Pucker Gallery • Boston

Forever Young, Forever Old Bill Aron’s Panoramas of Israel: With a Focus on Jerusalem Temporal Shifts: Multi Image Panoramas of Israel

everal years ago, I came to understand that that made sense to me. About four years ago I came across multi-image the medium of “professional photography” many factors can differentiate a photograph from a panoramas. I was intrigued because of what this technique was being altered, radically and permanent- snapshot. One that is important to me, and that I like to enabled me to do with perspective by flattening a circular ly. With the advent of new and better genera- play with, is that of “perspective.” What happens when plane by as much as 360 degrees. Previously, I had always tions of digital cameras and a wide variety you change the angle of view, or walk around to the side, respected the frame, the borders of the photograph. If the of software programs available for editing photographs, or even the back, of your subject? How do the meaning image had to be cropped, then it was not good enough. anyone, it seemed, could create their own art, even their and the mood of the photograph change? An essential Constructing a panorama of many images was very own commercial photographs. I began to wonder if there exercise in the classes that I teach is to have my students different from my previous work, and almost antithetical was still a place for me as a photographer. shoot what they see, and then change something like to my ideas about the frame. I now had to ask myself: i took a step back to study and explore how the digital the camera angle and/or the perspective, and shoot the “What would happen to my photography if I strung revolution could be applied to my photography in a way scene again. together multiple images?” Additionally, once I made the

2 • Yaffa Gate Entrance to the Old City, Jerusalem 8 © x 48" AB3 leap to more than one image in the same frame, “how my technique involves shooting many overlapping i have always felt close to Israel, and my wife, Isa, would the order of the images, or the timing of them, images of a scene, continuously, up to 360 degrees. This and I travel there whenever we can. I am proud of my affect the outcome?” might often involve 10 to 20 images for a single setting; past images of Israel, single frames capturing an instant i found that there were several photographers working I then stitch them together into a panorama so that the in time, hopefully made more profound than the sum of with this technique, most dealing with nature or some junctures between the images are seamless. I also leave the details contained in the frame. Israel is inspiring. The aspect of the landscape. Not many included people. the outer edges of the panorama alone, not cropping to blend of cultures is exciting. The vistas are remarkable. Variations included harsh edges between the sections make them even. Another way I like to work is to revisit a The colors and the light are unlike any other place I have of the panorama, or dissolving, but discernible edges. particular place on subsequent days, shooting from the ever been. With those thoughts in mind, I set out to think Seeing their work helped me formulate a starting point. same spot, and then selecting the “slices” that I want and work in this new format. After a number of months of thought and experimentation, from each day before blending the images together. I now As I began to experiment with this technique, I I developed a method with which I felt comfortable. needed a subject worthy of this new technique. noticed that people would appear as many as three or

3 • Inside Aish HaTorah Yeshiva, Jerusalem 5 ˙ x 36" AB12

four times in the panoramas due to their walking through ordering of change; 2011 is always before 2012. An event our eyes and brain cannot “fathom” on their own. A the scene as I was shooting the overlapping images. is first part of the future, then the present, and then the photograph has always to be a visualization of the past, Memorial to the Helicopter Crash in the North (AB26) past. That which has been perceived is in the past, and as that scene was when it was present. The panorama, by is one example of this. It seemed to me, at first, that this that which will be perceived is in the future. combining the same people as they were photographed presented an image of past, present and future, all at the Another group called the “Eternalists,” or B-theorists, at several different points in time, along with the ancient same time. One of my mentors, after looking at some of grant equal reality to all tenses. Our conventional notion environment, conveys that sense of past and present the panoramas, suggested that I read some philosophers of time, they say, is merely a subjective and fabricated together, and gives a visualization of the timelessness of who speak about a “tenseless time,” and who raise the structure to understand “before, now and later.” They wish the entire scene. question, “Can we actually experience tense?” to eliminate all talk of past, present and future in favor in summary, I began this process by attempting to As we ordinarily think about time, it is a truism of a “tenseless” ordering of time. Tense is obliterated. find a new “place” for me as a photographer.I found that that time passes. Time is transient. Viewed in this way, The people walking through the image are doing it in the place by standing still and having time move around me. one might argue that there is no present. As soon as present, or the past, or the future. There is no tense to the Norwegian poet, Olav Hauge, said it best, I think: we perceive the present, it is past. The present has no what they are doing. John McTaggart concludes in his • duration. In the image Market Day Outside Damascus 1908 paper, “Unreality of Time,” that “Our ground for Today I saw Gate (AB24), the group around the man in the yellow shirt rejecting time ... is that time cannot be explained without two moons, appears three times. Which is past, which is present, and assuming time.” one new which is future? Are they all past because it is a recorded this understanding of conflicting notions of time, of and one old. photograph? putting past and present in the same image, has enabled I have a lot of faith in the new moon. there are a number of philosophers who think and me to once again see Israel in a new and different way. But it is probably just the old. write about competing notions of time. A group called the Visitors to Israel often remark on how eternal it seems. • “Presentists,” or A-theorists, claim that the use of “tense” The trees, rocks, buildings, and even shadows bear Bill Aron

