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A bit late for an architectural historian, but finally made it to the Woodland Cemetery. So beautiful in snow and sunset!

A bit late for an architectural historian, but finally made it to the Woodland Cemetery. So beautiful in snow and sunset!

A bit late for an architectural historian, but finally made it to the Woodland Cemetery. So beautiful in snow and sunset!

Got the address.

Monday morning.

Becoming tree.

Thank you to The British Journal of Photography for reviewing ‘Hunting in Time’ in their latest issue, 7916, The Portrait Issue:

‘Hunting in Time begins with an extended essay by Ines Weizman,which sets the scene for Porat’s project. Based on her three exhibitions in Israel between 2016 and 2018, it is a “detective yarn evidence board” centred on the murder of a Berlin clockmaker in 1930.....The opening inscription is ‘everybody knew’ accompanied by one of Ulbrich’s portraits, a woman clasping her hand across her chest in a striped dress. What follows is a compilation of archive photographs, first in assemblages which Porat calls ‘index sheets’, and then in sparser, more associative arrangements. Pictures of women blur and fold into image ephemera drawn from contemporary psychiatric, jewellery and surgical instrument catalogues, as well as early designs of corsets and chastity belts. Also interspersed are photographs by Martin Munkácsi, August Sander, Clare Strand, Batia Suter and Francesca Woodman; all bearing the shadowy, ashen palette which gives the book its visual continuity....There is no resolution or “solving of the puzzle” here, Weizman reminds us. Instead, Hunting
in Time lies somewhere between a sociocultural study of the ominous late-Weimar period and a captivating archive presentation, which reflects this time of intrigue, suspicion, visual innovation and shifting morals.’

Thank you to The British Journal of Photography for reviewing ‘Hunting in Time’ in their latest issue, 7916, The Portrait Issue:

‘Hunting in Time begins with an extended essay by Ines Weizman,which sets the scene for Porat’s project. Based on her three exhibitions in Israel between 2016 and 2018, it is a “detective yarn evidence board” centred on the murder of a Berlin clockmaker in 1930.....The opening inscription is ‘everybody knew’ accompanied by one of Ulbrich’s portraits, a woman clasping her hand across her chest in a striped dress. What follows is a compilation of archive photographs, first in assemblages which Porat calls ‘index sheets’, and then in sparser, more associative arrangements. Pictures of women blur and fold into image ephemera drawn from contemporary psychiatric, jewellery and surgical instrument catalogues, as well as early designs of corsets and chastity belts. Also interspersed are photographs by Martin Munkácsi, August Sander, Clare Strand, Batia Suter and Francesca Woodman; all bearing the shadowy, ashen palette which gives the book its visual continuity....There is no resolution or “solving of the puzzle” here, Weizman reminds us. Instead, Hunting
in Time lies somewhere between a sociocultural study of the ominous late-Weimar period and a captivating archive presentation, which reflects this time of intrigue, suspicion, visual innovation and shifting morals.’