Archive for the 'American' Category

08
Sep
14

Exhibition: ‘Cindy Sherman – Untitled Horrors’ at Kunsthaus Zürich

Exhibition dates: 6th June – 4th September 2014

 

I remember some time in the dim distant past when Cindy Sherman’s photographs actually had relevance and were important in and of themselves… but perhaps my memory is playing tricks with me. Memory is a strange thing for we remember only fragments of fragments, like an echo chamber, a distant echo of something (the construction of identity and gender) that was once cutting edge, now overtaken by reality itself – on the red carpet, in the cosmetic surgery offices, in the media mags. Once there may have been an original, an original Cindy Sherman, an original idea, but now there just seems to be pastiche after pastiche of a Sherman nobody is sure ever really existed.

There are certainly some horrors among this posting, images that I wish I had never seen, and never really wish to see again. As the amount of ‘Untitled’ works rises (untitled is such a cop out!) the numbers, and the body count, become irrelevant. The early work, through the 80s to the early 90s, had important things to say but now the artist formally know as Sherman is earth mother goddess to all, and ancestral trickster to many. Enough please!

Dr Marcus Bunyan

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

 

 

Installation view of 'Cindy Sherman - Untitled Horrors' at Kunsthaus Zürich

 

Installation view of Cindy Sherman – Untitled Horrors at Kunsthaus Zürich
Photo: Lena Huber

 

Cindy Sherman. 'Untitled #93' 1981

 

Cindy Sherman
Untitled #93
1981
Chromogenic color print
61 × 121.9 cm
Astrup Fearnley Collection, Oslo
© Cindy Sherman. Courtesy of the artist and Metro Pictures, New York

 

Cindy Sherman. Untitled #122 1983

 

Cindy Sherman
Untitled #122
1983
Chromogenic color print
89.5 × 54 cm
Vanmoerkerke Collection, Belgium
© Cindy Sherman. Courtesy of the artist and Metro Pictures, New York

 

Cindy Sherman. 'Untitled #129' 1983

 

Cindy Sherman
Untitled #129
1983
Chromogenic color print
89.7 × 59.3 cm
Louisiana Museum of Modern Art, Humlebæk, Denmark, Donation: The New Carlsberg Foundation
© Cindy Sherman. Courtesy of the artist and Metro Pictures, New Yor

 

Cindy Sherman. 'Untitled #146' 1985

 

Cindy Sherman
Untitled #146
1985
Chromogenic color print
184.2 × 125.4 cm
Skarstedt Gallery, New York
© Cindy Sherman. Courtesy of the artist and Metro Pictures, New York

 

Cindy Sherman. 'Untitled #153' 1985

 

Cindy Sherman
Untitled #153
1985
Chromogenic color print
170.8 × 125.7 cm
© Cindy Sherman. Courtesy of the artist and Metro Pictures, New York

 

Cindy Sherman. 'Untitled #170' 1987

 

Cindy Sherman
Untitled #170
1987
Chromogenic color print
179.1 x 120.7 cm
Collection Metro Pictures, New York
© Cindy Sherman. Courtesy of the artist and Metro Pictures, New York

 

Cindy Sherman. 'Untitled #216' 1989

 

Cindy Sherman
Untitled #216
1989
Chromogenic color print
221.3 × 142.5 cm
Astrup Fearnley Collection, Oslo
© Cindy Sherman. Courtesy of the artist and Metro Pictures, New York

 

 

“From 6 June to 14 September 2014, the Kunsthaus Zürich plays host to a major retrospective featuring American artist Cindy Sherman (b. 1954). Sherman is one of the leading exponents of staged photography. In her work she deals with issues of identity, (gender) roles and physicality, almost always using herself as the model. Cindy Sherman’s earliest works were created in 1975. Preceding the celebrated ‘Untitled Film Stills’ (1977-1980), these photographs were produced at home using an external shutter release, yet they were already concerned with the issues of identity and role play that are central to her oeuvre. The exhibition Cindy Sherman – Untitled Horrors includes a selection of these early and rarely shown works as well as her latest pieces, some of them monumental and covering entire walls. Sherman references the techniques and forms of advertising, cinema and classical painting.

THE THREATENING HEART OF UNTITLED HORRORS

The principal focus of the overview, which has been compiled by the Kunsthaus together with the artist, is the threatening and grotesque. The retrospective’s subtitle, ‘Untitled Horrors’, is partly a reference to the exhibition’s content, but also a play on the fact that Cindy Sherman invariably labels her photos ‘Untitled’. She leaves it to the viewer to read the pictures in their own way, inviting them to develop the stories behind them as they see fit, and come up with their own titles.

110 WORKS IN TOTAL

The presentation includes all the key works from the various phases of Cindy Sherman’s artistic career. Iconic pieces from the early period, such as the famous ‘Untitled Film Stills’ series, reminiscent of Italian Neo-Realism and American film noir, appear alongside the later photographs of ‘Hollywood/Hampton Types’ (2000-2002), while the ‘Clowns’ (2003-2004) encounter the ‘Sex Pictures’ series from 1992. These juxtapositions reveal the remarkable consistency with which, throughout her long career, the artist has engaged with fundamental issues of human existence and repeatedly explored new avenues of formal expression. Curated by Mirjam Varadinis and created in association with the Astrup Fearnley Museet, Oslo, and the Moderna Museet, Stockholm, the 110-work presentation dispenses with a linear or chronological approach, choosing instead to create unexpected combinations that shed new light on the oeuvre of this important artist and her exploration of the self through film and photography.”

Text from the Kunsthaus Zürich website

 

Cindy Sherman. 'Untitled #235' 1987-1991

 

Cindy Sherman
Untitled #235
1987-1991
Chromogenic color print
228.6 × 152.4 cm
Private collection, courtesy Segalot LP, New York
© Cindy Sherman. Courtesy of the artist and Metro Pictures, New York

 

Cindy Sherman. 'Untitled #304' 1994

 

Cindy Sherman
Untitled #304
1994
Chromogenic color print
154.9 × 104.1 cm
© Cindy Sherman. Courtesy of the artist and Metro Pictures, New York

 

Cindy Sherman. 'Untitled #324' 1996

 

Cindy Sherman
Untitled #324
1996
Chromogenic color print
146.7 × 99.1 cm
Collection Metro Pictures & Skarstedt Gallery
© Cindy Sherman. Courtesy of the artist and Metro Pictures, New York

 

Cindy Sherman. 'Untitled #348' 1999

 

Cindy Sherman
Untitled #348
1999
Gelatin silver print
97,8 × 66 cm
© Cindy Sherman. Courtesy of the artist and Metro Pictures, New York

 

Cindy Sherman. 'Untitled #352' 2000

 

Cindy Sherman
Untitled #352
2000
Chromogenic color print
68.6 × 45.7 cm
Collection Magasin 3 Stockholm Konsthall
© Cindy Sherman. Courtesy of the artist and Metro Pictures, New York

 

Cindy Sherman. 'Untitled #363 (Bus Riders I)' 1976/2000

 

Cindy Sherman
Untitled #363 (Bus Riders I)
1976/2000
Gelatin silver print
18.9 x 12.7 cm
Tate; purchased with funds provided by the American Fund for the Tate Gallery, 2001
© Cindy Sherman. Courtesy of the artist and Metro Pictures, New York

 

Cindy Sherman. 'Untitled #420' 2004

 

Cindy Sherman
Untitled #420
2004
Chromogenic color print (2-teilig)
Each: 182.4 × 115.8 cm
Astrup Fearnley Collection, Oslo
© Cindy Sherman. Courtesy of the artist and Metro Pictures, New York

 

Cindy Sherman. 'Untitled #458' 2007-2008

 

Cindy Sherman
Untitled #458
2007-2008
Chromogenic color print
195 × 147 cm
Astrup Fearnley Collection, Oslo
© Cindy Sherman. Courtesy of the artist and Metro Pictures, New York

 

Cindy Sherman. 'Untitled #544' 2010 / 2012

 

Cindy Sherman
Untitled #544
2010 / 2012
Chromogenic color print
172.7 × 254 cm
Astrup Fearnley Collection, Oslo
© Cindy Sherman. Courtesy of the artist and Metro Pictures, New York

 

Cindy Sherman. 'Untitled #549-C' 2010

 

Cindy Sherman
Untitled #549-C
2010
Pigment / print on PhotoTex, adhesive fabric,
Dimensions variable
© Cindy Sherman. Courtesy of the artist and Metro Pictures, New York

 

 

Kunsthaus Zürich
Heimplatz 1
CH–8001 Zurich

Opening hours:
Tue/Fri–Sun 10 am – 6 pm
Wed/Thu 10 am – 8 pm

Kunsthaus Zürich website

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04
Sep
14

Exhibition: ‘American Cool’ at the Smithsonian National Portrait Gallery, Washington, DC

Exhibition dates: 7th February – 7th September 2014

 

Bruce Davidson. 'Untitled' from the 'Brooklyn Gang' series 1959

 

Bruce Davidson
Untitled from the Brooklyn Gang series
1959

 

Danny Lyon. 'Crossing the Ohio River, Louisville, 1966' 1966

 

Danny Lyon
Crossing the Ohio River, Louisville, 1966
1966
Silver gelatin print

 

 

Each cool figure was considered with the following historical rubric in mind and possesses at least three elements of this singular American self-concept:

  1. an original artistic vision carried off with a signature style
  2. cultural rebellion or transgression for a given generation
  3. iconic power, or instant visual recognition
  4. a recognized cultural legacy

Every individual here created an original persona without precedent in American culture. These photographs capture the complex relationship between the real-life person, the image embraced by fans and the media, and the person’s artistic work.

What does it mean when a generation claims a certain figure as cool? What qualities does this person embody at that historical moment? American Cool explores these questions through photography, history, and popular culture. In this exhibition, cool is rendered visible, as shot by some of the finest art photographers of the past century.

 

 

When less – less famous, less obvious – is more

I don’t know about you, but the photographs chosen to represent American “cool” in this exhibition – 39 of which are shown in the posting out of a total of 108, but the rest are mainly of the same ilk – seem to me to be a singularly strange bunch of images to choose for such a concept. Personally, I find very few of them are “cool”, that is a mixture of a social charge of rebellious self-expression, charisma, edge and mystery with a certain self-made sense of style.

The only images that I find definitely “cool” among this bunch are, firstly Bob Dylan, closely followed by Jackson Pollock (notice the skull lurking behind him) and Susan Sontag. There is no proposition of cool in these three photographs, the people in them just are. The rest of the photographs, and there really are some atrociously plain and boring portraits among this lot (including a poor portrait of James Dean), really don’t speak to me of cool, don’t speak to me of anything much at all. How you could ever think that the portrait of Willie Nelson, 1989 (printed 2009, below) is cool is beyond me… and what is it with the reprints of the photographs, not originals but modern prints made years later? Perhaps the National Portrait Gallery needed to look beyond their own collection for a more rounded representation of American cool.

The two photographs I have included above are my top picks of American cool, and neither are in the exhibition. These iconic American images don’t feature famous people, they are not “posed” for the camera, and yet there is that ineffable something that makes the people in them absolutely, totally cool. THIS IS AMERICAN COOL: their own style, their own rebelliousness and mystery without possibly realising it = a naturalness that comes from doing their own thing, making their own way. Perhaps that is the point that this exhibition misses: you don’t have to be famous to be “cool”. A portrait is not just a mug shot. And an original persona does not have to come with fame attached.

This exhibition just doesn’t cut the mustard. The whole shebang needed a bloody good rethink, from the concept (does a generation have to “claim” someone is cool? is it necessary or desirable to portray American Cool through media images? do they have to be famous or instantly recognisable people to be “cool”) to the choice of images which could better illustrate the theme. Surely the qualities that person embodies changes from moment to moment, from photographer to photographer, from context to context (just look at the portraits of a haggard James Dean). To attempt to illustrate three elements in a single photograph – good luck with that one!

Marcus

PS I have added the videos to add a bit of spice to the proceedings… in them you can, occasionally, feel the charisma of the person.

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

 

Bob Willoughby. 'Billie Holiday' 1951 (printed 1991)

 

Bob Willoughby
Billie Holiday
1951 (printed 1991)
Gelatin silver print
Image: 25.2 x 35.3 cm. (19 15/16 x 13 15/16″)
National Portrait Gallery, Smithsonian Institution

 

 

Rare live footage of one of the first anti rascism songs ever.

