Photographs of towering mountains, tranquil beaches or small-town America seem anything but complex and original; these subjects have been mainstays of photography for years. Going beyond, and more importantly, above what is expected, however, sets the photography on display in Boston University Art Gallery's "To Fly: Contemporary Aerial Photography" apart.
The exhibit captures landscapes in ingenious, thought-provoking and emotionally saturated manners. It is on display, free of charge, through Oct. 28.
Composed of over 50 photographs from 14 artists, "To Fly" examines aerial photography over the past half century. The exhibit presents a diverse collection of both black and white and color photographs, depicting subjects that span the globe. Iconic landmarks such as Mount St. Helens and The Pyramids of Giza are pictured in the exhibit, as well as images as close to home as a Somerville neighborhood.
Taken from a bird's-eye view, these photographs give the viewer a vast perspective of familiar scenes, revealing the incredible aesthetic beauty and symmetry of land. Alex Maclean's photograph "Two Family Houses in Streetcar Community, Somerville, MA" transforms the mundane suburban neighborhood into a geometric, colorful work of art. Rows upon rows of sea foam, yellow and pink houses are a visual treat when viewed all at once.
The aerial view emphasizes the houses' similar architecture and the organized layout of the streets, creating a feeling of repetition and structure. The photograph captures an aesthetic beauty of suburbia - its symmetry and continuity - that is almost impossible to perceive from the view from its sidewalks.
What makes many of the photographs in "To Fly" so unique is how they seem to transcend the confines of their subjects. The photographers use the land as a canvas, creating rich, textured and often abstract images from the natural landscape they are provided with.
In William Garnett's black and white photograph "Ploughed Field, Arvin, Calif." it's difficult to decipher the actual subject of the piece: the field. Instead, the picture presents a striking scene of alternating black and white vertical lines, curling into spirals at their ends. A white triangle intersects the bottom center of the image. It is almost impossible to distinguish anything recognizable in the photo; the abstract image and grainy quality of the photograph promote an unsettling, eerie feeling within its viewer. The power of the piece lies in its ability to create something so alien by merely documenting the real world.
Perhaps the most powerful aspect of this exhibit is its demonstration of the aerial perspective's ability to reveal the art within nature. Barbara Bosworth's stunning images of clouds display the complexity, variation and depth found in the color white; whole 20-by-24-inch frames filled with nothing but milky clouds shimmer with hints of rose, gold and blue hues.
In "Smelt Season, Belmont Harbor, Chicago," photographer Terry Evans captures a surprising beauty in the water of Lake Michigan. The amazing texture and colors found in the waves crashing against the harbor feel completely new, unlike any visual of water observed from the comfort of the ground.
"To Fly" is an impressive collection of photography. It presents its viewers with images that highlight artistic attributes of the natural world that are often missed.
From serene images of snow-capped mountains to dark, ominous photographs of industrial complexes to vibrant, active scenes of Las Vegas, the pieces that comprise this exhibit convey a diverse array of emotions and ideas.
"To Fly" allows its audience to see the familiar from unfamiliar heights. Its viewers leave the gallery with a new perspective on nature and an awareness of the natural art found in the most common of settings.
