CXA
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Matthew Porter
In the years after New Hollywood cinematographers popularized lens flare as an acceptable filmic glitch, a certain strain of color photography—as seen on moody LP covers and ad pages for muscle cars or cigarettes—seemed to dwell almost exclusively in the magic hour, that pre-twilight moment when the sun emanates diffraction spikes and gentle melancholy. Matthew Porter mines and merges these aesthetic strains in the exhibition “Sunclipse,” titled after Buckminster Fuller’s non-geocentric term for sunset. Taking contemporary photography’s genre eclecticism as a given, Porter sets off hazy, image artifact–laden pictures of nature and decay in equatorial zones with ambiguous fashion shots and cinematic cityscapes, generating a productively inscrutable mix that implies civilization’s impending dusk. More
Matthew Porter
In the years after New Hollywood cinematographers popularized lens flare as an acceptable filmic glitch, a certain strain of color photography—as seen on moody LP covers and ad pages for muscle cars or cigarettes—seemed to dwell almost exclusively in the magic hour, that pre-twilight moment when the sun emanates diffraction spikes and gentle melancholy. Matthew Porter mines and merges these aesthetic strains in the exhibition “Sunclipse,” titled after Buckminster Fuller’s non-geocentric term for sunset. Taking contemporary photography’s genre eclecticism as a given, Porter sets off hazy, image artifact–laden pictures of nature and decay in equatorial zones with ambiguous fashion shots and cinematic cityscapes, generating a productively inscrutable mix that implies civilization’s impending dusk. More
Matthew Porter
In the years after New Hollywood cinematographers popularized lens flare as an acceptable filmic glitch, a certain strain of color photography—as seen on moody LP covers and ad pages for muscle cars or cigarettes—seemed to dwell almost exclusively in the magic hour, that pre-twilight moment when the sun emanates diffraction spikes and gentle melancholy. Matthew Porter mines and merges these aesthetic strains in the exhibition “Sunclipse,” titled after Buckminster Fuller’s non-geocentric term for sunset. Taking contemporary photography’s genre eclecticism as a given, Porter sets off hazy, image artifact–laden pictures of nature and decay in equatorial zones with ambiguous fashion shots and cinematic cityscapes, generating a productively inscrutable mix that implies civilization’s impending dusk. More
Matthew Porter
In the years after New Hollywood cinematographers popularized lens flare as an acceptable filmic glitch, a certain strain of color photography—as seen on moody LP covers and ad pages for muscle cars or cigarettes—seemed to dwell almost exclusively in the magic hour, that pre-twilight moment when the sun emanates diffraction spikes and gentle melancholy. Matthew Porter mines and merges these aesthetic strains in the exhibition “Sunclipse,” titled after Buckminster Fuller’s non-geocentric term for sunset. Taking contemporary photography’s genre eclecticism as a given, Porter sets off hazy, image artifact–laden pictures of nature and decay in equatorial zones with ambiguous fashion shots and cinematic cityscapes, generating a productively inscrutable mix that implies civilization’s impending dusk. More
Matthew Porter
In the years after New Hollywood cinematographers popularized lens flare as an acceptable filmic glitch, a certain strain of color photography—as seen on moody LP covers and ad pages for muscle cars or cigarettes—seemed to dwell almost exclusively in the magic hour, that pre-twilight moment when the sun emanates diffraction spikes and gentle melancholy. Matthew Porter mines and merges these aesthetic strains in the exhibition “Sunclipse,” titled after Buckminster Fuller’s non-geocentric term for sunset. Taking contemporary photography’s genre eclecticism as a given, Porter sets off hazy, image artifact–laden pictures of nature and decay in equatorial zones with ambiguous fashion shots and cinematic cityscapes, generating a productively inscrutable mix that implies civilization’s impending dusk. More
Matthew Porter
In the years after New Hollywood cinematographers popularized lens flare as an acceptable filmic glitch, a certain strain of color photography—as seen on moody LP covers and ad pages for muscle cars or cigarettes—seemed to dwell almost exclusively in the magic hour, that pre-twilight moment when the sun emanates diffraction spikes and gentle melancholy. Matthew Porter mines and merges these aesthetic strains in the exhibition “Sunclipse,” titled after Buckminster Fuller’s non-geocentric term for sunset. Taking contemporary photography’s genre eclecticism as a given, Porter sets off hazy, image artifact–laden pictures of nature and decay in equatorial zones with ambiguous fashion shots and cinematic cityscapes, generating a productively inscrutable mix that implies civilization’s impending dusk. More
