Who Shot Rock and Roll: The Exhibit

Music is one of the few things in this world that can be claimed as universal. Regardless of a person's native language, the language of notes on paper can be read anywhere in the world. Among the most exciting and influential of music is that of Rock and Roll, a catch-all term used to cover a very broad spectrum of music dating back from the 50's. While most professors and teachers will claim that Rock music encompasses a specific type of music with specific emphasized beats, history itself shows that rock is more than just the notes on the paper; Rock and Roll is and has always been a lifestyle. For myself, Rock music has been a guiding factor in my personality, and I know many others can claim the same.

There should be no surprise, then, that the new exhibit from The Annenberg Space for Photography has been one of the most anticipated so far. Entitled "Who Shot Rock and Roll," the theme carries visitors from the earliest beginnings of the genre, with photographs of superstars before they had made their breakthroughs, to its current status as a major international medium. The gallery is broken down into eight sections, each with a specific theme or goal in mind.

Perhaps the biggest change from the past few showcases is that this current display sticks mostly to the photography itself rather than adding in a ton of interactive elements. There are a few headsets available to viewers to listen in on artists at a few key places in the gallery, but gone are the 3D slideshows or retouching booths from past exhibits. The gallery itself has also undergone some minor changes, with fresh red walls and prints covering the outside windows to hold the mystery until visitors actually step inside the front doors. On this opening weekend, this was also one fo the few times I have seen stanchions outside for lines of crowds, though thankfully it was simply "steady" instead of all-out crowded and everyone was able to walk right in.

I found the themes to flow nicely, with some fantastic prints of both never-been-seen and wildly popular photos mixing in. Right off the bat is the "before they were stars" section with some great candids of Elvis Presley and Madonna, among many others. Displayed were everything from top-of-the-line prints to polaroids shot at randoms parties with the musicians. I felt the themes this time around flowed very well, with specific purposes that were well chosen. I did not noticed too many photos that seemed "off-theme," as has been a bit of an issue the past few shows.

I did have to say that for a gallery of Rock and Roll stars, there was the issue of having too many photos that focused on people that really should not have been part of the genre. While I do enjoy Tupac and B.I.G., they really aren't "Rock," and certainly should not have been in the exhibit that already had a distinct lack of Sabbath, Dio, CCR, Metallica, and many others. It certainly showed a bit of discord that the music industry has with its fans in trying to lump all artists of pop culture into one genre (though I did get some amusement from mothers trying to hide their small children from a giant print of Eminem's firecracker penis made famous by Dave LaChapelle).

I also felt as though the one overall idea the exhibit insisted on was not met. Several times, visitors are presented with the notion that while the musicians or photos may be famous, the photographers themselves are not. The exhibit claims itself to give tribute to the unknown artists that captured these iconic images. If that is the case, then why in the world are there giant prints from David LaChapelle, Annie Liebowitz and Rolling Stone photographers in this gallery? It seems contradictory, and I feel the exhibit would have been better presented as simply a wonderful look at the genre through the its evolution rather than trying to hype unknown photographers.

Those issues I had with the gallery were small nitpicks, however. Overall, I did really enjoy the display, and it's great to see some great icons being shown in the gallery. The documentary video itself was great and insightful as always, and I have to give credit to the makers for actually getting Noel Gallagher to do interviews for it! There were some fantastic shots among the walls, a favorite of mine being a shot of one lone eye looking in a rear-view mirror, unmistakably owned by Paul McCartney. Such images show just how much of a force some of these icons have begun, and how recognizable they have made themselves to even the novice music listener. While there were some omissions I felt hurt were inexcusable (not one shot of Dio throwing up the horns, the biggest symbol of the genre today), the exhibit is still a must-see for anyone that has grown up with these artists in their lives.

The Annenberg Space will carry the show through October, so there will be plenty of time to see it this summer. Just make sure to crank up some Steppenwolf on the way to get in the mood for the showcase!

Beauty/Culture

In it's final weekend at the Annenberg Space for Photography, the Beauty/Culture exhibit was enjoying a bustling crowd over the Thanksgiving weekend. Always a fan of the Space, I decided to go back and check it out for a second time, as details had faded slightly since my first visit in the opening weekend a few months ago. The overall idea of the current presentation was to reflect and compare images of beauty in culture through the history of photography. It was highly slanted towards a more fashion-photographer-oriented approach than the more environmental or cultural galleries of the past. I found the change of pace to be nice, though I am not sure if the impact was nearly on the same level as those from National Geographic. It was not my favorite exhibit the Annenberg has had for a few different reasons.

