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© Bryan Whitney, Italy. Cyanotype on Arches Platine Paper, 2026
For Bryan Whitney, images is a magical course of that permits him to seize a number of the mysterious visions that may in any other case have stayed in his head. The New York City-based artist and educator explores the intersection of non secular and photographic practices and likewise how images features in the true, bodily house, past prints, screens and gallery partitions. Whitney’s installations and cyanotypes contact on the transcendental facets of the artistic and human expertise. His work is characterised by its give attention to mild, abstraction, symbolism and, at instances, humor. (Who would have thought to exhibit fish-eye pictures of forests on the true, functioning washer glass doorways of an East Village laundromat in New York?)
I’ve identified Bryan’s work since he submitted his lovely X-Ray cyanotypes to final 12 months’s cyanotype open name celebrating Anna Atkins’s 226th birthday, organized in tandem with the Griffin Museum of Photography. Among 700 submissions, Bryan’s work stood out. Not due to the plain, hard-earned expert that each one his botanical X-ray evince. Rather, I used to be caught off guard by Bryan’s means to discover magnificence past the sudden, in essentially the most invisible of locations. I imagine his follow level others to benefit from the transcendental essence of what it means to attach deeply with the pure world, even after we’re all so pulled away from it.
Today, I’m re thrilled LENSCRATCH is that includes an interview on his years-long follow and creative philosophy.
A short interview with the artist follows.
© Bryan Whitney, Light, More Light. Installation 2008. Transparency on Glass.
Bryan Whitney is a photographer and artist in New York City whose work entails experimental imaging strategies together with x-rays, lensless imaging and different processes akin to cyanotype. Whitney holds an MFA in Photography from the Tyler School of Art and a BA within the Psychology of Art from University of Michigan. He has taught images at Rutgers University and at the moment teaches on the International Center of Photography in New York City and the New York Botanical Garden. A recipient of a Fulbright Grant for lectures on American Photography he has exhibited throughout the United States and internationally. His work has appeared in magazines akin to Harpers Bazaar, Fortune, the New York Times, in addition to being featured in books, posters and billboards. His X-ray botanical photos have just lately been acquired as a stamp designs by the US Postal Service.
Follow Bryan Whitney on Instagram: @bryanwhitney.art
© Bryan Whitney, Cincinnati. Cyanotype on Arches Platine Paper, 2006.
What position does spirituality play in your total work and in your photographic educating follow?
Bryan Whitney: Spirituality is on the core of our understanding of life, and artistic follow is without doubt one of the methods wherein we are able to categorical these insights. Being enraptured by what you see and what you make is crucial for an artist—and it’s a reward to have the ability to share that with others. As a child I keep in mind very early experiences of surprise, awe, and profound peacefulness, floating exterior of my physique. When I started photographing in my teenagers, I noticed what a magical course of images was. It was greater than the mysterious engraving of sunshine onto movie at the hours of darkness; it was a approach to seize a number of the ecstatic visions that may in any other case have stayed in my head.
At faculty I used to be fascinated by psychology, anthropology, artwork historical past, movie, and images. I additionally turned engrossed within the examine of non secular thought and have become a training Buddhist. I studied tarot, astrology, the occult, alchemy, and the writings of mystics akin to Gurdjieff and Nasruddin, in addition to trendy psychedelic mystics like Ram Dass. When it got here time to graduate, I used to be lucky to have the assist of Professor Rudolf Arnheim, whose esteemed profession in analyzing artwork and notion allowed me to finish an impartial diploma within the Psychology of Art—which was his distinctive specialty. After graduating, I noticed that my obsessions with artwork, psychology and spirituality weren’t one thing I needed to proceed in an instructional setting—I wanted to create with these concepts. I targeted on images as a medium wherein I might notice these insights in an inventive follow.
In my courses I introduce these ideas and encourage college students to play with concepts and approaches that they may not be acquainted with. I need to see what individuals intuit and perceive natively—the “things no one told me,” to borrow a phrase from an early work of mine.
© Bryan Whitney, Lotus, 20×24″ Cyanotype on Arches Platine Paper, printed 2024
Your collection of Botanical X-Rays is constructed from lovely cyanotypes of crops and flowers seen via the X-ray imaging method. Is there a non secular element on this physique of labor?
BW: Yes. There is a profound magnificence in understanding that each one issues, together with ourselves, are clear to energies which can be flowing via the world, akin to radio waves, gamma rays, X-rays, and so forth. I imagine that transparency is usually a visible equal for seeing via the opaque, particular person nature of objects, and it suggests that there’s a actuality past what the human eye and psyche ordinarily understand.
Is there one thing explicit about images that permits you to join with the non secular realm of life that you just haven’t discovered elsewhere?
