Julia Bradshaw

Art review: Through the pinhole, vastly

Julia Bradshaw’s "Survey" at Truckenbrod Pop-Up Gallery imagines new planets from a long way up

In 1920 Marcel Duchamp invited his friend Man Ray over to his studio to practice documenting artwork with his large format camera. Instead, Man Ray photographed dust that had accumulated on the glass backside of Duchamp’s The Bride Stripped Bare by Her Bachelors, Even (The Large Glass) (1915-23). To look at the image, one doesn’t immediately think of a dusty surface but of a barren landscape photographed from miles above. In fact, Man Ray said as much after he published the image two years later, describing it as a “view from an aeroplane.” Eventually given the title, Dust Breeding (1), the photograph has been a residual inspiration for generations of artists thereafter.

Not that Dust Breeding is a starting point for Julia Bradshaw’s exhibition, Survey, at Truckenbrod Pop-Up Gallery in Corvallis through September 29. It is merely my unavoidable point of reference. Instead, Bradshaw credits an oversight—not unlike Duchamp’s neglect in keeping a clean studio—for this series of photographs. Discovering an underused darkroom at a residency she was attending, Bradshaw regretted not bringing an analog 35mm camera along. Fortuitously, she had brought along her pinhole camera. She started a project by taking her own advice to students when teaching the use of a pinhole camera: take an image of a concrete sidewalk.

Still, one can readily see a direct link to Man Ray’s photograph. The grittiness of the concrete taken out of its original context suggests a larger landscape, and perhaps one that is otherworldly. For Bradshaw, she found herself thinking about the long history that photography has with astronomy, particularly James Nasmyth’s 19th century photographs of the moon’s topography. At the time, photographs of the night skies did not work well with telescopes because of an inability to track the movement of planets. Instead, Nasmyth built and photographed models of the moon’s surface. It was this fiction that brought Bradshaw to create her own silver-gelatin prints of interstellar and planetary surface fictions.(2)

Julia Bradshaw, Sinuous Rille from 2671 Altitude Kilometers

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