Poster design concept
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Empire of the Sun artwork
And today, in 2014, 100 years since the start of the First World War, it seems more important than ever not only to understand the nature and long-term effects of conflict, but also the process of looking back at the past…”
Conflicts from around the world and across the modern era are depicted, revealing the impact of war days, weeks, months and years after the fact. The works are ordered according to how long after the event they were created: images taken weeks after the end of the American Civil War are hung alongside those taken weeks after the atomic bombs fell on Japan in 1945. Photographs from Nicaragua taken 25 years after the revolution are grouped with those taken in Vietnam 25 years after the fall of Saigon. The exhibition concludes with new and recent projects by British, German, Polish and Syrian photographers which reflect on the First World War a century after it began.
Chloe Dewe Mathews (British, b. 1982) Six Farm, Loker, West-Vlaanderen 2013 Private Joseph Byers Private Andrew Evans Time unknown / 6.2.1915 Private George E. Collins 07:30 / 15.2.1915 © Chloe Dewe Mathews
Another fascinating exhibition. The concept, that of vanishing time, a vanquishing of time – inspired by Kurt Vonnegut’s 1969 novel Slaughterhouse-Five and the Japanese photographer Kikuji Kawada’s 1965 photobook The Map – is simply inspired. Although the images are not war photography per se, they are about the lasting psychological effects of war imaged on a variable time scale.
“At first glance, Jo Ractliffe’s black-and-white shots of sun-baked African landscapes look random and bland: rocks, dirt, scrubby trees; some handwritten signs but no people. Only when reading the titles – “Mass Grave at Cassinga,” “Minefield Near Mupa” – do you learn where the people are, or once were, and the pictures snap into expressive focus.
Cinematic artwork
The resulting film was equal parts alluring and ugly, refined and raunchy—in other words, a film about what it was like to live in early modern Europe. Alcott’s depictions of the English countryside are some of the most tranquil since Gainsborough picked up a brush. For the candlelit interior scenes, however, he packs dozens of weird, fleshy faces into each shot, calling to mind Hogarth’s satirical series “Marriage à-la Mode” (1743–45)and “A Rake’s Progress”(1733–34). Widely dismissed as a boring costume drama at the time of its release, Barry Lyndon has since been celebrated as one of the greatest of all films. No small part of that greatness comes from Barry Lyndon’s tension between seriousness and cheekiness—a tension Alcott emphasizes with his shrewd homages to English painting.
Among the numerous artworks displayed, there’s Picasso’s Portrait de Sylvette (1954) and Jacqueline aux fleurs (1954). Godard strategically places these two left-facing artworks side by side, with Pierrot looking in the opposite direction… In cinematographic fashion, Godard creates art from art, relying on Picasso’s work to compose his own masterful frames.
with a beautiful woman wearing a red dress in an auditorium while a movie plays celebrating a small town. The movie looks like an illustrious painting, such is the sheer degree of detail and perspective. A group of men are gathered in the corner of the screen and others are wandering by sets of tables and chairs. Itseems as though there is some kind of commotion on the screen and the auditorium is otherwise empty signifying, perhaps, that the movie is just beginning.
Painting, for example, is a medium that has been around for thousands of years, while Cinema is relatively new, mainly in existence from the 20th century onwards. And, yet while paintings have inspired cinema, with their composition and drama, and influence on the framing of the moving image, likewise, movies have come to inspire paintings, such is the predominance of their influence on visual art.
Similarly, The Girl with a Pearl Earring, directed in 2003 by Peter Webber, is a straight adaptation of Johannes Vermeer’s famous painting of this name. The film gives a fictionalized account of this painting, and it is likewise restrained in its imitation of Vermeer’s imagery style, using down-lit shadows and carefully framed shot sequences in an effort to imitate his style. In so doing, it sends viewers back in time to 17th-century Dutch art, emphasizing the painter’s influence on cinematic aesthetics.
Yet Storaro is clearly fascinated by painting: Writing With Light contains reproductions of over 100 paintings, and one of these, Caravaggio’s The Calling of St. Matthew (1599–1600), helped inspire him to go into cinematography. In Apocalypse Now (arguably his most visually striking film, though it has some stiff competition), he clothes the actors in sickly yellowish light and baleful shadows, producing a chiaroscuro that would have made Caravaggio jealous. For Storaro, as with Caravaggio, the play of light and shadow isn’t just a nifty effect, but a way of suggesting a figure’s state of mind. Apocalypse Now’s Colonel Kurtz straddles madness and civilization, and Storaro’s bold lighting choices render the character’s inner decay visible on-screen.