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Light Research @ MMU

FROM LIGHT TO DARK: DAYLIGHT ILLUMINATION AND GLOOM

FINALLY…. My book has now been published by Minnesota Press!! The contents provide in-depth analysis of many of the themes discussed on this blog within three distinct sections: daylight, illumination and darkness. More specifically, here is the chapter outline:

Part I. Light
1. Seeing with Landscape, Seeing with Light
2. Under the Dynamic Sky: Living and Creating with Light
Part II. Illumination
3. Electric Desire: Lighting the Vernacular and Illuminating Nostalgia
4. Caught in the Light: Power, Inequality, and Illumination
5. Festivals of Illumination: Painting and Playing with Light
6. Staging Atmosphere: Public Extravaganzas and Homely Designs
Part III. Dark
7. Nocturnes: Changing Meanings of Darkness
8. The Re-enchantment of Darkness: The Pleasures of Noir
Conclusion: The Novelty of Light and the Value of Darkness

The book can be accessed at http://www.combinedacademic.co.uk/from-light-to-dark

It’s reasonably priced!!

March 27th, 2017 - 03:40am

Progress Illuminated in Blackpool

In current times, Blackpool is a seaside resort more typically associated with the past, perhaps through a nostalgic lens. However, two outstanding place-specific art works installed as part of the town’s Lightpool Festival (http://www.blackpool-illuminations.net/LightPoolWalk.htm) suggest how the town was once particularly future-oriented. In making works especially designed for the occasion, Mark Titchner reminds onlookers of how Blackpool was once a hotspot of modernism and forward thinking. plenty-and-progress

His Plenty and Progress and What Use is Life Without Progress recall that the motto of the town is PROGRESS. This was never an empty boast, and was underpinned by a range of historical developments: the construction of the remarkable Tower, the early use of electric light, the early adoption of a tram system, and the mechanical marvels and rides that still enthral visitors to the Pleasure Beach. Plenty and Progress is projected onto the façade of the Town Hall and these words are surrounded by a shifting myriad of animated light designs, foregrounding how the resort’s illuminations are also part of this modern thrust, and refuting contemporary prejudices that modernism was invariably austere and functional.  The inference is that Progress is productive of plenty, not just of food, commodities and work, but also plenty of pleasures too. The colourful embellishments also recall the beautiful neon illuminations that adorned the seafront in the 1920s and 30s, with their clear lines and curves, notably conjuring up the designs of Claudegan, whose designs on paper can presently be viewed in the Grundy Art Gallery. progress

Facing the seafront, the larger work, What Use is Life Without Progress, offers a bleaker, more insistent message, in which progress is conversely associated with compulsion and instrumentality. The very form of the display evokes an authoritarian form of propaganda issued by the state, urging citizens to strive for improvement. Two very satisfying and provocative works.

 

October 31st, 2016 - 11:55am

Neon Extravaganza in Blackpool

The current exhibition at Blackpool’s ever-interesting Grundy Gallery is The Charged Line, a riot of neon that comprises a survey of the multiple creative applications of this most prolific form of illuminated art. We have suggested before that neon evokes many symbolic associations, including the futuristic, nostalgic, seedy and commercial, and the works in the exhibition do trigger many resonances. It is difficult to do justice to the richness of the show so three examples must suffice.

green-pimpDavid Batchelor’s outlining of a encrusted, time-worn concrete mixer with garish green neon transforms a utilitarian object into a magical thing, highlighting its shapely form and drawing attention to its battered material form. Green Pimp, from 2006, also captures something of Blackpool itself in its combination of the earthy and the glamorous. It also reminds us of the labouring bodies and industrial machinery that typified the working worlds  of the places from which millions of tourists flocked to the resort in search of thrills and glitter .f-morellet

François Morellet’s three dimensional work, Triple X Neonly, occupies a corner of the gallery with six lines configured to form three cross-cutting X’s that conjure up the abject  areas of the city in which the sex industry prospers. Yet this work of geometric abstraction easily transcends these all-too apparent cultural references, providing an immersive work that bathes room and visitor alike in a warm red glow that dazzles and charms visual perception. More broadly, the work amply demonstrates how light art invariably radiates effects beyond the symbolic.kosooth

Joseph Kosooth, an early pioneer of the approach, joins other artists that feature in a room devoted to neon works that foreground language and text. His iconic work from 1965, Neon, blurs the distinction between an object and the word that represents it – since the word seems to be rendered in the very material that it describes.  However, what masquerades as a cool white illuminated form produced by neon is in fact filled with another gas, namely argon. Thus the sign does not in reality represent the word that it features.

The exhibition continues until January 7th  2017, and visitors are advised to include this masterful show in any outing to Blackpool Illuminations or a trip to sample the resort’s  many vernacular charms.

