A portal near the convergence of two white walls, Museum of Modern Art, New York.
While walking on an upstairs floor in a central area of the New York Museum of Modern Art, I was in an area with stark white walls and portals to an inner “well” – the edges of the portals were treated in warmer tones of paint.
Since the image is minimalist, I’ll make my description minimalist as well.
Black and white photograph of the courtyard of the New York’s Museum of Modern Art, photographed through windows of the museum.
Sticking with the urban New York theme for at least one more day, this is another photograph shot from a window in the Museum of Modern Art and looking out over a courtyard and architecturally busy urban scene combining older brick and stone facade buildings with more modern and taller buildings.
There are subtle (or perhaps not so subtle?) reflections in the window through which I made the photograph. These reflections are one reason, though not the only one, that I decided to render this as a black and white image – some of the shadows had colorations that did not work for me. To my mind, this photograph is related to some others that I’ve made featuring views of and through the windows of modern buildings, including this photograph from the Getty Museum in Los Angeles.
A scene consisting almost entirely of windows and secondary reflected subjects, Museum of Modern Art, New York.
Look closely and you’ll perhaps see that this is not quite what it might first appear to be. It is something of a visual trick or joke on one level. It is some other things, too.
The bottom line is that almost nothing in this scene is actually where it appears to be or even what it appears to be. The shot was made through an upstairs window of the Museum of Modern Art in New York, and the vertical shapes are the window frame and a bit of the interior wall at the far right, with some diagonal elements of the frame at top and bottom. But the “scene” outside is entirely reflected in the windows of the adjacent building – this is actually a photograph of a single glass-walled building, not exactly a photograph of an urban scene with buildings and trees and sidewalks and people – those are all reflections in the glass of the building. Obviously, I was also having some fun with perspective lines going off in a range of different directions – the window frame lines converging to the right, the outside perspective lines converging toward the left, and the converging lines on the reflected buildings headed back to the right. There’s more, but I’ll probably get lost if I try to describe it. A close inspection – easier with the print than in this little jpg – reveals some other odd stuff here and there: double images of some of the reflected buildings, some warping and bending of those shapes, people scattered around the courtyard and some moving figures that are barely visible.
Petroglyphs of bighorn sheep in the Panamint Range of Death Valley National Park.
If you keep your eyes open, think about your surroundings, and know where to look, eventually you will come across the signs of much earlier residents of Death Valley. From my basic knowledge, I understand that there is evidence that a series of native American cultures resided in and around the Valley for at least the past 11,000 years, a period over which the climate changed from one that was originally much wetter to the hotter, drier climate that we know today. Because many of these people apparently had to migrate locally to find food sources at different times of the year it seems that evidence of their presence can be found in a wide variety of locations.
I recall the first time I found an artifact of one of these cultures. It was on my first visit to Death Valley back in the 1990s. At one point I wandered away from a place where I was camped and walked out across a section of a very large gravel wash, where I found a comfortable rock to sit on and enjoy the view. As I sat there I happened to look down and notice an unusual rock. I picked it up and realized that someone had formed it into a shape that could be used for carving or cutting, and I later read that it was a sort of knife. As I held it, surprised by finding any human signs in such a place, I began to wonder about the life of the person who made it and used it – a life I could barely imagine. A few minutes later I returned the object to where I had found it and walked back to camp.
For me, an encounter with rock art such as these petroglyphs provokes a lot of deep thoughts about time and culture and the lives of people who seem about as far removed from my experience as I can imagine. I try to imagine myself in their lives, but know that I fail.
Of course, I won’t say more about where such things are located than what is on this page. If you know where this example is located, let’s keep it a secret, OK?
Photographer and visual opportunist. Daily photos since 2005, plus articles, reviews, news, and ideas.
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