Author Archive for Marcus Bunyan

24
Apr
14

Exhibition: ‘Paris as Muse: Photography, 1840s-1930s’ at The Metropolitan Museum of Art, New York

Exhibition dates: 28th January – 4th May 2014

 

If there is one city in the world in which I would really like to live, it would be Paris. I have loved her since first going there as a teenager and she has never foresaken that love: always romantic, beautiful, intriguing, Paris is my kind of city. As a flâneur there is much to observe, much to digest and assimilate through periods of reflection.

Where do you start? Steichen, Stieglitz, Fox Talbot, Marville, Brassaï, Jeanloup Sieff, Cartier-Bresson, Jacques-Mandé Daguerre, Nadar, any photographer of note but above all Atget – all acquiescent to her charms. Strange as it may seem, it is not that the photographer takes photos of Paris (as though possessing an object of desire), but that the city allows these revelations to occur as a kind of benediction, a kind of divine blessing. Am I making any sense here? Perhaps I am just too much in love, but having photographed in Pere-Lachaise Cemetery for example, there is nothing quite like the feeling I get when in the City of Light.

The photographs in this posting are magnificent. The intimacy of the Brassaï, the tonality of the Steichen; the dankness of the Marville and the informality of the Stieglitz. The first two Atget are cracking images. Note how the auteur éditeur uses the darkness of the tree trunks to divide the picture plane, better than anyone has done before or since. It is a pleasure to be able to show you Atget’s Work Room with Contact Printing Frames (c. 1910, below), an image I have never seen before in all the years I have been looking at his work. Make sure you enlarge the image to see all the details including the simplicity of the trestle table: “On the table are the wooden frames the photographer used to contact print his glass negatives; at right are several bins of negatives stacked vertically; below the table are his chemical trays; on the shelves above are stacks of paper albums – a shelf label reads escaliers et grilles (staircases and grills).”

I am particularly taken by the feather duster, the parcels wrapped in newspapers and tied with string, and intrigued by the print of a moonrise(?) over a bridge high up, tacked to the wall (see detail image below). Obviously this image meant a lot to him because it is the only one in the room and it would have taken a bit of an effort to put it up there. I wonder whose image it is, and what bridge it is of…

Marcus

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Many thankx to The Metropolitan Museum of Art for allowing me to publish the photographs in the posting. Please click on the photographs for a larger version of the image.

 

“Oysters and a glass of wine, a corner café, the Sunday bird market on the Île de la Cité, a lover’s stolen kiss: Paris has loomed large in the imagination of artists, writers, and architects for centuries. For 175 years, it has attracted photographers from around the world who have succumbed to its spell and made it their home for part, if not all, of their lives.

Paris as Muse: Photography, 1840s-1930s (January 27 – May 4, 2014) celebrates the first 100 years of photography in Paris and features some 40 photographs, all drawn from the Museum’s collection. Known as the “City of Light” even before the birth of the medium in 1839, Paris has been muse to many of the most celebrated photographers, from Louis-Jacques-Mandé Daguerre (one of the field’s inventors) and Nadar to Charles Marville, Eugène Atget, and Henri Cartier-Bresson. The show focuses primarily on architectural views, street scenes, and interiors. It explores the physical shape and texture of Paris and how artists have found poetic ways to record its essential qualities using the camera.”

Text from The Metropolitan Museum of Art website

 

 

Eugène Atget (French, Libourne 1857-1927 Paris) 'Nôtre Dame' 1922

 

Eugène Atget (French, Libourne 1857-1927 Paris)
Nôtre Dame
1922
Albumen silver print from glass negative
18.2 x 22.1 cm (7 1/8 x 8 11/16 in.)
Gilman Collection, Purchase, Joseph M. Cohen Gift, 2005

 

Atget likely avoided Nôtre Dame during his early career as it was already well documented by other photographers. In his old age, however, he worked more for his own pleasure and during the last five years of his life photographed the cathedral regularly. He always viewed it in an eccentric way – either in the distance, as here, or in detail.

 

Eugène Atget (French, Libourne 1857–1927 Paris) 'Quai d'Anjou, 6h du matin' 1924

 

Eugène Atget (French, Libourne 1857-1927 Paris)
Quai d’Anjou, 6h du matin
1924
Albumen silver print from glass negative
17.7 x 22.8 cm (6 15/16 x 8 15/16 in.)
Gilman Collection, Purchase, William Talbott Hillman Foundation Gift, 2005

 

Eugène Atget (French, Libourne 1857–1927 Paris) 'Untitled [Atget's Work Room with Contact Printing Frames]' c. 1910

 

Eugène Atget (French, Libourne 1857-1927 Paris)
Untitled [Atget's Work Room with Contact Printing Frames]
c. 1910
Albumen silver print from glass negative
20.9 x 17.3 cm. (8 1/4 x 6 13/16 in.)
Purchase, The Horace W. Goldsmith Foundation Gift, through Joyce and Robert Menschel, 1990

 

This straightforward study by Atget of his own work room offers a rare glimpse of the inner sanctum of an auteur éditeur, as he described his profession. On the table are the wooden frames the photographer used to contact print his glass negatives; at right are several bins of negatives stacked vertically; below the table are his chemical trays; on the shelves above are stacks of paper albums – a shelf label reads escaliers et grilles (staircases and grills). Atget used these homemade albums to organize his vast picture collection from which he sold views of old Paris to clients.

 

Eugène Atget (French, Libourne 1857–1927 Paris) 'Untitled [Atget's Work Room with Contact Printing Frames]' c. 1910 (detail)

 

Eugène Atget (French, Libourne 1857-1927 Paris)
Untitled [Atget's Work Room with Contact Printing Frames] (detail)
c. 1910
Albumen silver print from glass negative
20.9 x 17.3 cm. (8 1/4 x 6 13/16 in.)
Purchase, The Horace W. Goldsmith Foundation Gift, through Joyce and Robert Menschel, 1990

 

Eugène Atget (French, Libourne 1857–1927 Paris) 'Marchand de Vin, Rue Boyer, Paris' 1910-11

 

Eugène Atget (French, Libourne 1857-1927 Paris)
Marchand de Vin, Rue Boyer, Paris
1910-11
Albumen silver print from glass negative
21.5 x 17.6 cm (8 7/16 x 6 15/16 in.)
Gilman Collection, Purchase, Joseph M. Cohen Gift, 2005

 

Eugène Atget (French, Libourne 1857–1927 Paris) 'Boulevard de Strasbourg, Corsets, Paris' 1912

 

Eugène Atget (French, Libourne 1857-1927 Paris)
Boulevard de Strasbourg, Corsets, Paris
1912
Gelatin silver print from glass negative
22.4 x 17.5 cm (8 13/16 x 6 7/8 in.)
The Metropolitan Museum of Art, New York, Gilman Collection
Purchase, Ann Tenenbaum and Thomas H. Lee Gift, 2005

 

Atget found his vocation in photography in 1897, at the age of forty, after having been a merchant seaman, a minor actor, and a painter. He became obsessed with making what he termed “documents for artists” of Paris and its environs and compiling a visual compendium of the architecture, landscape, and artifacts that distinguish French culture and history. By the end of his life, Atget had amassed an archive of more than eight thousand negatives, which he organized into such categories as Parisian Interiors, Vehicles in Paris, and Petits Métiers (trades and professions).

In Atget’s inventory of Paris, shop windows figure prominently and the most arresting feature mannequin displays. In the 1920s the Surrealists recognized in Atget a kindred spirit and reproduced a number of his photographs in their journals and reviews. Antiquated mannequins such as the ones depicted here struck them as haunting, dreamlike analogues to the human form.

 

Marie-Charles-Isidore Choiselat (French, 1815-1858) Stanislas Ratel (French, 1824-1904) 'Untitled [The Pavillon de Flore and the Tuileries Gardens]' 1849

 

Marie-Charles-Isidore Choiselat (French, 1815-1858)
Stanislas Ratel (French, 1824-1904)
Untitled [The Pavillon de Flore and the Tuileries Gardens]
1849
Daguerreotype
15.2 x 18.7 cm (6 x 7 3/8 in.)
Gilman Collection, Purchase, The Horace W. Goldsmith Foundation Gift, through Joyce and Robert Menschel, 2005

 

Taken in September 1849 from a window of the École des Beaux-Arts, this daguerreotype exhibits the dazzling exactitude and presence that characterize these mirrors of reality. True to the daguerreotype’s potential, stationary objects are rendered with remarkable precision; under magnification one can clearly discern minute architectural details on the Pavillon de Flore, features of statuary and potted trees in the Tuileries Gardens, even the chimney pots on the buildings in the background along the rue de Rivoli.

Daguerre himself had chosen a nearly identical vantage point in 1839 for one of his earliest demonstration pieces, and it may well have been with that archetypal image in mind that Choiselat and Ratel made this large daguerreotype a decade later. Choiselat and Ratel, among the earliest practitioners to utilize and improve upon Daguerre’s process, first published their methods for enhancing the sensitivity of the daguerreotype plate in 1840 and had achieved exposure times of under two seconds by 1843. Unlike Daguerre’s long exposure, which failed to record the presence of moving figures, this image includes people (albeit slightly blurred) outside the garden gates, on the Pont Royal, and peering over the quai wall above the floating warm-bath establishment moored in the Seine. Still more striking is the dramatic rendering of the cloud-laden sky, achieved by the innovative technique of masking the upper portion of the plate partway through the exposure.

 

William Henry Fox Talbot (British, 1800-1877) 'The Boulevards at Paris' May-June 1843

 

William Henry Fox Talbot (British, 1800-1877)
The Boulevards at Paris
May-June 1843
Salted paper print from paper negative
15.1 x 19.9 cm (5 15/16 x 7 13/16 in. )
Gilman Collection, Purchase, The Horace W. Goldsmith Foundation Gift, through Joyce and Robert Menschel, 2005

 

Talbot traveled to Paris in May 1843 to negotiate a licensing agreement for the French rights to his patented calotype process and, with Henneman, to give first hand instruction in its use to the licensee, the Marquis of Bassano.

No doubt excited to be traveling on the continent with a photographic camera for the first time, Talbot seized upon the chance to fulfill the fantasy he had first imagined on the shores of Lake Como ten years before. Although his business arrangements ultimately yielded no gain, Talbot’s views of the elegant new boulevards of the French capital are highly successful, a lively balance to the studied pictures made at Lacock Abbey. Filled with the incidental details of urban life, architectural ornamentation, and the play of spring light, this photograph, unlike much of the earlier work, is not a demonstration piece but rather a picture of the real world. The animated roofline punctuated with chimney pots, the deep shopfront awning, the line of waiting horse and carriages, the postered kiosks, and the characteristically French shuttered windows all evoke as vivid a notion of mid-nineteenth-century Paris now as they must have when Talbot first showed the photographs to his friends and family in England.

A variant of this scene, taken from a higher floor in Talbot’s Paris hotel, appeared as plate 2 in The Pencil of Nature.

 

Alfred Stieglitz (American, Hoboken, New Jersey 1864–1946 New York) 'A Snapshot, Paris' 1911, printed 1912

 

Alfred Stieglitz (American, Hoboken, New Jersey 1864–1946 New York)
A Snapshot, Paris
1911, printed 1912
Photogravure
13.8 x 17.4 cm. (5 7/16 x 6 7/8 in.)
Gift of J. B. Neumann, 1958

 

Born in Hoboken, New Jersey, Stieglitz trained to be an engineer in Germany and moved to New York in 1890. His lifelong ambition as an artist (and advocate for the arts) was to prove that photography was as capable of artistic expression as painting or sculpture. As the editor of Camera Notes, the journal of the Camera Club of New York, and then later Camera Work (1902-17), Stieglitz espoused his belief in the aesthetic potential of the medium. He published work by photographers who shared his conviction alongside European modernists such as Auguste Rodin, Pablo Picasso, Constantin Brancusi, and Francis Picabia.

 

Michel Seuphor (Belgian, born 1901) 'Paris' 1929

 

Michel Seuphor (Belgian, born 1901)
Paris
1929
Gelatin silver print
11.4 x 16.4 cm. (4 1/2 x 6 7/16 in.)
Purchase, The Horace W. Goldsmith Foundation Gift, through Joyce and Robert Menschel, 1994
© 2011 Artists Rights Society (ARS), New York

 

The Belgian painter, poet, designer, and art critic Seuphor moved to Paris in 1925 and entered the artistic community of such expatriate artists as Wassily Kandinsky, Piet Mondrian, and Theo van Doesburg. Little is known about his work with the camera except that this photograph was made the year Seuphor founded Cercle et Carré (Circle and Square), a group dedicated to abstraction that would include Kandinsky, Mondrian, Jean Arp, Kurt Schwitters, and Le Corbusier.

 

Marie-Charles-Isidore Choiselat (French, 1815-1858) Stanislas Ratel (French, 1824-1904) 'Défilé sur le Pont-Royal' May 1, 1844

 

Marie-Charles-Isidore Choiselat (French, 1815-1858)
Stanislas Ratel (French, 1824-1904)
Défilé sur le Pont-Royal
May 1, 1844
Daguerreotype
Gilman Collection, Gift of The Howard Gilman Foundation, 2005

 

In January 1839 the Romantic painter and printmaker Louis-Jacques-Mandé Daguerre (1787-1851) showed members of the French Académie des Sciences an invention he believed would forever change visual representation: photography. Each daguerreotype (as Daguerre dubbed his invention) is an image produced on a highly polished, silver-plated sheet of copper.

Using an “accelerating liquid” of their own devising, the daguerreotypists Choiselat and Ratel were able to reduce exposure times from minutes to seconds, which allowed them to capture events as they happened. Here the mounted guards stationed along one of Paris’s most famous bridges registered clearly on the daguerreotype plate, but even with a short exposure time the moving crowds and rolling carriages became a blur of activity.

 

Charles Marville (French, Paris 1813–1879 Paris) 'Rue Traversine (from the Rue d'Arras)' c. 1868

 

Charles Marville (French, Paris 1813–1879 Paris)
Rue Traversine (from the Rue d’Arras)
c. 1868
Albumen silver print from glass negative
34.8 x 27.5 cm (13 11/16 x 10 13/16 in. )
Gift of Howard Stein, 2010

 

Brassaï (French (born Romania), Brașov 1899-1984 Côte d'Azur) 'Street Fair, Boulevard St. Jacques, Paris' 1931

 

Brassaï (French (born Romania), Brașov 1899-1984 Côte d’Azur)
Street Fair, Boulevard St. Jacques, Paris
1931
Gelatin silver print
22.9 x 17.1 cm (9 x 6 3/4 in.)
Purchase, Alfred Stieglitz Society Gifts, 2007
© The Estate of Brassai

 

Born in Transylvania, Gyula Halász studied painting and sculpture in Hungary and moved to Paris in 1924 to work as a journalist. About 1930 he changed his name to Brassaï and took up photography. The camera became a constant companion on his nightly walks through the city’s seamier quarters, where he aimed his lens at showgirls, prostitutes, ragpickers, transvestites, and other inhabitants of the demimonde. His first and most famous book of photographs, Paris de nuit (Paris by Night), published in 1933, includes a variation of this scene of three masked women tempting men into a sideshow.

 

Edward J. Steichen (American (born Luxembourg), Bivange 1879-1973 West Redding, Connecticut) 'Untitled [Brancusi's Studio]' c. 1920

 

Edward J. Steichen (American (born Luxembourg), Bivange 1879-1973 West Redding, Connecticut)
Untitled [Brancusi's Studio]
c. 1920
Gelatin silver print
24.4 x 19.4 cm (9 5/8 x 7 5/8 in.)
Gift of Grace M. Mayer, 1992
Reprinted with permission of Joanna T. Steichen.

 

Steichen lived in Paris on and off from 1900 to 1924, making paintings and photographs. A cofounder with Alfred Stieglitz of the Photo-Secession, Steichen offered his former New York studio to the fledgling organization as an exhibition space in 1905. Known first as the Little Galleries of the Photo-Secession and later simply by its address on Fifth Avenue, 291, the gallery introduced modern French art to America through the works of Rodin, Matisse, Cézanne, and, in 1914, Constantin Brancusi.

Steichen and Brancusi, who met at Rodin’s studio, became lifelong friends. This view of a corner of Brancusi’s studio on the impasse Roncin shows several identifiable works, including Cup (1917) and Endless Column (1918). The photograph’s centerpiece is the elegant polished bronze Golden Bird (1919), which soars above the other forms. Distinct from Brancusi’s studio photographs – subjective meditations on his own creations – Steichen’s view is more orchestrated, geometric, and objective. Golden Bird is centered, the light modulated, and the constellation of masses carefully balanced in the space defined by the camera. A respectful acknowledgment of the essential abstraction of the sculpture, the photograph seems decidedly modern and presages the formal studio photographs Steichen made in the service of Vanity Fair and Vogue beginning in 1923.

 

 

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21
Apr
14

Text / review: ‘A Vocabulary of Printing and the Syntax of the Image’ from the exhibition ‘KHEM’ at Strange Neighbour, Fitzroy, Melbourne

Exhibition dates: 11th April – 3rd May 2014

Artists: Jane Brown, Ponch Hawkes, Siri Hayes, Ruth Maddison, Lloyd Stubber, David Tatnall, Claudia Terstappen
Curated By Linsey Gosper

 

A Vocabulary of Printing and the Syntax of the Image

 

“No matter how slow the film, Spirit always stands still long enough for the photographer It has chosen.”

“One should not only photograph things for what they are but for what else they are.”

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Minor White

 

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As an artist who originally trained in the alchemical, analogue art of photography, the magic of this process will always hold sway in my heart. No matter how many excellent digital photographs I see, there is always a longing for silver – that indescribable feeling of looking at a master printers work, an image that literally takes your breath away. I hardly ever get that in a digital print. For me, it’s the difference between the fidelity of a CD and the aura of an LP, with all its scratches and pops, hisses and, yes, atmosphere.

Minor White, that guru of enlightenment, knew how difficult it was to capture spirit in a photograph. To make a connection between photographer and object, back through a glass lens and a metal box onto a piece of plastic or glass (completing a Zen circle), then printed onto a piece of paper. There are three ways it goes: you see something (you previsualise it) and you don’t capture it in the negative; you don’t see it, and the negative surprises you; but, best of all, you see it and you capture it – the object of your attention reveals itself to you. Then all you have to do is print it – easier said than done. Much testing and assessing, dodging and burning to balance the print knowing that, as MW says, each negative is like a dragon that an image has to be wrenched from.

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No longer for ears …: sound
which like a deeper ear,
hears us, who only seem
to be hearing. Reversal of spaces.

