Archive for the 'american photographers' Category

27
May
15

Exhibition: ‘Hal Fischer, Gay Semiotics, 1977/2014′ at the Fotomuseum Winterthur, Zürich

Exhibition dates: 8th May – 7th June 2015

 

I remember coming out in 1975, six years after Stonewall, that seismic event that was the out and proud culmination of the resistance to oppression that had been building since the Second World War. Pre-disco, pre-Heaven night club (opened in December 1979) young gay men like me went to pubs in the Soho and Earl’s Court district of London and to places like Bang! nightclub on Tottenham Court Road (opened 1976). I used to wear an earring in my left ear, keys on the left, handkerchiefs to all the fetish nights at Heaven, and speak a queer language that secretive gay men had to speak in straight places… Polari (or alternatively Parlare, Parlary, Palare, Palarie, Palari; from Italian parlare, “to talk”).

“Polari is a form of cant slang used in Britain by actors, circus and fairground showmen, merchant navy sailors, criminals, prostitutes, and the gay subculture. There is some debate about its origins, but it can be traced back to at least the nineteenth century and possibly the sixteenth century… Polari is a mixture of Romance (Italian or Mediterranean Lingua Franca), London slang, backslang, rhyming slang, sailor slang, and thieves’ cant… It was a constantly developing form of language, with a small core lexicon of about 20 words (including bona, ajax, eek, cod, naff, lattie, nanti, omi, palone, riah, zhoosh (tjuz), TBH, trade, vada), and over 500 other lesser-known words.

Polari was used in London fishmarkets, the theatre, fairgrounds and circuses, hence the many borrowings from Romany. As many homosexual men worked in theatrical entertainment it was also used among the gay subculture, at a time when homosexual activity was illegal, to disguise homosexuals from hostile outsiders and undercover policemen. It was also used extensively in the British Merchant Navy, where many gay men joined ocean liners and cruise ships as waiters, stewards and entertainers. On one hand, it would be used as a means of cover to allow gay subjects to be discussed aloud without being understood; on the other hand, it was also used by some, particularly the most visibly camp and effeminate, as a further way of asserting their identity.” (Text from Wikipedia)

For example “vada the bona omi” was a “look at the good man”, “spark out on his palliass” was “flat out on his back”, and “he had huge lallies” which was “he had huge legs” (more terms can be found on the Polari – British gay slang web page). Another favourite was “trolling the Dilly” which means “to cruise or walk about Pica/dilly” where the rent boys (known as Dilly boys) used to line up against the railings looking for customers or “trade”. In this context “trolling” could be seen as a form of gay flâneur. Wikipedia states that Polari had begun to fall into disuse amongst the gay subculture by the late 1960s, but in my experience this is not true. Within my circle of friends it was still in constant use into the early 1980s. The language was very useful in pubs in London where sailors, ruff trade, and the theatre crowd mixed in Soho, were you could comment to a gay friend on a man that you thought attractive and anyone overhearing your conversation would not know what you were talking about.

All this must seem rather quaint now, but the archetypal images of gay men have not changed much over the intervening years. There is still the natural young gay man, the bear, the leatherman (or those that just wear leather for dance parties, just for show and not for attitude), the S/M scene, still the handkerchief code (still seen though rarely these days), the armband on the left or right for active or passive, still the gay jocks but now much more the gym preened bunnies. Everything old is new again… it’s just less heterogeneous.

Marcus

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

All photographs by Hal Fischer from Gay Semiotics, 1977/2014, Courtesy Hal Fischer, and Cherry and Martin, Los Angeles © Hal Fischer

 

In 1977, Hal Fischer produced his photo-text project Gay Semiotics, first as a series of silver gelatin prints and then as a book published by NFS Press. The project explored the growing visibility of the male gay community in the Castro district of San Francisco, particularly its street style and so-called ‘hanky codes’ indicating different sexual preferences. Fisher’s series was one of the earliest attempts to explore a queer semiotics, offering a playful engagement with male self-fashioning and archetypes. Gay Semiotics is both a marker of the self-confidence and creativity of the San Francisco gay community before the emergence of HIV/AIDS and an important contribution to West Coast conceptual photography.

 

 

Hal Fischer from 'Gay Semiotics' 1977

 

Hal Fischer
Blue Handkerchief, Red Handkerchief
1977/2014
Inkjet print

 

Hal Fischer from 'Gay Semiotics' 1977

 

Hal Fischer
Keys
1977/2014
Inkjet print

 

Hal Fischer from 'Gay Semiotics' 1977

 

Hal Fischer
Leather Apparel
1977/2014
Inkjet print

 

Hal Fischer from 'Gay Semiotics' 1977

 

Hal Fischer
Gag Mask
1977/2014
Inkjet print

 

Hal Fischer from 'Gay Semiotics' 1977

 

Hal Fischer
Amyl Nitrite
1977/2014
Inkjet print

 

Hal Fischer from 'Gay Semiotics' 1977

 

Hal Fischer
Earring
1977/2014
Inkjet print

 

 

JBW: Gay Semiotics is an attempt to map some of the discourse of structuralism onto the visual codes of male queer life in the Castro. How did you come to structuralism?

HF: Thanks to Lew Thomas, in graduate school I began reading things like Jack Burnham’s The Structure of Art and Ursula Meyer’s Conceptual Art. Those were two key texts. Of course, structuralism came late to photography, when you consider that Susan Sontag’s Against Interpretation came out in 1966. Reading Burnham, going on to read Claude Lévi-Strauss, all that was crucial. I learned about signifiers, and thought, this is going on all around me.

JBW: You’re doing several things in Gay Semiotics. On the one hand, you’re parsing a signification system that arose out of a nonverbal, erotic exchange, and you’re also deconstructing gay male self-fashioning and photographing “archetypes.” It is thus a photo-project about the history of photography and its long legacy of ethnographic typing.

HF: I can’t say I was conscious of it at the time, but one of the first photographers who influenced me was August Sander. I mean, I LOVED Sander. I still do. I probably was a fascist in an earlier life, because I’m definitely into types, and I’m definitely into archetyping. I don’t really think it’s that awful a thing to do; it can be very informative. I was also interested in the Bechers and the notion of repetition.

JBW: So the work is also about genre.

HF: Yes. It’s also about personal desire; it’s a lexicon of attraction.”

Extract from Julia Bryan-Wilson speaking with Hal Fischer. Aperture magazine #218, Spring 2015

 

Hal Fischer from 'Gay Semiotics' 1977

 

Hal Fischer
Signifiers for a Male Response
1977/2014
Inkjet print

 

Hal Fischer from 'Gay Semiotics' 1977

 

Hal Fischer
Street Fashion Basic Gay
1977/2014
Inkjet print

 

Hal Fischer from 'Gay Semiotics' 1977

 

Hal Fischer
Street Fashion Jock
1977/2014
Inkjet print

 

Hal Fischer from 'Gay Semiotics' 1977

 

Hal Fischer
Street Fashion Forties Trash
1977/2014
Inkjet print

 

Hal Fischer from 'Gay Semiotics' 1977

 

Hal Fischer
Street Fashion Hippie
1977/2014
Inkjet print

 

Hal Fischer from 'Gay Semiotics' 1977

 

Hal Fischer
Street Fashion Uniform
1977/2014
Inkjet print

 

Hal Fischer from 'Gay Semiotics' 1977

 

Hal Fischer
Street Fashion Leather
1977/2014
Inkjet print

 

Hal Fischer from 'Gay Semiotics' 1977

 

Hal Fischer
Archetypal Media Image Leather
1977/2014
Inkjet print

 

Hal Fischer from 'Gay Semiotics' 1977

 

Hal Fischer
Archetypal Media Image Urbane
1977/2014
Inkjet print

 

Hal Fischer from 'Gay Semiotics' 1977

 

Hal Fischer
Archetypal Media Image Western
1977/2014
Inkjet print

 

Hal Fischer from 'Gay Semiotics' 1977

 

Hal Fischer
Archetypal Media Image Classical
1977/2014
Inkjet print

 

Hal Fischer from 'Gay Semiotics' 1977

 

Hal Fischer
Archetypal Media Image Natural
1977/2014
Inkjet print

 