 

Roger Marshutz. 'Elvis Presley' 1956

 

Roger Marshutz
Elvis Presley
1956
Gelatin silver print
Sheet: 40.6 x 50.8cm (16 x20″)
© Estee Stanley

 

 

Herman Leonard. 'Frank Sinatra' c. 1956

 

Herman Leonard
Frank Sinatra
c. 1956
Gelatin silver print
Image: 16.5 x 24.1cm (6 1/2 x 9 1/2″)
Institute of Jazz Studies at Rutgers University

 

 

Marcia Resnick. 'David Byrne' 1981

 

Marcia Resnick
David Byrne
1981
Gelatin silver print
Image: 21.8 x 32.5 cm (8 9/16 x 12 13/16″)
National Portrait Gallery, Smithsonian Institution

 

Julian Wasser. 'Joan Didion' 1970

 

Julian Wasser
Joan Didion
1970
Gelatin silver print
Image: 24.3 x 34 cm (9 9/16 x 13 3/8″)
National Portrait Gallery, Smithsonian Institution

 

Joan Didion (born December 5, 1934) is an American author best known for her novels and her literary journalism. Her novels and essays explore the disintegration of American morals and cultural chaos, where the overriding theme is individual and social fragmentation.

 

Roy Schatt. 'James Dean' 1954

 

Roy Schatt
James Dean
1954
Gelatin silver print
Image: 34.7 x 42.2cm (13 11/16 x 16 5/8″)
National Portrait Gallery, Smithsonian Institution

 

William Claxton. 'Steve McQueen' 1962

 

William Claxton
Steve McQueen
1962
Gelatin silver print
Image: 40 x 58.7cm (15 3/4 x 23 1/8″)
Fahey Klein Gallery

 

Martin Schoeller. 'Tony Hawk' 1999 (printed 2010)

 

Martin Schoeller
Tony Hawk
1999 (printed 2010)
Archival pigment print
Image: 58.5 x 58.6 cm (23 1/16 x 23 1/16″)
National Portrait Gallery, Smithsonian Institution

 

 

What do we mean when we say someone is cool? Cool carries a social charge of rebellious self-expression, charisma, edge and mystery.

Cool is an original American sensibility and remains a global obsession. In the early 1940s, legendary jazz saxophonist Lester Young brought this central African American concept into the modern vernacular. Cool became a password in bohemian life connoting a balanced state of mind, a dynamic mode of performance, and a certain stylish stoicism. A cool person has a situation under control, and with a signature style. Cool has been embodied in jazz musicians such as Miles Davis and Billie Holiday, in actors such as Robert Mitchum, Faye Dunaway, and Johnny Depp, and in singers such as Elvis Presley, Patti Smith, and Jay-Z. American Cool is a photography and cultural studies exhibition featuring portraits of such iconic figures, each of whom has contributed an original artistic vision to American culture symbolic of a particular historical moment. They emerged from a variety of fields: art, music, film, sports, comedy, literature, and political activism. American Cool is the zeitgeist taking embodied form.

American Cool is captured by a roll call of fine-art photographers from Henri Cartier-Bresson to Annie Leibovitz, from Richard Avedon to Herman Leonard to Diane Arbus. This exhibition is accompanied by an illustrated catalogue with essays by Joel Dinerstein, the James H. Clark Endowed Chair in American Civilization and Director of the New Orleans Center for the Gulf South at Tulane University, and Frank H. Goodyear III, co-director of the Bowdoin College Museum of Art and former curator of photographs at the National Portrait Gallery.

 

Unidentified Artist. 'Jack Nicholson in "One Flew Over the Cuckoo's Nest"' 1975

 

Unidentified Artist
Jack Nicholson in “One Flew Over the Cuckoo’s Nest”
1975
Gelatin silver print
Image: 17.3 x 25.1cm (6 13/16 x 9 7/8″)
The Kobal Collection

 

John Cohen. 'Jack Kerouac' 1959

 

John Cohen
Jack Kerouac
1959
Gelatin silver print
Image: 15.9 x 24.1cm (6 1/4 x 9 1/2″)
Sheet: 20.2 x 25.4cm (7 15/16 x 10″)
National Portrait Gallery, Smithsonian Institution

 

Leo Fuchs. 'Paul Newman' 1959 (printed 2013)

 

Leo Fuchs
Paul Newman
1959 (printed 2013)
Modern archival print
Sheet: 27.9 x 35.6cm (11 x 14″)
© Alexandre Fuchs

 

William Paul Gottlieb. 'Thelonious Monk at Minton's Playhouse, New York City' 1947

 

William Paul Gottlieb
Thelonious Monk at Minton’s Playhouse, New York City
1947
Gelatin silver print
Sheet: 25.4 x 20.3cm (10 x 8″)
Estate of William Gottlieb

 

 

Thelonious Monk Quartet – Round Midnight
Thelonious Monk(p) Charlie Rouse(ts) Larry Gales(b) Ben Riley(ds)
Recorded in Norway 1966 dvd “LIVE in ’66”

 

Peter Hujar. 'Susan Sontag' 1975

 

Peter Hujar
Susan Sontag
1975
Gelatin silver print
Image: 37.1 x 37.6cm (14 5/8 x 14 13/16″)
National Portrait Gallery, Smithsonian Institution

 

Michael O'Brien. 'Willie Nelson' 1989 (printed 2009)

 

Michael O’Brien
Willie Nelson
1989 (printed 2009)
Chromogenic print
Image: 38.1 x 38.1cm (15 x 15″)
National Portrait Gallery, Smithsonian Institution

 

 

Introduction

What do we mean when we say someone is cool? To be cool means to exude the aura of something new and uncontainable. Cool is the opposite of innocence or virtue. Someone cool has a charismatic edge and a dark side. Cool is an earned form of individuality. Each generation has certain individuals who bring innovation and style to a field of endeavor while projecting a certain charismatic self-possession. They are the figures selected for this exhibition: the successful rebels of American culture.

The legendary jazz saxophonist Lester Young created the modern usage of “cool” in the 1940s. At first it meant being relaxed in one’s environment against oppressive social forces, but within a generation it became a password for stylish self-control. This exhibition does not reflect our opinion of who’s cool. Each cool figure was considered with the following historical rubric in mind and possesses at least three elements of this singular American self-concept:

  1. an original artistic vision carried off with a signature style
  2. cultural rebellion or transgression for a given generation
  3. iconic power, or instant visual recognition
  4. a recognized cultural legacy

Every individual here created an original persona without precedent in American culture. These photographs capture the complex relationship between the real-life person, the image embraced by fans and the media, and the person’s artistic work.

What does it mean when a generation claims a certain figure as cool? What qualities does this person embody at that historical moment? American Cool explores these questions through photography, history, and popular culture. In this exhibition, cool is rendered visible, as shot by some of the finest art photographers of the past century.

 

The Roots of Cool: Before 1940

The stage was set for the emergence of cool as a cultural phenomenon in the early 1940s by a series of sweeping transformations in the first decades of the twentieth century. The figures in this first section were not called cool in their day but were leading exemplars of new energies that were changing the social contours of American life. A fresh rebelliousness was revealed in the new film capital of Hollywood, in modernist literature and art, in emerging youth entertainments, and in a new music called jazz. The advent of technologies such as radio, film, and the automobile and the increasing diversity in America’s booming cities accelerated the pace of change. Though Prohibition in the 1920s sought to regulate American morality by ending the consumption of alcohol, this period saw the expression of a new independence among young people and others historically on the margins of public life. In particular, both African Americans and women sought and began to attain freedoms long denied. Cool has long denoted a person’s sense of calm and composure. Charismatic individuals such as those featured here contributed greatly to the changing mores in American society before World War II. Cool would ultimately serve as the term that would describe this new rebel.

The Birth of Cool: 1940-59

Being cool was a response to the rapid changes of modernity: it was about maintaining a state of equipoise within swirling, dynamic social forces. The legendary jazz saxophonist Lester Young disseminated the word and concept of cool into jazz culture in the early 1940s, and it quickly crossed over as a rebel masculine sensibility. When Young said, “I’m cool,” he meant, first, that he was relaxed in the environment and, second, that he was keeping it together under social and economic pressure as well as the absurdity of life in a racist society. This mask of cool emerged as a form of American stoicism and was manifested in jazz, film noir, Beat literature, and abstract expressionism. In jazz, a generation of younger musicians rejected big-band swing entertainment to create bebop, a fast, angular, virtuosic style that moved jazz out of dance halls and into nightclubs. In Hollywood, film noir represented postwar anxiety inthrough crime dramas shot through with working-class existentialism and the fear of women’s sexual and economic power. Among Beat writers and abstract painters, cool referred to a combination of wildness and intensity in men unconcerned with social conformity. Starting from jazz, cool was a rebel sensibility suggesting that an individual’s importance could be registered only through self-expression and the creation of a signature style. By 1960 cool was the protean password of a surging underground aesthetic.

 

Cool and the Counterculture: 1960-79

In the 1960s and 1970s, to be cool was to be antiauthoritarian and open to new ideas from young cultural leaders in rock and roll, journalism, film, and African American culture. Cool was a badge of opposition to “the System,” by turns a reference to the police, the government, the military-industrial complex, or traditional morality. Using drugs such as marijuana or even LSD was an indicator of risk taking and expanding one’s consciousness; not experimenting with drugs suggested a fear of opening one’s mind or perspective, of being “uptight” or “square.” The same was true of sexual exploration, social protest, and ethnic politics. The aesthetic of stylized understatement still held power, yet cool itself morphed under the era’s social upheavals. The counterculture valued being authentic and emotionally naked: being cool meant a person was “out-front” with others and comfortable in his or her own skin. For African Americans, what had once been suppressed under the mask of cool transformed into defiant civic engagement in music, sports, and politics. “Cool” meant to communicate a set of emotions without losing control, and rock and roll was the art form (and forum) best suited for this shift, especially for women. Patti Smith, Bonnie Raitt, Deborah Harry, and Chrissie Hynde all carved out new iconic stances, styles, and voices for independent women who were sexy on their own terms. Cool became the supreme compliment for creative public figures who broke new cultural ground and maintained their personal integrity over time.

 

The Legacies of Cool: 1980-Present

In 1980s America, the selling of rebellion as style became ingrained in cool. From highbrow fashion to mass-culture video games, product designers, advertisers, and consumers embraced the cool aesthetic. For many during this era, selling out was no longer a curse, as youth culture increasingly embraced the pursuit of wealth. And though some might proclaim that cool was dead, the concept stayed alive and grew in many quarters. From hip-hop to Seattle grunge, from skateboarding to the Internet, from street graffiti to MTV, cool became central to many of these new cultural forms. While its popularization tended to whiten this phenomenon, African American culture remained central to its growth. By the 1980s cool also had an easily recognizable history, and many figures from its past – like heroes from a bygone era – continued to resonate widely. Indeed, new icons of cool often built careers that owed much to these earlier exemplars. Throughout the twentieth century, cool was America’s chief cultural export. With the rapid growth of global communication and markets, it plays an even larger role both in the world’s understanding of America and in Americans’ own sense of national identity. The figures in this final section are representative of the legacies of cool as a distinct form of American expression.

Press release from the Smithsonian National Portrait Gallery website

 

Martin Munkacsi. 'Fred Astaire' 1936

 

Martin Munkacsi
Fred Astaire
1936
Gelatin silver print
Image (Image, Accurate): 24.1 x 19cm (9 1/2 x 7 1/2″)
National Portrait Gallery, Smithsonian Institution

 

 

Philippe Halsman. 'Audrey Hepburn' 1955

 

Philippe Halsman
Audrey Hepburn
1955
Gelatin silver print
Image/Sheet: 34.9 x 27cm (13 3/4 x 10 5/8″)
National Portrait Gallery, Smithsonian Institution

 

Dmitri Kasterine. 'Jean-Michel Basquait' 1986

 

Dmitri Kasterine
Jean-Michel Basquait
1986
Gelatin silver print
Image: 38.3 x 37.7cm (15 1/16 x 14 13/16″)
National Portrait Gallery, Smithsonian Institution

 

Cass Bird. 'Benicio Del Toro' 2008 (printed 2012)

 

Cass Bird
Benicio Del Toro
2008 (printed 2012)
Inkjet print
Image: 45.3 x 35.3 cm (17 13/16 x 13 7/8″)
National Portrait Gallery, Smithsonian Institution

 

Carl Van Vechten. 'Bessie Smith' 1936

 

Carl Van Vechten
Bessie Smith
1936
Gelatin silver print
Image/Sheet: 25.2 x 18.6 cm (9 15/16 x 7 5/16″)
National Portrait Gallery, Smithsonian Institution

 

 

This is not only a landmark because it contains Bessie Smith’s only known film appearance but also for being one of the very first talkies ever made. This is the complete film co-starring Jimmy Mordecai as her gigolo boyfriend.