The Space was divided into a few main sections to represent a certain thematic element. One, for example, focused on the effects Hollywood has had on modern-day fashion photography whereas another focused on how various minorities have managed to break into the fashion and beauty realm over the past few decades. What I considered the main category was a giant wall of supermodels both past and modern. These different categories were very clear and divided, which I actually felt was a bit of a negative. Past exhibits have been very broad or limited in their photographer pool, allowing visitors to see changes gradually. There had always been a connecting theme between all of these sections. However, in Beauty/Culture, there were so many categories and elements that the display seemed to lack focus. Did it want viewers to see how the fashion industry affected realistic people? Or was it a celebration of the world of fashion photography? There did not seem to be a clear theme throughout the exhibit other than displaying tons of professional photos of female models. In the section regarding model sizes, for example, photos from David LaChapelle and his peers were displayed, losing some of the "realism" that would have made a better impact on viewers. The best photos to showcase the comparison, such as the child pageants or 70-year-old contestants, were minimalized and almost thrown under the rug compared to the photos of Gisele Bündchen and Tyra Banks. Which would have been fine if the exhibit was marketed solely as a place to view photographs from Vogue or Elle over the years, but the marketing seemed very disjointed on what exactly was meant to be shown. For a name like "Beauty/Culture," it seemed to lack a great deal of the latter.

As for the photographs themselves, the Annenberg again chose top-quality prints. Thematic elements aside, most of the photos were absolutely stunning up close and in print. Many of the models and photos are recognizable from countless internet articles and magazines, but to see them in person added a whole new level of impressiveness. However, there were a few that seemed odd to have made the cut, most glaring being a photo of Kate Hudson that was clearly nothing more than a red carpet snapshot. Also, for all the quality of the photos, the layout of the exhibit actually detracted somewhat. I greatly enjoyed the wall of supermodels, but noticed several times that the top row was difficult to see due to the placement of the facility's lights, and I found myself staring more at light glares and reflections than photographs.

However, for all the flaws that the gallery had this time around, many of them were made up for by the wonderful documentary video showcased within the main theater. This was definitely one of the better accompanying videos I had seen so far. It was lengthy, which I found nice since it justifies a trip down from Burbank, and certainly went more in-depth on the themes the gallery was meant to express. People who make fun of "Toddlers in Tiaras" will have a field day with it. I also enjoyed the interviews with the many photographers themselves and felt it was a good peek into the world of fashion photography that many might not be able to see. I've always wanted to get into that field, and the interviews offered some great insights. The secondary video/break room was also well done. Two hands-on displays allow visitors to take their own photos and mess with them in a type of simple post-processing program. Both cases were very busy and seemed to be a good attraction as well as a great way to tie in with the rest of the Space.

Overall, it was worth a trip, but it certainly was not the best the Annenberg has had. I did enjoy seeing some amazing fashion photography, but as a whole exhibit it felt a little out-of-place and confused, especially coming off of the outstanding Extreme Exposure. I would like to see more galleries done with a fashion- and beauty-industry mindset but perhaps something a little more narrowed down so the display doesn't feel the need to cover all the industries' bases at once. That said, I am looking forward to the Digital Darkroom coming up mid-Decemeber. The preview looks great!

Extreme Exposure

My business phrase in photography has always been "Bringing the World to You." While there are many different types of photography out there, each with their own unique nuances and cliques, my personal favorite has always been the types of photographs that inspire people to view parts of the planet that they may not normally know of or hear about. For me, photography is a way to bring far away locations and cultures to people who may not have thousands of dollars sitting around to spend on a luxury expedition. Whether you're in the Midwest or sitting on the steps of Angkor Wat, the Earth contains of a wide variety of atmosphere that are, surely, unique to someone else. I suppose this is why I am so enthralled National Geographic, as their photography has been bringing locations both near and far to readers around the world for over a decade.

This past Saturday, as Abrah and I were sitting around trying to figure out some way to pass the weekend by, we realized that the Annenberg Space for Photography was opening their newest exhibit, Extreme Exposure. Without much hesitation, we drove down to Century City to take a look. By far, it has been one of my favorites of the three exhibits I've managed to check out. The display featured five photographers and prints that, while not necessarily officially showcased by National Geographic, were no strangers to their mission. Everything I love about travel and exotic photography was on display, with each photographer focusing on a certain area from the extremes of the Earth. Two of the photographers, Michael Nichols and Paul Nicklen, I had heard and seen quite a bit from before from reading NGM. I was pleasantly surprised by the others that I was not familiar with, however: Clyde Butcher and the married team of Donna and Stephen O'Meara.

