{"id":3391,"date":"2011-12-15T00:00:00","date_gmt":"2011-12-15T00:00:00","guid":{"rendered":"http:\/\/www.foto8.com\/live\/?p=3391"},"modified":"2011-12-15T00:00:00","modified_gmt":"2011-12-15T00:00:00","slug":"the-life-and-death-of-buildings","status":"publish","type":"post","link":"https:\/\/www.foto8.com\/live\/the-life-and-death-of-buildings\/","title":{"rendered":"The Life and Death of Buildings"},"content":{"rendered":"<div>When Danny Lyon moved into a small loft overlooking the corner of New York\u2019s Beekman and William Streets in 1966, he unwittingly determined his next major photographic project &#8211; The Destruction of Lower Manhattan. He chose the location for its seclusion &#8211; strange as it may seem today &#8211; as a means of getting away from people; to be fair, he had spent the previous two years with a gang of Illinois bikers, the Chicago Outlaws. Lonely and with time on his hands, he began to find that his new neighbourhood\u2019s boarded-up and condemned warehouses, hotels, shops and hospitals exerted an unexpected pull. <\/p>\n<p><img decoding=\"async\" loading=\"lazy\" alt=\"lyon\" src=\"https:\/\/i0.wp.com\/www.foto8.com\/live\/wp-content\/uploads\/2011\/12\/lyon.jpg?resize=470%2C471&#038;ssl=1\" width=\"470\" height=\"471\" data-recalc-dims=\"1\" \/><br \/><span class=\"photo_copyright\">View south from 100 Gold Street (from The Destruction of Lower Manhatan, 1967) &#8211; Danny Lyon<\/span><\/p>\n<p>\u2018I came to see the buildings as fossils of a time past,\u2019 he wrote at the time. Later he added, \u2018\u2026as I dwelt upon the fact that they were doomed, I wanted to inhabit them with feelings and give them and their demise a meaning, which in fact they did not have\u2026They were condemned and were mute in regards to their fate. Worse, they were completely silent about their history.\u2019<\/p>\n<p>The relationships of photography, buildings, history and meaning is explored in Joel Smith\u2019s thoughtful <em>The Life and Death of Buildings<\/em>, published to accompany a broad-sweeping <a target=\"_blank\" href=\"http:\/\/puam.princeton.edu\/lifeanddeathofbuildings\/\">exhibition<\/a> (at Princeton University Art Museum from 23 July &#8211; 6 November 2012) that featured work from Fox Talbot to Thomas Ruff, by way of Lyon, Zse Tsung Leong, Alfred Stieglitz, Richard Misrach, Robert Doisneau, Laura Gilpin and Lynne Cohen, amongst others.<\/p>\n<p><img decoding=\"async\" loading=\"lazy\" alt=\"misrach\" src=\"https:\/\/i0.wp.com\/www.foto8.com\/live\/wp-content\/uploads\/2011\/12\/misrach.jpg?resize=470%2C371&#038;ssl=1\" width=\"470\" height=\"371\" data-recalc-dims=\"1\" \/><br \/><span class=\"photo_copyright\">White Man Contemplating Pyramids, 1989 &#8211; Richard Misrach<\/span><\/p>\n<p>Why might photography\u2019s relationship with buildings be of particular interest though? Smith suggests answers and parallels. They can both be read as historical records, or deposits, \u2018impure fragments of the churn of time;\u2019 and Smith sees a continuity between the \u2018brute factuality\u2019 of the camera and the \u2018physical continuity\u2019 evidenced by a building. Furthermore, both can be described as embodying time: one &#8211; durational, the other &#8211; momentary: \u2018Photographs and buildings are at once the products, the vessels and the cargo of history.\u2019 So Richard Misrach\u2019s <em>White Man Contemplating Pyramids<\/em> dramatises an individual\u2019s engagement with the weight of history entombed in a built structure. Yet the picture does so by virtue of its \u2018capture\u2019 of a fleeting, momentary photographic instant.