Hal Fischer from 'Gay Semiotics' 1977

 

Hal Fischer
Dominance
1977/2014
Inkjet print

 

Hal Fischer from 'Gay Semiotics' 1977

 

Hal Fischer
Sadism & Masochism
1977/2014
Inkjet print

 

Hal Fischer from 'Gay Semiotics' 1977

 

Hal Fischer
Submisison
1977/2014
Inkjet print

 

Hal Fischer from 'Gay Semiotics' 1977

 

Hal Fischer
Bondage Device Cross
1977/2014
Inkjet print

 

Hal Fischer from 'Gay Semiotics' 1977

 

Hal Fischer
Bondage Device Open End Table Rack
1977/2014
Inkjet print

 

Hal Fischer from 'Gay Semiotics' 1977

 

Hal Fischer
Bondage Device Meat Hoist
1977/2014
Inkjet print

 

 

Fotomuseum Winterthur
Grüzenstrasse 44 + 45
CH-8400
Winterthur (Zürich)

Opening hours:
Tuesday to Sunday 11 am – 6 pm
Wednesday 11 am – 8 pm
Closed on Mondays

Fotomuseum Winterthur website

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23
May
15

Andy Warhol unplugged 2

May 2015

 

Andy Warhol being, well … Andy Warhol.

Artist, tourist, celebrity, poofter, man about town and spontaneous, thoughtful snapper. The photograph of the Prado at night is superb as are the multiple, stitched together photographs. Warhol certainly loves his high key, 35mm images.

Marcus

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Please click on the photographs for a larger version of the image.

 

 

Andy Warhol (1928-1987)
 'Air France' 
dated JUN 21 1982

 

Andy Warhol (1928-1987)
Air France
Jun 21 1982
Unique gelatin silver print
8 x 10 in. (20.3 x 25.4 cm)

 

Andy Warhol (1928-1987) 'Cessna Plane'
 c. 1977

 

Andy Warhol (1928-1987)
Cessna Plane
c. 1977
Four stitched gelatin silver prints
Each: 11 x 14 in. (27.9 x 35.6 cm.); overall: 21¼ x 27⅜ in. (54 x 69.5 cm.)

 

Andy Warhol (1928-1987) '
City View
' May 07 1984

 

Andy Warhol (1928-1987)
City View

May 07 1984
Unique gelatin silver print
8 x 10 in. (20.3 x 25.4 cm)

 

Andy Warhol (1928-1987)
 'Houston Skyline' c. 1979

 

Andy Warhol (1928-1987)
Houston Skyline
c. 1979
Unique gelatin silver print
8 x 10 in. (20.3 x 25.4 cm)

 

Andy Warhol (1928-1987)
 'German Trolley
' Jun 23 1980

 

Andy Warhol (1928-1987)
German Trolley

Jun 23 1980
Unique gelatin silver print
8 x 10 in. (20.3 x 25.4 cm)

 

Andy Warhol (1928-1987)
 'Limousine Interior' c. 1980

 

Andy Warhol (1928-1987)
Limousine Interior
c. 1980
Unique gelatin silver print
8 x 10 in. (20.3 x 25.4 cm)

 

Andy Warhol (1928-1987)
 'Luxor Temple' c. 1977

 

Andy Warhol (1928-1987)
Luxor Temple
c. 1977
Two unique gelatin silver prints
Each: 8 x 5 in. (20.3 x 12.7 cm)

 

Andy Warhol (1928-1987)
 Luxor Temple (detail) c. 1977

 

Andy Warhol (1928-1987)
Luxor Temple (detail)
c. 1977
Two unique gelatin silver prints
Each: 8 x 5 in. (20.3 x 12.7 cm)

 

Andy Warhol (1928-1987) 'Ocean Landscape' 1986

 

Andy Warhol (1928-1987)
Ocean Landscape
1986
Four stitched gelatin silver prints
Each: 11 x 14 in. (27.9 x 35.6 cm.); overall: 21¼ x 27½ in. (54 x 69.9 cm)

 

Andy Warhol (1928-1987)
 'Statues Outside Musée D'Orsay' c. 1980

 

Andy Warhol (1928-1987)
Statues Outside Musée D’Orsay
c. 1980
Unique gelatin silver print
8 x 10 in. (20.3 x 25.4 cm)

 

Andy Warhol (1928-1987)
 'Monastery of Saint John of the Kings, Toledo' Jan 24 1983

 

Andy Warhol (1928-1987)
Monastery of Saint John of the Kings, Toledo
Jan 24 1983
Unique gelatin silver print
8 x 10 in. (20.3 x 25.4 cm)

 

Andy Warhol (1928-1987)
 'Museo del Prado Exterior, Madrid, Spain' Jan 24 1983

 

Andy Warhol (1928-1987)
Museo del Prado Exterior, Madrid, Spain
Jan 24 1983
Unique gelatin silver print
8 x 10 in. (20.3 x 25.4 cm)

 

Andy Warhol (1928-1987) 'Spanish Portico' 
Jan 24 1983

 

Andy Warhol (1928-1987)
Spanish Portico
Jan 24 1983
Unique gelatin silver print
8 x 10 in. (20.3 x 25.4 cm)

 

Andy Warhol (1928-1987)
 'Richard Coeur de Lion at Westminster' c. 1980

 

Andy Warhol (1928-1987)
Richard Coeur de Lion at Westminster
c. 1980
Unique gelatin silver print
8 x 10 in. (20.3 x 25.4 cm)

 

Andy Warhol (1928-1987)
 'Pyramid' c. 1977

 

Andy Warhol (1928-1987)
Pyramid
c. 1977
Unique gelatin silver print
5 x 8 in. (12.7 x 20.3 cm)

 

Andy Warhol (1928-1987) 'Street Scene' c. 1982

 

Andy Warhol (1928-1987)
Street Scene
c. 1982
Unique gelatin silver print
8 x 10 in. (20.3 x 25.4 cm)

 

Andy Warhol (1928-1987)
 'Riders from the Car' c. 1979

 

Andy Warhol (1928-1987)
Riders from the Car
c. 1979
Two unique polaroid prints mounted on board
Each: 4¼ x 3⅜ in. (10.8 x 8.6 cm)

 

Andy Warhol (1928-1987) 'Unidentified Men' c. 1980

 

Andy Warhol (1928-1987)
Unidentified Men
c. 1980
Unique gelatin silver print
8 x 10 in. (20.3 x 25.4 cm)

 

Andy Warhol (1928-1987) 'Venetian Canal' 1977

 

Andy Warhol (1928-1987)
Venetian Canal
1977
Unique gelatin silver print
8 x 10 in. (20.3 x 25.4 cm)

 

Andy Warhol (1928-1987) 'Table Setting' c. 1980

 

Andy Warhol (1928-1987)
Table Setting
c. 1980
Unique gelatin silver print
8 x 10 in. (20.3 x 25.4 cm)

 

Andy Warhol (1928-1987) 'Beach Scene' c. 1975

 

Andy Warhol (1928-1987)
Beach Scene
c. 1975
Unique polaroid print
4¼ x 3½ in. (10.8 x 8.8 cm)

 

Andy Warhol (1928-1987) 'Place de la Concorde' c. 1980

 

Andy Warhol (1928-1987)
Place de la Concorde
c. 1980
Unique gelatin silver print
10 x 8 in. (25.4 x 20.3 cm)

 

Andy Warhol (1928-1987) 'Rockefeller Center' c. 1984

 

Andy Warhol (1928-1987)
Rockefeller Center
c. 1984
Unique gelatin silver print
10 x 8 in. (25.4 x 20.3 cm)

 

Andy Warhol (1928-1987) 'Sears Tower' c. 1980

 

Andy Warhol (1928-1987)
Sears Tower
c. 1980
Unique gelatin silver print
10 x 8 in. (25.4 x 20.3 cm)

 

Andy Warhol (1928-1987) 'Max Delys at the Saloon' c. 1980

 

Andy Warhol (1928-1987)
Max Delys at the Saloon
c. 1980
Unique polaroid print mounted on board
4¼ x 3⅜ in. (10.8 x 8.5 cm)

 

Andy Warhol (1928-1987) 'Union Square' c. 1975

 

Andy Warhol (1928-1987)
Union Square
c. 1975
Unique polaroid print
4¼ x 3⅜ in. (10.8 x 8.5 cm)

 

Andy Warhol (1928-1987) 'Tunnel' c. 1980

 

Andy Warhol (1928-1987)
Tunnel
c. 1980
Unique gelatin silver print
8 x 10 in. (20.3 x 25.4 cm)

 

 

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20
May
15

Exhibition: ‘The Feminist Avant-Garde of the 1970s: Works from the SAMMLUNG VERBUND, Vienna’ at Hamburger Kunsthalle, Hamburg

Exhibition dates: 13th March – 31st May 2015

 

Early Cindy Sherman, very good; Francesca Woodman, wow; but Ana Mendieta, you are a star!

