Description
Book SynopsisMatthew Pillsbury: City Stages offers a paean to the craft and visionary potential of large- format, black-and-white photography as well as to the vibrancy of the cultural landscape at a transitional moment—a moment in which our very relationship to that landscape is increas - ingly mediated by omnipresent screens. Over the past decade, Pillsbury has built several extensive bodies of work—Screen Lives, Hours, and City Stages—that deal with different facets of contemporary metropolitan life and the passage of time. Working with black-and-white 8-by-10 film and long exposures, Pillsbury captures a range of psychologically charged experiences in the urban environment, from isolation—tuned into the omnipresent screens of our tablets, laptops, televisions, and phones—to crowded museums, parades, cathedrals, and even protests. Working primarily in New York but with forays to Paris, London, Venice, and other sites, the precise and concrete rendering of cityscapes, iconic landmarks, and interior spaces in his images provides a stage-like setting for the performance of human activity. Thanks to the extended exposures—some as long as an hour—the actions of both individuals and crowds are blurred and transformed into pure gesture and energy. As writer Karl E. Johnson comments on the work, “For Pillsbury, the act of seeing appears to double as a performance, if no more than the performance of life enacted in various spaces and timeframes.” This monograph gathers for the first time selections from all three bodies of work, and spans ten years of the artist’s output.
Trade ReviewThe city that emerges from Matthew Pillsbury's photographs of New York - collected in a new book, "City Stages," to be published by Aperture in October - is a ghost town: not an empty ghost town of deserted streets, but a much more literal phantom world in which human figures are captured, in almost spectral fashion, walking through public spaces, their bodies blurred by long exposures. "A lot of photography is about asserting a presence," said Mr. Pillsbury, 39, who was raised in Paris but moved to New York City in the early 1990s. "These photographs are more about the evanescence of our lives and show human beings as fleeting essences that are moving through a landscape."--Alan Feuer"The New York Times Online" (08/30/2013)
