Photographer James Welling’s career has variously explored ideas of transparency, color theory, and abstraction through his vibrant images. The most recent exhibition of Welling’s work, which debuted at the David Zwirner Gallery in early 2010, showcased his Glass House Series – a collection of digital images taken around the Connecticut estate of Phillip Johnson’s Glass House. The photographs are compelling not only for their technical use of cinema gels to extract monochromatic tones, but also for what architectural critic Sylvia Lavin describes as a “promiscuous transformation” of an American icon of orthodox modernism. Through a preoccupation with surface, reflection, fragmentation, and arbitrariness, Welling’s photographs arrive at a contemporary understanding of Johnson’s house. The argument will reference the series as a whole, but will discuss as an example the specific photograph that the Collecting Photography Now J-term class has recommended for acquisition by the Middlebury College Museum of Art.