Marcus

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

 

Featuring 34 international women artists, this wide-ranging exhibition highlights the early days of the feminist art movement. With over 150 major works drawn from the SAMMLUNG VERBUND in Vienna, it documents how female artists in the 1970s began collectively reshaping the “image of woman” – something that had never happened before in the history of art. During this period, increasing numbers of women who had been born during or just after the Second World War had the opportunity to study at an art school or academy, enabling them to emancipate themselves from the traditional role of artist’s muse or model. Dr Gabriele Schor, director of the SAMMLUNG VERBUND, coined the term “feminist avant-garde” to highlight the pioneering role played by these artists.

The female artists have turned to new media such as photography, film or video, due to the fact that these are not laden with art-historical baggage; others employ performance or action-based art as their chosen means of expression. Along with artists such as VALIE EXPORT, Cindy Sherman and Martha Rosler whose work is familiar to a wide audience, the exhibition also provides a rare opportunity to discover some equally accomplished but less well-known members of the “feminist avant-garde”.

 

 

VALIE EXPORT (*1940) 'Tapp und Tastkino' 1968

 

VALIE EXPORT (*1940)
Tapp und Tastkino
1968
Video, S/W, Ton
© VALIE EXPORT / VG Bild-Kunst, Bonn 2015 / Courtesy of Galerie Charim, Wien / SAMMLUNG VERBUND, Wien

 

Birgit Jürgenssen (1949-2003) 'Nest' 1979

 

Birgit Jürgenssen (1949-2003)
Nest
1979
S/W-Photographie
© Estate of Birgit Jürgenssen / Courtesy of Galerie Hubert Winter, Wien / VG Bild-Kunst, Bonn 2014/2015 / SAMMLUNG VERBUND, Wien

 

Ulrike Rosenbach (*1943)  'Art is a criminal action No. 4' 1969

 

Ulrike Rosenbach (*1943)
Art is a criminal action No. 4
1969
S/W-Photographie auf Barytpapier
© Ulrike Rosenbach / VG Bild-Kunst, Bonn 2015 / SAMMLUNG VERBUND, Wien

 

Francesca Woodman (1958-1981) 'Untitled Rome, Italy' 1977-1978/2006

 

Francesca Woodman (1958-1981)
Untitled Rome, Italy
1977-1978/2006
S/W-Photographie auf Barytpapier
© Courtesy George and Betty Woodman, New York / SAMMLUNG VERBUND, Wien

 

 

“Featuring 34 international women artists, this wide-ranging exhibition highlights the early days of the feminist art movement. With over 150 major works drawn from the SAMMLUNG VERBUND in Vienna, it documents how female artists in the 1970s began collectively reshaping the “image of woman” – something that had never happened before in the history of art. During this period, increasing numbers of women who had been born during or just after the Second World War had the opportunity to study at an art school or academy, enabling them to emancipate themselves from the traditional role of art­ist’s muse or model. Dr Gabriele Schor, director of the SAMMLUNG VERBUND, coined the term “femi­nist avant-garde” to highlight the pioneering role played by these artists.

They went on to create works that challenged social norms and the mechanisms of the art business, developing radical new artistic practices and breaking with a male-dominated reality. Against the back­ground of the civil rights movement and the women’s movement, feminist issues emerged as a matter of public debate: the personal was now political. Within a very short period of time, women began rais­ing awareness and gaining public recognition by organising collective actions, demonstrations and in­dependent exhibitions. The artists of the “feminist avant-garde” have examined how traditional images determine the perception of women and how they construct their own personal and social identity. Their work addresses a wide range of themes, such as the relegation of women to the one-dimensional role of housewife and mother, the use of one’s own body in art, female sexuality, notions of beauty and violence against women.

The female artists undermine the stereotype roles in a subversive way. Martha Rosler, for example, us­es exaggeration and parody to criticise women’s traditionally domestic role, and Birgit Jürgenssen tied a cooker around her neck like an apron in her work Hausfrauen-Küchenschürze. By playing with the camera or employing masquerade and costumes as an effective means of self-representation, women artists have challenged conventional notions of identity or femininity and exposed these as social con­structs. Cindy Sherman, Suzy Lake, Hannah Wilke and Martha Wilson cast themselves in a variety of roles for their photographic investigations into everyday and historical clichés. In a similar way, Lynn Hershman Leeson created a fictional alter ego as “Roberta Breitmore” and enacted this character for a number of years. While accepted cultural ideals of beauty and perfection play an important role for all of the artists mentioned above, these themes are specifically and impressively addressed in the work of Rita Myers and Ewa Partum.

Numerous women artists have turned to new media such as photography, film or video, due to the fact that these are not laden with art-historical baggage; others employ performance or action-based art as their chosen means of expression. VALIE EXPORT, for example, invited passers-by on Munich’s Stachus square to visit her Tapp-und Tastkino – meaning that they could put their hands inside a box she was wearing over her naked chest. Female artists have often exploited their own bodies as art material, whereby some – such as Ana Mendieta or Gina Pane – have pushed themselves to the very limits of physical endurance. Using humour, irony, subtlety and provocation, the artists of the “feminist avantgarde” have deconstructed the traditional female iconography.

Along with artists such as VALIE EXPORT, Cindy Sherman and Martha Rosler whose work is familiar to a wide audience, the exhibition also provides a rare opportunity to discover some equally accomplished but less well-known members of the “feminist avant-garde”.

The SAMMLUNG VERBUND was founded in 2004 in Vienna by VERBUND, Austria’s leading producer of electricity from hydropower. The collection focuses on international contemporary art from 1970 to the present day, with a unique emphasis on the Feminist Avant-garde of the 1970s.

Featured artists: Helena Almeida (*1934, Portugal), Eleanor Antin (*1935, USA), Lynda Benglis (*1941, USA), Renate Bertlmann (*1943, Österreich), Teresa Burga (*1935, Peru), Lili Dujourie (*1941, Belgien), Mary Beth Edelson (*1933, USA), Renate Eisenegger (*1949, Deutschland), VALIE EXPORT (*1940, Österreich), Esther Ferrer (*1937, Spanien), Lynn Hershman-Leeson (*1941, USA), Alexis Hunter (1948-2014, Neuseeland, England), Sanja Iveković (*1949, Kroatien), Birgit Jürgenssen (1949-2003, Österreich), Ketty La Rocca (1938-1976, Italien), Leslie Labowitz (*1946, USA), Suzanne Lacy (*1945, USA), Suzy Lake (*1947, USA), Karin Mack (*1940, Österreich), Ana Mendieta (1948-1985, Kuba/USA), Rita Myers (*1947, USA), ORLAN (*1947, Frankreich), Gina Pane (1939-1990, Frankreich), Ewa Partum (*1945, Polen), Ulrike Rosenbach (*1943, Deutschland), Martha Rosler (*1943, USA), Carolee Schneemann (*1939, USA), Cindy Sherman (*1954, USA), Penny Slinger (*1947, England), Annegret Soltau (*1946, Deutschland), Hannah Wilke (1940-1993, USA), Martha Wilson (*1947, USA), Francesca Woodman (1958-1981, USA), Nil Yalter (*1938, Ägypten/Frankreich).”