 

Robert Mapplethorpe. 'Deborah Harry' 1978

 

Robert Mapplethorpe
Deborah Harry
1978
Gelatin silver print
Image: 34.9 x 34.9cm (13 3/4 x 13 3/4″)
Robert Mapplethorpe Foundation

 

 

Philippe Halsman. 'Humphrey Bogart' 1944

 

Philippe Halsman
Humphrey Bogart
1944
Gelatin silver print
Image: 11.3 x 8.6cm (4 7/16 x 3 3/8″)
Mat: 45.7 x 35.6cm (18 x 14″)
National Portrait Gallery, Smithsonian Institution

 

Samuel Hollyer. 'Leaves of Grass, 1st Edition' Copy after: Gabriel Harrison 1855

 

Samuel Hollyer
Leaves of Grass, 1st Edition
Copy after: Gabriel Harrison
1855
Book (closed): 28.9 x 20.6 x 1cm (11 3/8 x 8 1/8 x 3/8″)
Private Collection

 

Unidentified Artist. 'Frederick Douglas' 1856

 

Unidentified Artist
Frederick Douglas
1856
Quarter-plate ambrotype
Image: 10.6 x 8.6cm (4 3/16 x 3 3/8″)
Case (open): 11.9 x 19.1 x 1.3cm (4 11/16 x 7 1/2 x 1/2″)
National Portrait Gallery, Smithsonian Institution

 

Linda McCartney. 'Jimi Hendrix' 1967 (printed later)

 

Linda McCartney
Jimi Hendrix
1967 (printed later)
Platinum print
Image: 51.3 x 35.3 cm (20 3/16 x 13 7/8″)
National Portrait Gallery, Smithsonian Institution

 

 

An incredible live performance of Voodoo Child (Slight Return) by Jimmy and his band in Stockholm, 1969.

 

William Paul Gottlieb. 'Duke Ellington' c. 1946 (printed 1991)

 

William Paul Gottlieb
Duke Ellington
c. 1946 (printed 1991)
Gelatin silver print
Image: 34.1 x 26.7 cm (13 7/16 x 10 1/2″)
National Portrait Gallery, Smithsonian Institution

 

 

Fantastic performance footage of one of Jazz’s greatest stars – Duke Ellington. With performances of song of his most famous songs including “Mood Indigo”, “Caravan” & “Sophisticated Lady”

Edward Kennedy “Duke” Ellington was an American composer, pianist, and big-band leader. Ellington wrote over 1,000 compositions. A major figure in the history of jazz, Ellington’s music stretched into various other genres. His career spanned more than 50 years and included leading his orchestra, composing an inexhaustible songbook, scoring for movies, composing stage musicals, and world tours. Several of his instrumental works were adapted into songs that became standards. Due to his inventive use of the orchestra, or big band, and thanks to his eloquence and extraordinary charisma, he is generally considered to have elevated the perception of jazz to an art form on a par with other traditional genres of music. His reputation increased after his death and the Pulitzer Prize Board bestowed on him a special posthumous honor in 1999. Ellington called his music “American Music” rather than jazz, and liked to describe those who impressed him as “beyond category.”

 

Mark Seliger. 'Kurt Cobain' 1993 (printed 2013)

 

Mark Seliger
Kurt Cobain
1993 (printed 2013)
Platinum Palladium print
Image: 46.7 × 35.5 cm (18 3/8 × 14″)
National Portrait Gallery, Smithsonian Institution

 

 

Philippe Halsman. 'Marlon Brando' 1950 (printed later)

 

Philippe Halsman
Marlon Brando
1950 (printed later)
Gelatin silver print
Image: 34.4 x 26.8cm (13 9/16 x 10 9/16″)
National Portrait Gallery, Smithsonian Institution

 

Charles H. Stewart. 'Muddy Waters' c. 1960

 

Charles H. Stewart
Muddy Waters
c. 1960
Gelatin silver print
Image: 25.4 x 18.4cm (10 x 7 1/4″)
Institute of Jazz Studies at Rutgers University

 

 

Alfred Eisenstaedt. 'Lauren Bacall' 1949 (printed 2013)

 

Alfred Eisenstaedt
Lauren Bacall
1949 (printed 2013)
Pigmented ink jet print
Image: 40.3 x 27.9cm (15 7/8 x 11″)

 

Kate Simon. 'Madonna' 1983 (printed 2013)

 

Kate Simon
Madonna
1983 (printed 2013)
Gelatin silver print
Image: 33.7 × 22.9cm (13 1/4 × 9″)
© Kate Simon

 

 

Aram Avakian. 'Miles Davis' 1955 (printed 2012)

 

Aram Avakian
Miles Davis
1955 (printed 2012)
Modern print made from original negative
Image: 34.6 × 24.1cm (13 5/8 × 9 1/2″)

 

 

Unidentified Artist. 'Bix Beiderbecke' c. 1920

 

Unidentified Artist
Bix Beiderbecke
c. 1920
Gelatin silver print
Image: 19.1 x 11.4cm (7 1/2 x 4 1/2″)
Institute of Jazz Studies at Rutgers University

 

 

Leon Bismark “Bix” Beiderbecke (March 10, 1903 – August 6, 1931) was an American jazz cornetist, jazz pianist, and composer.

With Louis Armstrong and Muggsy Spanier, Beiderbecke was one of the most influential jazz soloists of the 1920s. His turns on “Singin’ the Blues” and “I’m Coming, Virginia” (both 1927), in particular, demonstrated an unusual purity of tone and a gift for improvisation. With these two recordings, especially, he helped to invent the jazz ballad style and hinted at what, in the 1950s, would become cool jazz. “In a Mist” (1927), one of a handful of his piano compositions and one of only two he recorded, mixed classical (Impressionist) influences with jazz syncopation.

 

Gerard-Malanga-lou-reed-WEB

 

Gerard Malanga
Lou Reed
1966
Gelatin silver print
Image: 48.3 x 36.2cm (19 x 14 1/4″)
© Martin Irvine

 

 

Arnold A. Newman. 'Jackson Pollock' 1949

 

Arnold A. Newman
Jackson Pollock
1949
Gelatin silver print
Image: 46 x 36.7cm (18 1/8 x 14 7/16″)
National Portrait Gallery, Smithsonian Institution

 

Lynn Goldsmith. 'Patti Smith' 1976 (printed 2012)

 

Lynn Goldsmith
Patti Smith
1976 (printed 2012)
Digital inkjet print
Image: 46.9 x 30 cm (18 7/16 x 11 13/16″)
National Portrait Gallery, Smithsonian Institution

 

Philippe Halsman. 'Clint Eastwood' 1971

 

Philippe Halsman
Clint Eastwood
1971
Gelatin silver print
Image: 34.3 x 27.3cm (13 1/2 x 10 3/4″)
National Portrait Gallery, Smithsonian Institution

 

Richard Avedon. 'Bob Dylan, Singer, New York City, February 10, 1965' 1965

 

Richard Avedon
Bob Dylan, Singer, New York City, February 10, 1965
1965
Gelatin silver print
Image: 25.4 × 20.3cm (10 × 8″)
© Richard Avedon Foundation

 

 

Eli Reed. 'Tupac Shakur' 1992 (printed 2013)

 

Eli Reed
Tupac Shakur
1992 (printed 2013)
Digitally exposed chromogenic print
Image: 34.6 x 27.3 cm (13 5/8 x 10 3/4″)
National Portrait Gallery, Smithsonian Institution

 

William Paul Gottlieb. 'Gene Krupa at 400 Restaurant, New York City' June 1946

 

William Paul Gottlieb
Gene Krupa at 400 Restaurant, New York City
June 1946
Gelatin silver print
Sheet: 35.6 x 27.9cm (14 x 11″)
Estate of William Gottlieb

 

Eugene Bertram “Gene” Krupa (January 15, 1909 – October 16, 1973) was an American jazz and big band drummer, actor and composer, known for his highly energetic and flamboyant style. In the 1930s, Krupa became the first endorser of Slingerland drums. At Krupa’s urging, Slingerland developed tom-toms with tuneable top and bottom heads, which immediately became important elements of virtually every drummer’s setup. Krupa developed and popularized many of the cymbal techniques that became standards. His collaboration with Armand Zildjian of the Avedis Zildjian Company developed the modern hi-hat cymbals and standardized the names and uses of the ride cymbal, the crash cymbal, the splash cymbal, the pang cymbal and the swish cymbal. One of his bass drums, a Slingerland inscribed with Benny Goodman’s and Krupa’s initials, is preserved at the Smithsonian museum in Washington, D.C. In 1978, Krupa became the first drummer inducted into the Modern Drummer Hall of Fame.

 

 

 

 

Smithsonian National Portrait Gallery
8th and F Sts NW
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02
Sep
14

Exhibition: ‘Robert Heinecken: Object Matter’ at The Museum of Modern Art (MoMA), New York

Exhibition dates: 15th March – 7th September 2014

 

A bumper posting on probably the most important photo-media artist who has ever lived. This is how to successfully make conceptual photo-art.

A revolutionary artist, this para-photographer’s photo puzzles are just amazing!

Marcus

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

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

 

 

Robert Heinecken (American, 1931-2006) 'Figure Horizon #1' 1971

 

Robert Heinecken (American, 1931-2006)
Figure Horizon #1
1971
Ten canvas panels with photographic emulsion
Each 11 13/16 x 11 13/16″ (30 x 30 cm)
The Museum of Modern Art, New York. Gift of Shirley C. Burden, by exchange

 

Robert Heinecken (American, 1931-2006) 'Le Voyeur / Robbe-Grillet #2' 1972

 

Robert Heinecken (American, 1931-2006)
Le Voyeur / Robbe-Grillet #2
1972
Three canvas panels with bleached photographic emulsion and pastel chalk
14 x 40″ (35.6 x 101.6 cm)
George Eastman House, Rochester, New York. Museum Purchase with National Endowment for the Arts support

 

Robert Heinecken (American, 1931-2006) 'Child Guidance Toys' 1965

 

Robert Heinecken (American, 1931-2006)
Child Guidance Toys
1965
Black-and-white film transparency
5 x 18 1/16″ (12.7 x 45.8 cm)
The Art Institute of Chicago. Gift of Boardroom, Inc.

 

Robert Heinecken (American, 1931-2006) 'Lessons in Posing Subjects / Matching Facial Expressions' 1981

 

Robert Heinecken (American, 1931-2006)
Lessons in Posing Subjects / Matching Facial Expressions
1981
Fifteen internal dye diffusion transfer prints (SX-70 Polaroid) and lithographic text on Rives BFK paper
15 x 20″ (38.1 x 50.8 cm)
Collection UCLA Grunwald Center for Graphic Art, Hammer Museum, Los Angeles. Gift of Dean Valentine and Amy Adelson

 

Robert Heinecken (American, 1931-2006) 'Kodak Safety Film / Taos Church' 1972

 

Robert Heinecken (American, 1931-2006)
Kodak Safety Film / Taos Church
1972
Black-and-white film transparency
40 x 56″ (101.6 x 142.2 cm)
The Museum of Modern Art, New York. Committee on Photography Fund

 

Robert Heinecken (American, 1931-2006) 'As Long As Your Up' 1965

 

Robert Heinecken (American, 1931-2006)
As Long As Your Up
1965
Black-and-white film transparency
15 1/2 x 19 5/8″ (39.4 x 49.8 cm)
The Robert Heinecken Trust, Chicago. Courtesy Petzel Gallery, New York

 

Robert Heinecken (American, 1931-2006) 'Periodical #5' 1971

 

Robert Heinecken (American, 1931-2006)
Periodical #5
1971
Offset lithography on found magazine
12 1/4 x 9″ (31.1 x 22.9 cm)
Collection Philip Aarons and Shelley Fox Aarons, New York

 

Robert Heinecken (American, 1931-2006) 'Six Figures/Mixed' 1968

 

Robert Heinecken (American, 1931-2006)
Six Figures/Mixed
1968
Layered Plexiglas and black-and-white film transparencies
5.75 x 9.75 x 1.5″ (14.61 x 24.77 x 3.81 cm)
Collection Darryl Curran, Los Angeles

 

Robert Heinecken (American, 1931-2006) 'Figure / Foliage #2' 1969

 

Robert Heinecken (American, 1931-2006)
Figure / Foliage #2
1969
Layered Plexiglas and black-and-white film transparencies
5 x 5 x 1 1/4″ (12.7 x 12.7 x 3.2 cm)
Collection Anton D. Segerstrom, Corona del Mar, California

 

Kaleidoscopic-Hexagon-#2-WEB

 

Robert Heinecken (American, 1931-2006)
Kaleidoscopic Hexagon #2
1965
Six gelatin silver prints on wood
Diameter: 14″ (35.6 cm)
Black Dog Collection. Promised gift to San Francisco Museum of Modern Art

 

Robert Heinecken (American, 1931-2006) '24 Figure Blocks' 1966

 

Robert Heinecken (American, 1931-2006)
24 Figure Blocks
1966
Twelve gelatin silver prints on wood blocks, and twelve additional wood blocks
14 1/16 x 14 1/16 x 13/16″ (35.7 x 35.7 x 2.1 cm)
Whitney Museum of American Art, New York. Gift of Jeanne and Richard S. Press

 

Robert Heinecken (American, 1931-2006) 'Multiple Solution Puzzle' 1965

 

Robert Heinecken (American, 1931-2006)
Multiple Solution Puzzle
1965
Sixteen gelatin silver prints on wood
11 1/4 x 11 1/4 x 1″ (28.6 x 28.6 x 2.5 cm)
Collection Maja Hoffmann/LUMA Foundation

 

 

The Museum of Modern Art presents Robert Heinecken: Object Matter, the first retrospective of the work of Robert Heinecken since his death in 2006 and the first exhibition on the East Coast to cover four decades of the artist’s unique practice, from the early 1960s through the late 1990s, on view from March 15 to September 7, 2014. Describing himself as a “para-photographer,” because his work stood “beside” or “beyond” traditional ideas associated with photography, Heinecken worked across multiple mediums, including photography, sculpture, printmaking, and collage. Culling images from newspapers, magazines, pornography, and television, he recontextualized them through collage and assemblage, photograms, darkroom experimentation, and rephotography. His works explore themes of commercialism, Americana, kitsch, sex, the body, and gender. In doing so, the works in this exhibition expose his obsession with popular culture and its effects on society, and with the relationship between the original and the copy. Robert Heinecken: Object Matter is organized by Eva Respini, Curator, with Drew Sawyer, Beaumont and Nancy Newhall Curatorial Fellow, Department of Photography, The Museum of Modern Art. The exhibition will travel to the Hammer Museum, and will be on view there from October 5, 2014 through January 17, 2015.