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Extract from Rainer Maria Rilke Gong 1925

 

Emmet Gowin printing mask for The Hint That Is a Garden: Siena, Italy 1975

 

Emmet Gowin printing mask for The Hint That Is a Garden: Siena, Italy 1975 (below)

 

 

Emmet Gowin (American, born 1941)
The Hint That Is a Garden: Siena, Italy
Dedicated to Frederick Sommer, 1975
Gelatin silver print
19.5 x 24.5 cm. (7 11/16 x 9 5/8 in.)
Gift of Mrs. Saul Reinfeld

 

 

When you do the analogue printing yourself (or when assessing a digital test print at a lab such as CPL Digital), the most important thing is to understand the vocabulary of printing. In both analogue and digital printing it all starts from the negative/file. If you don’t understand your negative or digital file, what hope have you of attaining a good end result? You must study the negative to understand its pushes and pulls, what needs to be held back, what other areas brought forward in the image. You have to feel the balance within the negative/file in the sensibility of the print. Darren from CPL observes that he has a lot of photographers and students come in and say, “I don’t want it to be like that,” but then they can’t explain what they do want it to be like or how they can get there. They have no vocabulary of printing or how to get the “feel” that they want from the print. I believe this is where training in the analogue darkroom can stand digital photographers in good stead.

What photographers need to understand is the syntax of an image, “the system of organization used in putting lines together to form pictures that can stand as representations of particular objects,”1 where they is a clear association between the structure of photographic prints and the linguistic structure that makes verbal communication possible. Photographers are the Keepers of Light and photography broke the boundaries of the visual field that had been delimited by etchings and prints, to allow human beings to see far beyond the physical field of view, to have photographic power over space and time which fundamentally changed the scope of human consciousness.2 Photography makes drawing unnecessary in the physical sense, but through previsualisation photography is predicated on mental drawing (with light) and through the physical form of the photograph, the print, photography has a syntactical basis – which comes from the languages of the photographer inherent in human consciousness and the chemical, optical and mechanical relationships that make photography possible. Both feeling and technology.

I believe that these two things go hand in hand and when photographers have no language, no vocabulary to describe what they want from a photographic print, then they are basically coming up against the limitations of their feelings, technologies and the machine. “Genius is constantly frustrated – and tempered – by the machine.”3 As William Crawford observes, “You simply cannot look at photographs as if they were ends without means. Each is the culmination of a process in which the photographer makes his decisions and discoveries within a technological framework.”4 “Each step in the photographic process plays a syntactical role to the degree that it affects the way the information, the sentiment, the surprises, and the frozen moments found in photographs actually meet the eye.”5 In the case of the photographic print, this means understanding the emotional linguistic vocabulary of printing through the syntax of the image.

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With these thoughts in mind, the two standouts in this delightful group exhibition are Claudia Terstappen and Ponch Hawkes. Terstappen’s Brazilian rainforest photographs are as well seen and exquisitely printed as ever but this time they are slightly let down by the nearness of the frame and the colour of the moulding, both of which seen to limit the breathe of the image. Hawkes’ photographs are sublime (especially the two reproduced below), the best silver gelatin photographs that I have seen by an Australian artist in since Terstappen’s last solo exhibition In the Shadow of Change at Monash Gallery of Art. They have wonderful tonality and presence, and a quietness that really lets you contemplate the image through the beauty of the print – and a snip at only $800 each framed!

Other artists in the exhibition have singular images that are interesting (pictured below), but the major disappointment are the prints of Jane Brown. When I first saw the images of Brown’s Australian Gothic at Edmund Pearce Gallery in 2012 I said that they were, “small, darkly hewn, traditionally printed silver gelatin photographs… surrealist tinged, film noir-ish mise-en-scènes, the ones that emphasise the metaphorical darkness of the elements gathered upon the stage. Photographs such as Big TroutThe Female Factory, Adelong, New South Wales and Captain’s Flat Hotel, New South Wales really invoke a feeling of unhomely (or unheimlich), where nature is out of kilter. These images unsettle our idea of Oztraliana, our perceived sense of Self and our place in the world. They disrupt normal transmission; they transmutate the seen environment, transforming appearance, nature and form.”6 This was again the feeling that I got when I saw the series at a later exhibition at the Centre for Contemporary Photography.

Not this time. The prints shown here are much darker and have become almost ungrammatical; where the syntax of the image has broken down so that the linguistic structure of the image makes communication nearly impossible. It is not enough just to make prints darker and darker, hoping for some mystery to magically appear in the image because it won’t. This is a case of overprinting the negative, forcing the vocabulary of the image through a wish to impart something emphatic, some condition of being from the negative that has been imperfectly understood. Is this because this is Edition 2 out of 7, a different printer and a different size? I don’t know the answer to those questions, but Brown really needs to go back to the negatives and reassess the results, especially as these nearly incomprehensible prints are selling for an overinflated $2,000 each framed.

Dr Marcus Bunyan for the Art Blart blog

 

Footnotes

1. Crawford, William. “Photographic Syntax,” in Crawford, William. The Keepers of Light: A History and Working Guide to Early Photographic Processes. Morgan and Morgan, 1979, p. 2
2. Ibid., p. 5
3. Ibid., p. 6
4. Ibid., p. 6
5. Ibid., p. 7
6. Bunyan, Marcus. Review: Jane Brown / Australian Gothic at Edmund Pearce Gallery, Melbourne, 6th May 2012 [Online] Cited 21st April 2014 http://wp.me/pn2J2-2RL

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Many thankx to Strange Neighbour for allowing me to publish the photographs in the posting. Please click on the photographs for a larger version of the image.

 

ps 6

 

William Crawford. “Photographic Syntax,” in William Crawford. The Keepers of Light: A History and Working Guide to Early Photographic Processes. Morgan and Morgan, 1979, p. 6

 

Claudia Terstappen. 'Jungle I (Brazil)' 1991

 

Claudia Terstappen
Jungle I (Brazil)
1991
from the series Ghosts at the Jucurucu
Silver gelatin print
46 x 68 cm

 

Lloyd Stubber. 'Untitled' 2012

 

Lloyd Stubber
Untitled
2012
Fibre-based silver gelatin print
11 x 14 inches

 

David Tatnall. 'Clifton Springs Jetty' 2012

 

David Tatnall
Clifton Springs Jetty
2012
From the series Coastal Pinholes
Silver gelatin contact print
20 x 25 cm

 

Ruth Maddison. 'Bellambi, NSW' 1989

 

Ruth Maddison
Bellambi, NSW
1989
Hand coloured gelatin silver print
19.6 x 49 cm
Vintage print, unique state

 

Ruth Maddison. 'Self-portrait #2' 2004

 

Ruth Maddison
Self-portrait #2
2004
From the series Light touches
Sun print on black and white photographic paper
Vintage print, unique state

 

 

“The process of analogue photography is created through darkness and light. To celebrate the launch of the Strange Neighbour Darkroom this exhibition brings together a group of artists who pursue and extend the practice of analogue and darkroom photography. These artists work across many of the countless possibilities of the medium: 35mm, medium format and large format photography, and their diverse processes include pinhole photography, photograms, sun prints, fibre printing and hand colouring. Contemporary photographers are driving the current resurgence in analogue photography and Strange Neighbour is excited to be able to facilitate this irreplaceable art form. Darkroom practice is unique and magickal, alive and well.”

Press release from the Strange Neighbour website

 

Khem; a possible derivative of the word alchemy, the native name of Egypt, is thought to mean black. Some scholars maintain that Khem is derived from a root meaning wise.1

Alchemy is described as chemistry endowed with magic, and alchemists as those who work with metals and keep these operations secret.2 Apart from the obvious associations of working with metals (silver) and chemistry, there are more subtle and intimate parallels between the art and science of alchemy and darkroom practice.

It is common among darkroom practitioners to consider the process as ‘magic’. When most people encounter printing their first photograph in the darkroom, the simple sight of an image appearing on the paper in the developer tray seems ‘magical’. Even experienced darkroom practitioners never lose this special feeling. Exhibiting artist, Siri Hayes notes, “Watching images come up in developing tray is as mysterious and exciting as any magic show. Perhaps more so as there are no tricks except that the photographic product is the grandest of illusions.”

Distinct from many other forms of photography, darkroom based practice is now specialised, with few people having access to the knowledge, equipment and skills associated with the medium. Like a secret esoteric order, few share this wisdom, and even those willing to teach it may keep special recipes, techniques and discoveries to themselves or within a select dedicated group. Some of this information, although scientific, is not completely understood in rational terms of facts or calculations, but is more related to intuition and perception. It is technical and it is intuitive.

The complex rituals associated with the process allow practitioners to get into a headspace that is conducive to contemplation, bringing forth intuition, allowing space for chance and universal cause and effect. In this art and science there are so many variables with endless possibilities. Ruth Maddison‘s Sun prints are made without camera, film, enlarger or developer. She states, “the tonal range depends on variables like paper stock, length of time in sun or shade, whether the objects are wet or dry…. and an unpredictable magic that happens when light sensitive paper is touched by light.”

In this unpredictable environment often mistakes lead to new ideas and create new methodologies. One of the charms of analogue processes is the discovery of beauty through error. Ponch Hawkes recalls this as disasters and wonderful happenstance. Claudia Terstappen remarks it is the number of variables in the darkroom that leaves the creative process wide open and it is often these inaccuracies caused by chemical reactions that lead to a new meaning. This is what makes analogue processes so valuable and irreplaceable. There are many effects in the analogue process that one can recreate with digital technologies, but not invent.

Imperfections caused by these variables or ‘mistakes’ may imbue the image with a ‘spirit’ and otherworldliness, as if the energy of a place or person has been captured. Black and white photography too has the ability to transcend time, memory and death. Jane Brown says, “I examine this a lot in my work – landscapes seem to have vestiges or traces of past life and memorials become otherworldly.” Claudia Terstappen’s work, “is motivated by the stories, beliefs and histories of the people who live there. Here people spoke about the forest spirits that one should be aware of. B+W images suggest a kind of silence.” At a symbolic level, silence is part of most sacred traditions3, and it is part of darkroom practice.

Using analogue processes and working in the darkroom can be aligned to the slow movement, of valuing quality over quantity and returning to a feeling of connectedness. For the images in this exhibition David Tatnall has used an 8 x 10 inch pinhole camera and made contact prints. He expresses of this technology, “my reasons for using this slow, cumbersome and fickle means to make photographs is because I feel it conveys the interaction of the sky and water, the presence of wind and the pulse of nature. I am particularly interested in how the long exposures and lack of sharpness make these features merge into something else… (The) simplicity: no lens, shutter or batteries, no need to upgrade, no click or buzz, no flashing lights or mega pixels no viewfinder and no distortion.” For Ruth Maddision, “she says of working with hand colouring, the pleasure of it – I love working on the real object again, and away from the screen.”

Clearly there is belief and an element of trust in the medium. Lloyd Stubber‘s images in this exhibition are taken from a one-month round the world trip. On return he processed the 15 rolls of film in his laundry. Perhaps the potential fear of loss is overwhelmed by the sense of anticipation, surprise and the flood of memories that return on seeing the work at a later date, as compared to digital, which is immediate and holds none of the mystery.

Another important distinction of darkroom and analogue practice from other forms of photography is the presence of artist’s hand throughout the entire progression of creation to final outcome. In each step of the process, significant choices are made from the many possibilities, from exposing light sensitive film in the camera, developing the film, to printing and finishing the art object. The artist’s mark is therefore not only discernible but also inherently valuable. To Ponch Hawkes, being the maker is of significance. For Terstappen, The physicality of arriving at the ‘perfect’ Gelatin Silver print – with its deep tonal ranges – is something that I highly value.

Contemporary artists are driving the current resurgence in analogue photography. This is a treasured, magickal4 and irreplaceable art form. It is with great pleasure that I declare the Strange Neighbour Darkroom open, and may it provide the space and opportunity for the love of darkroom practice to be enjoyed, shared and fostered.”

Linsey Gosper, curator, darkroom lover, 2014
1. Francis Melville. The Book of Alchemy. Quarto Publishing plc, 2002, p. 6
2. Kurt Seligman. Magic, Supernaturalism and Religion. Pantheon Books, 1948, p. 84
3. Ami Ronnberg (ed.,). The Book of Symbols. Taschen, 2010, p. 676
4. Magick, in the context of Aleister Crowley’s Thelema, is a term used to differentiate the occult from stage magic and is defined as the Science and Art of causing Change to occur in conformity with Will, including both mundane acts of will as well as ritual magic

 

Jane Brown. 'Decommissioned Art History Library, University of Melbourne' 2012-2013

 

Jane Brown
Decommissioned Art History Library, University of Melbourne
2012-2013
Fibre-based gelatin silver print
44 x 49.5 cm
Edition 2 of 7

 

Jane Brown. 'Lathamstowe' 2011- 2013

 

Jane Brown
Lathamstowe
2011- 2013
Fibre-based, gelatin silver print
46 x 44 cm
Edition 2 of 7

 

Ponch Hawkes. 'Silken Seam' 2005

 

Ponch Hawkes
Silken Seam
2005
Silver gelatin print
34 x 34 cm
Courtesy of the artist and Chrysalis Gallery, Melbourne

 

Ponch Hawkes. 'Rouleau' 2005

 

Ponch Hawkes
Rouleau
2005
Silver gelatin print
34 x 34cm
Courtesy of the artist and Chrysalis, Melbourne

 

Siri Hayes. 'Aquatic listening device' 2009

 

Siri Hayes
Aquatic listening device
2009
Silver gelatin print
39 x 45 cm
Courtesy of the artist and M.33, Melbourne

 

 

Strange Neighbour
395 Gore St, Fitzroy
Victoria Australia 3065
T: +61 3 9041 8727

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19
Apr
14

Exhibition: ‘Photography and the American Civil War’ at the New Orleans Museum of Art (NOMA)

Exhibition dates: 31st January – 4th May 2014

 

This posting continues my fascination with the American Civil War, with new photographs from the exhibition to compliment the posting I did when it was staged at the Metropolitan Museum of Art, New York, April – September 2013.

I have included fascinating close-up details: the collar of African-American Union soldier John Henry flapping in the breeze during the long time exposure (What Do I Want, John Henry? Warrenton, Virginia November 1862, below); the pale grey/blue eyes of George Patillo which have been added to the plate afterwards1 (The Pattillo Brothers (Benjamin, George, James, and John) etc… 1861-63, below); the horrific branding of the slave Wilson Chinn who had the initials of his owner burned into his head (Emancipated Slaves Brought from Louisiana by Colonel George H. Banks, December 1863, below); and the crumpled coat of Allan Pinkerton, Chief of the Secret Service of the United States, as he poses with his president (President Abraham Lincoln et al, October 4, 1862, below).

Marcus

 

1. “The daguerreotype, like all photographic processes before 1873 [including Ambrotypes], was sensitive to blue light only, so that red dresses registered black and people with blue eyes appeared to have no irises and looked quite strange.”

Davies, Alan. An Eye for Photography: The camera in Australia. Melbourne: The Miegunyah Press/State Library of New South Wales, 2002, p. 8.

.
Many thankx to the New Orleans Museum of Art for allowing me to publish the photographs in the posting. Please click on the photographs for a larger version of the image.

 

 

Alexander Gardner (American, Glasgow, Scotland 1821-1882 Washington, D.C.;) 'What Do I Want, John Henry? Warrenton, Virginia' November 1862

 

Alexander Gardner (American, Glasgow, Scotland 1821-1882 Washington, D.C.;)
What Do I Want, John Henry? Warrenton, Virginia
November 1862
Albumen photograph from the album Incidents of the War
Photography collection, Miriam and Ira D. Wallach Division of Art, Prints and Photographs
The New York Public Library Astor, Lennox and Tilden Foundations

 

Alexander Gardner (American, Glasgow, Scotland 1821-1882 Washington, D.C.;) 'What Do I Want, John Henry? Warrenton, Virginia' (detail) November 1862

 

Alexander Gardner (American, Glasgow, Scotland 1821-1882 Washington, D.C.;)
What Do I Want, John Henry? Warrenton, Virginia (detail)
November 1862
Albumen photograph from the album Incidents of the War
Photography collection, Miriam and Ira D. Wallach Division of Art, Prints and Photographs
The New York Public Library Astor, Lennox and Tilden Foundations

 

Andrew Joseph Russell (American, 1830-1902) 'Confederate Method of Destroying Rail Roads at McCloud Mill, Virginia' 1863

 

Andrew Joseph Russell (American, 1830-1902)
Confederate Method of Destroying Rail Roads at McCloud Mill, Virginia
1863
Albumen silver print from glass negative
The Metropolitan Museum of Art, Harris Brisbane Dick Fund, 1933
Image © The Metropolitan Museum of Art

 

Unknown Artist. 'Captain Charles A. and Sergeant John M. Hawkins, Company E, "Tom Cobb Infantry," Thirty-eighth Regiment, Georgia Volunteer Infantry' 1861-62

 

Unknown Artist
Captain Charles A. and Sergeant John M. Hawkins, Company E, “Tom Cobb Infantry,” Thirty-eighth Regiment, Georgia Volunteer Infantry
1861-62
Quarter-plate ambrotype with applied color
David Wynn Vaughan Collection
Photo: Jack Melton

 

The vast majority of war portraits, either cased images or cartes de visite, are of individual soldiers. Group portraits in smaller formats are more rare and challenged the field photographer (as well as the studio gallerist) to conceive and execute an image that would honor the occasion and be desirable – saleable – to multiple sitters. For the patient photographer, this created interesting compositional problems and an excellent opportunity to make memorable group portraits of brothers, friends, and even members of different regiments.

In this quarter-plate ambrotype, Confederate Captain Charles Hawkins of the Thirty-eighth Regiment, Georgia Volunteer Infantry, on the left, sits for his portrait with his brother John, a sergeant in the same regiment. They address the camera and draw their fighting knives from scabbards. Charles would die on June 13, 1863, in the Shenandoah Valley during General Robert E. Lee’s second invasion of the North. John, wounded at the Battle of Gaines’s Mill in June 1862, would survive the war, fighting with his company until its surrender at Appomattox.

 

Unknown '[The Pattillo Brothers (Benjamin, George, James, and John), Company K, "Henry Volunteers," Twenty-second Regiment, Georgia Volunteer Infantry]' 1861-63

 

Unknown
[The Pattillo Brothers (Benjamin, George, James, and John), Company K, "Henry Volunteers," Twenty-second Regiment, Georgia Volunteer Infantry]
1861-63
Ambrotype
Plate: 8.3 x 10.8 cm (3 1/4 x 4 1/4 in.)
David Wynn Vaughan Collection
Image © The Metropolitan Museum of Art

 

The four Pattillo boys of Henry County were brothers who all enlisted together in Company K of the 22nd Regiment of the GA Volunteer Infantry on August 31, 1861.