Matthew Porter
In the years after New Hollywood cinematographers popularized lens flare as an acceptable filmic glitch, a certain strain of color photography—as seen on moody LP covers and ad pages for muscle cars or cigarettes—seemed to dwell almost exclusively in the magic hour, that pre-twilight moment when the sun emanates diffraction spikes and gentle melancholy. Matthew Porter mines and merges these aesthetic strains in the exhibition “Sunclipse,” titled after Buckminster Fuller’s non-geocentric term for sunset. Taking contemporary photography’s genre eclecticism as a given, Porter sets off hazy, image artifact–laden pictures of nature and decay in equatorial zones with ambiguous fashion shots and cinematic cityscapes, generating a productively inscrutable mix that implies civilization’s impending dusk. More
Matthew Porter
In the years after New Hollywood cinematographers popularized lens flare as an acceptable filmic glitch, a certain strain of color photography—as seen on moody LP covers and ad pages for muscle cars or cigarettes—seemed to dwell almost exclusively in the magic hour, that pre-twilight moment when the sun emanates diffraction spikes and gentle melancholy. Matthew Porter mines and merges these aesthetic strains in the exhibition “Sunclipse,” titled after Buckminster Fuller’s non-geocentric term for sunset. Taking contemporary photography’s genre eclecticism as a given, Porter sets off hazy, image artifact–laden pictures of nature and decay in equatorial zones with ambiguous fashion shots and cinematic cityscapes, generating a productively inscrutable mix that implies civilization’s impending dusk. More
Matthew Porter
In the years after New Hollywood cinematographers popularized lens flare as an acceptable filmic glitch, a certain strain of color photography—as seen on moody LP covers and ad pages for muscle cars or cigarettes—seemed to dwell almost exclusively in the magic hour, that pre-twilight moment when the sun emanates diffraction spikes and gentle melancholy. Matthew Porter mines and merges these aesthetic strains in the exhibition “Sunclipse,” titled after Buckminster Fuller’s non-geocentric term for sunset. Taking contemporary photography’s genre eclecticism as a given, Porter sets off hazy, image artifact–laden pictures of nature and decay in equatorial zones with ambiguous fashion shots and cinematic cityscapes, generating a productively inscrutable mix that implies civilization’s impending dusk. More
Matthew Porter
In the years after New Hollywood cinematographers popularized lens flare as an acceptable filmic glitch, a certain strain of color photography—as seen on moody LP covers and ad pages for muscle cars or cigarettes—seemed to dwell almost exclusively in the magic hour, that pre-twilight moment when the sun emanates diffraction spikes and gentle melancholy. Matthew Porter mines and merges these aesthetic strains in the exhibition “Sunclipse,” titled after Buckminster Fuller’s non-geocentric term for sunset. Taking contemporary photography’s genre eclecticism as a given, Porter sets off hazy, image artifact–laden pictures of nature and decay in equatorial zones with ambiguous fashion shots and cinematic cityscapes, generating a productively inscrutable mix that implies civilization’s impending dusk. More
Matthew Porter
In the years after New Hollywood cinematographers popularized lens flare as an acceptable filmic glitch, a certain strain of color photography—as seen on moody LP covers and ad pages for muscle cars or cigarettes—seemed to dwell almost exclusively in the magic hour, that pre-twilight moment when the sun emanates diffraction spikes and gentle melancholy. Matthew Porter mines and merges these aesthetic strains in the exhibition “Sunclipse,” titled after Buckminster Fuller’s non-geocentric term for sunset. Taking contemporary photography’s genre eclecticism as a given, Porter sets off hazy, image artifact–laden pictures of nature and decay in equatorial zones with ambiguous fashion shots and cinematic cityscapes, generating a productively inscrutable mix that implies civilization’s impending dusk. More
Matthew Porter
In the years after New Hollywood cinematographers popularized lens flare as an acceptable filmic glitch, a certain strain of color photography—as seen on moody LP covers and ad pages for muscle cars or cigarettes—seemed to dwell almost exclusively in the magic hour, that pre-twilight moment when the sun emanates diffraction spikes and gentle melancholy. Matthew Porter mines and merges these aesthetic strains in the exhibition “Sunclipse,” titled after Buckminster Fuller’s non-geocentric term for sunset. Taking contemporary photography’s genre eclecticism as a given, Porter sets off hazy, image artifact–laden pictures of nature and decay in equatorial zones with ambiguous fashion shots and cinematic cityscapes, generating a productively inscrutable mix that implies civilization’s impending dusk. More