Heinecken dedicated his life to making art and teaching, establishing the photography program at UCLA in 1964, where he taught until 1991. He began making photographs in the early 1960s. The antithesis of the fine-print tradition exemplified by West Coast photographers Ansel Adams and Edward Weston, who photographed landscapes and objects in sharp focus and with objective clarity, Heinecken’s early work is marked by high contrast, blur, and under- or overexposure, as seen in Shadow Figure (1962) and Strip of Light (1964). In the mid-1960s he began combining and sequencing disparate pictures, as in Visual Poem/About the Sexual Education of a Young Girl (1965), which comprises seven black-and-white photographs of dolls with a portrait of his then-five-year-old daughter Karol at the center.

The female nude is a recurring motif, featured in Refractive Hexagon (1965), one of several “photopuzzles” composed of photographs of female body parts mounted onto 24 individual “puzzle” pieces. Other three-dimensional sculptures – geometric volumes ranging in height from five to 22 inches – consist of photographs mounted onto individual blocks, which rotate independently around a central axis. In Fractured Figure Sections (1967), as in Refractive Hexagon, the female figure is never resolved as a single image – the body is always truncated, never contiguous. In contrast, a complete female figure can be reconstituted in his largest photo-object, Transitional Figure Sculpture (1965), a towering 26-layer octagon composed from photographs of a nude that have been altered using various printing techniques. At the time, viewer engagement was key to creating random configurations and relationships in the work; any number of possibilities may exist, only to be altered with the next manipulation. Today, due to the fragility of the works, these objects are displayed in Plexiglas-covered vitrines. However, the number of sculptures and puzzles gathered here offer the viewer a sense of this diversity.

Heinecken’s groundbreaking suite Are You Rea (1964-68) is a series of 25 photograms made directly from magazine pages. Representative of a culture that was increasingly commercialized, technologically mediated, and suspicious of established truths, Are You Rea cemented Heinecken’s interest in the multiplicity of meanings inherent in existing images and situations. Culled from more than 2000 magazine pages, the work includes pictures from publications such as Life, Time, and Woman’s Day, contact-printed so that both sides are superimposed in a single image. Heinecken’s choice of pages and imagery are calculated to reveal specific relationships and meanings – ads for Coppertone juxtaposed with ads for spaghetti dinners and an article about John F. Kennedy superimposed on an ad for Wessex carpets – the portfolio’s narrative moves from relatively commonplace and alluring images of women to representations of violence and the male body.

Heinecken began altering magazines in 1969 with a series of 120 periodicals titled MANSMAG: Homage to Werkman and Cavalcade. He used the erotic men’s magazine Cavalcade as source material, making plates of every page, and randomly printing them on pages that were then reassembled into a magazine, now scrambled. In the same year, he disassembled numerous Time magazines, imprinting pornographic images taken from Cavalcade on every page, and reassembled them with the original Time covers. He circulated these reconstituted magazines by leaving them in waiting rooms or slipping them onto newsstands, allowing the work to come full circle – the source material returning to its point of origin after modification. He reprised this technique in 1989 with an altered issue of Time titled 150 Years of Photojournalism, a greatest hits of historical events seen through the lens of photography.

 

Installation views of 'Robert Heinecken: Object Matter' at The Museum of Modern Art (MoMA)

Installation views of 'Robert Heinecken: Object Matter' at The Museum of Modern Art (MoMA)

Installation views of 'Robert Heinecken: Object Matter' at The Museum of Modern Art (MoMA)

Installation views of 'Robert Heinecken: Object Matter' at The Museum of Modern Art (MoMA)

 

Installation views of Robert Heinecken: Object Matter at The Museum of Modern Art (MoMA)
Photos by Jonathan Muzikar
© The Museum of Modern Art

 

Robert Heinecken (American, 1931-2006) 'Breast / Bomb #5' 1967

 

Robert Heinecken (American, 1931-2006)
Breast / Bomb #5
1967
Gelatin silver prints, cut and reassembled
38 1/2 x 38 1/4″ (97.8 x 97.2 cm)
Denver Art Museum. Funds From 1992 Alliance For Contemporary Art Auction

 

Robert Heinecken (American, 1931-2006) 'Then People Forget You' 1965

 

Robert Heinecken (American, 1931-2006)
Then People Forget You
1965
Gelatin silver print
10 3/8 x 12 15/16″ (26.3 x 32.8 cm)
The Art Institute of Chicago. Gift of Boardroom, Inc.

 

Robert Heinecken (American, 1931-2006) 'Cliche Vary / Autoeroticism' 1974

 

Robert Heinecken (American, 1931-2006)
Cliche Vary / Autoeroticism
1974
Eleven canvas panels with photographic emulsion and pastel chalk
39 1/2 x 39 1/2 in. (100.3 x 100.3 cm)
Collection Susan and Peter MacGill, New York

 

Robert Heinecken. 'Surrealism on TV' 1986

 

Robert Heinecken (American, 1931-2006)
Surrealism on TV
1986
216 35 mm color slides, slide-show time variable
The Robert Heinecken Trust, Chicago; courtesy Cherry and Martin Gallery, Los Angeles
© 2013 The Robert Heinecken Trust.

 

Robert Heinecken (American, 1931-2006) 'Shiva Manifesting as a Single Mother' 1989

 

Robert Heinecken (American, 1931-2006)
Shiva Manifesting as a Single Mother
1989
Magazine paper, paint and varnish
Collection Philip F. Denny, Chicago
© 2014 The Robert Heinecken Trust

 

 

Transparent film is also used in many of Heinecken’s works to explore different kinds of juxtapositions. In Kodak Safety Film/Christmas Mistake (1971), pornographic images are superimposed on a Christmas snapshot of Heinecken’s children with the suggestion in the title that somehow two rolls of film were mixed up at the photo lab. Kodak Safety Film/Taos Church (1972) takes photography itself as a subject, picturing an adobe church in New Mexico that was famously photographed by Ansel Adams and Paul Strand, and painted by Georgia O’Keeffe and John Marin. Presented as a negative, Heinecken’s version transforms an icon of modernism into a murky structure flanked by a pickup truck, telephone wires, and other modern-day debris.

Heinecken’s hybrid photographic paintings, created by applying photographic emulsion on canvas, are well represented in the exhibition. In Figure Horizon #1(1971), Heinecken reprised the cut-and-reassemble techniques from his puzzles and photo-sculptures, sequencing images of sections of the nude female body, to create impossible undulating landscapes. Cliché Vary, a pun on the 19th-century cliché verre process, is comprised of three large-scale modular works, all from 1974: Autoeroticism, Fetishism, and Lesbianism. The works are comprised of separately stretched canvas panels with considerable hand-applied color on the photographic image, invoking clichés associated with autoeroticism, fetishism, and lesbianism. Reminiscent of his cut-and-reassembled pieces, each panel features disjointed views of bodies and fetish objects that never make a whole, and increase in complexity, culminating with Lesbianism, which is made with seven or eight different negatives.

In the mid-1970s, Heinecken experimented with new materials introduced by Polaroid – specifically the SX-70 camera (which required no darkroom or technical know-how) – to produce the series He/She (1975-1980) and, later, Lessons in Posing Subjects (1981-82). Heinecken experimented with different types of instant prints, including the impressive two-panel S.S. Copyright Project: “On Photography” (1978), made the year after the publication of Susan Sontag’s collection of essays On Photography (1977). The S.S. Copyright Project consists of a magnified and doubled picture of Sontag, derived from the book’s dustcover portrait (taken by Jill Krementz). The work equates legibility with physical proximity – from afar, the portraits appear to be grainy enlargements from a negative (or, to contemporary eyes, pixilated low-resolution images), but at close range, it is apparent that the panels are composed of hundreds of small photographic scraps stapled together. The portrait on the left is composed of photographs of Sontag’’ text; the right features random images taken around Heinecken’s studio by his assistant.

Heinecken’s first large-scale sculptural installation, TV/Time Environment (1970), is the earliest in a series of works that address the increasingly dominant presence of television in American culture. In the installation, a positive film transparency of a female nude is placed in front of a functioning television set in an environment that evokes a living room, complete with recliner chair, plastic plant, and rug. Continuing his work with television, Heinecken created videograms – direct captures from the television that were produced by pressing Cibachrome paper onto the screen to expose the sensitized paper. Inaugural Excerpt Videograms (1981) features a composite from the live television broadcast of Ronald Reagan’s inauguration speech and the surrounding celebrations. The work, originally in 27 parts, now in 24, includes randomly chosen excerpts of the oration and news reports of it. Surrealism on TV (1986) explores the idea of transparency and layering using found media images to produce new readings. It features a slide show comprised of more than 200 images loaded into three slide projectors and projected in random order. The images generally fit into broad categories, which include newscasters, animals, TV evangelists, aerobics, and explosions.

Text from the MoMA press release

 

Robert Heinecken (American, 1931-2006) 'Figure Cube' 1965

 

Robert Heinecken (American, 1931-2006)
Figure Cube
1965
Gelatin silver prints on Masonite
5 7/8 x 5 7/8″ (15 x 15 cm)
The Robert Heinecken Trust. Courtesy Center for Creative Photography, University of Arizona, Tucson

 

Robert Heinecken (American, 1931-2006) 'Figure in Six Sections' 1965

 

Robert Heinecken (American, 1931-2006)
Figure in Six Sections
1965
Gelatin silver prints on wood blocks
8 1/2 x 3 x 3″ (21.6 x 7.6 x 7.6 cm)
Collection Kathe Heinecken. Courtesy The Robert Heinecken Trust, Chicago

 

Robert Heinecken (American, 1931-2006) 'Fractured Figure Sections' 1967

 

Robert Heinecken (American, 1931-2006)
Fractured Figure Sections
1967
Gelatin silver prints on wood blocks
8 1/4 x 3 x 3″ (21 x 7.6 x 7.6 cm)
The Museum of Modern Art, New York. The Photography Council Fund and Committee on Photography Fund

 

Robert Heinecken (American, 1931-2006) 'The S.S. Copyright Project: "On Photography"' (Part 1 of 2) 1978

 

Robert Heinecken (American, 1931-2006)
The S.S. Copyright Project: “On Photography” (Part 1 of 2)
1978
Collage of black and white instant prints attached to composite board with staples
b 47 13/16 x 47 13/16″ (121.5 x 121.5 cm)
The Museum of Modern Art, New York. Purchased as the partial gift of Celeste Bartos

 

Robert Heinecken (American, 1931-2006) 'Recto/Verso #2' 1988

 

Robert Heinecken (American, 1931-2006)
Recto/Verso #2
1988
Silver dye bleach print
8 5/8 x 7 7/8″ (21.9 x 20 cm)
The Museum of Modern Art, New York. Mr. and Mrs. Clark Winter Fund

 

Robert Heinecken (American, 1931-2006) 'Figure Parts / Hair' 1967

 

Robert Heinecken (American, 1931-2006)
Figure Parts / Hair
1967
Black-and-whtie film transparencies over magazine-page collage
16 x 12″ (40.6 x 30.5 cm)
Collection Karol Heinecken Mora, Los Angeles

 

Robert Heinecken (American, 1931-2006) 'V.N. Pin Up' 1968

 

Robert Heinecken (American, 1931-2006)
V.N. Pin Up
1968
Black-and-white film transparency over magazine-page collage
12 1/2 • 10″ (31.8 • 25.4 cm)
Museum of Contemporary Art, Chicago. Gift of Daryl Gerber Stokols

 

Robert Heinecken (American, 1931-2006) 'Typographic Nude' 1965

 

Robert Heinecken (American, 1931-2006)
Typographic Nude
1965
Gelatin silver print
14 1/2 x 7″ (36.8 x 17.8 cm)
Collection Geofrey and and Laura Wyatt, Santa Barbara, California

 

Robert Heinecken (American, 1931-2006) 'Are You Rea #1' 1968

 

Robert Heinecken (American, 1931-2006)
Are You Rea #1
1968
Twenty-five gelatin silver prints
Various dimensions
Collection Jeffrey Leifer, San Francisco

 

Robert Heinecken (American, 1931-2006) 'Are You Rea #25' 1968

 

Robert Heinecken (American, 1931-2006)
Are You Rea #25
1968
Twenty-five gelatin silver prints
Various dimensions
Collection Jeffrey Leifer, San Francisco

 

Robert Heinecken (American, 1931–2006) 'Cybill Shepherd / Phone Sex' 1992

 

Robert Heinecken (American, 1931–2006)
Cybill Shepherd / Phone Sex
1992
Silver dye bleach print on foamcore
63 x 17″ (160 x 43.2 cm)
The Robert Heinecken Trust, Courtesy of Petzel Gallery, New York

 

Robert Heinecken (American, 1931-2006) 'MANSMAG: Homage to Werkman and Cavalcade' 1969

 

Robert Heinecken (American, 1931-2006)
MANSMAG: Homage to Werkman and Cavalcade
1969
Offset lithography on bound paper
8 3/4 x 6 5/8″ (22.2 x 16.8 cm)
The Robert Heinecken Trust, Chicago

 

 

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31
Aug
14

Exhibition: ‘The Classical Nude and the Making of Queer History’ at the ONE National Gay & Lesbian Archives at the USC Libraries, Los Angeles

Exhibition dates: 29th June – 7th September 2014

 

These were the only press images I could get for this exhibition. I would have liked to have seen many more!