Press release from the Hamburger Kunsthalle website

 

Renate Bertlmann (*1943) 'Zärtliche Pantomime' 1976

 

Renate Bertlmann (*1943)
Zärtliche Pantomime [Tender Pantomime]
1976
S/W-Photographie (aus einer 6-teiligen Serie)
© Renate Bertlmann / SAMMLUNG VERBUND, Wien

 

 Renate Eisenegger (*1949)  'Hochhaus (Nr.1)' 1974

 

Renate Eisenegger (*1949)
Hochhaus (Nr.1)
1974
S/W-Photografie auf Holz kaschiert (aus einer 4-teiligen Serie)
© Renate Eisenegger / SAMMLUNG VERBUND, Wien

 

Alexis Hunter (1948-2014) 'Approach to Fear Voyeurism' 1973

 

Alexis Hunter (1948-2014)
Approach to Fear Voyeurism
1973
Silver bromide photography, painted with colored ink (from a 12-part series)
© Alexis Hunter / Courtesy of Richard Saltoun, London / VG Bild-Kunst, Bonn 2015 / SAMMLUNG VERBUND , Wien

 

Birgit Jürgenssen (1949-2003) 'Untitled (Self with pelts)' 1974/1977

 

Birgit Jürgenssen (1949-2003)
Ohne Titel (Selbst mit Fellchen) [Untitled (Self with pelts)]
1974/1977

 

Lynn Hershman-Leeson (*1941) 'Roberta Construction Chart #1' 1975

 

Lynn Hershman-Leeson (*1941)
Roberta Construction Chart #1
1975
C-Print
© Lynn Hershman Leeson / SAMMLUNG VERBUND, Wien

 

Ana Mendieta (1948-1985) 'Untitled (Glass on Body Imprints)' 1972/1997

 

Ana Mendieta (1948-1985)
Untitled (Glass on Body Imprints)
1972/1997
C-Print (from a 6-part series)
© The Estate Ana Mendieta / Courtesy of Galerie Lelong, New York / SAMMLUNG VERBUND, Wien

 

Ulrike Rosenbach (*1943) 'Weiblicher Energieaustausch, Venus' 1975–1976

 

Ulrike Rosenbach (*1943)
Weiblicher Energieaustausch, Venus [Female Energy Exchange, Venus]
1975-1976
S/W-Photografie auf PE Papier (aus einer 3-teiligen Serie)
© Ulrike Rosenbach / Bildrecht, Wien, 2015 / SAMMLUNG VERBUND, Wien

 

Cindy Sherman  (*1954) 'Untitled #443 (Bus Riders II)' 1976/2005

 

Cindy Sherman (*1954)
Untitled #443 (Bus Riders II)
1976/2005
© Cindy Sherman, New York
Courtesy: Metro Pictures, New York/ SAMMLUNG VERBUND, Wien

 

Cindy Sherman (*1954) 'Untitled (Bus Riders I)' 1976/2000

 

Cindy Sherman (*1954)
Untitled (Bus Riders I)
1976/2005 (from a 15-part series)
© Cindy Sherman, New York
Courtesy: Metro Pictures, New York/ SAMMLUNG VERBUND, Wien

 

Cindy Sherman (*1954) 'Untitled (Lucy)' 1975/2001

 

Cindy Sherman (*1954)
Untitled (Lucy)
1975/2001
Silbergelantineabzug
© Cindy Sherman, New York
Courtesy: Metro Pictures, New York / SAMMLUNG VERBUND, Wien

 

Penny Slinger (*1947) 'Wedding Invitation – 2 (Art is Just a Piece of Cake)' 1973

 

Penny Slinger (*1947)
Wedding Invitation – 2 (Art is Just a Piece of Cake)
1973
S/W-Photografie
© Penny Slinger / Courtesy of the Artist and Broadway 1602, New York / SAMMLUNG VERBUND, Wien

 

Annegret Soltau (*1946) 'Selbst' 1975

 

Annegret Soltau (*1946)
Selbst [Myself]
1975
B/W photograph on baryta paper (from a 14-part series)
© Annegret Soltau / VG Bild-Kunst, Bonn 2015 / SAMMLUNG VERBUND, Wien
Photo: Heide Kratz

 

 

Hamburger Kunsthalle
Glockengießerwall 20095 Hamburg
Tel: +49 (0)40-428 131 204

Opening hours:
Tuesdays to Sundays 10 am – 6 pm
Thursdays 10 am – 9 pm
Closed Mondays

Hamburger Kunsthalle website

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17
May
15

Exhibition: ‘Hold That Pose: Erotic Imagery in 19th Century Photography’ at the Kinsey Institute, Bloomington, Indiana Part 2

Exhibition dates: 23rd January – 4th September 2015

Kinsey Institute Gallery, Indiana University

*PLEASE NOTE THIS POSTING CONTAINS ART PHOTOGRAPHS OF HUMAN EROTIC ACTIVITY AND NUDITY – IF YOU DO NOT LIKE PLEASE DO NOT LOOK, FAIR WARNING HAS BEEN GIVEN*

 

 

Part 2 of this special posting of photographs from the Kinsey Institute for Research in Sex, Gender, and Reproduction.

I especially like the allusion to Romanticism and class in Bijoux 118 (catalog card) (below) through the picture on the wall behind the copulating couple; and the allusion to the landscape and the sublime in Man performing analinctus on another man (1885-1900, below) through the painted studio backdrop. The sheer pleasure on the faces of some of the people in these photographs, such as in Clothed man kneeling behind a nude woman (1884-1886, below) is a joy to behold.

Dr Marcus Bunyan

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

 

 

The Kinsey Institute research collection contains thousands of examples of erotic imagery produced over centuries by artists around the world. When the new technology of photography was announced in France in 1839, it was not long before it became the most popular medium for depictions of the nude figure, as well as erotic imagery. The first photographic process to be widely used was the daguerreotype, which produced a unique image. With the invention of other processes that used negatives to make multiple prints, the mass production of erotic photographs became possible. Hold That Pose features daguerreotypes, tintypes, albumen and gelatin silver prints, stereocards, and other examples of photographic processes that were used by professional photographers in the 19th century to produce and distribute erotic material.

 

 

Unknown photographer. 'Female nude' 1850s

 

Unknown photographer
Female nude
1850s
Daguerreotype in case

 

W.H. Gilbert Tate (London, England) 'Portrait of an actress' c.1870

 

W.H. Gilbert Tate (London, England)
Portrait of an actress
c.1870
Albumen print (carte de visite)

 

 

Cartes de visite and cabinet cards

Mass produced on cheap paper or cardstock, actress cards served as cartes de visite – photographic cards left as messages – and as collectible portraits of popular stars of the theater in London and Paris.  One could purchase larger photographs, known as cabinet cards, from the photography studio or the pocket-sized cartes de visite. In an era when women were expected to stay at home, living quiet lives as wives and mothers, actresses were seen as having turned their backs on their ‘God given duty’ to be devoted homemakers. Though looked down upon socially, some actresses achieved fame and notoriety, through their work on stage as well as their lives outside the theater.

 

Wendt Studio, New Jersey, United States 'Helen Mathews, Length of hair 6 feet 4 inches' 19th century

 

Wendt Studio (New Jersey, United States)
Helen Mathews, Length of hair 6 feet 4 inches
19th century
Albumen print mounted on cabinet card

 

Guglielmo Plüschow (Wilhelm von Plüschow,1852-1930), Germany 'Female nude' Italy, c.1890

 

Guglielmo Plüschow (Wilhelm von Plüschow, 1852-1930, Germany)
Female nude
Italy, c. 1890
Albumen print

 

Unknown photographer. 'Bijoux 118 (catalog card)' 19th century

 

Unknown photographer
Bijoux 118 (catalog card)
19th century
Gelatin silver print

 

Unknown photographer. 'Bijoux 118 (catalog card)' 19th century (detail)

 

Unknown photographer
Bijoux 118 (catalog card) (detail)
19th century
Gelatin silver print

 

Unknown photographer. 'Bijoux 118 (catalog card)' 19th century (detail)

 

Unknown photographer
Bijoux 118 (catalog card) (detail)
19th century
Gelatin silver print

 

Unknown photographer. 'Entre Forains/L'Apache en Rut' 1895

 

Unknown photographer
Entre Forains/L’Apache en Rut
1895
Gelatin silver print

 

Stillfried & Andersen (Baron Raimund von Stillfried-Ratenicz (1839-1911), Austria, and Hermann Andersen. 'Reclining female nude' Yokohama, Japan, 1880-1882?