October 24th, 2016 - 20:37pm

Night-time Factory Tourism in Japan

I wondered how long the tour would take that night. An hour, perhaps two I guessed. I was in Japan researching a phenomenon called Kojo Moe (factory love), a trend that had emerged after the publication in 2007 of a photo book, Kojo Moe-F Background Reference Book, on heavy industry. The book has a guide to viewing different types of factories, from chemical plants to steel works, cement works and gantry cranes. The tour that evening began, like others I had been on, at the city port. Night time factory viewing (Kojo Yakei) is usually done from the decks of a boat. Kojo Yakei forms a growing aspect of Japanese tourism, and private tour operators and city municipalities have developed a number of organised bus and boat tours to meet demand. Data compiled in 2014 by the Department of Civil Engineering at Kinki University in Osaka detailed 31 factory tours operating in 17 cities. The densest concentration of tours is, unsurprisingly, in the Kanto region that encompasses the heavily industrialized coastal zones of Yokohama and Kawasaki. The tours can sell out for months in advance. When I had enquired at JNTOs (Japan National Tourism Organizations) in Tokyo City about visiting industrial sites, I was given a list of museums of technology and industry. As a foreigner, I am not the target audience for these tours. Kojo Yakei is marketed at Japanese city-dwellers and participants are mainly groups of young Japanese women and then some older men.

KY_HO1

Kojo Yakei is promoted as a social experience, a night-out, and not as an educational or informational tour.  Some cruises provide buffet dinners, others cocktails. What they all offer is a spectacle. An alternate son et lumière to the neon and electric cityscape.  At night security lights, office lights, portacabin lights and perimeter lights illuminate industrial megastructures on a Blade Runner scale. Smoke rising from chimney stacks adds to the effect. On one boat tour in March it snowed but we still stood out on the deck trying to take as many photos as possible. Kojo Yakei offers what we in the West call the industrial sublime and on these nights I am factory struck (not love struck or star struck).

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The boats tend to slow down and stop opposite particularly well-lit structures (sometimes accompanied by clapping and cheering) before bypassing dark factories for another illuminated colossus. It is difficult to take good photographs from a rocking, moving boat in low light. I spent much time on the first few tours experimenting with different camera settings and these sets of photos are mostly light strobed images or blurry shots. Very few take serious camera kit on these tours, but the boats slow down to enable participants to take photos, as best they can, with their smart phones, or to capture a factory selfie. The photography is an important element of the social experience of the tour. I plan to take photographs from the shore of the Kojo Yakei boats going past, lit up by the cabin light and the flickers of light from smartphones.

KY_HO3

Most boat tours take an hour. However, a boat and bus tour around Himeji city was four hours long. The bus pulled up opposite a spectacular chemical plant and we spent around 20 minutes taking photographs through the wire fencing. The plant next door was in darkness and no one was paying it any attention. I strolled down the road the short distance to take a look at it. The bus driver must have noticed my interest for when I returned to the group he said to me ‘we have asked them to put their lights on for us.’ An examination of the relationship between the factories and the tour operators forms part of my future research plans.

KY_HO4

 

 

 

 

 

 

 

 

 

 

Hilary Orange, UCL Institute of Archaeology, h.orange@ucl.ac.uk

January 23rd, 2015 - 13:30pm

Dreams and Imagination: Light in the Modern City , Monash Gallery of Art

Melissa Miles from Monash University, Melbourne has curated an exhibition, running at  Monash Gallery of Art until 1 March 2015: http://www.mga.org.au/exhibition/view/exhibition/164.

Dreams and Imagination: Light in the Modern City focuses on the special role of light in stimulating imagination in Australian photography, and for envisioning modern cities as places of dreams and wonder. As a technology of light and of modernity, photography proved an ideal medium for imaging Australian cities. Photographers including Harold Cazneaux, Max Dupain, David Moore, Olive Cotton and Mark Strizic, used their cameras to revel in the magic of sunlight and artificial illumination in cities, and drew upon different metaphors of light to represent their ambitions for Australian modernity or express disenchantment with its failings.

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Mark Strizic, Flinders Lane, 1967, 1967 gelatin silver print; 37.0 x 37.0 cm,  Monash Gallery of Art, City of Monash Collection (donated by the Bowness Family through the Australian Government’s Cultural Gifts Program 2008, MGA 2008.110; courtesy of the Estate of Mark Strizic)

The early to mid twentieth century was a period of gradual change in Australian cities and photography alike. Australians did not experience modernisation as a dramatic revolution or a sudden wave of change, as it was experienced in parts of Europe. Mass-production manufacturing industries were not a significant part of the Australian economy until after the Second World War, and skyscrapers did not reshape the city skyline until the early 1960s. Such European and American conceptions of modernity as a dramatic sense of the new displacing the old, were experienced in Australia as a kind of expectation or immanence rather than a sudden shift.

 

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Max Dupain, Mosman Bay at dusk, 1937, gelatin silver print, 49.6 x 32.6 cm, Monash Gallery of Art, City of Monash Collection (donated by James Mollison AO through the Australian Government’s Cultural Gifts Program 2008, MGA 2008.006)

This sense of immanence and gradual change is reflected in the diversity of photographic styles used to represent cities, from the hazy light and fuzzy effects associated with Pictorialist photography to the crisp sharp lines of modernism. During the 1930s and 40s, members of an older generation of Australian photographers, including the Pictorialists Cazneaux and George Morris, were responding to their urban experiences alongside younger generations linked to modernist and new documentary practices, such as Dupain and Cotton. The exhibition reveals how photographers utilized light, shadow and artificial illumination to enrich and enliven their imagery in ways that often transcended neat stylistic categories.

Melissa has a related book coming out next year, The Language of Light and Dark: Light and Place in Australian Photography: http://www.mqup.ca/language-of-light-and-dark–the-products-9780773545502.php

December 11th, 2014 - 13:24pm

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