is essential to all discourse about time. The distinctions witness to history. Digital photography has enabled me Los Angeles, California

between them are essential and that time involves an to convey that sense of the eternal by revealing what December 2011

4 • Mount of Olives, Jerusalem 13 ƒ x 35 ˙" AB17

5 • East Jerusalem, Jerusalem 9 x 30" AB22

6 • Tel Aviv University Campus, Tel Aviv 12 ƒ x 19" Ten measures of AB14 “beauty descended to the world, Jerusalem took nine.

— Kidushin 49”b

• Western Wall Plaza at Night, Jerusalem 9 ƒ x 40" AB1

7 • Ben Yehuda, Jerusalem 18 ˙", diameter AB20

Jerusalem is a port “city on the shores of eternity.” — Yehuda Amichai

• Mitzpeh Ramon at Sunset, the Negev 11 ˙ x 36" AB30

8 • Western Wall Plaza During the Day, Jerusalem 10 © x 40" AB6

• Above the Old City, Jerusalem 18 ˙", diameter AB4

9 • Old City Walls, Jerusalem 3 ˙ x 24 ˙" AB21

10 Jerusalem is a place “where all remember that they have forgotten something but they don’t remember what.

— Yehuda Amichai ”

• Mahane Yehuda Market 1, Jerusalem 6 ˙ x 39 ˙" AB7

11 In Jerusalem, hope “springs eternal.

— Yehuda Amichai ”

• Memorial to the Helicopter Crash in the North, near Kiryat Shmoneh 12 x 40" AB26

12 • Wildflowers in the Galil, Upper Galilee 12 x 36" AB25

• Rams Walking by the Graves of Paula and David Ben-Gurion, Sde Boker 16 x 24" AB23

13 Tombstones crumble, “they say, words tumble, words fade away, the tongues that spoke them turn to dust, languages die as people do, some languages rise again, gods change up in heaven, gods get replaced, prayers are here to stay.

— Yehuda Amicha”i

14 • Ben Yehuda Street, Jerusalem 7 x 47 ˙" AB8

• The Old City Market (on the road to the Wall), Jerusalem 7 © x 48" AB5

15 • Ode to Israel’s Soldiers 39 x 39" AB31

16 Jerusalem’s not just an idea; it’s a whole “world that embraces everything ...

— Young Israeli soldier ”

• Jerusalem Apartment Building, Jerusalem 20 x 15" AB32

17 • Men at the Western Wall, Jerusalem 18 ƒ x 36" AB28

18 • The Separation Wall, northwest of Jerusalem 10 © x 36" AB13

Jerusalem of gold! “I pray you stand forevermore, a timeless city, bittersweet with memories of

• Men at the Western Wall, before. Jerusalem 18 ƒ x 36" AB28 — Jordan”a Meyer

• Yitzhak Rabin Memorial, Tel Aviv 19 ƒ x 16 ˙" AB18

19 • Mahane Yehuda Market with Soldier, Jerusalem 9 © x 35 ˙" AB16

An Arab shepherd seeks a kid goat on Mount Zion, “And on the mountain across, I seek my little son. An Arab shepherd and a Jewish father Both in their temporary failure...

...The search for a kid or a son was always The beginning of a new religion in these mountains. — Yehuda Amichai ”

20 • Women at the Western Wall, Jerusalem 26 x 36" AB29

21 • Market Day, Outside Damascus Gate, Jerusalem 20 x 40" AB24

22 In Jerusalem, everything “is a symbol. Even two lovers there become a symbol like the lion, the golden dome, the gates of the city...

...And on the doorpost of their house it says, ‘Ye shall love each other with all your hearts and with all your souls.’