BW: There is one thing particular about images in that it’s a collaboration with what already bodily exists on this planet, but it might probably nonetheless categorical a private imaginative and prescient. There can be the necessary concept of grace in artistic work—being open and receptive to receiving inspiration or of discovering what you’re in search of. Artists of every kind are conscious of this sense of being a conduit or channel for concepts and types which can be suprapersonal- “Not my will but Thine”.
You’ve additionally labored on set up initiatives, akin to Light, More Light, which have a non secular element. Can you speak extra about this undertaking and the position images performed in its creation?
BW: The set up “Light, More Light” was created at an necessary level in my life. I used to be given a present at Dowling College, whose campus was initially a Vanderbilt property. One of the buildings on the campus was a turnofthecentury palm backyard, a beautiful greenhouselike construction. I proposed an set up on a collection of 13foothigh home windows, turning them into stainedglasslike panels utilizing my X-ray botanical photos.
My mom had handed away just some months earlier, and the piece was devoted to her—an try to specific my deepest love and gratitude within the midst of loss. Light performs an necessary bodily and symbolic position because the supply of life. The superscript “Light, More Light” references the dying phrases attributed to Goethe, who requested that the home windows be thrown open so he would have extra mild in his closing second. Light is transformative, and in lots of non secular texts—such because the well-known Tibetan Book of the Dead—check with passing into the sunshine in the intervening time of demise.
© Bryan Whitney Light, M0re Light, Installation 2008. Transparency on glass.
© Bryan Whitney, Light, More Light. Installation 2008, Transparency on Glass.
“G A Z E” is an set up that used miniature “gem” tintypes, in regards to the measurement of a thumbnail. These had been the earliest inexpensive portraits and helped democratize the flexibility to create a likeness. I discovered these tiny deserted portraits at flea markets and on eBay. Using an ultramacro lens, I photographed these rouged and scratched photos, creating an nameless menagerie of characters from the 1860s–70s. The portraits had been then enlarged roughly 5,000% onto lengthy bolt of silk and hung in a circle into which the viewer entered. Standing within the middle, the viewer turned the topic of the photographic gaze of those long-forgotten souls.
© Bryan Whitney, G A Z E. Installation 2016. Fabric, Paper, Metal, Magnifying Glass.
© Bryan Whitney, G A Z E, Installation 2016. Fabric, Paper, Metal, Magnifying Glass.
© Bryan Whitney, G A Z E, Installation 2016. Fabric, Paper, Metal, Magnifying Glass.
“La La Laundry” was a novel popup set up in an actual, functioning laundromat within the East Village in New York (and sure, that was its precise title!). This befell throughout Covid, once I had been extensively photographing timber with a fullframe fisheye lens, creating one more menagerie of sylvan characters in a collection I known as The Enchanted Forest. I printed 38 of those round “tondo” photos on the actual measurement of the flat dryer home windows and connected them briefly contained in the doorways, which created an ideal framing ingredient. The opening and shutting of the exhibition occurred on the identical night time and was streamed stay on Instagram. The sudden and humorous nature of the set up makes it distinctive in my work.
© Bryan Whitney, La La Laundry. Installation, 2020. Circular Prints Mounted in Dryers.
© Bryan Whitney, La La Laundry. Installation, 2020. Circular Prints Mounted in Dryers.
© Bryan Whitney, Crown of Thorns
© Bryan Whitney, Sinuous Tree
What are you at the moment engaged on? And what’s in retailer for you?
BW: “Blue Body” is a brand new collection of round cyanotypes — self-portraits made throughout many years. The photos will not be about me, exactly; they’re in regards to the physique’s presence in house, the physique as a locus of consciousness. The determine usually seems clear, or as shadow, whereas the interaction of sunshine and darkness, optimistic and destructive, yields one thing directly summary and symbolic. I like the tactile high quality of cyanotype on heavy watercolor paper, and the best way the blue lends an ethereal high quality to the picture.
© Bryan Whitney, Pasadena. Cyanotype on Arches Platine Paper, 2006.
© Bryan Whitney, Columbia. Cyanotype on Arches Platine Paper, 2006.
© Bryan Whitney, Romania. Cyanotype on Arches Platine Paper, 2006.
© Bryan Whitney, Alabama. Cyanotype on Arches Platine Paper, 2006.
© Bryan Whitney, Milan. Cyanotype on Arches Platine Paper, 2006.
Posts on Lenscratch is probably not reproduced with out the permission of the Lenscratch workers and the photographer.
This web page was created programmatically, to learn the article in its authentic location you may go to the hyperlink bellow:
http://lenscratch.com/2026/03/bryan-whitney/
and if you wish to take away this text from our website please contact us
This web page was created programmatically, to learn the article in its authentic location you…
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