 

Stillfried & Andersen (Baron Raimund von Stillfried-Ratenicz (1839-1911) Austria) and Hermann Andersen
Reclining female nude
Yokohama, Japan, 1880-1882?
Hand-colored albumen print mounted on cabinet card

 

Unknown photographer. 'Group sexual encounter between a man and two women dressed in clerical costumes' 1883-1885

 

Unknown photographer
Group sexual encounter between a man and two women dressed in clerical costumes
1883-1885
Gelatin silver print

 

Unknown photographer, France 'Clothed man kneeling behind a nude woman' 1884-1886

 

Unknown photographer (France)
Clothed man kneeling behind a nude woman
1884-1886
Albumen print

 

Unknown photographer. 'Man and woman kissing while seated on a chair' 1890-1893

 

Unknown photographer
Man and woman kissing while seated on a chair
1890-1893
Gelatin silver copy print
Donated in 1954

 

Unknown photographer. 'Woman sitting on a man to engage in coitus' 1895-1898

 

Unknown photographer
Woman sitting on a man to engage in coitus
1895-1898
Gelatin silver print

 

Unknown photographer, France 'Man performing analinctus on another man' 1885-1900

Unknown photographer (France)
Man performing analinctus on another man
1885-1900
Albumen print

 

Unknown photographer. 'Two men performing mutual masturbation' 1880

 

Unknown photographer
Two men performing mutual masturbation
1880
Albumen print

 

Unknown photographer. 'Woman masturbating with a bedpost' 1887

 

Unknown photographer
Woman masturbating with a bedpost
1887
Albumen print

 

Unknown photographer (France) 'Man in robe receiving oral sex from a kneeling man' c.1890

 

Unknown photographer (France)
Man in robe receiving oral sex from a kneeling man
c.1890
Gelatin silver print

 

Unknown photographer. 'Woman spanking another woman with birch rod' 1895-1898

 

Unknown photographer
Woman spanking another woman with birch rod
1895-1898
Gelatin silver print

 

Unknown photographer (France) 'Woman holding a birch rod over a kneeling nude man' 1890-1900

 

Unknown photographer (France)
Woman holding a birch rod over a kneeling nude man
1890-1900
Gelatin silver print

 

The Kinsey Institute
Morrison Hall 313, Indiana University
Bloomington, Indiana, USA

Opening hours
Monday-Friday, 1 – 5pm

The Kinsey Institute website

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13
May
15

Exhibition: ‘Hold That Pose: Erotic Imagery in 19th Century Photography’ at the Kinsey Institute, Bloomington, Indiana Part 1

Exhibition dates: 23rd January – 4th September 2015

Kinsey Institute Gallery, Indiana University

*PLEASE NOTE THIS POSTING CONTAINS ART PHOTOGRAPHS OF HUMAN EROTIC ACTIVITY AND NUDITY – IF YOU DO NOT LIKE PLEASE DO NOT LOOK, FAIR WARNING HAS BEEN GIVEN*

 

 

A first for Art Blart – photographs from the world famous Kinsey Institute for Research in Sex, Gender, and Reproduction!

After visiting the Kinsey Institute as part of my PhD in 2001 I was not allowed to publish any photographs from the collection for my research, which was a pity. Things have changed over the last decade and a half I am happy to say. As I observed in an email to Catherine Johnson-Roehr, Curator of Art, Artifacts, and Photographs recently, I understood that they had to be more sensitive than most institutions, especially with some of the material they hold in their collection. In reply, Catherine noted that while the Kinsey still had to be careful with the use of their materials especially when they are made public online, things had improved in the last 15 years. “Although we have collected artworks since the 1940s, we did not exhibit any of the materials until the 1990s and then on a very limited basis until 2002. When I arrived here in 2000, we had only a few tame images on our website, but now we have online galleries for some of our exhibitions (including all the juried art shows).”

Therefore, after some negotiation for online release, it is with great pleasure that I can feature 40 images in this two-part posting. Nobody should be offended by these glorious, historic photographs of the human body and a human action that everyone does, and it is fantastic to see the Kinsey opening up their collection to the world. We must oppose bigoted views such as that of Nazi Germany where they destroyed the library of the Institut für Sexualwissenschaft (Institute for Sexology) headed by Magnus Hirschfeld, in 1933… by making these images visible in the world, not hiding them away behind closed doors. These are joyous photographs of the male and female body, a body in which everyone of us lives, desires, and enjoys pleasure.

Dr Marcus Bunyan

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

 

 

The Kinsey Institute research collection contains thousands of examples of erotic imagery produced over centuries by artists around the world. When the new technology of photography was announced in France in 1839, it was not long before it became the most popular medium for depictions of the nude figure, as well as erotic imagery. The first photographic process to be widely used was the daguerreotype, which produced a unique image. With the invention of other processes that used negatives to make multiple prints, the mass production of erotic photographs became possible. Hold That Pose features daguerreotypes, tintypes, albumen and gelatin silver prints, stereocards, and other examples of photographic processes that were used by professional photographers in the 19th century to produce and distribute erotic material.

 

 

Gallery wall of the exhibition 'Hold That Pose' at the Kinsey Institute

 

Gallery wall of the exhibition Hold That Pose at the Kinsey Institute

 

Photo process display case from the exhibition 'Hold That Pose' at the Kinsey Institute

 

Photo process display case from the exhibition Hold That Pose at the Kinsey Institute

 

Stanhopes on display from the exhibition 'Hold That Pose' at the Kinsey Institute

 

Stanhopes on display from the exhibition Hold That Pose at the Kinsey Institute

 

Unknown photographers 'Stanhope lenses and holders' 19th or early 20th century

Unknown photographers 'Stanhope lenses and holders' 19th or early 20th century

 

Unknown photographers
Stanhope lenses and holders
19th or early 20th century

 

Unknown photographer. 'Stanhope lens and holder' (detail) 19th or early 20th century

 

Unknown photographer
Stanhope lens and holder (detail)
19th or early 20th century

 

Stanhope lenses and holders, 19th or early 20th century

 

Stanhope lenses and holders
19th or early 20th century

 

Stanhopes derive their name from Lord Stanhope, who created the tiny rod-shaped lens before the invention of photography. In 1859, an entrepreneurial French inventor named René Prudent Patrice Dagron patented a process for making “cylindres photomicroscopiques”, and then created a successful business selling them as inexpensive novelty items. A photograph smaller than the head of a pin was mounted on a Stanhope lens, and then both were placed in a holder such as a pen knife, ring, or other small object. Stanhopes were popular souvenir items – many featured photographs of places or famous monuments such as the Eiffel Tower, but images of nude women or explicit sexual activity were also produced.

 

Gallery wall from the exhibition 'Hold That Pose' at the Kinsey Institute

 

Gallery wall from the exhibition Hold That Pose at the Kinsey Institute

 

Stereoscope display case from the exhibition 'Hold That Pose' at the Kinsey Institute

 

Stereoscope display case from the exhibition Hold That Pose at the Kinsey Institute

 

Stereoscope on display in the exhibition 'Hold That Pose' at the Kinsey Institute

Stereoscope on display in the exhibition 'Hold That Pose' at the Kinsey Institute

 

Stereoscope on display in the exhibition Hold That Pose at the Kinsey Institute

 

Stereo photography

The stereoscope, a device for viewing images in three dimensions, was invented in England in1838, just as the first photographic processes were being developed in France. The first stereo photographs were created using the daguerreotype process, which preserved an image on a highly polished silver plate. Initially a single camera was used to produce two nearly identical images that when viewed through a stereo device gave the illusion of seeing in 3-D, but soon a camera equipped with two lenses came into use for the production of stereo images. Stereoscopes became as popular as televisions are today, as a form of affordable home entertainment that could be enjoyed by children and adults.