Benjamin, seated on the left holding a Confederate hand-grenade, made a 50-dollar bounty during his tenure from April 5 to June 20, 1862. He was shot in the stomach at 2nd Manassas on August 30, 1862, and died in the General Hospital in Warrenton, VA, the next day.

George, second from the left, was detailed for shoemaking at Augusta, GA in November of 1862 until the close of the war. He was the only Pattillo to make it out of the Civil War without an injury. He made 35 cents per shoe and made 106 shoes in February 29, for $37.10. The pay for a soldier was 3 dollars per day.

James, second from the right, was discharged in March of 1862 but reenlisted afterwards. He was shot in the foot in the Battle of Second Deep Bottom on August 16, 1864. The injury resulted in the amputation of his third toe. Pension records show he was at home on wounded furlough to close of the war.

John, seated on the right, was admitted to Chimborazo Hospital #2 in Richmond on May 31, 1862, because of a case of Dysentery. He returned to duty on June 14, 1862, but was wounded at the Seven Days’ battles near Richmond on June 28,1862. He was admitted to C. S. A. General Hospital at Charlottesville on November 20, 1862, and again on December 16, 1862. He returned to duty on December 17, 1862, but pension records show he was discharged on account of wounds in March of 1863. (Text from the Historynet.com website)

 

Unknown '[The Pattillo Brothers (Benjamin, George, James, and John), Company K, "Henry Volunteers," Twenty-second Regiment, Georgia Volunteer Infantry]' (detail) 1861-63

 

Unknown
[The Pattillo Brothers (Benjamin, George, James, and John), Company K, "Henry Volunteers," Twenty-second Regiment, Georgia Volunteer Infantry] (detail)
1861-63
Ambrotype
Plate: 8.3 x 10.8 cm (3 1/4 x 4 1/4 in.)
David Wynn Vaughan Collection
Image © The Metropolitan Museum of Art

 

Myron H. Kimball (American, active 1860s) 'Emancipated Slaves Brought from Louisiana by Colonel George H. Banks' December 1863

 

Myron H. Kimball (American, active 1860s)
Emancipated Slaves Brought from Louisiana by Colonel George H. Banks
December 1863
Albumen silver print from glass negative
The Metropolitan Museum of Art, Gilman Collection, Purchase, The Horace W. Goldsmith Foundation Gift, through Joyce and Robert Menschel, 2005
Image © The Metropolitan Museum of Art

 

Myron H. Kimball (American, active 1860s) 'Emancipated Slaves Brought from Louisiana by Colonel George H. Banks' (detail) December 1863

 

Myron H. Kimball (American, active 1860s)
Emancipated Slaves Brought from Louisiana by Colonel George H. Banks (detail)
December 1863
Albumen silver print from glass negative
The Metropolitan Museum of Art, Gilman Collection, Purchase, The Horace W. Goldsmith Foundation Gift, through Joyce and Robert Menschel, 2005
Image © The Metropolitan Museum of Art

 

The slave (at back left) with those letters was Wilson Chinn, who was about 60 years old at the time. When he was 21 years old he was sold to Volsey B. Marmillion, a sugar planter about 45 miles above New Orleans. Marmillion branded his slaves, including Wilson. Those are Marmillion’s initials, horrifically burned into Wilson’s forehead in the image.

Russell Lord, photography curator at NOMA

 

Andrew Joseph Russell (American, 1830-1902) 'Slave Pen, Alexandria, Virginia' 1863

 

Andrew Joseph Russell (American, 1830-1902)
Slave Pen, Alexandria, Virginia
1863
Albumen silver print from glass negative
25.6 x 36.5 cm (10 1/16 x 14 3/8 in.)
Gilman Collection, Purchase, The Horace W. Goldsmith Foundation Gift, through Joyce and Robert Menschel, 2005
Image © The Metropolitan Museum of Art

 

Better known for his later views commissioned by the Union Pacific Railroad, A. J. Russell, a captain in the 141st New York Infantry Volunteers, was one of the few Civil War photographers who was also a soldier. As a photographer-engineer for the U.S. Military Railroad Con struction Corps, Russell’s duty was to make a historical record of both the technical accomplishments of General Herman Haupt’s engineers and the battlefields and camp sites in Virginia. This view of a slave pen in Alexandria guarded, ironically, by Union officers shows Russell at his most insightful; the pen had been converted by the Union Army into a prison for captured Confederate soldiers.

Between 1830 and 1836, at the height of the American cotton market, the District of Columbia, which at that time included Alexandria, Virginia, was considered the seat of the slave trade. The most infamous and successful firm in the capital was Franklin & Armfield, whose slave pen is shown here under a later owner’s name. Three to four hundred slaves were regularly kept on the premises in large, heavily locked cells for sale to Southern plantation owners. According to a note by Alexander Gardner, who published a similar view, “Before the war, a child three years old, would sell in Alexandria, for about fifty dollars, and an able-bodied man at from one thousand to eighteen hundred dollars. A woman would bring from five hundred to fifteen hundred dollars, according to her age and personal attractions.” 

Late in the 1830s Franklin and Armfield, already millionaires from the profits they had made, sold out to George Kephart, one of their former agents. Although slavery was outlawed in the District in 1850, it flourished across the Potomac in Alexandria. In 1859, Kephart joined William Birch, J. C. Cook, and C. M. Price and conducted business under the name of Price, Birch & Co. The partnership was dissolved in 1859, but Kephart continued operating his slave pen until Union troops seized the city in the spring of 1861.

 

Alexander Gardner (American, Glasgow, Scotland 1821-1882 Washington, D.C.;) 'Ruins of Gallego Flour Mills, Richmond' 1865

 

Alexander Gardner (American, Glasgow, Scotland 1821-1882 Washington, D.C.;)
Ruins of Gallego Flour Mills, Richmond
1865
Albumen silver prints from glass negatives
The Metropolitan Museum of Art, Harris Brisbane Dick Fund, 1933
Image © The Metropolitan Museum of Art

 

George N. Barnard (American, 1819-1902) 'Ruins of Mrs. Henry's House, Battlefield of Bull Run; Bull Run, Mrs. Henry's House, 21 July 1861' March 1862

 

George N. Barnard (American, 1819-1902)
Ruins of Mrs. Henry’s House, Battlefield of Bull Run; Bull Run, Mrs. Henry’s House, 21 July 1861
March 1862
Albumen silver print from glass negative
The Metropolitan Museum of Art, Harris Brisbane Dick Fund, 1933
Image © The Metropolitan Museum of Art

 

Maker: Unknown '[Civil War Portrait Lockets]' 1860s

 

Maker: Unknown
[Civil War Portrait Lockets]
1860s
Tintypes and albumen silver prints in brass, glass, and shell enclosures
Brian D. Caplan Collection
Image © The Metropolitan Museum of Art

 

Maker: Unknown '[Civil War Portrait Lockets]' (detail) 1860s

 

Maker: Unknown
[Civil War Portrait Lockets] (detail)
1860s
Tintypes and albumen silver prints in brass, glass, and shell enclosures
Brian D. Caplan Collection
Image © The Metropolitan Museum of Art

 

 

“More than 200 of the finest and most poignant photographs of the American Civil War have been brought together for the landmark exhibition Photography and the American Civil War, opening January 31 at New Orleans Museum of Art. Organized by The Metropolitan Museum of Art, the exhibition will examine the evolving role of the camera during the nation’s bloodiest war. The “War between the States” was the great test of the young Republic’s commitment to its founding precepts; it was also a watershed in photographic history. The camera recorded from beginning to end the heartbreaking narrative of the epic four-year war (1861-1865) in which 750,000 lives were lost. This exhibition will explore, through photography, the full pathos of the brutal conflict that, after 150 years, still looms large in the American public’s imagination.

“This extraordinary exhibition transcends geographic divisions in its intense focus on the participants in the Civil War,” said Susan M. Taylor, Director of New Orleans Museum of Art. “It becomes an exploration of shared human traits: hope, resolution, stoicism, fear, and sadness. We are delighted to share this important statement about American history and identity with the people of New Orleans and the Gulf region.”

 

Exhibition overview

Photography and the American Civil War will include: intimate studio portraits of armed Union and Confederate soldiers preparing to meet their destiny; battlefield landscapes strewn with human remains; rare multi-panel panoramas of the killing fields of Gettysburg and destruction of Richmond; diagnostic medical studies of wounded soldiers who survived the war’s last bloody battles; and portraits of Abraham Lincoln as well as his assassin John Wilkes Booth. The exhibition features groundbreaking works by Mathew B. Brady, George N. Barnard, Alexander Gardner, and Timothy O’Sullivan, among many others. It also examines in-depth the important, if generally misunderstood, role played by Brady, perhaps the most famous of all wartime photographers, in conceiving the first extended photographic coverage of any war. The exhibition addresses the widely held, but inaccurate, belief that Brady produced most of the surviving Civil War images, although he actually made very few field photographs during the conflict. Instead, he commissioned and published, over his own name and imprint, negatives made by an ever-expanding team of field operators, including Gardner, O’Sullivan, and Barnard.

Approximately 1,000 photographers worked separately and in teams to produce hundreds of thousands of photographs – portraits and views – that were actively collected during the period (and over the past century and a half) by Americans of all ages and social classes. In a direct expression of the nation’s changing vision of itself, the camera documented the war and also mediated it by memorializing the events of the battlefield as well as the consequent toll on the home front.

“The massive scope of this exhibition mirrors the tremendous role that photography played in describing, defining, and documenting the Civil War,” said Russell Lord, Freeman Family Curator of Photography. “The technical, cultural and even discursive functions of photography during the Civil War are critically traced in this exhibition, as is the powerful human story, a story of the personal hopes and sacrifices and the deep and tragic losses on both sides of the conflict.”

Press release from the New Orleans Museum of Art website

 

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Maker: Unknown
[Presidential Campaign Medals with Portraits of John C. Breckinridge, Stephen A. Douglas and Edward Everett]
1860
Tintype
Brian D. Caplan Collection
Image © The Metropolitan Museum of Art

 

Alexander Gardner (American, Glasgow, Scotland 1821-1882 Washington, D.C.;) '[President Abraham Lincoln, Major General John A. McClernand (right), and E. J. Allen (Allan Pinkerton, left), Chief of the Secret Service of the United States, at Secret Service Department, Headquarters Army of the Potomac, near Antietam, Maryland]' October 4, 1862

 

Alexander Gardner (American, Glasgow, Scotland 1821-1882 Washington, D.C.;)
[President Abraham Lincoln, Major General John A. McClernand (right), and E. J. Allen (Allan Pinkerton, left), Chief of the Secret Service of the United States, at Secret Service Department, Headquarters Army of the Potomac, near Antietam, Maryland]
October 4, 1862
Albumen silver print from glass negative
The Metropolitan Museum of Art, Gilman Collection, Gift of The Howard Gilman Foundation, 2005
Copy Photograph © The Metropolitan Museum of Art

 

Alexander Gardner (American, Glasgow, Scotland 1821-1882 Washington, D.C.;) '[President Abraham Lincoln, Major General John A. McClernand (right), and E. J. Allen (Allan Pinkerton, left), Chief of the Secret Service of the United States, at Secret Service Department, Headquarters Army of the Potomac, near Antietam, Maryland]' (detail) October 4, 1862

 

Alexander Gardner (American, Glasgow, Scotland 1821-1882 Washington, D.C.;)
[President Abraham Lincoln, Major General John A. McClernand (right), and E. J. Allen (Allan Pinkerton, left), Chief of the Secret Service of the United States, at Secret Service Department, Headquarters Army of the Potomac, near Antietam, Maryland] (detail)
October 4, 1862
Albumen silver print from glass negative
The Metropolitan Museum of Art, Gilman Collection, Gift of The Howard Gilman Foundation, 2005
Copy Photograph © The Metropolitan Museum of Art

 

Maker: Unknown, American; Photography Studio: After, Brady & Co., American, active 1840s–1880s '[Mourning Corsage with Portrait of Abraham Lincoln]' (detail) Photograph, corsage April 1865

 

Maker: Unknown, American; Photography Studio: After, Brady & Co., American, active 1840s–1880s
[Mourning Corsage with Portrait of Abraham Lincoln] (detail)
Photograph, corsage
April 1865
Black and white silk with tintype set inside brass button
20 x 9 cm (7 7/8 x 3 9/16 in.) Image: 2 x 2 cm (13/16 x 13/16 in.)
Purchase, Alfred Stieglitz Society Gifts, 2013
Image © The Metropolitan Museum of Art

 

George N. Barnard (American, 1819-1902) 'Bonaventure Cemetery, Four Miles from Savannah' 1866

 

George N. Barnard (American, 1819-1902)
Bonaventure Cemetery, Four Miles from Savannah
1866
Albumen silver print from glass negative
The Metropolitan Museum of Art, Gilman Collection, Purchase, Ann Tenenbaum and Thomas H. Lee Gift, 2005
Photograph © The Metropolitan Museum of Art

 

Maker: Unknown '[Game Board with Portraits of President Abraham Lincoln and Union Generals]' 1862

 

Maker: Unknown
[Game Board with Portraits of President Abraham Lincoln and Union Generals]
1862
Albumen silver prints from glass negatives
Brian D. Caplan Collection
Image © The Metropolitan Museum of Art

 

Maker: Unknown '[Game Board with Portraits of President Abraham Lincoln and Union Generals]' (detail) 1862

 

Maker: Unknown
[Game Board with Portraits of President Abraham Lincoln and Union Generals] (detail)
1862
Albumen silver prints from glass negatives
Brian D. Caplan Collection
Image © The Metropolitan Museum of Art

 

Unknown '[Confederate Sergeant in Slouch Hat]' 1861-62

 

Unknown
[Confederate Sergeant in Slouch Hat]
1861-62
Ambrotype
David Wynn Vaughan, Jr. Collection
Image © The Metropolitan Museum of Art

 

Attributed to, Oliver H. Willard (American, active 1850s-70s, died 1875) 'Ordnance, Private' 1866

 

Attributed to, Oliver H. Willard (American, active 1850s-70s, died 1875)
Ordnance, Private
1866
Albumen silver print from glass negative
The Metropolitan Museum of Art, The Horace W. Goldsmith Foundation Fund, through Joyce and Robert Menschel, 2010
Image © The Metropolitan Museum of Art

 

Unknown '[James A. Holeman, Company A, "Roxboro Grays," Twenty-fourth North Carolina Infantry Regiment, Army of Northern Virginia]' 1861-62

 

Unknown
[James A. Holeman, Company A, "Roxboro Grays," Twenty-fourth North Carolina Infantry Regiment, Army of Northern Virginia]
1861-62
Ambrotype
David Wynn Vaughan Collection
Image © The Metropolitan Museum of Art

Captain James A. Holeman of Person County, Roxboro lost his life during the Civil War

 

Unknown. 'Sojourner Truth, "I Sell the Shadow to Support the Substance"' 1864

 

 

Unknown
Sojourner Truth, “I Sell the Shadow to Support the Substance”
1864
Albumen silver print from glass negative
Carte-de-visite
The Metropolitan Museum of Art, Purchase, Alfred Stieglitz Society Gifts, 2013
© The Metropolitan Museum of Art, New York

 

Sojourner Truth (c. 1797 – November 26, 1883) was the self-given name, from 1843 onward, of Isabella Baumfree, an African-American abolitionist and women’s rights activist. Truth was born into slavery in Swartekill, Ulster County, New York, but escaped with her infant daughter to freedom in 1826. After going to court to recover her son, she became the first black woman to win such a case against a white man. Her best-known extemporaneous speech on gender inequalities, “Ain’t I a Woman?”, was delivered in 1851 at the Ohio Women’s Rights Convention in Akron, Ohio. During the Civil War, Truth helped recruit black troops for the Union Army; after the war, she tried unsuccessfully to secure land grants from the federal government for former slaves (Wikipedia)

 

Maker: Unknown (American; Alexander Gardner, American, Glasgow, Scotland 1821–1882 Washington, D.C.; Photography Studio: Silsbee, Case & Company, American, active Boston) '[Broadside for the Capture of John Wilkes Booth, John Surratt, and David Herold]' April 20, 1865

 

Maker: Unknown (American; Alexander Gardner, American, Glasgow, Scotland 1821-1882 Washington, D.C.; Photography Studio: Silsbee, Case & Company, American, active Boston)
[Broadside for the Capture of John Wilkes Booth, John Surratt, and David Herold]
April 20, 1865
Ink on paper with three albumen silver prints from glass negatives
The Metropolitan Museum of Art, Gilman Collection, Purchase, The Horace W. Goldsmith Foundation Gift, through Joyce and Robert Menschel, 2005
Image © The Metropolitan Museum of Art

 

On the night of April 14, 1865, just five days after Lee’s surrender to Grant at Appomattox, John Wilkes Booth shot Lincoln at the Ford Theatre in Washington, D.C. Within twenty-four hours, Secret Service director Colonel Lafayette Baker had already acquired photographs of Booth and two of his accomplices. Booth’s photograph was secured by a standard police search of the actor’s room at the National Hotel; a photograph of John Surratt, a suspect in the plot to kill Secretary of State William Seward, was obtained from his mother, Mary (soon to be indicted as a fellow conspirator), and David Herold’s photograph was found in a search of his mother’s carte-de-visite album. The three photographs were taken to Alexander Gardner’s studio for immediate reproduction. This bill was issued on April 20, the first such broadside in America illustrated with photographs tipped onto the sheet.
The descriptions of the alleged conspirators combined with their photographic portraits proved invaluable to the militia. Six days after the poster was released Booth and Herold were recognized by a division of the 16th New York Cavalry. The commanding officer, Lieutenant Edward Doherty, demanded their unconditional surrender when he cornered the two men in a barn near Port Royal, Virginia. Herold complied; Booth refused. Two Secret Service detectives accompanying the cavalry, then set fire to the barn. Booth was shot as he attempted to escape; he died three hours later. After a military trial Herold was hanged on July 7 at the Old Arsenal Prison in Washington, D.C.
 Surratt escaped to England via Canada, eventually settling in Rome. Two years later a former schoolmate from Maryland recognized Surratt, then a member of the Papal Guard, and he was returned to Washington to stand trial. In September 1868 the charges against him were nol-prossed after the trial ended in a hung jury. Surratt retired to Maryland, worked as a clerk, and lived until 1916.

