlett O'Hara's bed from "Gone With the Wind" and stares into Clark Gable's eyes. A third photo depicts an old man in a bomber jacket hugging a younger man (actually the old man, 50 years earlier).
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