- Media category
- Materials used
- gelatin silver photograph
- 19.5 x 24.6 cm image; 22.7 x 27.8 cm sheet
- Signature & date
Signed and dated l.r., white ink and l.r verso, pencil "L. Aberhart 2010/...".
- Purchased with funds provided by the Photography Collection Benefactors' Program 2012
- Not on display
- Accession number
- © Laurence Aberhart
- Artist information
Works in the collection
‘…as is the case wherever I’ve photographed – what inherently interests me is the transitional; the pieces in our social landscape that were something once, aren’t that anymore, will be something different in the future, or may not exist. I’m interested in capturing them when they’re somewhat adrift.’i Laurence Aberhart, 2011
Widely considered to be an important chronicler of New Zealand’s social history, Laurence Aberhart has also been deeply interested other cultural contexts such as USA, France, Macau and Japan. In 2010 the photographer travelled to the USA after a 22 year absence, documenting what used to be the heartland of the American industrial empire. ‘The Egg, Albany, New York, 7 September 2010’ depicts a famous performing arts venue that is also a late modernist architectural landmark. Its monolithic structure, constructed between 1966 and 1978, is a stroke of engineering brilliance and an example of the ‘brutalist’ aesthetic that reflects the triumph of post-war America. Aberhart stresses the striking contrast between the classicist buildings and The Egg, which co-exist in an eerily de-populated atmosphere. The last rays of sunshine (as well as the exact date of the photograph) indicate the irrevocable work of time and probability of decay.
As has been his practice since the late 1970s, Aberhart uses a 19th century ‘view’ camera to capture subtle and extraordinary detail, all of which is evident on his contact prints. Such detail is apparent even in the white expanses of ‘Conical monopole, Scott Base, Ross Island, Antarctica, 3 December 2010’. This image of a radio-signal antenna in one of the most isolated corners of the world continues Aberhart’s ongoing survey of converging points between human and natural environments. Drawn to elements that speak of culture’s fragility, his photographs ‘make us aware of thresholds or horizon-points where meaning is stalled and messages cannot get through.’ii
i) Crawford, C. ‘New Zealand Stories’ in ‘Art New Zealand’, no 138, Winter 2011, p24
ii) Gregory O’Brien, ‘The horizon room’ in ‘Aberhart’, L et al Aberhart, City Gallery, Wellington, 2007, p264
Referenced in 1 publication
L. Aberhart, Artnews New Zealand, ‘Goodbye, American dream’, Auckland, Spring 2011, 96.
Other works by Laurence Aberhart
Taranaki (The Heavens Declare the Glory of God), New Plymouth, 14 May 1986 Laurence Aberhart 1986, printed 1987 111.2002
Taranaki from Oeo Road, under Moonlight, 27-28 September 1999 Laurence Aberhart 1999, printed 2000 112.2002
"Te Waiherehere", Koroniti, Wanganui River, 29 May 1986 Laurence Aberhart 1986, printed 1997 252.2016
See all 11 works