Marcus

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

 

 

Johann Joachim Winckelmann. 'Histoire de l'art de l'antiquité' 1781

 

Johann Joachim Winckelmann
Histoire de l’art de l’antiquité
1781
Leipzig: J. G. I. Brietkopf

 

Winckelmann was murdered in Trieste on June 8, 1768. The frontispiece to this French translation of the History presents an allegory of his death designed by his friend, the painter Adam Friedrich Oeser (1717-1799)

 

George Platt Lynes. 'Nicholas Magallanes and Francisco Moncion in Balachines's Orpheus II' 1948

 

George Platt Lynes
Nicholas Magallanes and Francisco Moncion in Balachines’s Orpheus II
1948
Gelatin silver print
8 x 10 inches
Private Collection

 

Edwin Townsend. 'Tony Sansone' c. 1950s

 

Edwin Townsend
Tony Sansone
c. 1950s
Gelatin silver print
9.5 x 7.5 inches
Collection of the Leslie-Lohman Museum of Gay and Lesbian Art, New York

 

James Bidgood. 'Pan' 1965

 

James Bidgood
Pan
1965
Digital C-print
22 x 22 inches
Courtesy of the artist and ClampArt, New York

 

 

“Organized by the Leslie-Lohman Museum of Gay and Lesbian Art and curated by scholar Jonathan David Katz, The Classical Nude and the Making of Queer History investigates how the visual iconography of Greco-Roman culture has acted as a recurring touchstone in the development of same-sex representation. Within the canon of western art history, images of the classical past have acted as a sensitive barometer for the shifting constructions of what we today call LGBT or queer culture. The classical past is queer culture’s central origin myth, and tracing how this tradition has been utilized by queer artists over time offers far more information about the cultural context that appropriates the classical than it does about that past itself.

Examining the classical nude across centuries of artistic production, this exhibition considers four major periods: Antiquity, the Renaissance, the nineteenth century, and the modern/contemporary period. Drawn almost exclusively from the collections of the Leslie-Lohman Museum of Gay and Lesbian Art in New York, the objects are diverse in medium and format. While all periods are represented, the majority of the works illustrate how artists in recent history have utilized classical iconography and themes to explore same-sex desire. It is in the recent past, as artists reimagined a classical legacy that had not accounted for diverse gender and racial perspectives, that we find queer culture’s relationship to the classical tradition at both its most complex and dynamic.

This presentation at the ONE Gallery is a condensed preview of a show to open at the Leslie-Lohman Museum in October 2014. Containing over ninety-five objects, the exhibition in New York will include works by Albrecht Dürer, Michelangelo, Jacopo Pontormo, Andrea Mantegna, F. Holland Day, Romaine Brooks, Claude Cahun, Herbert List, Jess, Paul Cadmus, and Pierre et Gilles, in addition to the works presented here, and will be accompanied by a scholarly exhibition catalogue.”

Text from the ONE Archives website

 

Alonze James Hanagan (aka Lon of New York) 'Howard Hunter' c. 1950s

 

Alonze James Hanagan (aka Lon of New York)
Howard Hunter
c. 1950s
Gelatin silver print
13.25 x 7 inches
Collection of the Leslie-Lohman Museum of Gay and Lesbian Art, New York

 

Artist unknown. 'Replica of The Warren Cup' original c. mid-1st century AD

 

Artist unknown
Replica of The Warren Cup
original c. mid-1st century AD
Silver
Unnumbered issue from edition of twelve
Collection of the Leslie-Lohman Museum of Gay and Lesbian Art, New York. Image of the original courtesy of The British Museum

 

Bruce LaBruce with Nina Arsenault. 'Tripartite Goddess I, II, III' 2011

 

Bruce LaBruce with Nina Arsenault
Tripartite Goddess I, II, III
2011
Archival photograph
Signed on verso 1/10
18 x 28 in.

 

Austin Young. 'Dani Daniels, Los Angeles' 2011

 

Austin Young
Dani Daniels, Los Angeles
2011
Archival inkjet print
Edition 1/10

 

Wilhelm Von Gloeden. 'Untitled' 1895

 

Wilhelm Von Gloeden
Untitled
1895
Albumen silver print
9 x 6.75 inches
Collection of Sinski/McLaughlin

 

Friedrich O. Wolter. 'Drei Grazien' (Three Graces) Date unknown

 

Friedrich O. Wolter
Drei Grazien (Three Graces)
Date unknown
Photograph
5.5 x 3.5 inches
Collection of the Leslie-Lohman Museum of Gay and Lesbian Art, New York

 

Del LaGrace Volcano. 'The Three Graces, Jasper, Suzie and Gill, London' 1992

 

 

Del LaGrace Volcano
The Three Graces, Jasper, Suzie and Gill, London
1992
Digital C-print
30 x 23.5 inches
Collection of the Leslie-Lohman Museum of Gay and Lesbian Art, New York

 

 

ONE Archives Gallery & Museum
626 North Robertson Boulevard
West Hollywood, CA 90069

Opening hours:
Thursday: 4 – 8pm
Friday, Saturday and Sunday: 1pm – 5pm
Closed Monday through Wednesday

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21
Aug
14

Exhibition: ‘Now You See It: Photography and Concealment’ at the Metropolitan Museum of Art, New York

Exhibition dates: 31st March – 1st September 2014

 

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.

 

 

Weegee (American, born Ukraine (Austria), Złoczów (Zolochiv) 1899-1968 New York) 'Charles Sodokoff and Arthur Webber Use Their Top Hats to Hide Their Faces' January 27, 1942, printed c. 1983

 

Weegee (American, born Ukraine (Austria), Złoczów (Zolochiv) 1899-1968 New York)
Charles Sodokoff and Arthur Webber Use Their Top Hats to Hide Their Faces
January 27, 1942, printed c. 1983
Gelatin silver print
31.8 x 41.4 cm. (12 1/2 x 16 5/16 in.)
Gift of Aaron and Jessica Rose, 1983
Rights and Reproduction: © Weegee / International Center of Photography

 

Ralph Eugene Meatyard (American, 1925-1972) 'Occasion for Diriment' 1962

 

Ralph Eugene Meatyard (American, 1925-1972)
Occasion for Diriment
1962
Gelatin silver print
18.0 x 18.7 cm (7 1/16 x 7 3/8 in.)
Rogers Fund, 1967
© The Estate of Ralph Eugene Meatyard, Courtesy Fraenkel Gallery, San Francisco

 

Ralph Eugene Meatyard was a photographer and optician who spent the last two decades of his life in Lexington, Kentucky, producing an eccentric body of work at some remove from the photographic mainstream. He often posed his family and friends in enigmatic tableaux with props such as dolls and rubber masks, imbuing his images with a haunting Surrealist sensibility. The curious title of this photograph stems from Meatyard’s passion for odd names, puns, and peculiar words and phrases. Diriment is a made-up word, a Lewis Carroll-like compound of “dire” and “merriment” that suggests a mood of high-spirited fun and hilarity fraught with anxious undertones.

 

Lee Friedlander (American, born Aberdeen, Washington, 1934) 'Shadow, New York City' 1966, printed 1973

 

Lee Friedlander (American, born Aberdeen, Washington, 1934)
Shadow, New York City
1966, printed 1973
Gelatin silver print
16.0 x 24.1 cm. (6 5/16 x 9 1/2 in.)
Purchase, The Horace W. Goldsmith Foundation Gift, through Joyce and Robert Menschel, 1990

 

Robert Frank (American, born Zurich, 1924) 'Covered Car - Long Beach, California' 1955

 

Robert Frank (American, born Zurich, 1924)
Covered Car – Long Beach, California
1955
Gelatin silver print
21.4 x 32.7 cm (8 7/16 x 12 7/8 in.)
Gilman Collection, Purchase, Ann Tenenbaum and Thomas H. Lee Gift, 2005

 

 

“Photography is a medium prized for its capacity to expose, lay bare, make visible. For many artists, the camera is, above all, a tool for revealing what would otherwise remain unnoticed. As Diane Arbus once said: “I really believe there are things which nobody would see unless I photographed them.” At the root of this artistic impulse is a keen fascination with that which is hidden, obscure, or hitherto unseen. This exhibition presents a selection of contemporary photographs and video from the permanent collection that variously explores the medium’s dynamic interplay between concealment and revelation.

Some of the artists featured here use the camera to reveal subjects or places ordinarily hidden, as in Vera Lutter’s majestic view of the interior of a Pepsi-Cola bottling plant or Miguel Rio Branco’s lush image of a tapestry’s seamy underside. Others address instances of geopolitical obfuscation: Fazal Sheikh’s aerial photographs of the Negev desert in southern Israel record the traces of Bedouin villages that have been transformed into forests or farmland, while Mishka Henner collects images of stylishly censored high-security sites on Google Earth. In Vault (2011), Thomas Demand takes his inspiration from current events, meticulously re-creating a storeroom in which thirty missing works of art were discovered during a recent police raid.

The tension between publicity and privacy – the simultaneous desire to be looked at and to evade the merciless gaze of the camera – animates the work of artists as diverse as Arbus, Lutz Bacher, Jack Pierson, and Taryn Simon. In her video, The Nightingale (2003), Grace Ndiritu explores the tradition of the veil and its complex poetics of exposure and effacement. Complementing the contemporary works on view is a selection of earlier photographs in which the primary subject is hidden or obscured – a brief anthology of playfulness, shame, and seduction.

 

Fazal Sheikh (American, born 1965) 'Desert Bloom' (various numbers) 2011

 

Fazal Sheikh (American, born 1965)
Desert Bloom (various numbers)
2011
Excerpt from the Erasure Trilogy
Inkjet print
Image: 40 × 60 cm (15 3/4 × 23 5/8 in.) Sheet: 52.1 × 72.1 cm (20 1/2 × 28 3/8 in.) Frame: 73.7 × 53.3 cm (29 × 21 in.)
Purchase, Jane P. Watkins Gift, 2013

 

In 2011 the French photographer Frederic Brenner invited eleven prominent photographers to spend six months in residence in Israel and the Occupied Territories, or West Bank, to explore the area’s complexity and to create bodies of work that might broaden and reframe the conversation about the region. Among those invited was Sheikh, an artist best known for his sensitive black-and-white portraits of people living in displaced and marginalized communities around the world. Sheikh’s project takes the form of a trilogy titled Erasure, of which Desert Bloom is the central part. The images were made during several months of flying above the Negev desert and are intended to articulate the rapid transformation of the region. On the one hand, they invoke the Israeli endeavor to “make the desert bloom,” and on the other, they reveal traces of the Negev’s history: the construction of towns for the Bedouin, the natural erosion of the land, the demolition of local dwellings, the remains of military installations, the afforestation campaigns of the Jewish National Fund (JNF), and the transformation of nomadic desert regions into farmland.

 

demand-vault-WEB

 

Thomas Demand (German, born 1964)
Vault
2012
Chromogenic print
220 x 276.9 cm (86 5/8 x 109 in.)
Purchase, Louis V. Bell Fund; Alfred Stieglitz Society, The Fledgling Fund, through Diana Barrett and Robert Vila, Joseph M. and Barbara Cohen Foundation Inc. and Hideyuki Osawa Gifts, 2013
© Thomas Demand / Artist’s Rights Society (ARS), New York

 

Demand’s photographs of the paper constructions he builds in his studio are typically based on photographs related to politically charged real-world events. He begins with an existing image, usually culled from the news media, which he translates into a three-dimensional life-sized model made of colored paper and cardboard. The models are then carefully lit and photographed, after which they are destroyed. Three times removed from the scenes they depict, Demand’s works are masterpieces of pictorial ambiguity that occupy a mesmerizing middle ground between reality and artifice.