— Yehuda Amichai ”

• The Damascus Gate Portal, Jerusalem 12 ƒ x 19" AB15

23 • Old City Vista, Jerusalem 13 x 35 ˙" AB11

There is no beauty “like that of Jerusalem. — Avot of Rabb”i Natan 28

24 • Yaffa Plaza, Easter Sunday, Jerusalem 12 ˙ x 36" AB27

25 Through the window that is not there, we “see our children searching the old ruin for toys they lost yesterday and turning up broken clay jars from centuries ago... ” ...Broken jars speak the truth. A new jar is the lie of beauty.

— Yehuda Amichai ”

• Tallit Steps Revisited, Jerusalem 19 ƒ x 13" AB19

26 Bill Aron Biography

EDUCATION SELECTED SOLO EXHIBITIONS M.A., Ph.D., University of Chicago, IL Pucker Gallery, Boston, MA – 2012, 1991, 1986, 1981, 1978-79 B.A., University of Pennsylvania, Philadelphia, PA The Skirball Cultural Center, Los Angeles, CA – 2011, 2002-03, 1982, 1978 Sala and Aron Samueli Holocaust Memorial Library, Chapman University, Orange, CA – 2008-09 SELECTED PERMANENT COLLECTIONS Special Collections Gallery, Tulane University, New Orleans, LA – 2000 Art Institute of Chicago, IL Mobile Museum of Art, Mobile, AL – 1998-99 International Center of Photography, New York, NY Birmingham Museum of Art, Birmingham, AL – 1998-99 Israel Museum, Jerusalem, Israel Museum of the Southern Jewish Experience, Jackson, MS – 1995, 1992, 1989 Mississippi Museum of Art, Jackson, MS Jüdische Gemeinde zu Berlin, Berlin, Germany – 1993 Museum of Fine Arts, Boston, MA National Museum of American Jewish History, Philadelphia, PA – 1993, 1981 Museum of Jewish Heritage, New York, NY Palos Verdes Art Center, Palos Verdes, CA – 1990 Museum of Modern Art, New York, NY The Kahn Gallery, Fotofest, Houston, TX – 1988 Museum of Photographic Arts, San Diego, CA Fay Gold Gallery, Atlanta, GA – 1987 Museum of the Jewish Diaspora, Tel Aviv, Israel International Center of Photography, New York, NY – 1986 Museum of the Southern Jewish Experience, Jackson, MS Images Gallery, Cincinnati, OH – 1986 National Museum of American Jewish History, Philadelphia, PA The United States Senate Office Building, Washington, DC – 1984 The Jewish Museum, New York, NY The Los Angeles Art Photographers Association, Los Angeles, CA – 1984, 1981 The Rose Art Museum, Brandeis University, Waltham, MA The Jewish Museum, New York, NY – 1983 The Skirball Cultural Center, Los Angeles, CA Spertus Museum, Chicago, IL – 1983 Yeshiva University Museum, New York, NY Museum of the Jewish Diaspora, Tel Aviv, Israel – 1979

BIBLIOGRAPHY New Beginnings: Surviving Cancer Well. (in preparation) Credits: • Tallit Steps Revisited, Design: Leslie Anne Feagley Shalom Y’all: Images of Jewish Life in the South. Chapel Hill: Algonquin Books, 2002. Jerusalem Editors: Destiny M. Barletta and Justine H. Choi 19 ƒ x 13" “The Work of His Hands.” A photo essay in Creation Out of Clay: The Ceramic Art and AB19 © 2012, Pucker Gallery Writings of Brother Thomas. Grand Rapids: Wm. B. Erdmans Publishing Co., 1999. Printed in China by Cross Blue Overseas Printing Company Reflections of a Jewish World. Los Angeles: Brandeis Institute, 1990. All works are archival ink jet prints on Epson Ultra Smooth Fine Art paper. From the Corners of the Earth. Philadelphia: Jewish Publication Society, 1986. Pucker Gallery 171 Newbury Street Boston, MA 02116 Phone: 617.267.9473 Fax: 617.424.9759 E-mail: [email protected]

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Forever Young, Forever Old Bill Aron’s Panoramas of Israel: With a Focus on Jerusalem • 5 – 31 May 2012 • Opening Reception 5 May 2012, 3:00 to 6:00 p m • The public is invited to attend. The artist will be present.

COVER • Damascus Gate Entrance to the Old City, • The Church of the Holy Sepulcher Plaza, Jerusalem Jerusalem 15 ˙ x 40” 14 x 34” AB2 AB9