 

 

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16
Apr
14

Review: ‘Stephen Dupont / The White Sheet Series No. 1′ at Edmund Pearce Gallery, Melbourne

Exhibition dates: 2nd April – 3rd May 2014

 

This is a wonderful exhibition by Stephen Dupont at Edmund Pearce Gallery. Using a 4″ x 5″ Polaroid type 55 and striping away the emulsion, Dupont is left with a fine grain large format black and white negative (which he can use in an enlarger) with the “Polaroid frame look”, which he incorporates into the silver gelatin prints.1

Most of the photographs are glorious, notably the ones where Dupont pulls back from his subject to reveal the context of the sitter (much like taking the mat of a Daguerreotype to reveal more of the studio hidden underneath). I particularly like where you can see two hands poking over the top of the white sheet hiding the person behind (see Untitled #08 2010, below). The spontaneity and improvisation of this act is very appealing. As Dupont observes this allows him “to reveal the audience gathering and the environment around the sheet. This is meant to give the viewer a real sense of place and time, and a window onto the streets of Haridwar.” This technique gives the images real presence, they fairly “sing” to me from the gallery wall. And then! to surround the silver with hand printed Indian textile stamps in red ink… these images are really something.

Dupont’s incisiveness at the coal face of the pictorial plane is also exemplary. Notice the construction of Untitled #14 (2010, below), and observe the arms of the protagonists. An arm is raised aloft mirroring the arm of the swami in the photograph behind and also the supporting pole of the tent at top right. His other arm points to the earth but this is crossed by the arm of an out of focus man at left, which forms a strong diagonal intervention into the image as he reaches out. The money and mobile phone, at bottom left, add to the incongruity of the scene.

I am less enamoured with Dupont’s riff on Richard Avedon’s contextless background portraits. They don’t really possess the power or presence of the photographs mentioned above or of Avedon’s portraits from the series In The American West. I would have also liked to have seen the field journal (the small images at the bottom of the posting) in the exhibition. It would have been fascinating to read the text and view the other textile stamp designs. Finally, a couple of prints at a much larger size would have been good to see, to break the regularity of the series.

Having said that, you really have to see these images in the flesh for they look so much better than when reproduced online. The red is luminous and it is a joy to see good silver gelatin prints instead of so-so digital failures (Polly Borland I hope your ears are burning). This exhibition is a perfect example of what Bill Henson was talking about in his recently curated exhibition Wildcards: Bill Henson shuffles the deck at Monash Gallery of Art (MGA) where he states that his interest “is in the photograph as an object, in the physical presence of the print or whatever kind of technology is being used to make it…”2 where the images appeal not just to the eye but to the whole body, “because photographs are first and foremost objects, their size, shape grouping and texture are as important as the images they’re recording.”3

These photographs have, as Henson notes of some photographs, “the ability to suggest some other thing and that’s what draws you in.”4 You stand in front of the best of these images and contemplate them with a sense of wonder, for they suggest to the viewer – through the hand and eye of the artist in the analogue process, through the hand of the artist when applying the wood block printing which was made with much spontaneity and feeling – other worlds of which we know very little brought close to our imagination. Through their inherent textures and tonalities, their physical presence, there is a sense of the people who populate that place, but more than that, there is a sense of our own fragility and mortality.

A feeling of anOther existence for our life if we had been born into such worlds.
And that is what makes these images so compelling.

.
Dr Marcus Bunyan for the Art Blart blog

 

Footnotes

1. According to Wikipedia, “Type 55 negatives are the famous source of the “Polaroid frame look”… the Polaroid reagent/gel is squeezed between the negative and positive. Some of the reagent is trapped underneath the onion-skin-like frame that crops the print into a perfect 4×5 image. This reagent however creates an impression of that frame on the negative, which is not protected. The result is a perfect negative, but with imperfect frame-like image surrounded 3 of the four sides, while the 4th side shows the impression of the connective mesh that controls aspects of the Polaroid packet’s sleeve functionality.”
2. Interview with Bill Henson by Toby Fehily posted 01 Feb 2014 on the Art Guide Australia website [Online] Cited 18/02/2014.
3. Fiona Gruber. “Review of Wildcards, Bill Henson Shuffles the Deck” on the Guardian website, Wednesday 12 February 2014 [Online] Cited 16/03/2014
4. Fehily op. cit.,

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Many thankx to Edmund Pearce Gallery for allowing me to publish the photographs in the posting. Please click on the photographs for a larger version of the image.

 

 

Stephen Dupont. 'Untitled #16' 2010

 

Stephen Dupont
Untitled #16
2010
Silver gelatin print and ink
20 x 16” (51 x 40.5 cm) / edition of 5 + 2 AP’s

 

Stephen Dupont. 'Untitled #08' 2010

 

Stephen Dupont
Untitled #08
2010
Silver gelatin print and ink
20 x 16” (51 x 40.5 cm) / edition of 5 + 2 AP’s

 

Stephen Dupont. 'Untitled #14' 2010

 

Stephen Dupont
Untitled #14
2010
Silver gelatin print and ink
20 x 16” (51 x 40.5 cm) / edition of 5 + 2 AP’s

 

Stephen Dupont. 'Untitled #04' 2010

 

Stephen Dupont
Untitled #04
2010
Silver gelatin print and ink
20 x 16” (51 x 40.5 cm) / edition of 5 + 2 AP’s

 

 

“Edmund Pearce is excited to present a solo exhibition by legendary Australian photographer Stephen Dupont, entitled The White Sheet Series Number 1. This new series was shot during India’s most important Hindu Festival, Kumbh Mela, and features portraits of pilgrims and visitors combined with hand printed Indian textile stamps.

Stephen Dupont has produced a remarkable body of visual work throughout his career; hauntingly beautiful photographs of fragile cultures and marginalized peoples. He captures the human dignity of his subjects with great intimacy and his images have received international acclaim for their artistic integrity and valuable insight into the people, culture and communities that have existed for hundreds of years, yet are fast disappearing from our world.

Mark Feeney of the Boston Globe states, “Inevitably, Dupont is an outsider; yet he’s an engaged outsider, full of calm, clear-eyed curiosity. There’s not just a sense of place in his work but also something that matters even more: a sense of the people who populate that place.’

Stephen’s work has earned him a number of photography’s most prestigious prizes, including a Robert Capa Gold Medal citation from the Overseas Press Club of America. His work has featured in influential publications such as The New Yorker, Aperture and The New York Times Magazine; and he has had major exhibitions in London, Paris, New York, Sydney, Canberra, Tokyo, and Shanghai. His photographic artist books and portfolios are held in numerous private collections and by prestigious institutions such as the National Gallery of Australia, the National Library of Australia, the British Library and the Library of Congress in Washington DC to name but a few.”

Press release from the Edmund Pearce Gallery website

 

Stephen Dupont. 'Untitled #07' 2010

 

Stephen Dupont
Untitled #07
2010
Silver gelatin print and ink
20 x 16” (51 x 40.5 cm) / edition of 5 + 2 AP’s

 

Stephen Dupont. 'Untitled #13' 2010

 

Stephen Dupont
Untitled #13
2010
Silver gelatin print and ink
20 x 16” (51 x 40.5 cm) / edition of 5 + 2 AP’s

 

Stephen Dupont. 'Untitled #12' 2010

 

Stephen Dupont
Untitled #12
2010
Silver gelatin print and ink
20 x 16” (51 x 40.5 cm) / edition of 5 + 2 AP’s

 

Stephen Dupont. 'Untitled #18' 2010

 

Stephen Dupont
Untitled #18
2010
Silver gelatin print and ink
20 x 16” (51 x 40.5 cm) / edition of 5 + 2 AP’s

 

Richard Avedon at work

 

Richard Avedon at work

 

Richard Avedon. 'Bill Curry, drifter, Interstate 40, Yukon, Oklahoma, 6/16/80' 1980

 

Richard Avedon
Bill Curry, drifter, Interstate 40, Yukon, Oklahoma, 6/16/80
1980
from In the American West, 1979–84

 

 

artist-book

“This body of work is a selection of portraits I made in 2010 at India’s most important Hindu festival called the Kumbh Mela. In one of four locations every four years Hindu pilgrims and visitors descend into the holy waters of the Ganges River to purify the soul in a spiritual ritual considered the largest peaceful gathering in the world. The photographs were taken in Haridwar of pilgrims and sadhus I chose randomly during that festival.

Inspired by an earlier series I made of anonymous portraits of Afghans in Kabul titled Axe Me Biggie, or Mr Take My Picture, but instead of an existing Afghan outdoor studio backdrop I chose the white sheet this time for its purity and simplicity. My subjects were asked to simply stand and pose before my camera. I use a white bed sheet to create an outdoor studio that not only captures my subject but also allows me to reveal the audience gathering and the environment around the sheet. This is meant to give the viewer a real sense of place and time, and a window onto the streets of Haridwar. Had I used the backdrop in a conventional way, to solely isolate a person, you’d have the impression that they were taken anywhere – New York, Sydney, or in a studio. This process is a creative choice and allows me with some control over my sitter but brings with it the spontaneity and surprise of what may take place around the zone I am working in: the gaze of someone holding the sheet that has no idea they are in the frame, or a hand holding the sheet or something else that crops up in front or behind. In the end my portraits are environmental or even landscapes.

Over many years of travel throughout India I have been collecting textile stamps and I decided to use them on my photographs. The research and experiments started in my field journal and then to the final hand printed images in this show. I wanted to create a relationship with Indian design and cloth, the Polaroid borders and the people in my pictures. Much like my photographic practice here the wood block printing was made with much spontaneity and feeling. The photographs have been handcrafted by Chris Reid at Blanco Negro using warmtone paper and processed in a specialised developer for unique tonality.

Stephen Dupont
Sydney, February 28, 2014

 

 

Edmund Pearce Gallery
Level 2, Nicholas Building
37 Swanston Street (corner Flinders Lane)
Melbourne Victoria 3000

Opening hours:
Wed – Sat 11 am – 5 pm

Edmund Pearce Gallery website

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13
Apr
14

Review: ‘Hoda Afshar / Under Western Eyes’ at Edmund Pearce Gallery, Melbourne

Exhibition dates: 2nd April – 3rd May 2014

 

Dear readers, my apologies for the lack of local reviews and postings since the beginning of the year. It’s not that I haven’t been out and about looking at exhibitions, far from it, simply that there has been little stimulating enough to do a posting on. Photographically, it has been a very slow start to 2014 in Melbourne.

There have been disappointing exhibitions from Jacqui Stockdale at Helen Gory Galerie (Super Naturale 15 Mar – 5 Apr 2014) where the artist removed her fabulous painted backgrounds and isolated the carnivalesque figure in Victorian album ovals against non-descript, beige colours, hence robbing them of the wonderful interplay between figure and context; Jane Burton at Karen Woodbury Gallery (In Other Bodies 2 April – 3 May 2014) where her intimate, sightless, pinhole portrait photographs are overlaid with “bruised candy colours,” in reality a sickly tri-colour overlay that ruins any presence some of the more powerful images ever had; Pat Brassington at Arc One Gallery (Pat Brassington 8 April – 15 May 2014) where, despite three interesting images (Blush, Major Tom and Night Shade), the rest of the exhibition feels like the photographs are a caricature of themselves, repeating earlier statements, with the work going nowhere (success breeds complacency?); and Polly Borland at the Centre for Contemporary Photography (Wonky 28 Mar – 25 May 2014) where the staged photographs of sculptural forms are insipid to say the least and the prints have pixellation the size of golf balls. You would have thought that a person of her supposed standing in the art world would have at least got the prints right.

It is a great pleasure then to finally discover some strong exhibitions around Melbourne town that are worthy of a posting: Hoda Afshar / Under Western Eyes and Stephen Dupont / The White Sheet Series No. 1, both at Edmund Pearce; the group exhibition Khem at Strange Neighbour; The Rennie Ellis Show at Monash Gallery of Art; and the magnificent Rosemary Laing / The Paper at Tolarno Galleries. Other postings to follow in the next week or so.

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I love Hoda Afshar’s work. It’s big, bold, brash, beautiful, and it has something important to say and does so, eloquently. I only wish I could read the text written on nipple and background to further understand the intricacies and references of the work. The photographs pull back the veil on how Westerners commodify the representation of Islamic women in the form of decodable stereotypes. This reductive interpretation of the identity of Muslim women is bound up with aspects of exoticism, which has links to the influential book Orientalism (1978), by Edward W. Saïd, “a foundational text for the academic field of Post-colonial Studies, wherein the denotations and connotations of the term “orientalism” are expanded to describe what Saïd sees as the false cultural assumptions of the “Western world”, facilitating the cultural misrepresentation of the “The Orient”, in general, and of the Middle East, in particular.” (Wikipedia)

For Western society, “oriental” art emanated from a type of primitive fantasy, reflecting the increasingly exotic tastes of Europe from the late 19th-century following European colonialism. In her work Afshar interrogates aspects of a visual neo-colonialism. Here the voices of the marginalised are acknowledged but only so far as the language of acknowledgement is controlled by neo-colonialism (another form of imperialism which is an out a growth of classical colonialism) – in which the image and literature of the oppressed is controlled by societal structures that seek to delimit the nature of their independence.

As Bhabha notes, “Postcolonial perspectives emerge from the colonial testimony of Third World countries and the discourses of “minorities” within the geopolitical divisions of East and West, North and South. They intervene in those ideological discourses of modernity that attempt to give a hegemonic “normality” to the uneven development and the differential, often disadvantaged, histories of nations, race, communities, peoples.” (Bhabha, H. K. The location of culture. London: Routledge, 1994, p. 71)

Postcolonial theory formulates its critique around the social histories, cultural differences and political discrimination that are practised and normalised by colonial and imperial machineries. What Afshar does is poke a great big stick at these (visual) machineries, phenomenologies that continue to operate within the operating “theatres”, the mass-produced and parcelled consumer identities of the Western world.

Dr Marcus Bunyan for the Art Blart blog

 

Many thankx to Edmund Pearce Gallery for allowing me to publish the photographs in the posting. Please click on the photographs for a larger version of the image.

 

 

Hoda Afshar. 'Westoxicated #1' 2013

 

Hoda Afshar
Westoxicated #1
2013
Archival Pigment Print
104 x 90 cm / edition of 5

 

Hoda Afshar. 'Westoxicated #2' 2013

 

Hoda Afshar
Westoxicated #2
2013
Archival Pigment Print
104 x 90 cm / edition of 5

 

Hoda Afshar. 'Westoxicated #3' 2013

 

Hoda Afshar
Westoxicated #3
2013
Archival Pigment Print
104 x 90 cm / edition of 5

 

 

Edmund Pearce is pleased to present Under Western Eyes, a solo exhibition by Hoda Afshar. The exhibition comprises a series of digitally manipulated photographs, criticising the continual representation of Islamic women in the contemporary art world as veiled, subjugated and suppressed. This new project explores how the veil – seen as a sort of forced enclosure – has become the dominant mode of representing Islamic women in the West.

In speaking of the series Hoda states, “veiled women are often portrayed as a homogeneous group; powerless subjects whose veil serves either as a symbol and tool of oppression, or is celebrated as an exotic commodity. As such, the images of Muslim women have been reduced to easily decodable stereotypes; mass-produced and parcelled for Western audiences as a consumer item. In this series, I intend to emphasise the reductive interpretation of the identity of Muslim women in the West and praising of such imagery as an attitude bound up with aspects of exoticism.”

Hoda Afshar is a visual artist and Photographer. She is currently a PhD candidate at the Department of Art at Curtin University. After finishing a BFA, majoring in Photography, at Azad University of Art and Architecture in Tehran, she began her career as a documentary photographer. In 2006 she was selected by World Press Photo as one of the top ten young documentary photographers of Iran to attend their Educational training program. Additionally, Hoda is currently a lecturer at the Photography Studies College in Melbourne. She has also been exhibiting locally and internationally since 2007 and was short listed for prestigious photography awards such as the Moran Contemporary Photographic Prizes (2012) and the Josephine Ulrick and Win Schubert Photography Prize (2013). She lives and works in Melbourne, Australia.

 

Hoda Afshar. 'Westoxicated #5' 2013

 

Hoda Afshar
Westoxicated #5
2013
Archival Pigment Print
104 x 90 cm / edition of 5

 

Hoda Afshar. 'Westoxicated #6' 2013

 

Hoda Afshar
Westoxicated #6
2013
Archival Pigment Print
104 x 90 cm / edition of 5

 

Hoda Afshar. 'Westoxicated #7' 2013

 

Hoda Afshar
Westoxicated #7
2013
Archival Pigment Print
104 x 90 cm / edition of 5

 

Hoda Afshar. 'Westoxicated #9' 2013

 

Hoda Afshar
Westoxicated #9
2013
Archival Pigment Print
104 x 90 cm / edition of 5

 

 

Edmund Pearce Gallery
Level 2, Nicholas Building
37 Swanston Street (corner Flinders Lane)
Melbourne Victoria 3000

Opening hours:
Wed – Sat 11 am – 5 pm

Edmund Pearce Gallery website

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11
Apr
14

Exhibition: ‘Hermann Landshoff: A Retrospective Photographs 1930-1970′ at the Münchner Stadtmuseum

Exhibition dates: 29th November 2013 – 21st April 2014

 

Another artist who was lucky to escape Europe in the first years of the Second World War. I would like to see the whole exhibition. At the moment I can’t make a judgement on his work for I have not seen enough of it, but on the evidence of the images presented in this posting, I am not entirely convinced. However, the photograph of Lauren Bacall in 1945 is ravishing…

Many thankx to the Münchner Stadtmuseum for allowing me to publish the photographs in the posting. Please click on the photographs for a larger version of the image.

 

 

Hermann Landshoff. 'The Bicyclers' Published in 'Junior Bazaar' August 1946

 

Hermann Landshoff
The Bicyclers
Published in Junior Bazaar August 1946

 

Hermann Landshoff. 'Max Ernst at Peggy Guggenheim’s home, New York, fall 1942' 1942

 

Hermann Landshoff
Max Ernst at Peggy Guggenheim’s home, New York, fall 1942
1942

 

Hermann Landshoff. 'Photographer Irving Penn' 1948

 

Hermann Landshoff
Photographer Irving Penn
1948

 

Hermann Landshoff. 'Children in a Spanish village' 1957

 

Hermann Landshoff
Children in a Spanish village
1957

 

Hermann Landshoff. 'Model Cora Hemmet on the Grand Versailles Staircase' 1934-38

 

Hermann Landshoff
Model Cora Hemmet on the Grand Versailles Staircase
1934-38

 

 

“In the spring of 2012, the Münchner Stadtmuseum’s Photography Collection received a sensational addition to its archives. The complete artistic estate of German-American photographer Hermann Landshoff (1905-1986), featuring 3,600 original prints from between 1927 to 1970, were generously donated to the museum on behalf of the family by Andreas Landshoff.

