Abelardo Morell: The Universe Next Door

By Kenneth Tanaka

What does the expression "a photographer's photographer" mean to you? To me it's a genre-independent designation far beyond simply a "good" or "prolific" photographer. To me it's someone who leverages a mastery of the photographic medium toward making more sophisticated observations than the usual superficial self-evidence. It's a visually curious and voracious person who sees first with a keen mind then, perhaps, with a lens. And sometimes it's someone who doesn't even need a camera to make a picture.

Abelardo (Abe) Morell is, to me, a photographer's photographer. I believe that the Art Institute of Chicago's new show, "Abelardo Morell: The Universe Next Door" firmly buttresses my opinion.

Abe's work defies conventional categorization. It's certainly not street, fashion, or any form of reportage even though Frank, Levitt and Arbus were some of the photographers he most admired. Nor is it purely conceptual, although this, on average, comes closest to the mark. I just call Abe's work "deep seeing." It's simultaneously meditative, inventive, and investigative.

If you're only barely aware of Abe Morell it's likely you know of his jaw-dropping camera obscura work in which he has inarguably established the gold standard. He began doing camera obscura experiments as an instructional exercise during his 27-year photographic teaching career at at the Massachussetts College of Art and Design (a.k.a. MassArt). It gradually became a passionate pursuit that, as it became more sophisticated, has drawn him to many locations in the world, with many visual objectives. Today, with the aid of a periscoped custom dome tent, Abe can take the basic technique nearly anywhere, a freedom that's leading him in new artistic directions.

But Abe's work is far broader and deeper than camera obscura. The birth of his first child in 1986 and the consequent limitations imposed by home-bound infant care became the genesis of much of his most fascinating work. Unable to wander the world in search of images, Abe began to explore the world of his home. Switching from a small 35mm camera to a large-format view camera he began contemplating the simplest of household scenes and objects. Wet footprints on a bathroom floor. Crayons. Baby bottles. The view of his home from an infant's point of view. Gradually this work became more sophisticated and complex as he began conveying characteristics such as materiality and the cultural meanings of objects such as books, money, maps, and the indivisible relationship between photography and time.

Skimming Abe's work generally does not work. In nearly every frame there's more going on than is immediately apparent. The complexity of constructions and their meanings often require contemplation and sometimes additional notes. For example the image titled "Shadows during Solar Eclipse, 1994" apparently shows sunlight filtered through a tree canopy and striking the ground. Sounds dull, eh? But then you learn that each of those spots is a camera obscura image of the sun in partial eclipse, created by the momentary gaps between tree leaves. Then you realize that camera obscura images of the sun are always projected all around you in a forest. What's not to love about such revelatory work?

"The Universe Next Door" is a 25-year retrospective show of Abe's work conceived and curated principally by Art Institute of Chicago Associate Curator of Photography, Elizabeth Siegel, over a four-year period. It's an enormous show, featuring over 100 prints occupying four of the AIC's five photography galleries across two buildings.

Speaking of prints, they're simply gorgeous. Abe was for many years a devoted silver gelatin B&W guy. But several years ago, probably for practical reasons, he begun shooting with a digital back and also adopted inkjet printing for both color and B&W. If you visit the show, I challenge you to distinguish between the pigment and wet prints without reading labels. You can't. This is positively the most seamless intermixed presentation of digital/film, wet/pigment photography and printing I have ever seen and a monumental (if unintended) middle finger to those who continue to claim that digital printing is inherently inferior to chemical.

One last thought on the requisite characteristics that make a "photographer's photographer" in my book: they tend to be inspirational. Their creative energy becomes infectious and incites others to pick up a camera. Whether or not Abe Morell's work tickles your fancy I can almost guarantee that it will prompt you to investigate something new, or something old in a new way, with your camera. I'm sure that the educator in Abe would be elated to have such an effect on you.

Ken

Abelardo Morell: The Universe Next Door is at the Art Institute of Chicago from June 1  to September 2, 2013. From Chicago it will travel to Los Angeles's Getty Museum October 1, 2013 – January 5, 2014, and then on to Atlanta's High Museum of Art February 22 – May 18, 2014. I urge you to try to see the show in person. The prints alone are worth the visit, although the images are certain to tattoo your mind.

Failing that, however, the outstanding catalog by Elizabeth Siegel is available from Amazon. (Here's the U.K. link.)

Video: Abelardo Morell on Photography, Life, and Dancing

Our friend Ken Tanaka, who writes periodically for TOP and comments often, lives right next door to the Art Institute of Chicago and is enthusiastically involved with the museum world in many ways. Visit his (very nice, frequently updated) website here.

