robbert flick, SV009/80, Marina del Ray, 180 Degree Views

SV009/80, Marina del Ray, 180 Degree Views, Robbert Flick, 1980

In Robbert Flick’s Sequential Views (1980), the process of making the landscape is as significant as the landscape itself. Flick, influenced by 1970s conceptual art, planned walking routes on a map and set out with rules to govern his photography, clicking the shutter at particular geographic or temporal intervals. To create SV009/80, Marina del Ray, 180 Degree Views, for example, Flick looked one way, took a picture, looked the opposite way, took a picture, moved forward, took a picture and so on. Each piece in Sequential Views contains 100 individual photographs assembled in a 10 by 10 grid using the analog graphic design process called stripping. In Marina del Ray, Flick arranged the photographs into alternating columns of beach and buildings, visualizing the camera’s movement back and forth.

According to [curator, Lisa] Hostetler, this method reveals two principal things about our perception of landscape: 1) that it is often mediated by the automobile and the glimpses we catch in transit; and 2) that it is telegraphic, leaping from one spot to the next. Think about driving: you see a sign in front of you, you get closer to it, you pass it—and your gaze shifts to the next block. The brain fuses these glimpses into a whole greater than the sum of its parts. Flick deconstructs this phenomenon in each photographic array, implicating the viewer in the creation of landscape.

All three artists approached landscape with, if not realism, a new frankness. They acknowledged that tract houses, drive-ins, motels and other roadside attractions were part of the American story—and that the concept of “landscape” is itself fraught with ambiguity. Landscape can mean a sublime and spectacular Bierstadt, but it can also mean nature, the environment generally or something more abstract. Asked to define the term, Hostetler hesitates. “That’s a hard question because I think of as a genre of art,” she says. “But I also think of looking out at our surroundings. I guess when you’re looking at it, it becomes a landscape. The second you take it in as an image, it’s a landscape.”

vicky gan, smithsonian.com

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