Landshoff grew up in Munich-Solln as the son of a well-to-do Jewish family that was very much involved in the city’s art, literature and music scenes. His father, Ludwig Landshoff, was an internationally acclaimed musicologist and composer who was director and head of Munich’s Bach Society from 1917 to 1928. His mother, Philippine Wiesengrund, was a singer with the Royal Court Opera, while his sister Ruth Landshoff, better known by her married name of Vollmer, would become one of the founders of the conceptual art movement in the United States. In addition, writers such as Thomas Mann, Christian Morgenstern, Joachim Ringelnatz, Rainer Maria Rilke, Karl Wolfskehl and Franziska zu Reventlow were frequent visitors to his parents’ home. Another family member, the author Ruth Landshoff-Yorck, was the muse of Otto Umbehr and Paul Citroen and ran an art salon in Berlin that had a reputation as one of the most exciting meeting places for avant-garde artists in the whole of the Weimar Republic.

Other more distant relations of the family included important figures from the world of publishing such as Samuel Fischer, the founder of the S. Fischer Verlag publishing house, and Fritz H. Lands-hoff, who, from 1933, ran the Querido publishing house in Amsterdam which would become the most important forum for German exile literature, publishing novels by authors including Heinrich Mann, Klaus Mann, Hermann Kesten, Joseph Roth, Alfred Döblin, Lion Feuchtwanger, Anna Seghers, Ernst Toller and Arnold Zweig.

Even in his early years, Hermann Landshoff attracted attention with his cartoons and a photo reportage on Albert Einstein that was published in the Münchner Illustrierte Zeitung magazine. After training at Munich’s Kunstgewerbeschule (School of Arts and Crafts), he became a member of the circle of well-known typographer and book illustrator Fritz Helmuth Ehmcke. It was here that Landshoff met the Nuremberg illustrator Richard Lindner alongside whom he would subsequently work as part of the creative team at the Knorr & Hirth publishing house. When the Nazis seized power in 1933, Landshoff was forced to emigrate, initially settling in Paris where he worked as a fashion photographer. Between 1936 and 1939, his images were published in the popular Femina magazine and in the French edition of Vogue. He was then forced to flee France and, after an eventful journey spanning 1940 and 1941, he eventually pitched up in New York. Landshoff soon became one of the most fascinating fashion photographers to collaborate with legendary art director Alexey Brodovitch for fashion magazines such as Harper’s Bazaar, Junior Bazaar and latterly also Mademoiselle. He developed his own style as a fashion photographer, portraying the models in life-like everyday situations. American fashion photographer Richard Avedon considered himself to have been profoundly inspired by Landshoff, even being moved to claim that ‘I owe everything to Landshoff’.

There is little doubt that Hermann Landshoff is one of the last great unsung heroes in (the history of) 20th century photography. Having been quite wrongly consigned to oblivion for all these years, the time has now come for him to be rediscovered. His multi-layered works show us various sides to the age in which he lived and the lives of artists who had settled in the United States having been exiled from Europe. The exhibition offers the first chance to see Landshoff’s portraits of European artists such as Max Ernst, Richard Lindner, Leonora Carrington or Frederick Kiessler who found a new artistic home in New York under the auspices of art collector Peggy Guggenheim. It also features a number of stunning group and individual portraits of members of the New York surrealist community centered around André Breton and Marcel Duchamp.

Finally, we also have Hermann Landshoff to thank for a unique cycle of around 70 portraits of different photographers that he created between 1942 and 1960. These striking images feature old masters like Walker Evans, Paul Strand, Alfred Stieglitz, Ansel Adams, Berenice Abbott, Margaret Bourke-White, Alfred Eisenstaedt, Andreas Feininger or WeeGee alongside young, up-and-coming photographers still at the start of their careers, such as Robert Frank, Irving Penn and Richard Avedon. This pantheon of eminent photographers occupies a unique place in the history of the medium.

Other collections of images tackle the urban architecture and people of New York, focusing particularly on those on the fringes of society. The exhibition also includes several portraits of prominent physicists such as Albert Einstein as well as some of the Los Alamos scientists such as Robert Oppenheimer and his cousin Rolf Landshoff involved in building the world’s first nuclear bomb. The exhibition will show a selection of more than 250 of Landshoff’s fascinating photographs for the first time, with subjects drawn from across the entire spectrum of his work, from fashion to portraits and architecture.”

Press release from the Münchner Stadtmuseum website

 

Hermann Landshoff. 'Tennis balls' with models Wanda Delafield and Peggy Lloyd c. 1945

 

Hermann Landshoff
Tennis balls with models Wanda Delafield and Peggy Lloyd
c. 1945

 

Hermann Landshoff. 'Model Beth Wilson at Rip Van Winkle Bridge spanning the Hudson River, New York 1946' 1946

 

Hermann Landshoff
Model Beth Wilson at Rip Van Winkle Bridge spanning the Hudson River, New York 1946
1946

 

Hermann Landshoff. 'Self-portrait, New York' c. 1942

 

Hermann Landshoff
Self-portrait, New York
c. 1942

 

Hermann Landshoff. 'Actress Lauren Bacall, New York, 1945' 1945

 

Hermann Landshoff
Actress Lauren Bacall, New York, 1945
1945

 

Hermann Landshoff. 'On the roof of Saks Fifth Avenue Building, New York, 1942' 1942

 

Hermann Landshoff
On the roof of Saks Fifth Avenue Building, New York, 1942
1942

 

 

Münchner Stadtmuseum
St. Jakobs Platz 1
80331 München
T: +49-(0)89-233-22370

Opening hours:
Tuesday – Sunday 10.00 am – 6.00 pm
Closed on Mondays

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08
Apr
14

Exhibition and book launch preview: ‘In the Folds of Hills’ by Kristian Laemmle-Ruff at The Field Institute, Melbourne

Exhibition dates: 1st – 8th May 2014
Exhibition opening and book launch: Thursday 1st May, 6 – 8.30 pm

To be opened by Robert McFarlane
Stories by Charlotte Laemmle

 

One of my favourite contemporary Australian photographers has a new book and exhibition!

Hopefully a review to follow but having seen a digital copy of the book, the sensitivity of the work feels admirable… unrecalled stories and photographs of people’s lives and the environments in which they live.

The book retails for $60 AUD and will be available in selected book stores nationally and online at www.inthefoldsofhills.com. It is being published by Pearce Press and includes a foreword by former prime minister Malcolm Fraser and an essay by Robert McFarlane.

Many thankx to Kristian Laemmle-Ruff for allowing me to publish the photographs in the posting. Please click on the photographs for a larger version of the image.

 

Foreword

In the Folds of Hills depicts a life in the secluded valleys around Lima, a little over 100 kms from Melbourne, Victoria. Kristian Laemmle-Ruff not only has great technical control of his craft, but translates this skill into truly artistic photographs.

His images of ordinary objects from everyday life invite the viewer to slow down and contemplate. These photos create a narrative that offers us insight into the way these people live.

The portfolio focuses on individuals who have lived most, if not all their lives in this area. They would all be hard-working and modest in their possessions. Their individual characters shine through the photographs with a rugged determination and strength.

In the Folds of Hills will come to have historic significance because it captures aspects of Australian rural life, which in many parts of this country are fast disappearing.

Rt Hon Malcolm Fraser AC CH

 

 

Kristian Laemmle-Ruff. 'In the Folds of Hills' book cover 2014

 

Kristian Laemmle-Ruff
In the Folds of Hills book cover
2014

 

Kristian Laemmle-Ruff. 'Barn in the Mist' 2014

 

Kristian Laemmle-Ruff
Barn in the Mist
2014

 

Kristian Laemmle-Ruff. 'Lima East Valley' 2014

 

Kristian Laemmle-Ruff
Lima East Valley
2014

 

Kristian Laemmle-Ruff. 'Ralph Pearce' 2014

 

Kristian Laemmle-Ruff
Ralph Pearce
2014

 

 

Photographer’s Note

This project began with a curiosity to discover something that is quietly going unnoticed. As our cities grow and society increasingly relies on technological advances, there remain those older generations whose lives are still rooted in a past era: the early to mid 20th century. This was an era where small-scale labor-intensive livelihoods could thrive. In the face of changing needs and corporate competition these kinds of livelihoods, such as the family-owned farm, are disappearing.

Susan Sontag wrote in her book On Photography that “a beautiful subject can be the object of rueful feelings because it has aged or decayed or no longer exists … Photography is a twilight art.” This photo-series also lingers in some kind of twilight zone and has a sense of urgency; indeed one person has passed away since being photographed.

I first intended to capture day-to-day life and work in these secluded rural valleys. With subject matter so steeped in romanticism, I felt a need to explore beyond the ‘countryside’ clichés and idealisation common in the attitudes of city people. After meeting the subjects and gaining their trust, I sensed personal stories that needed to be told. To my surprise these stories were told not so much in the words spoken, but rather in the person’s material surrounds. Domestic interiors scattered with objects became allegories for human experience. These environments were full of memory.

It wasn’t uncommon for someone to still live in the house they were born in. An empty chair, a leaning barn, a clock ticking on the wall: these once mundane objects became potent symbols of their owner’s past, their hopes and their reality. Some objects suggested loss and melancholia, others embodied feelings of pride and even humour.

In the Folds of Hills is an exploration of the wisdom and rich humanity found in the characters living and working on this land. In celebrating and acknowledging them and their stories, the photo-narratives also offer a somewhat poetic insight into their inner worlds.

Kristian Laemmle-Ruff

 

Kristian Laemmle-Ruff. 'On Mother's Bed' 2014

 

Kristian Laemmle-Ruff
On Mother’s Bed
2014

 

Kristian Laemmle-Ruff. 'Old Flowers' 2014

 

Kristian Laemmle-Ruff
Old Flowers
2014

 

 

Ralph Pearce

Ralph’s knowledge and understanding of this part of the world is humbling. Rainfall patterns, geography and vegetation are things that matter to Ralph. He invites us to climb into his ute and drives to a stand of fabled Lima stringybarks. Few now exist in the valley. Our gentle giant is very much at home amongst the tall timbers that have been his livelihood for so many years.

“I still love mucking about in the bush,” chuckles Ralph with a twinkle in his eye. He shows us his tools, most importantly his axes, and carefully describes their variations and uses. The sheds back at the homestead hold a treasury of farming history and Ralph proudly shows us the old dairy, his shearing shed and a faithful companion, a Honda 110 motorbike. The land continues to give Ralph what he needs. His vegetable patch is impressive and the old gnarled fruit trees bear their gifts seasonally. Once a fortnight Ralph drives to Benalla for groceries and a chat. Every second Tuesday evening he travels to the nearby Moorngag Hall for a round of cards with friends from the district. Charlie Jensen, his childhood mate, collects him.

When next we visit Ralph he shows us around the rest of his house. His mother was clearly a significant influence. She died in 1985 aged ninety-eight and was blind for the last nine years of her life. Ralph cared for her. Her suitcase, packed for hospital, still sits in her room. Little has changed in the house since she died.

ABC Radio keeps Ralph informed. And informed he is. Television has never made an appearance in this house. Ralph speaks to us with the wisdom of someone who has seen many fashions and many politicians come and go. One cannot help but be touched by the simplicity and integrity of this man’s life. Ralph is a quiet gentleman, unassuming, self-reliant and comfortable within his skin. (Extract from stories by Charlotte Laemmle from the book In the Folds of Hills)

 

Kristian Laemmle-Ruff. 'Ralph's oven' 2014

 

Kristian Laemmle-Ruff
Ralph’s oven
2014

 

 

The Field Institute at The Compound Interest (Centre for the Applied Arts)
15-25 Keele Street, Collingwood, Victoria

Opening hours:
Wed – Fri 11.00 am – 6.00 pm
Sat 12 am – 5pm

Field Institute website

The Compound Interest website

In the Folds of Hills website

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04
Apr
14

Exhibition: ‘James Turrell: A Retrospective’ at The Los Angeles County Museum of Art (LACMA)

Exhibition dates: 26th May 2013 – 6th April 2014

 

Many thankx to LACMA for allowing me to publish the photographs in the posting. Please click on the photographs for a larger version of the image.

 

 

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James Turrell
Breathing Light
2013
LED light into space
Dimensions cariable
Los Angeles County Museum of Art, purchased with funds provided by Kayne Griffin Corcoran and the Kayne Foundation
© James Turell
Photos: © Florian Holzherr

 

James Turrell. 'Bridget's Bardo' 2009

 

James Turrell. 'Raemar Pink White' 1969

 

James Turrell. 'Key Lime' 1994

 

James Turrell. 'Light Reignfall' 2011

 

'James Turrell: A Retrospective' installation view at LACMA 2014

 

 

The Los Angeles County Museum of Art (LACMA) presents James Turrell: A Retrospective, the first major U.S. survey of Los Angeles-native James Turrell since 1985. The exhibition features approximately fifty works tracing five decades of the artist’s career. In addition to early light projections, holograms, and an entire section devoted to his masterwork-in-progress, the Roden Crater project, the exhibition features numerous immersive light installations that address our perception and how we see. LACMA’s retrospective is complemented by concurrent, independently curated exhibitions at the Museum of Fine Arts, Houston (MFAH)(June 9 – September 22, 2013); and the Solomon R. Guggenheim Museum, New York (June 21 – September 25, 2013). Additional Turrell exhibitions on view this year include the Academy Art Museum, Easton (April 20 – July 7, 2013); and Villa Panza, Varese, Italy (October 24, 2013 – May 4, 2014).

“The theme of light has preoccupied artists for centuries,” says Michael Govan, CEO and Wallis Annenberg Director of LACMA and exhibition co-curator. “No one, however, has so fully considered the ‘thing-ness’ of light itself – as well as how the experience of light reflects the wondrous and complex nature of human perception – as James Turrell has for nearly five decades.” Christine Y. Kim, exhibition co-curator and Associate Curator of Contemporary Art at LACMA adds, “There is nothing quite like the experience of a Turrell work, which is truly about and for the viewer and his or her perception. Perception is the medium for Turrell, as his work provokes viewers to see themselves see.”

Turrell’s revolutionary use of light in art makes for an experience that is both physical and optical – requiring visitors to spend anywhere from five to twenty minutes with one artwork, often alone in a gallery or with a limited number of fellow viewers.

 

Exhibition overview

In the mid-1960s, James Turrell was inspired by a beam of light from a slide projector while sitting in the darkened room of an undergraduate art history class at Pomona College. The sight provoked a question: what if light wasn’t the tool that enabled people to see something else but rather became the thing people look at? Thus began an inquiry that has led to a vast, prolific career.

James Turrell: A Retrospective comprises works that range in scale from an intimate watercolor made in 1969 to a 5,000-square-foot “Ganzfeld” installation – designed to entirely eliminate the viewer’s depth perception –  offering visitors multiple entry points into Turrell’s practice. Evident in the array of works is the artist’s interest in perception, psychology, religion, astronomy, meditation, and science. The exhibition also draws connections between the artist’s light installations, architectural projects, and his famous masterwork-in progress at Roden Crater, in the high desert of Arizona. James Turrell: A Retrospective presents the most expansive installation of Roden Crater works shown to date, presented in the form of models, drawings, photographs, holograms, and other documents from the 1980s through the present.

 

Exhibition 0rganization

The work of James Turrell requires a vast amount of exhibition space. James Turrell: A Retrospective presents nearly fifty works exhibited in 33,000 square feet populating two venues across LACMA’s campus: the 2nd floor of the Broad Contemporary Art Museum (BCAM) and the east galleries of the Lynda and Stewart Resnick Exhibition Pavilion (Resnick Pavilion). BCAM’s east galleries begin with works that Turrell completed at his Mendota Studio in Santa Monica from the mid-1960s to the early 1970s, followed by a succession of full-room installations that feature projections, holograms, a “Shallow Space” – a large room designed to challenge a viewer’s depth perception – and a “Cross Corner Projection,” in which light is projected in a way that suggests weight and mass. A subsequent gallery contains information and media highlighting a selection of site-specific projects and commissions around the world. BCAM’s west wing is populated with a “Magnatron” work – consisting of an aperture in the shape of an old television screen – followed by three full-scale installations: Key Lime, a “Wedgework” in which the illusion of walls are created through light and architecture; a “Wide Glass,” a type of work that adds a temporal element to Turrell’s light-based installations; and St. Elmo’s Breath, a “Space Division Construction,” which appears to be a flat surface but upon closer inspection reveals itself to be light emitted from a seemingly bottomless cavity in the wall.

Upon entering the Resnick Pavilion, visitors first encounter work thatresulted from Turrell’s collaboration with artist Robert Irwin and Dr. Ed Wortz as part of the Art and Technology program at LACMA in 1969, namely a “Perceptual Cell” called Light Reignfall; Dark Matters, a “Dark Space” that presents a seemingly blacked-out room with only a minimally perceivable trace of light; and Breathing Light, a “Ganzfeld.” The Resnick Pavilion also holds an expansive gallery dedicated to the Roden Crater project, including large-scale mixed media drawings and a model contoured with actual cinder from the crater, as well as other models for autonomous spaces.”

Press release from the LACMA website

 

James Turrell. 'Roden Crater Model (Large Overall Site)' 1987

 

James Turrell. 'Roden Crater Model (Large Overall Site)' 1987

 

James Turrell. 'Roden Crater Project, view toward northeast' 1987

 

James Turrell in front of Roden Crater Project at sunset, October 2001

 

James Turrell. 'Twilight Epiphany' 2012

 

James Turrell. 'Twilight Epiphany' 2012

 

James Turrell. 'Twilight Epiphany' 2012

 

James Turrell. 'Afrum (White)' 1966

 

James Turrell. 'Raethro II (Blue)' 1971

 

James Turrell. 'Bullwinkle' 2001

 

 

Los Angeles County Museum of Art (LACMA)
5905 Wilshire Boulevard (at Fairfax Avenue)
Los Angeles, CA, 90036
T: 323 857-6000

Opening Hours:
Monday, Tuesday, Thursday: noon – 8 pm
Friday: noon – 9 pm
Saturday, Sunday: 11am – 8 pm
Closed Wednesday

LACMA website

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30
Mar
14

Photographic archive: ‘The Gibson archive’ at the Royal Museums Greenwich (RMG)

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“Other men have taken fine shipwreck photographs, but nowhere else in the world can one family have produced such a consistently high and poetic standard of work.”

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John Fowles

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“This is the greatest archive of the drama and mechanics of shipwreck we will ever see – a thousand images stretching over 130 years, of such power, insight and nostalgia that even the most passive observer cannot fail to feel the excitement or pathos of the events they depict.”