 

Webster & Albee, Publishers, United States 'Woman standing on the back of a kneeling man' late 19th century

 

Webster & Albee (Publishers, United States)
Woman standing on the back of a kneeling man
Late 19th century
Hand-colored stereocard

See the installation photograph above and the card in the Stereoscope

 

Unknown photographer, France 'Two nude women in a room with a mirror' c. 1850-1855

 

Unknown photographer (France)
Two nude women in a room with a mirror
c. 1850-1855
Stereo daguerreotype under glass

 

Underwood & Underwood, United States 'Oh ! you naughty man' 1900

 

Underwood & Underwood (United States)
Oh ! you naughty man
1900
Stereocard

 

Unknown photographer. 'The Entanglement' Mid 19th century

 

Unknown photographer
The Entanglement
Mid 19th century
Hand-coloured stereocard

 

Unknown photographer, France 'Nude woman in a room with a mirror' c.1850-1855

 

Unknown photographer (France)
Nude woman in a room with a mirror
c. 1850-1855
Copy photograph of stereo daguerreotype

 

Unknown photographer. 'Photomontage of men and women engaged in sexual activity' 1895-1900

 

Unknown photographer
Photomontage of men and women engaged in sexual activity
1895-1900
Gelatin silver print

 

Unknown photographer. 'Photomontage of men and women engaged in sexual activity' 1895-1900 (detail)

 

Unknown photographer
Photomontage of men and women engaged in sexual activity (detail)
1895-1900
Gelatin silver print

 

Unknown photographer. 'Woman penetrating a woman with a dildo' 1880-1885

 

Unknown photographer
Woman penetrating a woman with a dildo
1880-1885
Gelatin silver copy print

 

Unknown photographer. 'Bathing in a Baetingplace' Japan, 1880-1890

 

Unknown photographer
Bathing in a Baetingplace
Japan, 1880-1890
Hand-colored albumen print

___ and ___ – bathing, attended by their ____ (maid) who is putting charcoal into the fire under the tub

 

Unknown photographer, United States 'Nude woman reclining on a fallen tree' c. 1880

 

Unknown photographer (United States)
Nude woman reclining on a fallen tree
c. 1880
Modern platinum print from glass plate negative
(printed in 2012 by Herbert Ascherman, Jr.)

 

Unknown photographer, Indiana, United States 'Erect penis' 19th century

 

Unknown photographer (Indiana, United States)
Erect penis
19th century
Modern gelatin silver print from glass plate negative

 

Baron Wilhelm von Gloeden (1856-1931), Germany 'Man seated beside a tree' Taormina, Sicily, 1899

 

Baron Wilhelm von Gloeden (1856-1931 Germany)
Man seated beside a tree
Taormina, Sicily, 1899
Albumen print

 

Baron Wilhelm von Gloeden (1856-1931), Germany 'Two nude men standing in a forest' Taormina, Sicily, 1899

 

Baron Wilhelm von Gloeden (1856-1931, Germany)
Two nude men standing in a forest
Taormina, Sicily, 1899
Albumen print

 

 

The Kinsey Institute
Morrison Hall 313, Indiana University
Bloomington, Indiana, USA

Opening hours
Monday-Friday, 1-5pm

The Kinsey Institute website

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22
Apr
15

Artist in focus: Larry Fink

April 2015

 

Hands / Class – Tree, Surface, Root

These are magnificent photographs. Fink’s mastery of the picture plane, ensemble, mise-en-scène, chiaroscuro is outstanding. But for me it is the attitude of the hands that make these photographs. Reaching, holding (usually the bodies of women), clasping, upturned, crotch grabbing, oversized, limp, clenched and gesticulating – in more of less every photograph it is the positioning of the hands that are the focus of my attention, and their relation to the social class of the proponent. The hedonism of Studio 54, the snobbishness of the benefits at MoMA and Corcoran Museum, and the Russian and Hungarian balls with their icy coolness and sidelong glances, all played off against the working class birthday parties of Pat Sabatine.

I spoke to my mentor L about these photographs and we had a lively discussion:

MB: What do you think of the work of Larry Fink:

L: The image of the child holding up his hand was on the cover of the second (?) Larry fink monograph. They are OK, but not great.

I have a rule: “The closer we get to the origin the more options we have.” But Larry is building on heaps of people – Winnogrand, Mark Cohen etc, and earlier. And when that happens it really needs to be BUILT to be a success for the viewer. But he is just adding a bit. Its good, OK work. It’s mainly referencing stuff though. I can’t see anyone building on what he has done, a worker would have to go down the tree to a point before him to progress again.

Photography is pretty much fantastic before the fact, so things can look pretty good if it just happens. The process is so different from the reproduction of music that keeps trying to return to an original – photography has done that, but then runs tangential ideas where there can be flash and frozen time and no colour etc…

MB: I can understand what you are saying L … even though I don’t necessarily agree!

There is an essay I have just read as part of a Joan Fontcuberta book (“The Right Distance,” in Joan Fontcuberta. Pandora’s Camera: Photogr@phy after Photography. Mack, 2014, pp. 143-150). It’s interesting what he has to say about the “distance” of the photographer from the object… long distance landscape (in Victorian times… Muybridge, Carelton Watkins), long distance city (Marville) – the infinite sublime I call it – coming closer with Atget (parts of doors, stairs, closer engagement) and Blossfeldt – and then the avant garde in the 1920s with the dissolution of far near into near far… followed by New Topographics and the gridding of space, the regimentation and delineation of an even narrower point of view, both aesthetically and objectively.

I am paraphrasing but that is what he says anyway. It makes sense in one way. But in another we do not have to be either/or – near/far. Nor do we have to be “new” every time we take a photograph.

What I am arguing is that you do not always have to reinvent the wheel, in answer to your observation that you have to go back down the tree. Nothing is ever new and sometimes, as with the photography of Fink, it is the gesture that is enough for me – that human gesture that will never happen again exactly in that form. I am still in wonder of that moment, of the child’s raised hand (Pat Sabatine’s 8th Birthday Party). I don’t really care that people have done it before, they have never captured that moment, that precise gesture before… and it is still beautiful to me. The apple never falls far from the tree.

L: A good term Marcus: the infinite sublime.

Fontcuberta understands it very well – mainly because it could be applied to the best of his pictures in terms of the continnual involvement that some of them generate. As I said, the Larry Finks are OK. Have you seen the youtube about Joel Sternfeld photographing in NY? He is literally right in peoples faces, and yet they don’t even seem to notice him. I’d like to see one of Larry Fink with his flash in these small rooms and intimate spaces.

What I can say is that some smart person will invent the term that distinguishes between the surface aesthetic of the digital and analogue print. There is such “value” in the display here [of Fink’s work], that would not mean the same in a digital print. Why? The analogue look could even be faked to fool everyone I suppose. Even with these, the surface would fall apart @ about 19″ sq and it would all be lost.

MB: It is the surface aesthetic L, but it goes deeper than that. I saw the Richard Avedon exhibition up at The Ian Potter Museum of Art were his negatives were blown up to enormous size and digitally printed… and they just didn’t work. There is a containment of energy within a classical analogue black and white photograph that the surface of a digital print cannot capture, yes, but in a good analogue photograph there is also an emotional depth that seems to transcend surface…. and as yet, digital photographs rarely approach this state of being. What would be a word that evinces surface and psychological depth at one and the same time?

Dr Marcus Bunyan

.
Please click on the photographs for a larger version of the image.

 

 

Larry Fink is a prominent American photographer who is best known for capturing images of high-profile social events. Fink’s images from the 1970s and 1980s capture individual vignettes within social gatherings, and nod to the development of documentary photography within the image-driven culture of the second half of the twentieth century. Some of the photographs below are from Fink’s series 82 Photographs 1974 to 1982 and Making Out 1957 – 1980 and depict scenes from clubs and parties in and around New York City. Fink’s subjects are caught off-guard by his camera, and their expressions provide windows into their weariness or giddy party euphoria. Capturing groups and individuals at surprisingly intimate and vulnerable moments, his photographs subtly reveal the disconnect often found between a subject’s public image and his or her inner self. For example, in Peter Beard’s, East Hampton, Fink captures a dynamic group of people in various levels of engagement with one another. While some are intertwined, others glance outward to the party beyond, having seemingly lost interest in the gathering at hand.