Matthew Porter
In the years after New Hollywood cinematographers popularized lens flare as an acceptable filmic glitch, a certain strain of color photography—as seen on moody LP covers and ad pages for muscle cars or cigarettes—seemed to dwell almost exclusively in the magic hour, that pre-twilight moment when the sun emanates diffraction spikes and gentle melancholy. Matthew Porter mines and merges these aesthetic strains in the exhibition “Sunclipse,” titled after Buckminster Fuller’s non-geocentric term for sunset. Taking contemporary photography’s genre eclecticism as a given, Porter sets off hazy, image artifact–laden pictures of nature and decay in equatorial zones with ambiguous fashion shots and cinematic cityscapes, generating a productively inscrutable mix that implies civilization’s impending dusk. More
Matthew Porter
In the years after New Hollywood cinematographers popularized lens flare as an acceptable filmic glitch, a certain strain of color photography—as seen on moody LP covers and ad pages for muscle cars or cigarettes—seemed to dwell almost exclusively in the magic hour, that pre-twilight moment when the sun emanates diffraction spikes and gentle melancholy. Matthew Porter mines and merges these aesthetic strains in the exhibition “Sunclipse,” titled after Buckminster Fuller’s non-geocentric term for sunset. Taking contemporary photography’s genre eclecticism as a given, Porter sets off hazy, image artifact–laden pictures of nature and decay in equatorial zones with ambiguous fashion shots and cinematic cityscapes, generating a productively inscrutable mix that implies civilization’s impending dusk. More
Matthew Porter
In the years after New Hollywood cinematographers popularized lens flare as an acceptable filmic glitch, a certain strain of color photography—as seen on moody LP covers and ad pages for muscle cars or cigarettes—seemed to dwell almost exclusively in the magic hour, that pre-twilight moment when the sun emanates diffraction spikes and gentle melancholy. Matthew Porter mines and merges these aesthetic strains in the exhibition “Sunclipse,” titled after Buckminster Fuller’s non-geocentric term for sunset. Taking contemporary photography’s genre eclecticism as a given, Porter sets off hazy, image artifact–laden pictures of nature and decay in equatorial zones with ambiguous fashion shots and cinematic cityscapes, generating a productively inscrutable mix that implies civilization’s impending dusk. More
Matthew Porter
In the years after New Hollywood cinematographers popularized lens flare as an acceptable filmic glitch, a certain strain of color photography—as seen on moody LP covers and ad pages for muscle cars or cigarettes—seemed to dwell almost exclusively in the magic hour, that pre-twilight moment when the sun emanates diffraction spikes and gentle melancholy. Matthew Porter mines and merges these aesthetic strains in the exhibition “Sunclipse,” titled after Buckminster Fuller’s non-geocentric term for sunset. Taking contemporary photography’s genre eclecticism as a given, Porter sets off hazy, image artifact–laden pictures of nature and decay in equatorial zones with ambiguous fashion shots and cinematic cityscapes, generating a productively inscrutable mix that implies civilization’s impending dusk. More
Matthew Porter
In the years after New Hollywood cinematographers popularized lens flare as an acceptable filmic glitch, a certain strain of color photography—as seen on moody LP covers and ad pages for muscle cars or cigarettes—seemed to dwell almost exclusively in the magic hour, that pre-twilight moment when the sun emanates diffraction spikes and gentle melancholy. Matthew Porter mines and merges these aesthetic strains in the exhibition “Sunclipse,” titled after Buckminster Fuller’s non-geocentric term for sunset. Taking contemporary photography’s genre eclecticism as a given, Porter sets off hazy, image artifact–laden pictures of nature and decay in equatorial zones with ambiguous fashion shots and cinematic cityscapes, generating a productively inscrutable mix that implies civilization’s impending dusk. More
Matthew Porter
In the years after New Hollywood cinematographers popularized lens flare as an acceptable filmic glitch, a certain strain of color photography—as seen on moody LP covers and ad pages for muscle cars or cigarettes—seemed to dwell almost exclusively in the magic hour, that pre-twilight moment when the sun emanates diffraction spikes and gentle melancholy. Matthew Porter mines and merges these aesthetic strains in the exhibition “Sunclipse,” titled after Buckminster Fuller’s non-geocentric term for sunset. Taking contemporary photography’s genre eclecticism as a given, Porter sets off hazy, image artifact–laden pictures of nature and decay in equatorial zones with ambiguous fashion shots and cinematic cityscapes, generating a productively inscrutable mix that implies civilization’s impending dusk. More