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Rex Cowan

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Dear readers, this gem of a posting will have to last you all of this week as it took such a long time to research, clean the images and assemble the post. I hope you enjoy the fruits of my labour.

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These are superb photographs obtained in the most trying of conditions, forming an artistic practice that spans generations and epochs.

As the text below notes, “At the very forefront of early photojournalism, John Gibson and his descendants were determined to be first on the scene when these shipwrecks struck. Each and every wreck had its own story to tell with unfolding drama, heroics, tragedies and triumphs to be photographed and recorded – the news of which the Gibsons would disseminate to the British mainland and beyond.”

This is the most glorious archive of shipwreck photographs that the world has even known and this posting brings together the largest selection of these photographs available on the Internet at the moment, in one place. I have to send a big thank you to the Press Office of the Royal Museums Greenwich (RMG) for sending me all these photographs and allowing me to post them on Art Blart. Unfortunately, because they had just been purchased from the auction house Sotheby’s, there was no information about each image, just the title of the ship. So I have spent hours researching the ships in this posting and cleaning up the scans that were sent to me, some of which were in a poor state. All the text comes from the Internet and if I have forgotten to credit someone I apologise in advance. I have included detailed close-ups of certain images to emphasise the drama, the calamity and the presence and inherent curiosity of onlookers.

The hours spent researching has all be worthwhile because the photographs are magnificent. Atmospheric, ghostly, tinged with loss, tragedy, heroism and the “presence” of these (mostly) sailing ships, these photographs are both memorials and romantic photographic ruins to the age of steam and sail. My favourite has to be the ghostly Flying Dutchman-esque The Glenbervie (1902, below), but for tragedy and poignancy you can’t go past the recumbent body of The Jeanne Gougy (1962, below), framed so beautifully by the artist in the horizontal, by just seen rocks.

But how can you pick just one or two? Each photograph has its own mystery, its own fiction, for as Susan Sontag observes, “Photographs, which cannot themselves explain anything, are inexhaustible invitations to deduction, speculation and fantasy.” In the case of these photographs we can only speculate as to the specific circumstances that led to the occurrence of each wreck (decisions made, or not), the set of circumstances and actions which are evidenced by the time freeze of these photographs, one end product of the performative act. Although they deny interconnectedness and continuity in the actual (conferring on each moment the character of a mystery), they enable interconnectedness and continuity in the imagination of the viewer for we can vividly imagine being on these ships as they are wrecked at sea.

What was interesting with this posting is that the images did not come with captions, just the name of the ship. My imagination was left free to roam, to scour the image for clues, to make up stories about what had happened until I did the research and the text based, “real” story emerged – the words becoming a means by which the viewer can decode the photographic evidence before them. Even though they were rushed to newspapers and magazines to impart news of the accident, I still prefer the fantasy of the image over the informational addendum, for this is what gives these images their power. Here, technology and the mistakes of man yield to the power of nature and you can only imagine how it would have been.

While the back story may add context of time, place, loss and heroism it is the beautiful isolation of these wrecked ships of the sea and their paradoxical nestling close in to the bosom of the earth, holding them fast, that will forever provide intimate fascination.

Dr Marcus Bunyan for the Art Blart blog

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Many thankx to the Royal Museums Greenwich (RMG) for allowing me to publish the photographs in the posting. Please click on the photographs for a larger version of the image.

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The Gibsons of Scilly. 'The Aksai' 1875

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The Gibsons of Scilly
The Aksai
1875

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2 November 1875 – steamer Aksai (Russia) sailed into White Island, St Martin’s in thick fog while bound for Odessa from Cardiff with coal. The captain and crew of thirty-nine were saved by the Lady of the Isles. Citation: Larn, Richard (1992). Shipwrecks of the Isles of Scilly. Nairn: Thomas & Lochar.

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The Gibsons of Scilly. 'The Bay of Panama' 1891

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The Gibsons of Scilly
The Bay of Panama
1891

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SV Bay of Panama (British): The sailing ship was wrecked under Nare Head, near St Keverne, Cornwall, United Kingdom, during a great blizzard. The ship carried jute from Calcutta; 18 of those on board died but 19 were saved. Noall, C. (1969?) Cornish Shipwrecks Illustrated. Truro: Tor Mark Press; p. 15

Barque, built in 1883, 4 masts (equipped with floors and lower deck beams of iron. The forecastle was 37 ft long and the poop 54 ft. Rigged with double top- and top gallant sails and royal sails)

Built by the Belfast shipping firm of Hartland and Wolff in 1883, the Bay of Panama was described by everyone who saw her as probably the finest sailing ship afloat. With her steel hull, and four square-rigged masts, she was a very fast and beautiful ship of 2282 tons. But strength and good looks are no guarantee, and during March 1891 the Bay of Panama met up with the worst blizzard Cornwall had suffered for over two hundred years. It was to prove no contest. Because of her speed, the Bay of Panama was used on the Calcutta run, and on November 18th 1890 she left that port bound for Dundee loaded with a cargo of 13000 bales of jute.

For four months she sailed swiftly towards England until one morning during the early part of March 1891, she approached the Cornish coast in rapidly deteriorating weather. The Captain knew all about the dangers of a lee shore, but because of the bad visibility he was uncertain as to his exact position. He could see that the weather was unlikely to get any better, and he even thought that there might be some snow. After weighing up all the risks he decided to heave to, take some depth soundings, and generally take stock of his position. It was a decision that was to cost him his ship, and his life. Only a few hours later, in the early afternoon, a blizzard, the worst for over two centuries, swept into the West Country and engulfed the Bay of Panama.

Bay of Panama
Posted on July 4, 2007 Peter Mitchell

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The Gibsons of Scilly. 'SS Blue Jacket' 1898

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The Gibsons of Scilly
SS Blue Jacket
1898

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SS Blue Jacket (United Kingdom) November 1898: She was unaccountably wrecked on a clear night a few yards from the Longships lighthouse, Lands End, Cornwall. The crew were saved by the Sennen lifeboat. Noall, C. (1969?) Cornish Shipwrecks Illustrated. Truro: Tor Mark Press; p. 21

Stuck fast – and surely a classic example of the expression – on the 
Longships lighthouse rocks off Land’s End, December 9th, 1898. This 
tramp was in ballast from Plymouth to Cardiff. The captain went below 
to his cabin – and his wife – at 9.30 p.m., leaving the mate on watch. 
He was woken near midnight by a tremendous crash, and came on deck 
to find his listing ship brilliantly illuminated by the lighthouse only a few yards away. Captain, wife and crew took to their boats and were picked 
up by the Sennen lifeboat. How the mate managed to play moth to this
 gigantic candle – the weather was poor, but provided at least two miles’ 
visibility – has remained a mystery. The Blue Jacket sat perched in this
ludicrous position for over a year.

John Fowles. Shipwreck. 1975

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The Gibsons of Scilly. 'The Minnehaha' 1874

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The Gibsons of Scilly
The Minnehaha
1874

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The Gibsons of Scilly. 'The Minnehaha' 1874

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The Gibsons of Scilly
The Minnehaha
1874

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The Minnehaha was shipwrecked in 1874 as it travelled from Peru to Dublin. It was carrying guano to be used as fertiliser and struck Peninnis Head rocks when the captain lost his way. The ship sank so quickly that some men were drowned in their berths, ten died in total including the captain.

On 18 January 1874, while travelling from Callao, Peru to Dublin, the 845-ton four-masted barque Minnehaha carrying guano was wrecked off Peninnis Head, St Mary’s, Isles of Scilly. Her pilot mistook the St Agnes light for the Wolf Rock and thought they were passing between the Isles of Scilly and the Wolf. Shortly after she struck a rock off Peninnis Head  and the vessel sunk at once with some of the crew being drowned in their berths. Those on deck climbed into the rigging, and as the tide rose the ship was driven closer to land, and some managed to climb onto the shore over the jib boom. The master, pilot and eight crew drowned.

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The Gibsons of Scilly. 'The Mohegan'
 1898

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The Gibsons of Scilly
The Mohegan

1898

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The Mohegan struck the Manacles, October 14th, 1898. One of the most dreaded of all reefs, 
the Manacles (from the Cornish ‘maen eglos’, rocks of the church, a reference 
to the landmark of St Keverne’s tower) stand east of the Lizard promontory, 
in a perfect position to catch shipping on the way into Falmouth – and before
Marconi ‘Falmouth for orders’ (as to final North European destination) was
 the commonest of all instructions to masters abroad. But the Mohegan was
 outward bound, and hers is one of the most mysterious of all Victorian sea-disasters.
 She was a luxury liner on only her second voyage, from Tilbury to New York.
 Somewhere off Plymouth a wrong course was given. A number of people on shore 
realized the ship was sailing full speed (13 knots) for catastrophe; a coastguard
 even fired a warning rocket, but it came too late. The great ship struck just as 
the passengers were sitting down to dinner. She sank in less than ten minutes,
 and 106 people were drowned, including the captain and every single deck officer,
 so we shall never know how the extraordinary mistake, in good visibility, was made.
 The captain’s body was washed up headless in Caernarvon Bay three months later.
 Most of the dead were buried in a mass grave at St. Keverne.

John Fowles. Shipwreck. 1975

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The Gibsons of Scilly. 'MV Poleire' 1970

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The Gibsons of Scilly
MV Poleire
1970

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The MV Poleire was a Cypriot motor vessel of some 2300 tons. In April 1970 she was on a voyage from Ireland to Gdynia in Poland carrying a cargo of zinc ore when she struck the Little Kettle Rock, which lies just north west of Tresco. There was a thick fog when she struck, and although less than a mile from the Round Island light house, her master failed to hear the fog signal. The sea was flat calm so all the crew managed to get off safely. Within a week the Poleire broke in two and sank.

MV Poleire
Posted on July 4, 2007 Peter Mitchell

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The Gibsons of Scilly. 'The Jeanne Gougy' 1962

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The Gibsons of Scilly
The Jeanne Gougy
1962

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The Jeanne Gougy, a French fishing trawler (built 1948) ran aground on the 3rd November 1962. Several crew were rescued by Sergeant Eric Smith from a Whirlwind Mk 10 helicopter when he was winched down to the wheelhouse despite it being submerged by breaking waves. He was awarded a George Medal for his rescues.

“The dramatic but tragic shipwreck in which eleven men died and the rescue of the rest of the crew of the Jean Gougy, occurred on November 3rd 1962. The French trawler out of Dieppe, was bound for the fishing grounds of the southern Irish coast when it went aground on the north side of Lands End. At 05.20h, the Sennen Coxswain was contacted by the coastguard who informed him of the trawler’s situation. The firing of the maroons at Sennen Cove awoke two young Royal Marines from their deep sleep, bivouacking as they were, on the flat concrete platform that then existed not far from the lifeboat station at Sennen Cove. The reserve lifeboat on temporary duty at the station was launched as the two marines slowly dozed off back to sleep.

The lifeboat took approximately one hour to reach the scene at Lands End. A parachute flare was fired and the trawler could be seen lying on her side on rocks at the foot of the cliff. A very heavy swell prevailed after the storm. It was impossible for the lifeboat to get any closer than a hundred yards. An L.S.A team at the top of the cliff had fired several lines over the trawler, but the crew could not secure them as the trawler was completely submerged by the heavy swell. Several men were washed out of the wheelhouse. At 8.15h a helicopter from Chivener arrived and, together with the lifeboat, carried out a search of the area. The lifeboat found two seamen and the helicopter one. They were all dead. At 9.00h the helicopter left for Penzance to land a body and to then refuel at Culdrose Naval Air Base near Helston.
I had awoken with a start at the explosions around me, mistakenly in my stupor believing it was already bonfire night, which of course was two days away. I went back to sleep. Waking sometime later my climbing partner and I packed our equipment and proceeded to walk from Sennen Cove where we had been climbing the previous day, over to Lands End for another days climbing. As we approached Lands End, we noticed people standing on the northern headland. On arriving at approximately midday, we walked over to the zawn beneath us, into which a policeman was peering. There on it’s side was a trawler and looking up at us and waving were many trapped people in the wheelhouse.

Turning to the policeman I said “If my mate and I rope down this side of the zawn (there is a tidal platform, a ledge there), we can set up a belay station, throw our other rope in through the broken wheelhouse window and one by one pull those guys to the cliff below us” (the tide was going out). “Go away” was his curt reply. And so we walked away. In the next four hours, eight more fisherman lost their lives. The outcome could have been so very different.

As there appeared to be no one left alive on the Jean Gougy the lifeboat had made for Newlyn to land two bodies, it being impossible to return to Sennen Cove due to the tide. At noon however a woman watching from the top of the cliff top saw a man’s hand waving inside the wheelhouse and heard him calling. The coastguards fired a line over the trawler and a man, clinging to the edge of the wheelhouse as the vessel was now completely on her side, struggled to grasp it. He was prevented by heavy waves. Eventually he secured the line and was hauled to safety in the breeches buoy. Three others being rescued afterwards by the same means. The helicopter, on being recalled, hovered over the ship and lowered a crewman who saved two more seamen. These six had survived by breathing trapped air in pockets at the wheelhouse and forecastle. On learning of these developments, the Penlee lifeboat Soloman Browne launched at 12.45h and arrived threequarters of an hour later. The Sennen lifeboat also returned to the scene at 15.45h. With the helicopter they again searched the area but with no success. It was later learned that the trawler carried a crew of 18, 11 of whom lost their lives, including the skipper.

Sergeant E.C. Smith of the R.A.F who was lowered to the trawler to save the two injured men received the George Medal and also the Silver Medal of the Societe Nationale des Hospitaliers Sauveteurs Bretons. The stirring events connected with this shipwreck, which received extensive press and television coverage, provided an excellent illustration for the public of the manner of work the three principle sea rescue services provided in this country, and of the cooperation existing between them.”

Millenium Moments – The Jean Gougy – A personal recollection by Dennis Morrod

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The Gibsons of Scilly. 'Jeune Hortense' 1888

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The Gibsons of Scilly
Jeune Hortense
1888

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The French brigantine Jeune Hortense was swept on to the beach when she came into Mount’s Bay to land the body of a Fowey man who had died in France.
The schooner wrecked at Long Rock, Cornwall. The Penzance lifeboat, having been brought by carriage to the beach near Marazion, rescued four crew.

Stranded near St Michael’s Mount, May lyth, 1888. The foreground
 carriage is for the Penzance lifeboat

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The Gibsons of Scilly. 'The Mildred' 1912

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The Gibsons of Scilly
The Mildred
1912

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The Mildred was traveling from Newport to London when it got stuck in dense fog and hit rocks at Gurnards Head at midnight on the 6th April 1912. Captain Larcombe and his crew of two Irishmen, one Welshman and a Mexican rowed into St. Ives as their ship was destroyed by the waves.

“The British barquentine Mildred, Newport for London with basic slag, struck under Gurnards Head at midnight on the 6th April 1912, whilst in dense fog. She swung broadside and was pounding heavily when Captain Larcombe, the mate, two Irishmen, one Welshman and a Mexican from Vera Cruz rowed into St. Ives at 6am. They later returned in a pilot gig but the Mildred was already going to pieces. The Mildred, Cornish built and owned, was launched in 1889.”

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The Gibsons of Scilly. 'SS Tripolitania' 1912

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The Gibsons of Scilly
SS Tripolitania
1912

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SS Tripolitania Italian cargo ship (built 1897) ran aground on the 26th December 1912. Driven ashore in a Westerly gale, she beached and attempts were made to refloat her over the coming months on a spring tide. This was unsuccessful and she was eventually scrapped.

“Boxing Day 1912 was remembered by the advent of a south westerly gale, the full force of which was experienced at the Loe Bar, the stretch of shingle and sand separating the Loe Pool from the sea near Porthleven. This Italian Steamer Tripolitania was 2,297 tons. She became firmly embedded and despite strenuous efforts to release her from this perilous position, she was broken up and shipped as scrap from local Porthleven. It has been stated that about £8,000 had been expended on trying to save her. Many tons of sand and shingle were removed in an attempt to free the Tripolitania in the Loe Bar Sands and a great expense was incurred to try and salvage the ship. Tugs stood by for the attempt on the full tide on the morrow, but a storm arose during the night and embedded the vessel even firmer than before. After this incident hopes for refloating her were abandoned and she was broken up for scrap iron. One man was drowned and his body was never recovered.”

Anon. “Tripolitania,” on the Helston History website Nd

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“Royal Museums Greenwich (RMG) today acquired a world renowned and nationally significant collection of photographic and archive material. The Gibson archive presents one of the most graphic and emotive depictions of shipwrecks, lifesaving and its aftermath produced in the nineteenth and twentieth centuries. The material was acquired at the Sotheby’s Travel, Atlases, Maps and Natural History Sale.

The archive of dramatic and often haunting images, assembled over 125 years (1872 to 1997) by four generations of the Gibson family, records over 200 wrecks – the ships, heroic rescues, survivors, burials and salvage scenes – off the treacherous coastline of Cornwall and the Isles of Scilly. The acquisition of this collection comprising of over 1360 glass and film negatives, complements the Museum’s existing, extensive historic photography collection, and creates an unprecedented opportunity for the Museum to further examine and explore the story of life at sea and the dangers experienced by seafarers through research, education and display projects.

John Gibson (1827-1920) founded the family photographic business in the 1860s and took his first photograph of a wreck in 1869. He apprenticed his two sons Alexander (1857-1944) and Herbert (1861-1937), who perfected the art of photographing wrecks, creating perhaps some of the most remarkable and evocative images of misadventure at sea. Among the items included in the collection is the ledger the Gibson brothers kept when taking the photographs, which contains records of the telegraph messages sent from Scilly and is full of human stories of disaster, courage and survival. Having secured the archive RMG will initially conserve, research and digitize the collection, leading to a number of exhibitions to tour regional museums and galleries, especially those in the South West of England.

Lord Sterling of Plaistow, Chairman of the Royal Museums Greenwich, said: “The acquisition of this remarkable archive will enable us to create a series of exhibitions that will travel across the country, starting with the South West. I am very pleased that the National Maritime Museum has been able to secure this wonderful collection for the nation, and I know that the Gibson family are delighted that their family archive will remain and be displayed in this country.”