 

 

Larry Fink (b. 1941) 'Peter Beard's, East Hampton', from the portfolio '82 Photographs 1974 to 1982' 1982; printed 1983

 

Larry Fink (b. 1941)
Peter Beard’s, East Hampton, from the portfolio 82 Photographs 1974 to 1982

1982; printed 1983
Silver gelatin print

 

Larry Fink. 'John Sabatine and Molly' 1980

 

Larry Fink (b. 1941)
John Sabatine and Molly
1980
Silver gelatin print

 

Larry Fink. 'Jean Sabatine and Molly' 1983

 

Larry Fink (b. 1941)
Jean Sabatine and Molly
1983
Silver gelatin print

 

Larry Fink (b. 1941) 'N.Y.C. Club Cornich', from the portfolio '82 Photographs 1974 to 1982' 1977; printed 1983

 

Larry Fink (b. 1941)
N.Y.C. Club Cornich, from the portfolio 82 Photographs 1974 to 1982
1977; printed 1983
Silver gelatin print

 

Larry Fink (b. 1941) 'N.Y.C. Club Cornich', from the portfolio '82 Photographs 1974 to 1982' 1977; printed 1983

 

Larry Fink (b. 1941)
N.Y.C. Club Cornich, from the portfolio 82 Photographs 1974 to 1982
1977; printed 1983
Silver gelatin print

 

Larry Fink. 'Benefit, Corcoran Museum, Washington DC' 1975

 

Larry Fink (b. 1941)
Benefit, Corcoran Museum, Washington DC
1975
Silver gelatin print

 

Larry Fink. 'Benefit, Corcoran Museum, Washington DC' 1975

 

Larry Fink (b. 1941)
Benefit, Corcoran Museum, Washington DC
1975
Silver gelatin print

 

Larry Fink. 'Benefit, MoMA, New York' 1977

 

Larry Fink (b. 1941)
Benefit, MoMA, New York
1977
Silver gelatin print

 

Larry Fink. 'ICP Peter Beard Opening' 1977

 

Larry Fink (b. 1941)
ICP Peter Beard Opening
1977
Silver gelatin print

 

Larry Fink. 'Oslin's Graduation Party' 1977

 

Larry Fink (b. 1941)
Oslin’s Graduation Party
1977
Silver gelatin print

 

Larry Fink. 'Oslin's Graduation Party' June 1977

 

Larry Fink (b. 1941)
Oslin’s Graduation Party
June 1977
Silver gelatin print

 

Larry Fink. 'Studio 54' 1977

 

Larry Fink (b. 1941)
Studio 54
1977
Silver gelatin print

 

Larry Fink. 'Studio 54, New York City' May 1977

 

Larry Fink (b. 1941)
Studio 54, New York City
May 1977
Silver gelatin print

 

 

Shore writes that the four ways, “in which the world in front of the camera is transformed into the photograph” are flatness, frame, time, and focus.  Fink was aware of these attributes of photography and used them to define the picture’s content and structure. (The depictive level)

Shore, Stephen. The Nature of Photographs. John Hopkins University Press, 1998 quoted by Tyler Brennan Reiss, October 16, 2013.

 

Larry Fink. 'Studio 54, New York City' May 1977

 

Larry Fink (b. 1941)
Studio 54, New York City
May 1977
Silver gelatin print

 

Larry Fink. 'Studio 54, New York City' May 1977

 

Larry Fink (b. 1941)
Studio 54, New York City
May 1977
Silver gelatin print

 

Larry Fink. 'Washington DC' 1975

 

Larry Fink (b. 1941)
Washington DC
1975
Silver gelatin print

 

Larry Fink. '2nd Hungarian Ball' 1978

 

Larry Fink (b. 1941)
2nd Hungarian Ball
1978
Silver gelatin print

 

Larry Fink. 'Russian Ball, New York' 1976

 

Larry Fink (b. 1941)
Russian Ball, New York
1976
Silver gelatin print

 

 

“Sometimes you’re invited to a big ball and for months you think about how glamorous and exciting it’s going to be. Then you fly to Europe and you go to the ball and when you think back on it a couple of months later what you remember is maybe the car ride to the ball, you can’t remember the ball at all. Sometimes the little times you don’t think are anything while they’re happening turn out to be what marks a whole period of your life. I should have been dreaming for months about the car ride to the ball and getting dressed for the car ride, and buying my ticket to Europe so I could take the car ride. Then, who knows, maybe I could have remembered the ball.”

Andy Warhol

 

Larry Fink. 'Russian Ball, New York City' 1976

 

Larry Fink (b. 1941)
Russian Ball, New York City
1976
Silver gelatin print

 

Larry Fink. 'Pat Sabatine's 8th Birthday Party' 1977

 

Larry Fink (b. 1941)
Pat Sabatine’s 8th Birthday Party
1977
Silver gelatin print

 

Larry Fink. 'Pat Sabatine's 11th Birthday Party' 1980

 

Larry Fink (b. 1941)
Pat Sabatine’s 11th Birthday Party
1980
Silver gelatin print

 

Larry Fink. 'Skating Rink' 1980

 

Larry Fink (b. 1941)
Skating Rink
1980
Silver gelatin print

 

 

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19
Apr
15

Selection of images part 2

April 2015

 

Another selection of interesting images.

My favourites: the weight of Weston’s Shipyard detail, Wilmington (1935); and the romanticism (Jean-François Millet-esque), sublime beauty of Boubat’s Lella, Bretagne, France (1947).

Marcus

 

 

Cecil Stoughton (1920-2008) 'Pres. John F. Kennedy's Lincoln Continental' 1963

 

Cecil Stoughton (1920-2008)
Pres. John F. Kennedy’s Lincoln Continental
1963
Silver gelatin print

 

Cecil Stoughton (1920-2008) 'Pres. John F. Kennedy's Lincoln Continental' 1963

 

Cecil Stoughton (1920-2008)
Pres. John F. Kennedy’s Lincoln Continental
1963
Silver gelatin print

 

Cecil Stoughton (1920-2008) 'Pres. John F. Kennedy's Lincoln Continental' 1963

 

Cecil Stoughton (1920-2008)
Pres. John F. Kennedy’s Lincoln Continental
1963
Silver gelatin print

 

 

Cecil William Stoughton (January 18, 1920 – November 3, 2008) was an American photographer. Born in Oskaloosa, Iowa, Stoughton is best known for being President John F. Kennedy’s photographer during his White House years.

Stoughton took the only photograph ever published showing John F. Kennedy, Bobby Kennedy and Marilyn Monroe together. Stoughton was present at the motorcade at which Kennedy was assassinated, and was subsequently the only photographer on board Air Force One when Lyndon B. Johnson was sworn in as the next President. Stoughton’s famous photograph of this event depicts Johnson raising his hand in oath as he stood between his wife Lady Bird Johnson and a still blood-spattered Jacqueline Kennedy. (Text from the Wikipedia website)

 

Edward Weston (1886-1958) 'Shipyard detail, Wilmington' 1935

 

Edward Weston (1886-1958)
Shipyard detail, Wilmington
1935
Silver gelatin print

 

Max Yavno (1911-1985) 'Garage Doors, San Francisco' 1947

 

Max Yavno (1911-1985)
Garage Doors, San Francisco
1947
Silver gelatin print

 

 

Max Yavno (1911-1985) was a photographer who specialized in street scenes, especially in Los Angeles and San Francisco, California.

He did photography for the Works Progress Administration from 1936 to 1942. He was president of the Photo League in 1938 and 1939. Yavno was in the U.S. Army Air Corps from 1942 to 1945, after which he moved to San Francisco and began specializing in urban-landscape photography. Photographer Edward Steichen selected twenty of Yavno’s prints for the permanent collection at New York’s Museum of Modern Art in 1950, and the next year Yavno won a Guggenheim fellowship.

History professor Constance B. Schulz said of him:

For financial reasons he worked as a commercial advertising photographer for the next twenty years (1954-75), creating finely crafted still lifes that appeared in Vogue and Harper’s Bazaar. He returned to artistic landscape photography in the 1970s, when his introspective approach found a more appreciative audience.