Vault is based on a police photograph of a storeroom at the Wildenstein Institute in Paris, where thirty paintings and sculptures that had been missing for decades were discovered during a police raid in 2011. The missing artworks belong to the heirs of a French Jewish family displaced during the Holocaust. In Demand’s picture, as in the photograph on which it is based, the framed paintings – which include works by Degas, Manet, and Morisot – are turned to face the walls and remain tantalizingly hidden from view.

 

Vera Lutter (German, born Kaiserslautern, 1960) 'Pepsi Cola Interior II: July 6-13, 2000' 2000

 

Vera Lutter (German, born Kaiserslautern, 1960)
Pepsi Cola Interior II: July 6-13, 2000
2000
Gelatin silver print
Overall installation: 90 3/4 in. × 14 ft. 3/4 in. (230.5 × 428.6 cm) Sheet (A): 90 in. × 55 3/4 in. (228.6 × 141.6 cm) Sheet (B): 90 in. × 55 3/4 in. (228.6 × 141.6 cm) Sheet (C): 90 in. × 55 3/4 in. (228.6 × 141.6 cm) Frame (each): 90 3/4 × 56 1/4 in. (230.5 × 142.9 cm)
Purchase, Joseph M. and Barbara Cohen Foundation Inc. Gift, 2001
© Vera Lutter

 

While the basis for Lutter’s technique – the camera obscura – is older than photography itself, her images and subject matter are wholly modern. This enormous negative print was made inside a room-sized pinhole camera that Lutter built in a derelict Pepsi-Cola bottling plant on the East River in Hunters Point, Queens. After pinning three huge sheets of photographic paper opposite the camera’s pinhole aperture, she worked inside the camera to monitor and manipulate the light during the weeklong exposure. The bottling plant itself closed in 1999 and was later demolished.

 

Mishka Henner (British, born 1976) 'Staphorst Ammunition Depot, Overijssel' 2011, printed 2014

 

Mishka Henner (British, born 1976)
Staphorst Ammunition Depot, Overijssel
2011, printed 2014
From the series Dutch Landscapes
Inkjet print
31 1/2 × 35 7/16 in. (80 × 90 cm)
Purchase, Vital Projects Fund Inc. Gift, through Joyce and Robert Menschel, 2014
© Mishka Henner

 

In his “Dutch Landscapes” series, Henner selects and reproduces images of the Netherlands found on Google Earth. The multicolored shapes punctuating these landscapes were created not by the artist but at the behest of the Dutch government. When Google Earth was introduced in 2005, satellite imagery of the entire planet became freely accessible to anyone with an Internet connection. This sudden visibility created concerns among many governments, who required Google – or its image suppliers – to obscure the details of sites deemed vital to national security. While most nations employed standard techniques, such as blurring, pixilation, or digital cloning, the Dutch chose to conceal hundreds of sites – including royal palaces, army barracks, and fuel depots – with bold, multicolored polygons. “There is of course an absurdity to these censored images,” Henner has written, “since their overt, bold and graphic nature only draws attention to the very sites that are meant to be hidden. Yet this contradiction seems perfectly apt for the absurd fear of terror that has come to dominate the cultural landscape of the last decade.”

 

 

Now You See It: Photography and Concealment, an installation of 25 works at The Metropolitan Museum of Art, focuses on the dynamic interplay between concealment and revelation in contemporary photography and video art. The featured works, all from the Museum’s Department of Photographs, range from a late 19th-century photograph by Pierre-Louis Pierson to a recently acquired work by Thomas Demand.

The installation presents works by artists who use the camera to reveal subjects or places ordinarily hidden from view, as well as works that explore broader themes of secrecy and obscured or partial vision. A highlight of Now You See It is Thomas Demand’s photograph Vault (2012). The image is based on a police photograph of a storeroom at the Wildenstein Institute in Paris, where 30 paintings and sculptures that had been missing for decades were discovered during a police raid in 2011. In Demand’s picture, as in the photograph on which it is based, the framed art works are turned to face the walls, remaining tantalizingly hidden from view. Other highlights include Vera Lutter’s haunting view of the seldom seen interior of the Pepsi Cola bottling plant in Queens, New York, Pepsi Cola Interior II: July 6-13 (2000), and Fazal Sheikh’s Desert Bloom (2011), a series of aerial photographs of the Negev desert. In Grace Nditru’s acclaimed video The Nightingale (2003), the artist explores the tradition of the veil and its complex associations of exposure and effacement. Accompanied by a recording of the Senegalese singer Baaba Maal, Ndiritu evokes a rapid-fire series of cultural references as she performs a hypnotic, Scheherazade-like series of gestures and movements with a piece of fabric, swiftly transforming it from turban to blindfold, and do-rag to noose to niqab. The tension between publicity and privacy, inherent in the field of photography, is explored in works by artists as diverse as Diane Arbus, Lutz Bacher, Jack Pierson, and Taryn Simon. The 20th-century photographs on view present the theme of concealment in a literal way and include Weegee’s Charles Sodokoff and Arthur Webber Use Their Top Hats to Hide Their Faces (January 27, 1942) and Helen Levitt’s Kids in a Box, on the Street, New York City (c. 1942).

Now You See It: Photography and Concealment is organized by Mia Fineman, Associate Curator in the Department of Photographs at The Metropolitan Museum of Art.

 

Helen Levitt (American, 1913-2009) [Kids in a Box, on the Street, New York City] c. 1942

 

Helen Levitt (American, 1913-2009)
[Kids in a Box, on the Street, New York City]
c. 1942
Gelatin silver print
Image approx.: 9 × 6 in. (22.9 × 15.2 cm)
Promised Gift of Mrs. Robert O. Levitt
© Estate of Helen Levitt

 

Helen Levitt (American, 1913-2009) [Kids on the Street Playing Hide and Seek, New York City] c. 1942

 

Helen Levitt (American, 1913-2009)
[Kids on the Street Playing Hide and Seek, New York City]
c. 1942
Gelatin silver print
9 3/4 × 6 3/4 in. (24.8 × 17.1 cm)
Promised Gift of Mrs. Robert O. Levitt
© Estate of Helen Levitt

 

Attributed to Juliette Alexandre-Bisson (French, 1861-1956) [Birth of Ectoplasm During Séance with the Medium Eva C.] 1919-20

 

Attributed to Juliette Alexandre-Bisson (French, 1861-1956)
[Birth of Ectoplasm During Séance with the Medium Eva C.]
1919-20
Gelatin silver print
11.8 x 8.9 cm (4 5/8 x 3 1/2 in.)
Gilman Collection, Purchase, The Howard Gilman Foundation Gift, 2001

 

Bill Wasilevich (American, active 1940s) 'Jimmy "One Eye" Collins After Arraignment' 1946

 

Bill Wasilevich (American, active 1940s)
Jimmy “One Eye” Collins After Arraignment
1946
Gelatin silver print
18.6 x 14.4 cm (7 5/16 x 5 11/16 in.)
Twentieth-Century Photography Fund, 2008
© Steve Schapiro/Corbis

 

 

Grace Ndiritu (British, born 1976)
The Nightingale
2003
Video
Gift of the artist, 2009
© 2003 Grace Ndiritu, Courtesy Grace Ndiritu and LUX, London

 

Before a camera fixed on her face and neck and accompanied by a recording of the Senegalese singer Baaba Maal, Ndiritu performs a hypnotic, Scheherazade-like series of gestures and movements with a piece of fabric, swiftly transforming it from turban to blindfold, from do-rag to noose to niqab. Both jubilant and unsettling, the video evokes a rapid-fire series of cultural references, counterposing the enforced modesty of the Islamic world with Western fantasies of exoticism. Ndiritu, who studied textiles at the Winchester School of Art, acquired this simple red-and-white scarf while traveling in India and carried it with her as a talisman through years of global exploration.

 

Jack Pierson (American, born 1960) 'The Lonely Life' 1992

 

Jack Pierson (American, born 1960)
The Lonely Life
1992
Chromogenic print
Frame: 76.2 × 101.6 cm (30 × 40 in.)
Purchase, The Horace W. Goldsmith Foundation Gift, through Joyce and Robert Menschel, 2000
© Jack Pierson

 

In 1994, Pierson was invited by the Whitney Museum of American Art to show his photographs alongside a group of works by Edward Hopper (1882-1967) that the artist selected from their vast holdings. Like Hopper, Pierson creates works that are inherently cinematic in their scope and effects; both are primarily concerned with mood, atmosphere, and exhibit a particularly urban kind of melancholy. His greatest asset, however, is an almost overwhelmingly lush palette, which he uses to depict objects of desire or scenes that are unabashedly sensual and emotional. An excellent example of the artist’s high-key chromaticism, The Lonely Life describes the unique brand of loneliness shared by the performer and the fan, both of whom (like Pierson) are doomed to experience existence solely through the intoxications of art.

 

Pierre-Louis Pierson (French, 1822-1913) 'Scherzo di Follia' 1861-67, printed c. 1930

 

Pierre-Louis Pierson (French, 1822-1913)
Scherzo di Follia
1861-67, printed c. 1930
Gelatin silver print from glass negative
39.8 x 29.8 cm (15 11/16 x 11 3/4 in.)
Gilman Collection, Gift of The Howard Gilman Foundation, 2005

 

Virginia Oldoini, Countess Verasis de Castiglione (1837-1899), created a sensation when she appeared on the social scene in Paris in 1855, having been sent by the Italian statesman Cavour to secretly win Napoleon III over to the cause of Italian unity by “any means she chose.” Within months, the statuesque beauty was the mistress of Napoleon III and a much-talked-about ornament of the lavish balls so prevalent during the period. After the fall of the Second Empire in 1870, she led an increasingly secluded existence, which gave rise to fantastic speculation about her affairs. As the years went by, her mental stability declined and she ventured out only at night, shrouded in veils.

The countess’s raging narcissism found in photography the perfect ally; Pierre-Louis Pierson produced over seven hundred different images of her. In a reversal of roles, the sitter would direct every aspect of the picture, from the angle of the shot to the lighting, using the photographer as a mere tool in her pursuit of self-promotion and self-expression.

 

 

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16
Aug
14

Exhibition: ‘Roman Vishniac Rediscovered’ at the Jewish Historical Museum, Amsterdam

Exhibition dates: 4th April – 24th August 2014

 

It takes guts and moral fortitude to continue photographing the city that you live in even as the state that controls that city and country conspires against you. It takes talent to produce memorable images of urban poverty, to record for posterity communities that would soon vanish forever under the weight of a malignant form of madness, of genocide.

Vishniac was the only one not concerned with ego. He went out there and got the job done where no one else did. He produced thoroughly modern images of an ancient culture on the verge of destruction. He knew the danger and yet he still took the photos. Courage and fortitude, and in the end the luck to escape the Holocaust himself.

You can’t look at these images without a sense of regret and sadness – at the stupidity of humanity, of the egos of men, and the waste of millions of lives. One name says it all: Ernst Kaufmann. Standing on a pile of rocks, wearing wooden clogs, this man with the wavy hair looks down into the camera and he will ever be thus – young, handsome, alive in the moment that the photograph was taken.

Ernst Kaufmann was born in Krefeld, Germany, in 1911. He was arrested in June 1941 and killed in August of that year in the Mauthausen concentration camp in Austria.

Marcus

.
Many thankx to the Jewish Historical Museum for allowing me to publish the photographs in the posting. Please click on the photographs for a larger version of the image. Lots more images can be found on the excellent Roman Vishniac Archive website.

 

 

ICP_Vishniac_pressimage_1-DETAIL

 

Roman Vishniac
Recalcitrance, Berlin (detail)
1926
© Mara Vishniac Kohn, courtesy International Center of Photography

 

 

Roman Vishniac Rediscovered brings together four decades of work by an extraordinarily versatile and innovative photographer for the first time. Vishniac (1897-1990) created the most widely recognized and reproduced photographic record of Jewish life in Eastern Europe between the two World Wars. These celebrated photographs were taken on assignment for the American Jewish Joint Distribution Committee, the world’s largest Jewish relief organization, from 1935-38, yet this exhibition follows the photographer’s long and accomplished career from the early 1920s through the 1950s. Roman Vishniac Rediscovered introduces a radically diverse body of work – much of it only recently discovered – and repositions Vishniac’s iconic photographs of Eastern European Jewry within a broader tradition of 1930s social documentary photography.

More than any other photographer, Roman Vishniac’s images have profoundly influenced contemporary notions of Jewish life in Eastern Europe. Vishniac created the most widely recognized and reproduced photographic record of that world on the eve of its annihilation, yet only a small fraction of his work was published or printed during his lifetime. Known primarily for this poignant record, Vishniac was in fact a remarkably versatile and innovative photographer. His body of work spans more than five decades, ranging from early engagements with European modernism in the 1920s to highly inventive color photomicroscopy in the 1950s and ’60s.

