“I was ordained to become a photographer. I was destined.” These are true words of the great Julius Shulman, renowned architectural photographer, whose talent is unmatched. Eric Bricker’s “Visual Acoustics: The Modernism of Julius Shulman” documents Shulman’s progression and career, as well as his vigor for life. Born in Brooklyn and raised on a Connecticut farm, Shulman resided in California and captured the true beauty of modernism there and eventually all over the world. From a young age, Shulman was a talented photographer, and he knew he would rather take an unconventional career path. This path led him to capture the evolution of modern architecture in a magical light.
Shulman’s portfolio is a collection of striking images showing a generation of modern architecture, which he brought to the mainstream. By the 1960’s, Julius Shulman was one of the most sought out architectural photographers, as he documented the works of notorious architects Frank Lloyd Wright, Richard Neutra, John Lautner, and every major modern architect since the 1930’s. Shulman also had an unfailing eye for seeking out talented new architects, bringing them to the attention of east coast editors. When he documented their work, the result was that of a fine artist. The architects wanted viewers to see their buildings as progressive and reflective of the changing times. Their message truly got across and was even enhanced in Shulman’s photography. In each snapshot, it’s clear that Shulman was involved in the set-up; much of his personality shows without him even being in the image. His use of light, landscape, and natural surroundings enhances the architecture he depicts. Shulman has an effective use of one-point perspective, pulling the viewer into the image through receding rooftops and floor lines. To no surprise, his work was eventually displayed in galleries. Viewers want to be a part of the rooms Shulman depicted, as he portrays them as personal utopias by making it seem as if one lived in the space. He consistently captured the true essence of the architecture’s surrounding elements, no matter if the building was located in the city or the desert. All of these aspects are what he called his ‘visual acoustics.’
The republication of Julius Shulman’s work was an important element in the revival of modernism in the nineties. Even today, Shulman is still known as the most influential modern architectural photographer around the world. Bricker’s documentary portrays Shulman as a lively gentleman, still extremely involved and interested in taking pictures of modern architecture. Otherwise, he was traveling to the locations he photographed back in the day to revisit or even assist in their restoration. This documentary is effective in depicting the wonderment Shulman left with people, including the architects themselves, after looking at his work. He stated, “Enjoy what’s around you.” Shulman certainly did throughout his ninety eight years of life.
Unlike any of our previous excursions, the visit to the International Museum of Surgical Science was quite an informative and striking experience. The purpose of the exhibits in this museum is to educate visitors about the history of the medical field. Upon entering the building, I was awed by the elegant Italian interior and preservation of the rooms, as well as the items they contain. Many of the exhibits display the transformation of technology used by surgeons and doctors, along with developments for the common people. Compared to the Art Institute, there was a wider variety of antique objects on display. Though the portrayal of these was more care-free and less archival, I preferred this set-up for its intimacy with viewers. These worn objects clearly aren’t reproductions. For this reason, the vintage displays and elaborate environment are sure to leave visitors with a sense of wonder. The inclusion of dangerous, foreign and old objects in large numbers shows our technological progression in medical science.
“Milestones in Medical Imaging: From X-Ray to Nuclear Medicine” is an intriguing display of the progress of scientists and other pioneers in medical imaging. Real x-ray images of various body parts were portrayed in a compositional manner, as they all included angles, intentional extras (components that didn’t belong), and branding. The space surrounding wasn’t designed for the pieces, showing that they’re intended to be demonstrational; this applied to much of the exhibit. The large amount of text and photos encompassing display objects serve to be extremely informative, intended to educate visitors about the people, processes, machines, and outcomes related to the objects. The viewer is supposed to get an up-close and investigative look at the array of artifacts known as technological in previous decades. This irony was highlighted in this exhibit’s text. Back in the day, it was surprisingly normal to use hazardous rays for everyday purposes, like acquiring ‘bone-portraits.’ Furthermore, the display of x-ray ‘kits’ available to the general public for therapy and grooming might make for a viewer’s shocked response. The displays provoke resonance, as the idea of the x-ray has completely changed from an unquestioned widespread use to strict medical treatment. The exhibit relays that the time span between the cause and effect of these rays was a phenomenon because the problems they caused weren’t immediately apparent.
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