Items acquired today at auction:

  • 585 Glass plate negatives (214: 12 x 10in: 8 x 6in) housed in 16 original wooden boxes and one cardboard box
  • 407 Glass plate copy negatives (6½ x 4¾ in) in 4 cardboard boxes
  • 179 Glass plate negatives (4¼ x 3¼in)
  • 198 film negatives (5 x 4in) in three boxes
  • 335 cut film negatives (various sizes) and 39 (35mm) film negatives
  • 97 original photographs of shipwrecks (silver prints, 12 x 10in)
  • Manuscript ledger by Alexander and Herbert Gibson on the shipwrecks of Cornwall and the Isles of Scilly
  • A collection of books by John Fowles, John Arlott, John Le Carré, and Rex Cowan on the Gibsons of Scilly, together with newspaper and magazine articles

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Text from the Royal Museums Greenwich (RMG) website

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Founder John Gibson bought his first camera 150 years ago

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Founder John Gibson bought his first camera 150 years ago

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Alexander Gibson was invited by his father John into the business in 1865

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Alexander Gibson was invited by his father John into the business in 1865

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Herbert Gibson was taken on by his father as an apprentice and went on to run the business

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Apprentice: Herbert Gibson was taken on by his father as an apprentice and went on to run the business

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James Gibson took over the business after the death of his father Herbert

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James Gibson took over the business after the death of his father Herbert

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Frank Gibson spent time learning about new technology and techniques to help advance the family business

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Frank Gibson spent time learning about new technology and techniques to help advance the family business

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“The Gibson family originated from the Isle of Scilly and have 300 years of family history. John Gibson acquired his first camera whilst abroad around 150 years ago when photography was still mainly reserved for the wealthiest members of society. He had to go to sea from a young age to supplement the income from a small shop on St Mary’s run by his widowed mother. Making ends meet on St Mary’s was a constant struggle and he learned to use the camera and set up a photography studio in Penzance.

Around 1866 he returned to St Mary’s with his family and he was assisted in his photography by his sons Alexander and Herbert in the studio shed in the back garden of their home. Both Herbert and Alexander learned the art of photography at their father’s knee and Alexander was to become one of the most remarkable characters in Scilly. He had a passion for archaeology, architecture and folk history. He took endless pictures of ruins, prehistoric remains, and artifacts not just in Scilly but all over Cornwall.

Herbert by contrast was a quiet man, a competent photographer and a sound businessman. There can be no doubt that without his steadying influence, the business aspect of their photography might not have survived Alexander’s more flamboyant approach. Frank spent some time working for photographers in Cornwall learning about new technology. But Frank returned to Scilly in 1957 and worked in partnership with his father for two years.

After this time it was apparent that they could not work together and James retired to Cornwall and sold the business to Frank. Under Frank’s stewardship the business expanded. He produced postcards and sold souvenirs to supplement the photography, and opened another shop. Scilly is always in the news and there is always demand for pictures by the press.

James Gibson was, in fact, the most qualified of all the photographers. He was an Associate of the Royal Photographic Society and won various medals and awards through his lifetime. He was an adventurous photojournalist as well as a jobbing photographer. Today, the family runs a souvenir shop which sells books and postcards and they are currently digitising 150 years of photographs.”

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“The family’s famous shipwreck photography began in 1869, on the historic occasion of the arrival of the first Telegraph on the Isles of Scilly. At a time when it could take a week for word to reach the mainland from the islands, the Telegraph transformed the pace at which news could travel. At the forefront of early photojournalism, John became the islands’ local news correspondent, and Alexander the telegraphist – and it is little surprise that the shipwrecks were often major news.

On the occasion of the wreck of the 3500-ton German steamer, Schiller in 1876 when over 300 people died, the two worked together for days – John preparing newspaper reports, and Alexander transmitting them across the world, until he collapsed with exhaustion. Although they often worked in the harshest conditions, travelling with hand carts to reach the shipwrecks – scrambling over treacherous coastline with a portable dark room, carrying glass plates and heavy equipment – they produced some of the most arresting and emotive photographic works of the nineteenth and twentieth centuries.”

Text from Wills Robinson. “Gibson family’s photos chart a century of Cornish shipwrecks,” on the Mail Online website 21/10/2013

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James Gibson at work

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James Gibson at work

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The Gibsons of Scilly. 'SS City of Cardiff' 1912

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The Gibsons of Scilly
SS City of Cardiff
1912

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21 March – City of Cardiff (United Kingdom) wrecked at Nanjizal, two miles south of Land’s End. The Sennen Life-Saving Apparatus Team took the crew off by breeches buoy. Citation: Corin, J.; Farr, G. (1983). Penlee Lifeboat. Penzance: Penlee & Penzance Branch of the Royal National Lifeboat Institution. p. 120.

The steamer City of Cardiff pictured trapped on rocks with steam still coming out of the chimney, it was washed ashore by a strong gale in March 1912 at Nanjizel. The Captain, his wife and son, and the crew were all rescued but the vessel was left a total wreck. British ship built 1906, the City of Cardiff was en route from Le Havre, France, to Wales in 1912 when it was wrecked in Mill Bay near Land’s End. All of the crew were rescued.

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The Gibsons of Scilly. 'SS City of Cardiff' 1912

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The Gibsons of Scilly
SS City of Cardiff
1912

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The Gibsons of Scilly. 'SS City of Cardiff' (detail) 1912

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The Gibsons of Scilly
SS City of Cardiff
1912

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The Gibsons of Scilly. 'SS City of Cardiff' (detail) 1912

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The Gibsons of Scilly
SS City of Cardiff (detail)
1912

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The Gibsons of Scilly. 'Brinkburn' 1898

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The Gibsons of Scilly
Brinkburn
1898

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“The steamer Brinkburn, belonging to Messrs. Harris and Dixon, of London, from Galverton for Havre, with cotton, ran ashore on the Maiden Bower, Isles of Scilly, on Thursday at midnight during dense fog.  The crew of 30 took to their lifeboats and landed in safety. The Brinkburn is a total wreck.” 15/12/1898

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The Gibsons of Scilly. 'SS Schiller' 1875

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The Gibsons of Scilly
SS Schiller
1875

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SS Schiller was a 3,421 ton German ocean liner, one of the largest vessels of her time. Launched in 1873 she plied her trade across the Atlantic Ocean, carrying passengers between New York and Hamburg for the German Transatlantic Steam Navigation Line. She became notorious on 7 May 1875, when while operating on her normal route she hit the Retarrier Ledges in the Isles of Scilly, causing her to sink with the loss of most of her crew and passengers, totalling 335 fatalities.

Captain Thomas needed to slow due to poor visibility in thick sea fog as she entered the English Channel, and was able to calculate that his ship was in the region of the Isles of Scilly, and thus within range of the Bishop Rock lighthouse which would provide him with information about his position. To facilitate finding the islands and the reefs which surround them, volunteers from the passengers were brought on deck to try to find the light. These lookouts unfortunately failed to see the light, which they were expecting on the starboard quarter, when in fact it was well to port (nautical). This meant that the Schiller was sailing straight between the islands on the inside of the lighthouse, leaving the ship heading towards the Retarrier Ledges.

The Schiller grounded on the reef at 10pm, sustained significant damage, but not enough in itself to sink the large ship. The captain attempted to reverse off the rocks, pulling the ship free but exposing it to the heavy seas which were brewing, which flung the liner onto the rocks by its broadside three times, stoving in the hull and making the ship list dangerously as the lights died and pandemonium broke out on deck as passengers fought to get into the lifeboats.

It was at these boats that the real disaster began, as several were not seaworthy due to poor maintenance and others were destroyed, crushed by the ship’s funnels which fell amongst the panicked passengers. The captain attempted to restore order with his pistol and sword, but as he did so, the only two serviceable lifeboats were launched, carrying 27 people, far less than their full capacity. These boats eventually made it to shore, carrying 26 men and one woman.

On board the ship the situation only became worse, as breakers washed completely over the wreck. All the women and children on board, over 50 people, were hurried into the deck house to escape the worst of the storm. It was there that the greatest tragedy happened, when before the eyes of the horrified crew and male passengers, a huge wave ripped off the deck house roof and swept the occupants into the sea, killing all inside. The wreck continued to be pounded all night, and gradually those remaining on board were swept away or died from exposure to cold seas, wind and resulting hypothermia, until the morning light brought rescue for a handful of survivors.

The recognized manner of signaling disaster at sea was by the firing of minute guns, carried on all ships for signalling purposes. Unfortunately, it had become the custom in the islands to fire a minute gun as your ship passed safely through the area, and so the firing of the Schiller’s guns failed to produce hoped for rescue. Such an operation at night and in the dark would have been near impossible anyway with such high seas, and thus it was not until the first light that rescue craft began arriving.
St Agnes pilot gig, the O and M, was summoned to investigate multiple cannon shots. Her crew discovered the mast of the sinking Schiller. The O and M rowed to pick up five survivors before returning to St Agnes for assistance. Steamers and ferries from as far away as Newlyn, Cornwall, assisted the rescue operation.

Of her original 254 passengers and 118 crew, there were 37 survivors. The death toll, 335, made the disaster one of the worst in British history. (Wikipedia)

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“An exceptional collection of shipwreck photographs taken by four generations of the Gibson family was bought at a Sotheby’s auction yesterday by the Royal Museums Greenwich (RMG) for £122,500 ($195,645) including buyer’s premium. The archive contains more than 1,100 glass plate negatives, more than 500 film negatives and 97 original print photographs of shipwrecks off the coasts of Cornwall and the Isles of Scilly. They make the perfect complement to the RMG’s pre-existing collection of historic maritime photography.

For 125 years, starting with patriarch John Gibson, a seaman who became a professional photographer in 1860, the Gibson family braved shoals, waves and sand to capture haunting scenes of shredded ships, dramatic rescues, cargo salvage and burials of people who fell victim to the treacherous coastal waters of southwest England. John’s sons Herbert and Alexander joined the business in 1865 and their talents would come to define the Gibson archive and its exceptional high quality. The first wreck they photographed was in 1869 when the telegraph had just arrived on the Isles of Scilly.

These were not simple point and shoot operations. It was dangerous, highly physical labour. On the occasion of the wreck of the 3500-ton German steamer, Schiller, in 1876 when over 300 people died, the two brothers worked together for days – [Herbert] preparing newspaper reports, and Alexander transmitting them across the world, until he collapsed with exhaustion. Although they were working in difficult conditions, travelling with a cart or boat to reach the shipwrecks – and scrambling over rocky crags and sand dunes with a portable dark room, carrying fragile glass plates and heavy equipment – they produced some of the most arresting and emotive photographic images of shipwrecks produced in the nineteenth and twentieth centuries.

They were pioneers. This was at a time when most photography was still firmly wedded to the studio portrait. The equipment was so bulky and fragile that climbing over crags hauling not just the camera and plates but a freaking dark room would be inconceivable to most people. That the Gibsons pulled it off is amazing in and of itself; that they also created images of such beauty and emotional resonance makes the archive little short of miraculous.

The Gibson family business is still going strong on the Isles of Scilly, although they’ve added souvenir and wholesale postcard sales to the professional photography. Sandra Gibson, John’s great-great granddaughter, runs it now with her husband Pete. The family decided it was time to sell the archive rather than let it continue to languish in boxes.”

Author John Le Carré, who used some Gibson photographs in his books, visited the business, then run by Frank, Sandra’s father, in 1997. I love his description of the archive:

“We are standing in an Aladdin’s cave where the Gibson treasure is stored, and Frank is its keeper. It is half shed, half amateur laboratory, a litter of cluttered shelves, ancient equipment, boxes, printer’s blocks and books. Many hundreds of plates and thousands of photographs are still waiting an inventory. Most have never seen the light of day. Any agent, publisher or accountant would go into free fall at the very sight of them.”

Now that National Maritime Museum has the pictures, we can all go into free fall at the very sight of them, and the family can be sure it will be archived properly and shared with the world. The museum plans to use the archive to study the dangers of the seafaring life and to display this invaluable record as widely as possible.”

Press release from the Royal Museums Greenwich (RMG)

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The Gibsons of Scilly. 'River Lune' 1879

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The Gibsons of Scilly
River Lune
1879

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River Lune struck in fog and at night just south of Annet (Scillies), July 27th, 1879 – the same day as the Maipu. The master later blamed a faulty
 chronometer, since he had believed himself fifteen miles to the west.
 The ship heeled and sunk aft in the first ten minutes. The crew took 
to their boats, but returned in daylight to collect their belongings. 
This barque was only eleven years old. She broke up soon afterwards.

John Fowles. Shipwreck. 1975

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The Gibsons of Scilly. 'The Punta' 1955

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The Gibsons of Scilly
The Punta
1955

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The Gibsons of Scilly. 'SV Seine' 1900

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The Gibsons of Scilly
SV Seine
1900

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The Gibsons of Scilly. 'SV Seine' (detail) 1900

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The Gibsons of Scilly
SV Seine (detail)
1900

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The French ship, the barque SV Seine (built in 1899) was on her way to Falmouth with a cargo of nitrate when she ran into a gale off Scilly on Decermber 28, 1900. She ran ashore in Perran Bay, Perranporth, Cornwall, but thankfully all crew members were rescued with Captain Guimper reported as the last man to leave the ship before she was broken up in the next flood tide.

Ran ashore in Perran Bay (Perranporth), December 28th, 1900. This beautiful ship was a French ‘bounty clipper’ – so called because a government subsidy to French ship-owners allowed them to build for elegance rather than more mundane qualities. The crew got off in heavy seas. By dawn the next day she was dismasted and on her beam-ends, and broke up on the next flood-tide. Two weeks later the hulk of this celebrated barque was bought for only £42.

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The Gibsons of Scilly. 'SV Albert Wilhelm' 1886

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The Gibsons of Scilly
SV Albert Wilhelm
1886

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SV Albert Wilhelm 1886, a German brig was lost 16 October 1886 Lelant.
The Albert Wilhelm, Lelant, 1886, a 202 ton German Brig travelling from the Isle of Man to Fowey.

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The Gibsons of Scilly. 'MV Cita' 1997

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The Gibsons of Scilly
MV Cita
1997

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The German owned 300ft merchant vessel the Cita, sunk after it pierced its hull and ran aground in gale-force winds en route from Southampton to Belfast in March 1997. The mainly Polish crew of the stricken vessel were rescued a few hours after the incident by the RNLI and the wreck remained on the rock ledge for several days before slipping off into deeper water.

On 26 March 1997, the 300-ft merchant vessel MV Cita pierced its hull when running aground on rocks off the south coast of the Isles of Scilly in gale-force winds en route from Southampton to Belfast. The incident happened just after 3 am when the German-owned, Antiguan-registered 3,000 tonne vessel hit Newfoundland Point, St Mary’s. The mainly Polish crew of the stricken vessel were rescued a few hours after the incident by St Mary’s Lifeboat, RNLB Robert Edgar with the support of a H-3 Sea King rescue helicopter from RNAS Culdrose. They sailed to the UK mainland on board the Scillonian III later that afternoon. Many containers were washed up on the rocks and beaches of the Isles of Scilly, and many were found in the Celtic Sea, travelling as far as Cornwall. (Wikipedia)

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The Gibsons of Scilly. 'The Glenbervie' 1902

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The Gibsons of Scilly
The Glenbervie
1902

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The Glenbervie, which was carrying a consignment of pianos and high quality spirits crashed into rocks Lowland Point near Coverack, Cornwall, in January 1902 after losing her way in bad weather. The British owned barque was laden with 600 barrels of whisky, 400 barrels of brandy and barrels of rum. All 16 crewmen were saved by lifeboat.

The Glenbervie, The Lizard, 1902, travelling from the Thames to West Africa spirits and pianos. Struck on the Manacles and went aground near Lowland Point, December 1901. The crew were saved in heavy seas by the Coverack lifeboat. The old wreckers must have groaned in their uneasy graves when they heard that this cargo was officially salvaged, since it contained over a thousand cases and barrels of spirits. There was also a valuable consignment of grand pianos on board, which were all ruined. The Glenbervie was launched in 1866; she was first a tea-clipper, then had many years in the Canada trade. She normally made three trips a year, between the thawing and the freezing of the St Lawrence, on this latter run.

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The Gibsons of Scilly. 'SV Granite State / Slate' 1895

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The Gibsons of Scilly
SV Granite State / Slate
1895

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American three-masted sailing ship built in 1877 ran aground near Porthcurno 4th November 1895

On 3rd November 1895 this American sailing ship arrived in Falmouth with a cargo of wheat from the River Plate. Given orders to discharge in Swansea she sailed on the 4th November and whilst attempting to round Lands End, struck the Lee Ore rock of the Runnel Stone. Taken in tow by the Cardiff tug Elliot and Jeffrey she was beached in the shallows of Porthcurno. She rapidly settled, and when the wheat began to swell and the hatches burst under the pressure, she was abandoned. She broke up soon afterwards in a winter gale.

Struck on the Runnel Stone, three miles south-east of Land’s End, November 4, 1895. This fine Yankee windjammer was making for Swansea from Falmouth. A navigation error by the mate seems to have been the cause of disaster. She was hauled off by a tug, but had to be towed to the nearest sandy bay, Porthcurno. She settled rapidly, and when the cargo of wheat began to swell the crew took to boats. The Granite Slate was soon afterwards destroyed completely by a gale.

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The Gibsons of Scilly. 'SV Granite State / Slate' (detail) 1895

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The Gibsons of Scilly
SV Granite State / Slate (detail)
1895

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The-Hansy-1911-WEB

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The Gibsons of Scilly
The Hansy
1911

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Wreck of the Norwegian full-rigger Hansy, Housel Bay, The Lizard, Cornwall, November 1911.

3 November – 1497 ton sailing ship Hansy (Norway) of Fredrikstad was wrecked at Housel Bay on the eastern side of the Lizard. Three men were saved by the Lizard lifeboat (Royal National Lifeboat Institution) and the rest along with the Captain’s family were taken off by rocket apparatus. She was bound for Sydney with building material and her cargo of steel and timber was washed up for weeks afterwards and used in many of the local cottages. One in Church Cove now bears her name. (Wikipedia)

“Wrecked in Housel Bay near the Lizard Point, November 13th, 1911. 
Sailing from Sweden to Melbourne with timber and pig-iron, she missed stays 
while trying to come about in a gale. The crew were brought ashore by 
breeches-buoy. Two days later a salvage party boarded – to find a pair of
goats lying happily in a seaman’s bunk. Local fishermen did a thriving trade 
in timber for weeks afterwards; and the iron pigs are fished up for ballast 
to this day. The Scottish-built Hansy (formerly Aberfoyle) had had an 
unhappy history. In 1890 the bulk of the crew jumped ship in Australia,
 after a bad voyage out – only to be returned on board following a fortnight 
in jail. Jail must have been more agreeable, for eight men jumped ship again 
at the next port of call. In 1896 a steamer found the Aberfoyle drifting helplessly
 off Tasmania. The captain had been swept overboard, the first mate had
 committed suicide by leaping into the sea and the rest had given up hope.
 Similar stories of low morale – and often of insane bitterness between
 officers and crew – are manifold.”