Born in 1897 to an affluent Russian-Jewish family, Vishniac was raised in Moscow, where he studied zoology and biology. He immigrated to Berlin in 1920 in the aftermath of the Bolshevik Revolution. As an amateur photographer he took to the streets, offering witty and wry visual commentary on his adopted city while experimenting with new approaches to framing and composition. As Vishniac documented the Nazi rise to power, foreboding signs of oppression soon became a focal point of his work. In 1935, he was commissioned by the European headquarters of the American Jewish Joint Distribution Committee (AJDC) – the world’s largest Jewish relief organization – to photograph impoverished Jewish communities in Eastern Europe. Vishniac’s four years of work on the project yielded the celebrated images that have largely defined his photographic legacy.

Arriving in New York on New Year’s Day 1941, Vishniac opened a portrait studio, working to make ends meet by documenting American Jewish communal and immigrant life, while establishing himself as a pioneer in the field of photomicroscopy. In 1947, he returned to Europe and documented Jewish Displaced Persons’ Camps, the efforts of Holocaust survivors to rebuild their lives, emigration and relief efforts, and the ruins of Berlin.

Roman Vishniac Rediscovered is a comprehensive reappraisal of Vishniac’s total photographic output, from his early years in Berlin through the postwar period in America. The exhibition is drawn from the Roman Vishniac archive at ICP and serves as an introduction to this vast assemblage comprising more than 30,000 objects, including recently discovered vintage prints, rare moving film footage, contact sheets, personal correspondence, and exhibition prints made from his recently digitized negatives.

 

Berlin Street Photography, 1920s-30s

Vishniac immigrated to Berlin in 1920, shortly after the formation of the Weimar Republic. He and his wife Luta settled in the Wilmersdorf district, home to a large community of affluent Russian-Jewish expatriates. Berlin in the 1920s was the epitome of a modern city: cosmopolitan, loud, vibrant, diverse, and full of recent immigrants. Already an accomplished amateur photographer, Vishniac joined several of the city’s ubiquitous camera clubs. Armed with his Rolleiflex and Leica, he took to the streets, creating astute, often humorous observations of his adopted city.

Vishniac’s interest in photography had begun during his childhood in Russia; many Russian Jews owned photography shops and studios, and Vishniac’s family encouraged his pursuits. In Berlin, his perspective as an outsider contributed to his inventive and dynamic images of life in the city, and marked his transformation from amateur hobbyist to accomplished street photographer. His best, most intimate photographs were often taken in his own neighborhood, where he built a fully equipped photo-processing lab in his apartment.

Vishniac took full advantage of the city’s manifold resources, improving his technique and experimenting with modernist and avant-garde approaches to framing and composition – hallmarks of Weimar Berlin. This prodigious body of early work became increasingly influenced by European modernism as he captured the buzzing day-to-day life of the city: streetcar drivers, municipal workers and day laborers, marching students and children at play, bucolic park scenes and the intellectual café life of the bustling metropolis that was, in Vishniac’s words, “the world’s center of music, books, and science.”

 

Roman Vishniac. '[Interior of the Anhalter Bahnhof railway terminus near Potsdamer Platz, Berlin]' late 1920s - early 1930s

 

Roman Vishniac
[Interior of the Anhalter Bahnhof railway terminus near Potsdamer Platz, Berlin]
late 1920s – early 1930s
© Mara Vishniac Kohn, courtesy International Center of Photography

 

Roman Vishniac. 'People behind bars, Berlin Zoo' Early 1930s (printed 2012)

 

Roman Vishniac
People behind bars, Berlin Zoo
Early 1930s (printed 2012)
© Mara Vishniac Kohn, courtesy International Center of Photography

 

The oldest and most renowned zoo in Germany, the Zoologische Garten was a popular gathering place for Berlin’s middle- and upper-class Jewish community before World War II. Many affluent Jewish families, including the Vishniacs, were shareholders. Beginning in 1933, the zoo began to force out Jewish board members. In 1938, a sign reading “Juden unerwünscht” (Jews Unwanted) was displayed at the entrance to the zoo and in early 1939 Jews were denied entry entirely. In Vishniac’s photograph of the zoo’s famous polar bears, it appears that the visitors, and not the animals, are in a cage.

 

Roman Vishniac. '[Boys admiring a motorcycle, Brandenburg, outskirts of Berlin]' 1929 - early 1930s (printed 2012)

 

Roman Vishniac
[Boys admiring a motorcycle, Brandenburg, outskirts of Berlin]
1929 – early 1930s (printed 2012)
© Mara Vishniac Kohn, courtesy International Center of Photography

 

 

Nazi Rise to Power in Germany, 1933-38

“I grew up in Berlin with a pervasive sense of danger and dread combined with a perceived obligation not to show fear. I was aware of personal danger and knew that whatever happened to me, my parents could offer no protection or help. That was everyday life.”

Mara Vishniac Kohn

 

Vishniac’s development as a professional photographer coincided with the Nazi rise to power and the establishment of the Third Reich. Widespread antisemitism and the implementation of increasingly restrictive measures against Jews became daily realities. Vishniac documented the ominous changes he encountered, photographing campaign posters, swastika banners, phrenology shops, and marching Nazi soldiers. Following Hitler’s appointment as chancellor in 1933, the government relentlessly pursued those artists and intellectuals not in line with the Reich’s values. Berlin’s cosmopolitan vivacity was soon drained of its intellectual and cultural capital. Once-vibrant neighborhoods became ruled by fear; anyone considered an opponent of the Nazi government could be sent to Dachau, a concentration camp established in 1933 outside Munich.

Many photographers suffered from the Nazi policies; the Schriftgesetz (Editorial Act) of November 1933 forced anyone working in publishing – photographers included – to provide proof of Aryan heritage. In 1934, the Deutsche Presse (German Press) published a list of authorized Aryan photographers whose work aligned with the Nazi party. Jews were forbidden to take photographs on the street. In spite of these restrictions, Vishniac tenaciously documented Berlin’s rapid acclimation to Nazi policy. To avoid suspicion, he often used his young daughter Mara as a prop, snapping seemingly innocuous pictures of her in front of advertising columns and shop windows festooned with Nazi propaganda.

These symbols of oppression formed the quotidian backdrop of Vishniac’s Germany, a fact to which the ubiquity of Nazi flags, banners, and posters in his later Berlin photographs testify. Capturing the spread of Nazi ideology on Berlin’s streets, Vishniac’s images embodied his own marginalization – and endangerment – as both a photographer and a Jew.

 

Roman Vishniac. 'Recalcitrance, Berlin' 1926

 

Roman Vishniac
Recalcitrance, Berlin
1926
© Mara Vishniac Kohn, courtesy International Center of Photography

 

Roman Vishniac. '[Vishniac's daughter Mara posing in front of an election poster for Hindenburg and Hitler that reads "The Marshal and the Corporal: Fight with Us for Peace and Equal Rights," Wilmersdorf, Berlin]' 1933

 

Roman Vishniac
[Vishniac's daughter Mara posing in front of an election poster for Hindenburg and Hitler that reads "The Marshal and the Corporal: Fight with Us for Peace and Equal Rights," Wilmersdorf, Berlin]
1933
© Mara Vishniac Kohn, courtesy International Center of Photography

 

Roman Vishniac. '[Street scene with a swastika flag on a storefront (at left), Berlin]' c. 1935-36 (printed 2012)

 

Roman Vishniac
[Street scene with a swastika flag on a storefront (at left), Berlin]
c. 1935-36 (printed 2012)
© Mara Vishniac Kohn, courtesy International Center of Photography

 

Vishniac often positioned himself in doorways or building foyers in his Berlin street photography, documenting daily life as a removed observer. This image reveals multiple layers of time in one shot: the car positioned alongside the horse-drawn wagon, bicyclists speeding by as pedestrians young and old navigate the cobblestones and pavement, against the backdrop of a rapidly modernizing metropolis. Only upon closer examination do our eyes move to a swastika flag blowing in the wind above the horses, a common site on most Berlin streets by 1935.

 

 

German-Jewish Relief and Community Organizations, Berlin, mid- to late 1930s

Prior to Hitler’s assumption of power in 1933, Jewish social service organizations in Germany primarily served Eastern European Jews, the majority of whom were less cosmopolitan, assimilated, and affluent than their German-born coreligionists. The Nazi regime recognized no such distinction, however, and their rise to power drastically affected almost every Jew living in Germany. As Germany’s Jewish population was gradually excluded from both social and economic life, many came to depend upon a Jewish social structure that was originally intended to look outward but quickly expanded to serve the growing needs of the community.

In 1933, German-Jewish groups unified into the Reichsvertretung der Deutschen Juden (Central Organization of German Jews), an umbrella organization intended to ameliorate the effects of Nazi racial policy. Between 1933 and 1938, subsidiary and affiliate organizations created Jewish education and healthcare systems and instituted a welfare system for Jews facing impoverishment. Zionist and other youth organizations flourished under the exclusionary policies of the Nazis, helping would-be émigrés learn the agricultural and vocational skills needed to build new lives in Palestine and elsewhere. The Jüdischer Kulturbund (Jewish Cultural Association) was established in response to restrictions placed on Jewish artists. Vishniac and his family were among its 70,000 members and regularly attended lectures and performances. Vishniac was also a member of T’munah, a Jewish photographic group founded in 1934 in response to the exclusionary policies of “Aryan” camera clubs.

As restrictions on photographers increased, Vishniac was commissioned to document the work of several Jewish community and social service organizations in Berlin. This fascinating body of work is largely unknown, but it helped establish his reputation in Jewish philanthropic circles, leading to major commissions from a wide range of Jewish relief and community organizations from the mid-1930s to the mid-1950s.

 

Roman Vishniac. '[Drawer of freshly farmed eggs, Gut Winkel, a training farm for German-Jewish youth hoping to emigrate to Palestine, Spreenhagen in der Mark, Brandenburg, Germany]' c. 1938

 

Roman Vishniac
[Drawer of freshly farmed eggs, Gut Winkel, a training farm for German-Jewish youth hoping to emigrate to Palestine, Spreenhagen in der Mark, Brandenburg, Germany]
c. 1938
© Mara Vishniac Kohn, courtesy International Center of Photography

 

Roman Vishniac. '[Preparing food in a Jewish soup kitchen, Berlin]' mid- to late 1930s

 

Roman Vishniac
[Preparing food in a Jewish soup kitchen, Berlin]
mid- to late 1930s
© Mara Vishniac Kohn, courtesy International Center of Photography

 

Jewish Life in Eastern Europe, ca. 1935-38

In 1935, Roman Vishniac was hired by the European headquarters of the American Jewish Joint Distribution Committee (AJDC) to document impoverished Jewish communities in Eastern Europe. Photographic images offered limitless, affordable reproducibility, and could be used in slide lectures, brochures, appeals, and annual reports throughout America and Western Europe. Vishniac’s images played a crucial role in communicating the AJDC’s message, and they would ultimately become the last extensive photographic record by a single photographer of Jewish communities that had existed for centuries.

The majority of Vishniac’s published photographs of Eastern Europe depict privation. Many others illustrate the philanthropic activities of the AJDC such as children’s camps, free loan societies, soup kitchens, schools, and health organizations. And while Vishniac is often associated with images of rural villages and small towns, or shtetlach, most of his photographs record urban poverty in major cities like Warsaw, Krakow, and Lodz. His work for the AJDC echoes the contemporaneous projects of American photographers like Dorothea Lange, Ben Shahn, Arthur Rothstein, and Walker Evans. In the same years that the Farm Security Administration sent photographers to the American South and West to document those affected by drought, depression, and migration, Vishniac was sent east by the AJDC. Today, his work stands alongside the best social-documentary photographers of his era. His unpublished work imparts a much more complex and nuanced perspective on Eastern European Jewish life, and reveals a much more versatile – and modern – artist.

That Vishniac was commissioned to document the most impoverished Jews is significant, as is the fact that he often chose the most traditional and observant Jews as subjects, to amplify the contrast between Ostjuden, or Eastern Jews, and the more assimilated Western Jews who would be viewing the images. It was only after the Holocaust, when the communities he had so poignantly depicted were annihilated, that his body of work came to symbolize the vanished world of Eastern Jewry.