Matthew Porter
In the years after New Hollywood cinematographers popularized lens flare as an acceptable filmic glitch, a certain strain of color photography—as seen on moody LP covers and ad pages for muscle cars or cigarettes—seemed to dwell almost exclusively in the magic hour, that pre-twilight moment when the sun emanates diffraction spikes and gentle melancholy. Matthew Porter mines and merges these aesthetic strains in the exhibition “Sunclipse,” titled after Buckminster Fuller’s non-geocentric term for sunset. Taking contemporary photography’s genre eclecticism as a given, Porter sets off hazy, image artifact–laden pictures of nature and decay in equatorial zones with ambiguous fashion shots and cinematic cityscapes, generating a productively inscrutable mix that implies civilization’s impending dusk. More
Matthew Porter
In the years after New Hollywood cinematographers popularized lens flare as an acceptable filmic glitch, a certain strain of color photography—as seen on moody LP covers and ad pages for muscle cars or cigarettes—seemed to dwell almost exclusively in the magic hour, that pre-twilight moment when the sun emanates diffraction spikes and gentle melancholy. Matthew Porter mines and merges these aesthetic strains in the exhibition “Sunclipse,” titled after Buckminster Fuller’s non-geocentric term for sunset. Taking contemporary photography’s genre eclecticism as a given, Porter sets off hazy, image artifact–laden pictures of nature and decay in equatorial zones with ambiguous fashion shots and cinematic cityscapes, generating a productively inscrutable mix that implies civilization’s impending dusk. More
Matthew Porter
In the years after New Hollywood cinematographers popularized lens flare as an acceptable filmic glitch, a certain strain of color photography—as seen on moody LP covers and ad pages for muscle cars or cigarettes—seemed to dwell almost exclusively in the magic hour, that pre-twilight moment when the sun emanates diffraction spikes and gentle melancholy. Matthew Porter mines and merges these aesthetic strains in the exhibition “Sunclipse,” titled after Buckminster Fuller’s non-geocentric term for sunset. Taking contemporary photography’s genre eclecticism as a given, Porter sets off hazy, image artifact–laden pictures of nature and decay in equatorial zones with ambiguous fashion shots and cinematic cityscapes, generating a productively inscrutable mix that implies civilization’s impending dusk. More
Matthew Porter
In the years after New Hollywood cinematographers popularized lens flare as an acceptable filmic glitch, a certain strain of color photography—as seen on moody LP covers and ad pages for muscle cars or cigarettes—seemed to dwell almost exclusively in the magic hour, that pre-twilight moment when the sun emanates diffraction spikes and gentle melancholy. Matthew Porter mines and merges these aesthetic strains in the exhibition “Sunclipse,” titled after Buckminster Fuller’s non-geocentric term for sunset. Taking contemporary photography’s genre eclecticism as a given, Porter sets off hazy, image artifact–laden pictures of nature and decay in equatorial zones with ambiguous fashion shots and cinematic cityscapes, generating a productively inscrutable mix that implies civilization’s impending dusk. More
Matthew Porter
In the years after New Hollywood cinematographers popularized lens flare as an acceptable filmic glitch, a certain strain of color photography—as seen on moody LP covers and ad pages for muscle cars or cigarettes—seemed to dwell almost exclusively in the magic hour, that pre-twilight moment when the sun emanates diffraction spikes and gentle melancholy. Matthew Porter mines and merges these aesthetic strains in the exhibition “Sunclipse,” titled after Buckminster Fuller’s non-geocentric term for sunset. Taking contemporary photography’s genre eclecticism as a given, Porter sets off hazy, image artifact–laden pictures of nature and decay in equatorial zones with ambiguous fashion shots and cinematic cityscapes, generating a productively inscrutable mix that implies civilization’s impending dusk. More
Matthew Porter
In the years after New Hollywood cinematographers popularized lens flare as an acceptable filmic glitch, a certain strain of color photography—as seen on moody LP covers and ad pages for muscle cars or cigarettes—seemed to dwell almost exclusively in the magic hour, that pre-twilight moment when the sun emanates diffraction spikes and gentle melancholy. Matthew Porter mines and merges these aesthetic strains in the exhibition “Sunclipse,” titled after Buckminster Fuller’s non-geocentric term for sunset. Taking contemporary photography’s genre eclecticism as a given, Porter sets off hazy, image artifact–laden pictures of nature and decay in equatorial zones with ambiguous fashion shots and cinematic cityscapes, generating a productively inscrutable mix that implies civilization’s impending dusk. More