<\/p>\n<p>Given their function, and lingering decay, pyramids are particularly literal <em>memento mori<\/em>, twice over; inevitably, photographs of them &#8211; consigned to the past the moment they are made &#8211; can only add to the evocation of transience and mortality. Put another way &#8211; you needn\u2019t necessarily point a camera at a burial mound to produce a record of decline and fall. As Bernard Crick once wrote about the flats at Quarry Hill, Leeds, \u2018It is all just rather sad. All buildings die in the end.\u2019 Not surprisingly then, there is much in Smith\u2019s collection &#8211; not least Lyon\u2019s work in Manhattan &#8211; that focuses on the prolonged deaths of buildings. <\/p>\n<p><img decoding=\"async\" loading=\"lazy\" alt=\"china\" src=\"https:\/\/i0.wp.com\/www.foto8.com\/live\/wp-content\/uploads\/2011\/12\/china.jpg?resize=470%2C714&#038;ssl=1\" width=\"470\" height=\"714\" data-recalc-dims=\"1\" \/><br \/><span class=\"photo_copyright\">Demolition &#8211; World Financial Center, Beijing, 1998 &#8211; Zhang Dali<\/span><\/p>\n<p>Indeed, so prolonged are some \u2018deaths\u2019 that Smith suggests the metaphor is itself endangered. The glut of photography delighting in the ruins of industrial Detroit, for instance, is a consequence of the potent and vivid afterlives available to at least some \u2018abandoned\u2019 buildings. Moreover, Smith notes how atrophy and destruction can offer opportunities for subsequent intervention. Robert Macpherson\u2019s deserted photograph of Rome\u2019s ancient <em>muro torto<\/em> includes an almost overlooked graffitied, architectural chalk drawing &#8211; \u2018Atop its historical body\u2026 every city wears a fast-growing, fast-peeling skin of Now.\u2019 More recently, and certainly more knowingly, Zhang Dali has photographed the scenes of his own additions to that urban skin: in Beijing\u2019s <em>Dialogue and Demolition<\/em> project he painted silhouettes on the walls of demolition sites, or created silhouette-shaped openings through crumbling walls. For Zhang, his photographs function merely to record his encroachments. But they contribute also to the richness and diversity of photography\u2019s enduring fascination with buildings.<\/p>\n<p><a target=\"_blank\" href=\"http:\/\/yalepress.yale.edu\/yupbooks\/book.asp?isbn=9780300174359\"><em><img decoding=\"async\" loading=\"lazy\" style=\"float: left;\" class=\"review_photo\" alt=\"9780300174359\" src=\"https:\/\/i0.wp.com\/www.foto8.com\/live\/wp-content\/uploads\/2011\/12\/9780300174359.jpg?resize=150%2C150&#038;ssl=1\" width=\"150\" height=\"150\" data-recalc-dims=\"1\" \/>The Life and Death of Buildings &#8211; On Photography and Time<\/em><\/a><br \/>by Joel Smith<br \/>publ. Yale University Press, $40.<\/div>\n","protected":false},"excerpt":{"rendered":"<div>Guy Lane reviews <em>The Life and Death of Buildings<\/em>, a book and exhibition looking at the relationships of photography, buildings, history and meaning.<\/div>\n","protected":false},"author":1,"featured_media":3387,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_mi_skip_tracking":false,"_monsterinsights_sitenote_active":false,"_monsterinsights_sitenote_note":"","_monsterinsights_sitenote_category":0,"jetpack_post_was_ever_published":false,"_jetpack_newsletter_access":"","_jetpack_newsletter_tier_id":0,"jetpack_publicize_message":"","jetpack_is_tweetstorm":false,"jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":false,"jetpack_social_options":{"image_generator_settings":{"template":"highway","enabled":false}}},"categories":[22],"tags":[2161,2159,2157,46,2158,2163,2165,1396,2162,2164,2166,2160],"jetpack_publicize_connections":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v21.5 - 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