Text from the Wikipedia website

 

Paul Strand (1890-1976) 'Bombed Area, Gaeta, Italy' 1952

 

Paul Strand (1890-1976)
Bombed Area, Gaeta, Italy
1952
Silver gelatin print

 

Ralph Steiner (1899-1986) 'American Rural Baroque' 1929

 

Ralph Steiner (1899-1986)
American Rural Baroque
1929
Silver gelatin print

 

 

Ralph Steiner (February 8, 1899 – July 13, 1986) was an American photographer, pioneer documentarian and a key figure among avant-garde filmmakers in the 1930s.

Born in Cleveland, Steiner studied chemistry at Dartmouth, but in 1921 entered the Clarence H. White School of Modern Photography. White helped Steiner in finding a job at the Manhattan Photogravure Company, and Steiner worked on making photogravure plates of scenes from Robert Flaherty’s Nanook of the North. Not long after, Steiner’s work as a freelance photographer in New York began, working mostly in advertising and for publications like Ladies’ Home Journal. Through the encouragement of fellow photographer Paul Strand, Steiner joined the left-of-center Film and Photo League around 1927. He was also to influence the photography of Walker Evans, giving him guidance, technical assistance, and one of his view cameras.

In 1929, Steiner made his first film, H2O, a poetic evocation of water that captured the abstract patterns generated by waves. Although it was not the only film of its kind at the time – Joris Ivens made Regen (Rain) that same year, and Henwar Rodekiewicz worked on his similar film Portrait of a Young Man (1931) through this whole period – it made a significant impression in its day and since has become recognized as a classic: H2O was added to theNational Film Registry in December 2005. Among Steiner’s other early films, Surf and Seaweed (1931) expands on the concept of H2O as Steiner turns his camera to the shoreline; Mechanical Principles (1933) was an abstraction based on gears and machinery. (Text from the Wikipedia website)

 

Wilson A. Bentley (1865-1931) 'Snowflake' c. 1920

 

Wilson A. Bentley (1865-1931)
Snowflake
c. 1920
Gold-chloride toned microphotographs from glass plate negatives

 

Andre de Dienes (1913-1985) 'Erotic Nude' 1950s

 

Andre de Dienes (1913-1985)
Erotic Nude
1950s
Silver gelatin print

 

 

Andre de Dienes (born Andor György Ikafalvi-Dienes) (December 18, 1913 – April 11, 1985) was a Hungarian-American photographer, noted for his work with Marilyn Monroe and his nude photography.

Dienes was born in Transylvania, Austria-Hungary, on December 18, 1913, and left home at 15 after the suicide of his mother. Dienes travelled across Europe mostly on foot, until his arrival in Tunisia. In Tunisia he purchased his first camera, a 35mm Retina. Returning to Europe he arrived in Paris in 1933 to study art, and bought a Rolleiflex shortly after.

Dienes began work as a professional photographer for the Communist newspaper L’Humanité, and was employed by the Associated Press until 1936, when the Parisian couturier Captain Molyneux noted his work and urged him to become a fashion photographer. In 1938 the editor of Esquire, Arnold Gingrich offered him work in New York City, and helped fund Dienes’ passage to the United States. Once in the United States Dienes worked for Vogue and Life magazines as well as Esquire.

When not working as a fashion photographer Dienes travelled the USA photographing Native American culture, including the Apache, Hopi, and Navajo reservations and their inhabitants. Dissatisfied with his life as a fashion photographer in New York, Dienes moved to California in 1944, where he began to specialise in nudes and landscapes. (Text from the Wikipedia website)

 

George A. Tice (1938- ) 'Porch, Monhegan Island, Maine' 1971

 

George A. Tice (1938- )
Porch, Monhegan Island, Maine
1971
Selenium-toned silver print

 

 

George Tice (1938) is an American photographer best known for his large-format black-and-white photographs of New Jersey, New York, and the Amish. Tice was born in Newark, New Jersey, and self-trained as a photographer. His work is included in major museum collections around the world and he has published many books of photographs, including Fields of Peace: A Pennsylvania German Album (1970), Paterson, New Jersey (1972), Seacoast Maine: People and Places (1973), Urban Landscapes: A New Jersey Portrait (1975), “Lincoln” (1984), Hometowns: An American Pilgrimage (1988), Urban Landscapes (2002), Paterson II (2006), Urban Romantic (1982), and George Tice: Selected Photographs 1953-1999 (2001). (Text from the Wikipedia website)

 

Auguste Salzmann (1824-1872) 'Jerusalem, Sainte Sepulchre, Colonne du Parvis' 1854

 

Auguste Salzmann (1824-1872)
Jerusalem, Sainte Sepulchre, Colonne du Parvis
1854
Blanquart-Evrard salted paper print from a paper negative

 

Weegee (Arthur Fellig). 'Billie Dauscha and Mabel Sidney, Bowery Entertainers' December 4, 1944

 

Weegee (Arthur Fellig) (1899-1968)
Billie Dauscha and Mabel Sidney, Bowery Entertainers
December 4, 1944
Silver gelatin print

 

Winston O. Link (1914-2001) 'Luray Crossing, Luray, Virginia' 1956

 

Winston O. Link (1914-2001)
Luray Crossing, Luray, Virginia
1956
Silver gelatin print

 

Paul J. Woolf (1899-1985) 'Looking down on Grand Central Station' 1935

 

Paul J. Woolf (1899-1985)
Looking down on Grand Central Station
1935
Silver gelatin print

 

Paul J. Woolf began his photographic career in London, taking pictures as a child. He attended the University of California, Berkeley and the Clarence White School of Photography. By 1942 he was established as a professional photographer who specialized in design and night-time photography. Woolf also maintained a practice as a clinical social worker while continuing his work as a photographer.

 

Henri Cartier-Bresson (1908-2004) 'Alicante' 1933

 

Henri Cartier-Bresson (1908-2004)
Alicante
1933
Silver gelatin print

 

Joel-Peter Witkin (1939- ) 'Leda' 1986

 

Joel-Peter Witkin (1939- )
Leda
1986
Silver gelatin print

 

Roman Vishniac (1897-1990) 'Father taking his son to the first day of cheder' 1937-1938

 

Roman Vishniac (1897-1990)
Father taking his son to the first day of cheder
1937-1938
Silver gelatin print

 

Julia Margaret Cameron (1815-1879) 'James Rogers' 1867

 

Julia Margaret Cameron (1815-1879)
James Rogers
1867
Albumen print

 

Julia Margaret Cameron (1815-1879) 'The Dream' 1869

 

Julia Margaret Cameron (1815-1879)
The Dream
1869
Albumen print

 

Lewis W. Hine. 'An Albanian Woman from Italy at Ellis Island' 1905

 

Lewis W. Hine (1874-1940)
An Albanian Woman from Italy at Ellis Island
1905
Silver gelatin print

 

Lewis W. Hine (1874-1940) 'Italian laborer, Ellis Island' 1905-12

 

Lewis W. Hine (1874-1940)
Italian laborer, Ellis Island
1905-12
Silver gelatin print

 

Laure Albin-Guillot (1879-1962) 'Opale' c. 1930

 

Laure Albin-Guillot (1879-1962)
Opale
c. 1930
Silver gelatin print

 

Cecil Beaton. 'Virginia Cherrill' 1930s

 

Cecil Beaton
Virginia Cherrill
1930s
Silver gelatin print

 

Édouard Boubat (1923-1999) 'Lella, Bretagne, France' 1947

 

Édouard Boubat (1923-1999)
Lella, Bretagne, France
1947
Silver gelatin print

 

 

Édouard Boubat (1923-1999) was a French photojournalist and art photographer.

Boubat was born in Montmartre, Paris. He studied typography and graphic arts at the École Estienne and worked for a printing company before becoming a photographer. In 1943 he was subjected to service du travail obligatoire, forced labour of French people in Nazi Germany, and witnessed the horrors of World War II. He took his first photograph after the war in 1946 and was awarded the Kodak Prize the following year. He travelled the world for the French magazine Réalités and later worked as a freelance photographer. French poet Jacques Prévert called him a “peace correspondent” as he was apolitical and photographed uplifting subjects. (Text from the Wikipedia 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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