approach the time-honored photographic
panorama from different stances—traditional, fractured, overturned. Exploring
how the format can offer new, relevant perspectives in today’s culture of image
feeds and smartphone snapshots, the artists tease out the panorama’s ability to
inspire awe in a current exhibition at 333 Montezuma Arts.
We’ve come a long
way since the panorama was first used
18th century, when the term denoted an enterprising artist who would fill a
circular room with a painting of a sweeping cityscape or an infinite
countryside. Visitors would pay a shilling for the 360-degree experience.
People swooned and the visual device spread to other formats and mediums, with
creatives of all sorts making use of its capability to amaze. The panorama is
no longer a new approach to image-making. Such is Foster, Silva, and Vignoli’s
Foster maintains the
integrity of the traditional wide-angle capture, offering vistas of the
American West that still hold up as sublime, but with ominous implications. The
lush Mt. Sneffels, San Juan Range, Colorado, 384 Degree
Panoramic Photograph meets a less idyllic counterpart in Packerland,
360 Degree Panoramic Photograph, suggesting the possibility of
an expiration date for the technicolor mountainscape.
Vignoli deconstructs the
panorama by weaving together individual photographs in collage-like pastiches.
In Piazza di Spagna - Il cielo di via Condotti,
the seemingly spontaneous arrangement of images communicates the energy of a
real-time experience of an urban street. The visceral quality of Vignoli’s
images is further enhanced by the installation of a portion of the piece—the
area representing the sky—on the ceiling of the gallery.
“Panorama” is on
view at 333 Montezuma Arts Apr. 25th – Jun. 13th, 2014