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Whitewash
"The results of his monochromatic efforts are staggering, and blow almost all other architectural photography out the water." -It's Nice That
LA is a city of contrasts-the famous and unknown, blinding light and impenetrable shadow, wealth and poverty, massive success and bitter failure. The promise of fame, fortune, sun, and beauty have lured millions to its beaches, hills, and valleys crammed with low slung buildings and palm-tree-lined boulevards. But beneath this thin veneer of perfection, Los Angeles is a city where the dueling public narratives of glamour and cynicism have inspired the sun-kissed perfection of Aaron Spelling along with the sun-bleached paranoia of David Lynch, the placid malaise of Sofia Coppola and the pulpy violence of Quentin Tarantino, the easy ascension ofPretty Womanand the wrenching sorrow and pain of a fall from grace as depicted in the classicSunset Boulevard.
Nicholas Alan Cope's photographs evoke a unique vision of Los Angeles and its contrasts as seen exclusively through its everyday architecture. Searching for the sublime core of the city's true nature, Cope strips away the extraneous, and focuses on the sheer beauty and simplicity of the cityscape. To an outsider, the profound cultural, historical, and architectural imprint of the City of Angels can be lost amongst the unsightly sprawl of stucco, strip malls, and irrelevant adornment. While the sunlight can be unforgiving and harsh, bleaching the landscape into a pale hue, the allure, for Cope, lies in the consistency and ubiquity of the buildings combined with the severity of the light accentuating the dramatic elegance of the architecture.Whitewashutilizes the whitest whites, the blackest blacks, and the modern and stark architecture of an idealized future that never arrived to tell the visual story of LA's uniquely conflicted soul.
LA is a city of contrasts-the famous and unknown, blinding light and impenetrable shadow, wealth and poverty, massive success and bitter failure. The promise of fame, fortune, sun, and beauty have lured millions to its beaches, hills, and valleys crammed with low slung buildings and palm-tree-lined boulevards. But beneath this thin veneer of perfection, Los Angeles is a city where the dueling public narratives of glamour and cynicism have inspired the sun-kissed perfection of Aaron Spelling along with the sun-bleached paranoia of David Lynch, the placid malaise of Sofia Coppola and the pulpy violence of Quentin Tarantino, the easy ascension ofPretty Womanand the wrenching sorrow and pain of a fall from grace as depicted in the classicSunset Boulevard.
Nicholas Alan Cope's photographs evoke a unique vision of Los Angeles and its contrasts as seen exclusively through its everyday architecture. Searching for the sublime core of the city's true nature, Cope strips away the extraneous, and focuses on the sheer beauty and simplicity of the cityscape. To an outsider, the profound cultural, historical, and architectural imprint of the City of Angels can be lost amongst the unsightly sprawl of stucco, strip malls, and irrelevant adornment. While the sunlight can be unforgiving and harsh, bleaching the landscape into a pale hue, the allure, for Cope, lies in the consistency and ubiquity of the buildings combined with the severity of the light accentuating the dramatic elegance of the architecture.Whitewashutilizes the whitest whites, the blackest blacks, and the modern and stark architecture of an idealized future that never arrived to tell the visual story of LA's uniquely conflicted soul.
- GenresPhotographyArt
96 pages, Hardcover
First published March 26, 2013
30 people want to read
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July 14, 2014
Reading this book made me think of favorable nutritional qualities or health treatments - it was “hyperbaric,” or “antiseptic.” It was sometimes dietetic (pejorative, institutional), but more often calorically restrictive (challenging, ironically energizing). To view these scrubbed, angular, mysterious buildings is to cleanse from neon mania, from Benjamin Moore, from glow and sheen. They don’t lead anywhere, they are not places to go. They’re almost not there — a play neighborhood of chalk dust adobes. The book is sized large enough to dare away your peripheral vision, but, at the same time, focusing on the details is pleasantly difficult, almost meditative.
Displaying 1 of 1 review