(top) Lewis Baltz, 'Park City Interior'

(top) Lewis Baltz, 'Park City Interior'

Lewis Baltz (born 1945)
'Park City Interior' (top)
1978-9
Gelatin-silver print
Museum no. PH.299-1983
© Lewis Baltz

'Prospect Village' (bottom)
Lot 95
1978-9
Gelatin-silver print
Museum no. PH.335-1983
© Lewis Baltz

The Photograph

These photographs are from the Park City series. The two have not been linked together by Baltz, but are mounted together in this context as a reminder of his use of the series rather than the individual image to present his work. The prints are small and grey in tone.

Baltz is consciously giving an alternative type of image to the more fashionable and conventional 'art photography' format of large high contrast prints. On one level it is clear that Baltz presents a dialogue on the urbanisation and commodification of landscape and the type of print emphasises this reading of his work. There is, however, a strong sense of the textural and formal beauty of the sites.

The Photographer

Lewis Baltz has been one of the most significant American landscape photographers since the early 1970s. His major projects have all concentrated on landscapes that are under the process of urbanisation. These included The New Industrial Parks near Irvine, California (1973-4), Park City (1978-9) and San Quentin Point (1982-3). Baltz's photographs, described as the 'New Topographics', represent a movement in American landscape photography away from the use of land as a form through which the photographer's subjective emotions are expressed.

Processes and Techniques

These are gelatin-silver prints, the most common form of black and white print. 'The silver salts contained in the gelatin emulsion laid on the paper are principally silver bromide or silver chloride or a combination of both.' Gordon Baldwin, 'Looking at Photographs', J. Paul Getty Museum, 1991

 

This photograph can be found in Print Room Box 14.