Original contents copyright 2013 by Michael C. Johnston and/or the bylined author. All Rights Reserved. Links in this post may be to our affiliates; sales through affiliate links may benefit this site.

TOP's links!

(To see all the comments, click on the "Comments" link below.)
Featured Comments from:

Patrick Snook: "In the video linked here I saw in just three minutes the most compelling photography I've seen in three or more years. And the unpretentious commentary rings true and clear. Perfect, or as near as it gets. Thanks for bringing this photographer to TOP!"

Charles Wick: "I first met Abe in 1967 through my college roomate. Knowing him was from the first a revelation: his constant curiosity, playfulness,good humor and insightfulness have been a touchstone for me in my life since then. While he distances himself from his early street stuff, I remember the photos he did in college even now for their brilliant surprises and revelations. I have a couple of his discards from this time and still marvel when I look at them. To Abe, I can only say 'Ungark Geb!!'"

Richard Tugwell: "A new photographer to me, and an eye-opener—thanks Ken for the review. I'm not sure about the term 'photographer's photographer'—sounds a bit esoteric to me, and I would think anyone who enjoys looking will enjoy this guy's ability to see. Inspirational, certainly."

Comments

[Doug Howk]

The DVD "Shadow of the House" is a great introduction to Abe's work. It follows him as he travels to Europe and Cuba to create some of his unique images. A very inventive photographer.

[Jack]

Ken,
I have seen his work in person at his gallery in NYC and fully agree with you that looking at the actual prints is well worth the trip. You did an excellent write up of his work, but perhaps you have Elizabeth as well as Mike as your editor?

I have all summer to get 90 miles down to Chicago, but it took me a month to get here from AZ. Mike, I would agree that it is summer here today.

[Stan B.]

While I'm a great admirer of Abelardo Morell's inspiring work, "a photographer's photographer" is not quite the label I would assign him. I would think that term applies more to artists that successfully achieve on a regular basis a type of work that most mere mortals struggle to achieve in a lifetime- even though they may practice similar methods using similar tools.

And although any photographer is theoretically capable of doing the kinds of projects that Mr. Morell does, they are often so unique that while many may appreciate or aspire to it, I don't see a majority of photographers trying to emulate them. I guess I tend to interpret "a photographer's photographer" as being more of a generalist- a Gossage or Wessel, who with a modicum of non specialized equipment and minimum technique can photograph a variety of environments so well..

[Ed]

Abelardo Morell, great photographer that is an example of what I call a real photographer. He creates beauty with his camera, he does not care (to much) about what he shoots, but he cares a lot about how he shoots it. In that sense an example to us all.

Greets, Ed.

[Steve Jacob]

Thanks Ken and Mike.

I would not call him a photographer so much as an artist who constructs deep and thoughtful images. The camera is merely a medium, the thought process is what matters.

As a photographer, however observant, I am far too reliant on what I already see to think about what I might see, if....

The objects are beautiful but free of emotive artifice. A rare pleasure, like Bach.

[Dan]

Ah...The Fire Engine Book. A great read the first few hundred times... But I wonder if Abelardo got so sick of reading it each and every night to his kids that his only solution was to rip it up? And that provided the inspiration for the photo? If so, I suspect a lot of TOP readers are quietly contemplating their own series of Abelardo Morell / Tibor Gergely inspired masterpieces. What a great excuse - "I must rip up this book in the name of Art!" After all, we all know that the man with the Polka Dot tie will be there to rescue Scuffy, that the Little Red Caboose will save the train and Tootle will get 100A+ for staying on the rails...no matter what. How many times are we expected to read these things? Ok, rant over, but its rare for me to see a photo that I can relate to so closely.

[Matthew Miller]

Hmmm. I took almost exactly that same image during what I think was probably that same solar eclipse. I imagine that hundreds or thousands of other people of varying skill did the same.

What is it about _this_ rendering that makes those layers of meaning unfold for you?

[Rob Wadd]

I might define a 'photographer's photographer', as a photographer who's work appeals particularly to other photographers. This is likely to be because their work relies on technical or artistic skill not appreciated to the same degree by those less familiar with the execution of the craft. Rankin, Adams, and McCurry would not be in this camp. Kertész, Atget, Winograd, Eskenazi would be. I would agree that it is genre-independent but I think it is a different categorisation than simlply a measure of skill.

[Kostas]

What a timely post. I just looked up Aberaldo Morell, and it turns out he has an exhibition in my city for the next couple of weeks, just a few stops from my office. Looks like it's going to be a long lunch break tomorrow!

[Erez]

Very timely post. I'm very lucky to be in Chicago today and went to see the exhibition based on this post. It's magnificent.
Thanks!