John Fowles. Shipwreck. 1975

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Royal Museums Greenwich (RMG)

The National Maritime MuseumQueen’s HouseRoyal Observatory and Cutty Sark are normally open 10.00-17.00 seven days a week.

Royal Museums Greenwich (RMG) website

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26
Mar
14

Exhibition: ‘Hans Gedda’ at the Nationalmuseum at Konstakademien, Stockholm

Exhibition dates: 5th December 2013 – 30th March 2014

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A photographer who I previously have known very little about….

Excellent portraits, with strong use of close up, chiaroscuro and diagonal, horizontal and vertical elements within the picture frame. The camera is usually positioned on the same level or just below the proponent – never shooting down on the person - which gives the portraits a monumental feel. The tight cropping and framing of the face by hands and arms is magnificent (for example, the hands and arms of Sara Lidman, 1967 below; and the hand resting under the chin of Hans Alfredson, Reprint 2012 below), as is the positioning of the body within the picture frame, Self Portrait as The White Clown (Reprint 2012, below). The attitude of the body, as in the portrait of photographer Rolf Winquist (Reprint 2012, below), adds an element of psychological enquiry into the presence that the artist evokes from his sitters.

Marcus

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Many thankx to the Nationalmuseum for allowing me to publish the photographs in the posting. Please click on the photographs for a larger view of the image.

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Hans Gedda. 'Unknown man' c. 1995

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Hans Gedda
Unknown man
c. 1995
Cecilia Heisser/Nationalmuseum
© Hans Gedda

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Hans Gedda. 'Carl XVI Gustaf, King of Sweden' 1996

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Hans Gedda
Carl XVI Gustaf, King of Sweden
1996
Nationalmuseum, Swedish National Portrait Gallery
Hans Thorwid/Nationalmuseum
© Hans Gedda

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Hans Gedda. 'Niklas Ek, dancer, actor' Reprint 2012

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Hans Gedda
Niklas Ek, dancer, actor
Reprint 2012
Gelatin silver print
60.5 x 50.5 cm
Nationalmuseum, Swedish National Portrait Gallery
Erik Cornelius/Nationalmuseum
© Hans Gedda

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Niklas Ek, born 1943, is a Swedish premiere dancer. He is the son of actor Anders Ek and choreographer Birgit Cullberg and brother of the director Mats Ek and actor Malin Ek. He has been active in the Cullberg Ballet and the Royal Opera.

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Hans Gedda. 'Angela Davis' c. 1972

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Hans Gedda
Angela Davis
c. 1972
Cecilia Heisser/Nationalmuseum
© Hans Gedda

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Angela Yvonne Davis (born January 26, 1944) is an American political activist, scholar, and author. She emerged as a nationally prominent counterculture activist and radical in the 1960s, as a leader of the Communist Party USA, and had close relations with the Black Panther Party through her involvement in the Civil Rights Movement despite never being an official member of the party. Prisoner rights have been among her continuing interests; she is the founder of Critical Resistance, an organization working to abolish the prison-industrial complex. She is a retired professor with the History of Consciousness Department at the University of California, Santa Cruz, and is the former director of the university’s Feminist Studies department.

Her research interests are in feminism, African-American studies, critical theory, Marxism, popular music, social consciousness, and the philosophy and history of punishment and prisons. Her membership in the Communist Party led to Ronald Reagan’s request in 1969 to have her barred from teaching at any university in the State of California. She was tried and acquitted of suspected involvement in the Soledad brothers’ August 1970 abduction and murder of Judge Harold Haley in Marin County, California. She was twice a candidate for Vice President on the Communist Party USA ticket during the 1980s. (Text from the Wikipedia website)

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Hans Gedda. 'Tomas Tranströmer' 2006

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Hans Gedda
Tomas Tranströmer
2006
Nationalmuseum, Swedish National Portrait Gallery
Erik Cornelius/Nationalmuseum
© Hans Gedda

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Tomas Gösta Tranströmer (born 15 April 1931) is a Swedish poet, psychologist and translator. His poems capture the long Swedish winters, the rhythm of the seasons and the palpable, atmospheric beauty of nature. Tranströmer’s work is also characterized by a sense of mystery and wonder underlying the routine of everyday life, a quality which often gives his poems a religious dimension. Indeed, he has been described as a Christian poet.

Tranströmer is acclaimed as one of the most important Scandinavian writers since the Second World War. Critics have praised his poetry for its accessibility, even in translation.His poetry has been translated into over 60 languages. He is the recipient of the 1990 Neustadt International Prize for Literature and the 2011 Nobel Prize in Literature. (Text from the Wikipedia website)

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Hans Gedda. 'Fantini, clown' Nd

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Hans Gedda
Fantini, clown
Nd
Cecilia Heisser/Nationalmuseum
© Hans Gedda

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Hans Gedda. 'Nelson Mandela' 1990

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Hans Gedda
Nelson Mandela
1990
Cecilia Heisser/Nationalmuseum
© Hans Gedda

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Hans Gedda. 'Tove Jansson' 1967

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Hans Gedda
Tove Jansson
1967
Cecilia Heisser/Nationalmuseum
© Hans Gedda

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Tove Marika Jansson (Finland; 9 August 1914 – 27 June 2001) was a Swedish-speaking Finnish novelist, painter, illustrator and comic strip author. For her contribution as a children’s writer she received the Hans Christian Andersen Medal in 1966. Brought up by artistic parents, Jansson studied art from 1930 to 1938 in Stockholm, Helsinki and then Paris. Her first solo art exhibition was in 1943.

At the same time, she was writing short stories and articles for publication, as well as creating the graphics for book covers and other purposes. She continued to work as an artist for the rest of her life, alongside her writing. Jansson is best known as the author of the Moomin books for children. The first such book, The Moomins and the Great Flood, appeared in 1945, though it was the next two books, Comet in Moominland and Finn Family Moomintroll, published in 1946 and 1948 respectively, that brought her fame. Starting with the semi-autobiographical Bildhuggarens dotter (Sculptor’s Daughter) in 1968, she wrote six novels and five books of short stories for adults. (Text from the Wikipedia website)

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Hans Gedda. 'Evert Taube, author, singer, artist' Reprint 2012

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Hans Gedda
Evert Taube, author, singer, artist
Reprint 2012
Gelatin silver print
60.5 x 50.5 cm
Nationalmuseum, Swedish National Portrait Gallery
Erik Cornelius/Nationalmuseum
© Hans Gedda

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Evert Taube (1890 – 1976) was a Swedish author, artist, composer and singer. He is widely regarded as one of Sweden’s most respected musicians and the foremost troubadour of the Swedish ballad tradition in the 20th century.

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“On 5 December, an exhibition on the life and work of photographer Hans Gedda will open at Nationalmuseum. Close to 140 works will be on show in this retrospective covering the period from the 1950s to the present day. Gedda’s celebrated portraits of Angela Davis, Andy Warhol and Nelson Mandela will appear alongside famous Swedes such as Olof Palme, Birgit Nilsson and Jonas Gardell.

Hans Gedda (born 1942) has long been recognized as one of Sweden;s most notable photographers. The coming retrospective will feature some 140 works: a mix of portraits, still lifes and semi-documentary images. The sliding scale on which the various genres are classified invites questions such as what constitutes a portrait, and what makes it different from other motifs. The featured works will cover Gedda’s long and productive artistic career from the 1950s to date.

Hans Gedda displayed a precocious talent for photography, making his artistic debut while still a teenager. The exhibition will therefore include several early works never previously exhibited. It will then trace Gedda’s ongoing development, from his student days with Teddy Aarni in Eskilstuna through the period he spent as assistant to Rolf Winquist at Ateljé Uggla. Gedda’s breakthrough came in 1967 with his portraits of Sara Lidman and Tove Jansson. As one of the dominant components of Gedda’s oeuvre, portraits will make up a major part of the exhibition. Visitors will encounter well-known images of Angela Davis, Andy Warhol, Nelson Mandela and famous Swedes such as Olof Palme, Birgit Nilsson and Jonas Gardell. In these portrayals, time and space are non-existent; everything is pared down. Examples of closeness and distance alike can be seen. One of the most innovative works is a portrait of King Carl XVI Gustaf.

Gedda has worked as a commercial photographer all his life, frequently changing perspectives and using the same models in his artistic projects. His pictures of older men with colourful personalities were created in parallel with jeans advertisements. Another example is Gedda’s circus images, commissioned by Cirkus Scott, which mix portrait photography with semi-documentary photojournalism. Since these are among the most fascinating of Gedda’s works, separate sections will be dedicated to them. As far as self-portraits are concerned, Gedda has employed a variety of motifs as reflections of himself. He has appeared both as a white clown and as a still life in the form of scrap metal parts. In this way, he continues to experiment to this day with a sliding scale covering a number of genres such as portraiture, nature studies and still life…

To coincide with the exhibition, a lavishly illustrated catalogue will be published in Swedish and English. It will contain two essays by Magnus Olausson and Eva-Lena Karlsson, the exhibition curators, which will draw extensively on numerous conversations with Gedda.

The exhibition will open on 5 December 2013 in Nationalmuseum’s temporary venue at Konstakademien, Fredsgatan 12, Stockholm, and will run until 30 March 2014.”

Press release from the Nationalmuseum website

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Hans Gedda. 'Addi, the White-Face Clown' c. 1967

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Hans Gedda
Addi, the White-Face Clown
c. 1967
Cecilia Heisser/Nationalmuseum
© Hans Gedda

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Hans Gedda. 'Andy Warhol' 1976

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Hans Gedda
Andy Warhol
1976
Cecilia Heisser/Nationalmuseum
© Hans Gedda

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Hans Gedda. 'Cornelis Vreeswijk' 1984

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Hans Gedda
Cornelis Vreeswijk
1984
Nationalmuseum, Swedish National Portrait Gallery
Cecilia Heisser/Nationalmuseum
© Hans Gedda

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Cornelis Vreeswijk (8 August 1937 – 12 November 1987) was a singer-songwriter, poet and actor born in IJmuiden in the Netherlands. He emigrated to Sweden with his parents in 1949 at the age of twelve. He was educated as a social worker and hoped to become a journalist, but became increasingly involved in music, performing at events for students. His idiosyncratic humor and social engagement is still gaining him new fans. Cornelis Vreeswijk is often considered as one of the most influential and successful troubadours in Sweden. In 2010 a Swedish drama film, called Cornelis, was made about his life. It was directed by Amir Chamdin.

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Hans Gedda. 'Still Life' Nd

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Hans Gedda
Still Life
Nd
Cecilia Heisser/Nationalmuseum
© Hans Gedda

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Hans Gedda. 'Jonas Gardell' c. 1992

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Hans Gedda
Jonas Gardell
c. 1992
Cecilia Heisser/Nationalmuseum
© Hans Gedda

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Jonas Gardell (born 2 November 1963 in Enebyberg, Stockholm County), is a Swedish novelist, playwright, screenwriter and comedian. He is the brother of religion scholar Mattias Gardell. He is well known for his books and plays in all of Scandinavia and has also published in Norway, Denmark, Finland, and Iceland.

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Hans Gedda. 'Man with a Cigarette and Stick' 1995-97

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Hans Gedda
Man with a Cigarette and Stick
1995-97
Cecilia Heisser/Nationalmuseum
© Hans Gedda

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Hans Gedda. 'Ove Ekberg' 1955

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Hans Gedda
Ove Ekberg
1955
Cecilia Heisser/Nationalmuseum
© Hans Gedda

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Hans Gedda. 'Sara Lidman' 1967

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Hans Gedda
Sara Lidman
1967
Cecilia Heisser/Nationalmuseum
© Hans Gedda

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Sara Lidman (30 December 1923 – 17 June 2004) was a Swedish writer. Born in the village Missenträsk in the northern parts of Skellefteå Municipality, Lidman was raised in the Västerbotten region of northern Sweden. She studied at the University of Uppsala where her studies were interrupted by her receiving tuberculosis. She achieved her first great success with the novel Tjärdalen (The Tar Still). In this novel and in Hjortronlandet she depicts themes like alienation and loneliness. In this and her following three novels, she described the difficult conditions for poor farmers in the northern Swedish province Västerbotten during the nineteenth century.

Her innovative style was influenced by dialects and biblical language. In connection with her first four novels, she wrote a number of texts with strong political content. She engaged in protest against the Vietnam War (including traveling to North Vietnam and participating in the Russell Tribunal) and apartheid in South Africa. She also supported the miners strikes in North Sweden and was active in the Communist movement and after that in the environmentalist movement. After 1977, she wrote seven additional novels that dealt with the colonization of northern Sweden. (Text from the Wikipedia website)

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Hans Gedda. 'Rolf Winquist, photographer' Reprint 2012

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Hans Gedda
Rolf Winquist, photographer
Reprint 2012
Gelatin silver print
60.5 x 50.5 cm
Nationalmuseum, Swedish National Portrait Gallery
Cecilia Heisser/Nationalmuseum
© Hans Gedda

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The photographer Rolf Winquist (1910 – 68) was for many years the head of Ateljé Uggla, a popular studio in Stockholm. Known chiefly for its portraits, the showcase studio on Kungsgatan attracted professionals and amateurs alike. Generations of aspiring young photographers sought out Winquist. He did not provide formal instruction, preferring to give his students the opportunity to acquire knowledge and skills through practical tasks. Winquist’s artistic roots were in the pictorialism movement of the early 20th century, which sought to elevate the status of photography and gain recognition as an art form. However, Winquist did not stop there, but went on to produce experimental works of a surrealist nature as well as street photography. (Text from the Nationalmuseum website)

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Hans Gedda. 'Hans Alfredson, author, actor, entertainer, film director' Reprint 2012

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Hans Gedda
Hans Alfredson, author, actor, entertainer, film director
Reprint 2012
Gelatin silver print
60.5 x 50.5 cm
Nationalmuseum, Swedish National Portrait Gallery
Cecilia Heisser/Nationalmuseum
© Hans Gedda

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Hans Folke “Hasse” Alfredson (born 28 June 1931) is a Swedish actor, film director, writer and comedian. He was born in Malmö, Sweden. He is known for his collaboration with Tage Danielsson (the two of them often referred to as Hasseåtage). His most celebrated contribution to their brand of humorist humanism was his ability to extemporize wildly absurd comic situations, for example in the so-called Lindeman dialogues. At the 11th Guldbagge Awards, he won the Best Director award for his 1975 film Egg! Egg! A Hardboiled Story. His 1981 film The Simple-Minded Murder was entered into the 32nd Berlin International Film Festival. He has also written a string of books, some intensely comic in a Monty Python style, some equally intensely tragic, some a mixture of the two. (Text from the Wikipedia website)

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Hans Gedda. 'Self Portrait as The White Clown' Reprint 2012

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Hans Gedda
Self Portrait as The White Clown
Reprint 2012
Gelatin silver print
60.5 x 50.5 cm
Nationalmuseum, Swedish National Portrait Gallery
Cecilia Heisser/Nationalmuseum
© Hans Gedda

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Hans Gedda. 'Margaretha Krook' 1971

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Hans Gedda
Margaretha Krook
1971
Nationalmuseum, Swedish National Portrait Gallery
Cecilia Heisser/Nationalmuseum
© Hans Gedda

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Margaretha Krook (15 October 1925 – 7 May 2001) was a Swedish stage and film actress. She won the Eugene O’Neill Award in 1974. In 1976, she won the Guldbagge Award for Best Actress for the film Release the Prisoners to Spring.

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Hans Gedda. 'Max von Sydow' c. 1973

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Hans Gedda
Max von Sydow
c. 1973
Cecilia Heisser/Nationalmuseum
© Hans Gedda

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Hans Gedda. 'Max von Sydow' 1993

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Hans Gedda
Max von Sydow
1993
© Hans Gedda

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Hans Gedda. 'Ernst Hugo Järegård, Shakespeare/actor' 1993

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Hans Gedda
Ernst Hugo Järegård, Shakespeare/actor
1993
© Hans Gedda

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From 1962 Ernst Hugo Järegård was an actor in Sweden’s prominent Royal Dramatic Theatre, where he came to perform a number of much celebrated parts: his eccentric Hitler in Schweik in the Second World War by Bertolt Brecht (1963), Estragon in the legendary 1966 Dramaten-staging of Samuel Beckett’s Waiting for Godot, Thersites in Shakespeare’s Troilus and Cressida 1967, Orgon in Molière’s Tartuffe 1971, Hjalmar Ekdahl in Ingmar Bergman’s 1972 production of Ibsen’s The Wild Duck, Nero in Jean Racine’s Britannicus (1974), a spot-on portrayal of August Strindberg in play Tribadernas natt (The Night of the Tribades) by Per Olov Enquist, the title role in Richard III by Shakespeare (1980) and the extremely creepy – and slightly perverted – boss Sven in VD (“CEO”) by Stig Larsson in 1985, among others…

Järegård gained international attention when he took on the role of Doctor Helmer in Lars von Trier’s highly acclaimed mini-series Riget and Riget II (aka The Kingdom I & II). He also appeared in von Trier’s Europa. He participated in about 20 movies and 40 TV productions: aside from the Riget-series; some of his greatest roles are in the Skånska mord-series, in the 1975 Hasseåtage comedy Släpp fångarne loss, det är vår! (Release the Prisoners to Spring), in the 1962 cult movie Raggargänget, in Kådisbellan (aka The Slingshot) in 1993 and as the pompous old drag queen Ragnar Rönn in the teleplay Cheek to Cheek (written and directed by Jonas Gardell), 1997. Also in 1997 he appeared in CHOCK as the series’ host and presented each episode. Usually he would make elaborate philosophical and mystical statements regarding the plot of each episode.

For his acting work, he was awarded with the Thalia prize (1967) and the Eugene O’Neill Award (1975), two of Sweden’s finest and most prestigious theatre awards. (Text from the Wikipedia website)

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Hans Gedda. 'Self Portrait (with Cap)' 1974

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Hans Gedda
Self Portrait (with Cap)
1974
Nationalmuseum, Swedish National Portrait Gallery
Cecilia Heisser/Nationalmuseum
© Hans Gedda

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Nationalmuseum at Konstakademien
Konstakademien, Fredsgatan 12
Stockholm
Temporary exhibition space

Opening hours: (Dec 5 – Mar 30, 2014)
Mon, Wed, Fri, Sat and Sun: 10 – 18
Tues & Thurs: 10 – 20

Nationalmuseum website

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Dr Marcus Bunyan

Dr Marcus Bunyan is an Australian artist and writer. His work explores the boundaries of identity and place. He writes the Art Blart blog which reviews exhibitions in Melbourne, Australia and posts exhibitions from around the world. He has a Dr of Philosophy from RMIT University, Melbourne and is currently studying a Master of Art Curatorship at The University of Melbourne.

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