Susannah Hays uses photography to illuminate the complex structures of simple things—a leaf, a bottle, a shadow on the ground She brings to light delicate networks of line, hidden geometrical patterns, strange blind spots, and unexpected flashes of brilliance that can’t be seen with the naked eye, thereby connecting the realms of the mundane and the infinite. But Hays’ photographs also stage an inquiry into the nature of photography itself—its mutual dependence on light and darkness, optics and chemistry, science and art.
South Indian Notebook features a small selection of black-and-white images shot by Professor Stanley Brandes in May 1998, when he was living in Bangalore, capital of the state of Karnataka. Brandes traveled throughout Karnataka and also visited Kochi, on the coast of Kerala, where he took photos of the so-called “Chinese” fish nets and of the inland waterway.
In 1993, Eric Gillet set out for Mongolia with Philippe Simon, a Belgian writer and independent filmmaker, and in 1994 they made their way toward Central Africa. They never reached their final destinations, but achieved their goal nonetheless: to experience the process of traveling which makes reaching a destination less important. The relationship between the travelers and their encounters provide a series of stunning black-and-white photographs in which the photographed “other” looks directly back at the world of the photographer.
Work influenced by a long association with the Indians of Vancouver Island marks the painting of Margaret Peterson (O’Hagan). Peterson, described by former colleagues and students as a “brilliant” critic of student work and a “passionate” teacher, was an Associate Professor of Art who resigned her position at UC Berkeley in protest against the loyalty oath. Although Peterson went on to a long career in painting, with many exhibits and prizes to her credit, she never returned to the university.