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His new book, Aeroglyphs & other Nocturnes,<\/em> is available via Kris Graves Projects<\/a><\/p>","video":null,"gallery":"{gallery}67773{\/gallery}","extra_fields":"[{\"id\":\"13\",\"value\":\"Simultaneously reminiscent of the slick, neon glow of sci-fi aesthetics and the cryptic symbolic language of ancient petroglyphs, Reuben Wu\\u2019s work is clean, yet mysterious. His photography hovers somewhere between the mythic and the surreal, between dream and memory, with an undulating sense of temporality slipping between the ancient past and the imagined future. Light and land are entwined equally at the center of Wu\\u2019s practice. By affixing lights to drones and using them to illuminate select parts of the landscapes he photographs, Wu draws precise geometric marks that hover in the air like beacons, harbingers, and signs. 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His photography hovers somewhere between the mythic and the surreal, between dream and memory, with an undulating sense of temporality slipping between the ancient past and the imagined future. Light and land are entwined equally at the center of Wu\u2019s practice. By affixing lights to drones and using them to illuminate select parts of the landscapes he photographs, Wu draws precise geometric marks that hover in the air like beacons, harbingers, and signs. His work is concise, yet versatile in concept, offering new ways to approach the human relationship to nature, technology, and the overlay between past, present, and future.","event":{"BeforeDisplay":"","AfterDisplay":"","AfterDisplayTitle":"","BeforeDisplayContent":"","AfterDisplayContent":"","K2BeforeDisplay":"","K2AfterDisplay":"","K2AfterDisplayTitle":"","K2BeforeDisplayContent":"","K2AfterDisplayContent":""},"jcfields":[],"videoClass":false,"twitter_introtext":""},{"id":"67732","title":"Masahisa Fukase's Family Photos","alias":"masahisa-fukase-s-family-photos","catid":"12","published":"1","introtext":"For three generations the Fukase family ran a photography studio in Bifuka, a small provincial town in the northern Japanese province of Hokkaido. In August 1971, at the age of 35, Masahisa Fukase re<\/span><\/span>","fulltext":"\r\n

\"My entire family, whose image I see inverted in the frosted glass, will die one day. This camera, which reflects and freezes their images, is actually a device for archiving death.\" \u2013 Masahisa Fukase<\/em><\/p>\r\n

Between 1971 and 1989, he returned regularly and used the family studio, the large-format Anthony view camera and the changing family line-up as the basis for the series. True to his style, Fukase often introduced third-party models and humorous elements to juxtapose the ineluctable reality of time passing and the dwindling family group. He continued the series through his father\u2019s death in 1987, up until the closure of the Fukase studio due to bankruptcy in 1989, and the consequential dispersion of the family.<\/p>\r\n

Masahisa Fukase's Family<\/em> is available via MACK books.<\/a><\/p>","video":null,"gallery":"{gallery}67732{\/gallery}","extra_fields":"[{\"id\":\"13\",\"value\":\"For three generations the Fukase family ran a photography studio in Bifuka, a small provincial town in the northern Japanese province of Hokkaido. In August 1971, at the age of 35, Masahisa Fukase returned home from Tokyo, where he had moved in the 1950s. 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