Upon first entering and being greeted by the always-friendly staff, you are met with an introduction to each of the photographers and what their display was focused on. As we would walk around, the photographers also had displays of items used on their respective journeys, giving the Space even more depth and detail than normal. I knew I would fall in love with this current round of photos because the first photo a visitor comes across in the entrance hallway is that of the famous redwood tree that graced National Geographic only a short while back. It was a picture that made my trip to Muir Woods an absolute necessity earlier this year. Composed by stitching together 84 images, the final image is positively lovely in print with a great deal of color and detail popping out that is hard to recreate via the internet or limited magazine spreads. Even more impressive, Michael Nichols later says in his video that they can easily print out the image life-size; it's a final image that rests over 300 feet tall. I pray that one day the side of the Annenberg and CAA buildings have this tapered on their sides like so many other billboards in Hollywood.

After you notice the redwood print, the first photographer to be highlighted is Paul Nicklen with his prints of the coldest places on Earth, complete with personal drysuit on display. Out of all the photos, I think I loved Paul Nicklen's the most. I had first heard of his work not through his photos but by a story from my Iris Nights lecture with David Griffin. Paul's story was the same "sea lion story" I had mentioned previously. Sure enough, several of the same images I saw from Mr. Griffin's lecture were there in canvas form for display. Apparently, Paul had run across a female leopard seal while doing a story. Feeling testy, it began to snap at the camera's underwater housing. After it realized Paul was not a threat, it actually began to try feeding him by capturing penguins and bringing them back to the photographer. It was a cute story, and the pictures are extremely vivid to see brought to live. His photos of the arctic are colorful and sharp in a world most normally associate with being devoid of much life. Whether it's a lone polar bear or narrowly avoiding a walrus's headbutt, Paul Nicklen's photos are great at conveying a story and atmosphere.

Next down the line were Donna and Stephen O'Meara, a husband and wife team specializing in volcano photography. Their gifts to the display were a giant block of pahoehoe lava and their trekking boots. I found their exhibit fairly interesting, if partially because of the timing. Several of their photos feature Eyjafjallajokull, the notorious Icelandic volcano that shut off travel throughout Europe earlier this Summer (also famous for having Top Gear host James May drive up to its crater in a Toyota Hilux). for myself, the volcano pictures were largely reminiscent of my short time living Hawaii when I was younger. They definitely Kilauea in their displays, with plenty of hot lava flowing from every still.

Clyde Butcher's displays were on the open area next to the center screening room of the Annenberg, and I felt he was the most surprising of the photographers. His work is mostly Large Format and focuses on the Florida Everglades. His prints are definitely to be seen in person to be appreciated. They are composed in black and white and feature a stunning detail I have never seen in print before. He says in his video that he wants "people to feel like they can walk into a photo." The essence is certainly there. His gift to the exhibit of course was one of his large format view cameras, an 8x10 I believe. His statements do seem markedly anti-digital, but his story is certainly inspiring and the format he chooses works wonders. Even though the Everglades seem somewhat less exotic than the other areas featured, he captures them in a way that seems extremely foreign.

Michael Nichols can be found on the exit hallway and the restroom area. It's amazing what this man has accomplished with 25 stories shot for National Geographic, let alone other publications. His exhibit placed an emphasis on more forests, especially the Congo and the redwood range of the Western US. I found Michael's work to be interesting, if anything, because several of the extremely fun photos were taken via remote camera traps, including one with a very slimy and imposing crocodile tail. His were also some of the view to feature people in this exhibit, and to no surprise, captured to most sense of urgency. Much like the Water exhibit, some (but certainly not all) of his photography highlighted issues facing environments today, especially to Congolese prints. This was both a positive and negative to some, as both Abrah and a few others stated this and the Water exhibit similarly focused too much on trying to make a statement. I did not mind, but it was a stark contrast to the other photographers who focused on letting beautiful and foreign lands speak for their own nature.

Overall, Extreme Exposure is a highly recommended showcase if you can make it down to the Los Angeles area between now and April 17th. I believe it has been my favorite and most well-measured display so far with Water close behind. With any luck, these images will help inspire even more to view our world from different angles.