 

Roman Vishniac. 'Villagers in the Carpathian Mountains' c. 1935-38

 

Roman Vishniac
Villagers in the Carpathian Mountains
c. 1935-38
© Mara Vishniac Kohn, courtesy International Center of Photography

 

Roman Vishniac. '[Jewish schoolchildren, Mukacevo]' c. 1935-38

 

Roman Vishniac
[Jewish schoolchildren, Mukacevo]
c. 1935-38
© Mara Vishniac Kohn, courtesy International Center of Photography

 

Roman Vishniac. '[Inside the Jewish quarter, Bratislava]' c. 1935-38

 

Roman Vishniac
[Inside the Jewish quarter, Bratislava]
c. 1935-38
© Mara Vishniac Kohn, courtesy International Center of Photography

 

Roman Vishniac. '[Eastern Europe]' c. 1935-38

 

Roman Vishniac
[Eastern Europe]
c. 1935-38
© Mara Vishniac Kohn, courtesy International Center of Photography

 

Roman Vishniac. '[Eastern Europe]' (detail) c. 1935-38

 

Roman Vishniac
[Eastern Europe] (detail)
c. 1935-38
© Mara Vishniac Kohn, courtesy International Center of Photography

 

Roman Vishniac. '[Boy with kindling in a basement dwelling, Krochmalna Street, Warsaw]' c. 1935-38

 

Roman Vishniac
[Boy with kindling in a basement dwelling, Krochmalna Street, Warsaw]
c. 1935-38
© Mara Vishniac Kohn, courtesy International Center of Photography

 

Roman Vishniac. '[David Eckstein, seven years old, and classmates in cheder (Jewish elementary school), Brod]' c. 1935-38

 

Roman Vishniac
[David Eckstein, seven years old, and classmates in cheder (Jewish elementary school), Brod]
c. 1935-38
© Mara Vishniac Kohn, courtesy International Center of Photography

 

Roman Vishniac. '[Sara, sitting in bed in a basement dwelling, with stenciled flowers above her head, Warsaw]' c. 1935-37

 

Roman Vishniac
[Sara, sitting in bed in a basement dwelling, with stenciled flowers above her head, Warsaw]
c. 1935-37
© Mara Vishniac Kohn, courtesy International Center of Photography

 

 

Werkdorp Nieuwesluis Agrarian Training Camp, Wieringermeer, The Netherlands, 1939

As the plight of German Jews became increasingly dire throughout the 1930s and many Jewish families attempted to send their children to safety in neutral countries, many young German Jews, including Vishniac’s children Wolf and Mara, joined a large number of Zionist organizations. With the British government maintaining strict immigration quotas, hundreds of young German Jews planning to go to Palestine and waiting to obtain visas were sent to the Werkdorp Nieuwesluis, a Zionist agrarian youth training complex, or hachschara, in the Netherlands. Established in 1934 by the Foundation for Jewish Labor on land donated by the Dutch government, the Werkdorp taught young, urban Jews farming, animal husbandry, construction, and other unfamiliar skills they would need as pioneers in Palestine.

In 1939, Vishniac was sent by the American Jewish Joint Distribution Committee (AJDC) to document the Werkdorp’s activities. Vishniac photographed the capable young men and women as idealized, heroic Zionist pioneers, lifting heavy stones, constructing scaffolding, and tugging on rope. The images bear a striking resemblance to heavily circulated halutz (Zionist pioneer) photography made in Palestine in the 1930s, and demonstrate Vishniac’s versatility: here is an ambitious, accomplished series in a style that is radically different from his earlier work, and perfectly suited to his athletic, industrious subjects. Shot from a low vantage point, the Werkdorp images juxtapose clear skies and strong silhouettes to form vigorous, balanced compositions. Young, healthy bodies play off the clean, rhythmic geometry of the construction sites in a manner that is also reminiscent of the Russian Constructivist photographer Rodchenko, whose work would certainly have been familiar to Vishniac.

In March 1941, Nazi SS officers ordered the evacuation of the camp, and most of its inhabitants were sent to transit camps, including Westerbork. Out of 315 Werkdorp residents in May 1940, 175 were killed in concentration camps in the east.

 

Roman Vishniac. '[Zionist youth building a school and foundry while learning construction techniques, Werkdorp Nieuwesluis, Wieringermeer, The Netherlands]' 1939

 

Roman Vishniac
[Zionist youth building a school and foundry while learning construction techniques, Werkdorp Nieuwesluis, Wieringermeer, The Netherlands]
1939
© Mara Vishniac Kohn, courtesy International Center of Photography

 

Roman Vishniac. '[Ernst Kaufmann, center, and unidentified Zionist youth, wearing clogs while learning construction techniques in a quarry, Werkdorp Nieuwesluis, Wieringermeer, The Netherlands]' 1939

 

Roman Vishniac
[Ernst Kaufmann, center, and unidentified Zionist youth, wearing clogs while learning construction techniques in a quarry, Werkdorp Nieuwesluis, Wieringermeer, The Netherlands]
1939
© Mara Vishniac Kohn, courtesy International Center of Photography

 

Vishniac’s Werkdorp images did not include any caption information on the few existing prints of the work, and were thus difficult to identify. A small, 2¼-inch-square contact print of three young men wearing wooden clogs provided a vital clue that facilitated the attribution of this larger body of Werkdorp material, with the assistance of curators at the Jewish Historical Museum in Amsterdam. This is the only known example of a professional photographer documenting this Dutch Zionist agrarian training camp.

Ernst Kaufmann was born in Krefeld, Germany, in 1911. He was arrested in June 1941 and killed in August of that year in the Mauthausen concentration camp in Austria.

 

Roman Vishniac. '[Willy Lefkowitz and Martin Grünpeter constructing a foundry, Werkdorp Nieuwesluis, Wieringermeer, The Netherlands]' 1939 (printed 2012)

 

Roman Vishniac
[Willy Lefkowitz and Martin Grünpeter constructing a foundry, Werkdorp Nieuwesluis, Wieringermeer, The Netherlands]
1939 (printed 2012)
© Mara Vishniac Kohn, courtesy International Center of Photography

 

Willy Lefkowitz, left, was forcibly removed from the Werkdorp when it was closed by the Nazis in 1941. Lefkowitz, along with the majority of the Werkdorp’s remaining inhabitants, was sent to the Westerbork Transit Camp in northeastern Netherlands, a site where Dutch Jews and Roma were assembled during World War II prior to their deportation to Nazi extermination camps in the east. Of the 107,000 people who passed through Westerbork – among them Anne Frank and her family – only 5,200 survived, including Lefkowitz, who immigrated to the United States. He is believed to have died in Brooklyn in 2001. Martin Grünpeter, right, a German Jew born in 1914, survived World War II and immigrated to Palestine.

 

 

Travel, Refuge, and Internment in France: Paris, Nice, and Marseille, ca. 1939

From April to September 1939, Vishniac worked as a freelance photographer based in France while his family struggled to secure exit visas to the U.S. (his children had been sent to safety in Sweden). In the interwar years, France had welcomed Jews from across Europe. By 1939, as Jews fleeing Nazi rule brought the Jewish population in France to over 300,000, an increasingly conservative and nationalist government sought to limit immigration. Detention camps for Jews were established in southern France.

During this time, Vishniac was commissioned by the American Jewish Joint Distribution Committee (AJDC) and the Society for Trades and Agricultural Labor (ORT) to photograph and film an ORT vocational training school for Jewish refugees near Marseille. Vishniac’s parents had relocated to Nice in 1937, and while visiting them, he took playful, spontaneous photographs of Riviera beach life, a stark contrast to the intense and machine-focused ORT images that were to be his final photographic assignment for the AJDC until his return to Europe in 1947.

In late 1939, after entrusting a large selection of his negatives to his friend Walter Bierer in Paris, Vishniac was arrested and imprisoned at the Camp du Ruchard internment camp. Held for three months, he wrote desperate letters to family, friends, and the staff of the AJDC, describing the dismal conditions and pleading for assistance. Following his release, secured through the efforts of his wife, Vishniac waited in France while his family worked to obtain exit visas, with assistance from the AJDC. Vishniac reunited with Luta, Wolf, and Mara in Lisbon, and the family sailed for America on the S.S. Siboney in December 1940, arriving in America on New Year’s Day 1941.

 

Roman Vishniac. '[Beachgoers in the afternoon, Nice, France]' c. 1939

 

Roman Vishniac
[Beachgoers in the afternoon, Nice, France]
c. 1939
© Mara Vishniac Kohn, courtesy International Center of Photography

 

Roman Vishniac. '[Students learning metalwork techniques, Society for Trades and Agricultural Labor (ORT), Marseille]' 1939

 

Roman Vishniac
[Students learning metalwork techniques, Society for Trades and Agricultural Labor (ORT), Marseille]
1939
© Mara Vishniac Kohn, courtesy International Center of Photography

 

 

YIVO Exhibitions in New York, January 1944 and January 1945

In 1944 and 1945, as World War II raged in Europe, Vishniac staged two large exhibitions at YIVO Institute for Jewish Research in New York, presenting his commissioned work from Eastern Europe to an American audience.

Founded in 1925 as the Yiddish Scientific Institute in Wilno, Poland, YIVO was created to preserve, research, and promote Eastern European Jewish culture and history during a period of rapid modernization and immigration. After the German invasion of Poland in 1939, the organization was reestablished in New York in 1940 as the YIVO Institute for Jewish Research, at 55 West 123rd Street, while a group of brave and dedicated archivists in Wilno worked to rescue precious material in defiance of Nazi orders.

Vishniac’s first exhibition at YIVO, Pictures of Jewish Life in Prewar Poland, opened in January 1944 and focused on urban Jewish life, with a large selection of images from Lublin, Warsaw, and Wilno. The second exhibition, Jewish Life in the Carpathians, opened in January 1945, and featured photographs of Jewish farming communities in the Carpathian Mountains, and yeshivas and religious life in Galicia.

The largely Yiddish-speaking audience in New York viewed images of their communities of origin just as those communities were being destroyed, a fate the viewers were virtually powerless to stop. As word of the destruction of Eastern European Jews spread across the Atlantic, Vishniac’s photographs – originally intended to call attention to the privation of living Eastern European Jews – began to be seen as “documents of a lost epoch,” as phrased in the exhibition text at YIVO. These exhibitions signaled the first major shift in the contextualization of Vishniac’s work: from documentary assignments to bolster relief efforts in the late 1930s to images capturing a world on the brink of annihilation.

The YIVO exhibition boards, labeled in both English and Yiddish utilizing an innovative, Bauhaus-inspired typography that originated in interwar Wilno, are now in the collection of ICP and are being displayed as a group for the first time since the original exhibitions.

Today, YIVO continues to advance the study of Eastern European Jewish cultural heritage, and houses an archive of more than 24 million artifacts.

 

“The Face of America at War”: New York, 1941-44

The recent discovery of Vishniac’s unsuccessful 1944 application for a Guggenheim Fellowship sheds new light on a group of more than 200 negatives from the early 1940s that had previously appeared to be unrelated. Printed and exhibited here for the first time, these images show the impact of war rationing on shoppers at the Washington Market, the war relief efforts of New York’s Chinese-American community, women’s entrance into the industrial workforce and the military, the carousing of off-duty soldiers in Central Park, and the impact of war on the lives of New Yorkers. Vishniac’s Guggenheim proposal described a “photographic series portraying the face of America at war,” and this diverse yet cohesive group of images was likely submitted as a sample portfolio with his application, the beginnings of a project never completed for want of funding. His extraordinary, extensive series on Chinatown, reminiscent of his photographs of urban Jewish communities in Eastern Europe, depicts a neighborhood that is both separated from and integrated into the fabric of the larger city, reflective of Vishniac’s own efforts to navigate yet another new, adopted home as an outsider. The images capture the “objectivity” of “un-posed” journalistic photography, in the words of one recommender, and have a great deal in common with fellow Jewish émigré Robert Frank’s Guggenheim-funded project, The Americans, made a decade later.

 

Roman Vishniac. '[Sisters Marion, Renate, and Karen Gumprecht, refugees assisted by the National Refugee Service (NRS) and Hebrew Immigrant Aid Society (HIAS), shortly after their arrival in the United States, Central Park, New York]' 1941

 

Roman Vishniac
[Sisters Marion, Renate, and Karen Gumprecht, refugees assisted by the National Refugee Service (NRS) and Hebrew Immigrant Aid Society (HIAS), shortly after their arrival in the United States, Central Park, New York]
1941
© Mara Vishniac Kohn, courtesy International Center of Photography

 

Roman Vishniac. '[Customers waiting in line at a butcher's counter during wartime rationing, Washington Market, New York]' 1941-44

 

Roman Vishniac
[Customers waiting in line at a butcher's counter during wartime rationing, Washington Market, New York]
1941-44
© Mara Vishniac Kohn, courtesy International Center of Photography

 

Roman Vishniac. '[Boys exercising in the gymnasium of the Jewish Community House of Bensonhurst, Brooklyn]' 1949

 

Roman Vishniac
[Boys exercising in the gymnasium of the Jewish Community House of Bensonhurst, Brooklyn]
1949
© Mara Vishniac Kohn, courtesy International Center of Photography

 

 

Berlin in Ruins, 1947

In 1947, Vishniac returned to Europe as an American citizen, hired by the American Jewish Joint Distribution Committee (AJDC) and United Jewish Appeal (UJA) to document relief efforts in Jewish Displaced Persons’ Camps. While on assignment, Vishniac visited Berlin, where he created a bleak and poignant record of the destroyed city that had been his home for twenty years. Focusing on West Berlin, he took intimate photographs of his former Wilmersdorf neighborhood, now reduced to ruins. The same locations that had thrummed with life in his street photography from the Weimar era are suffused with a haunting silence in his 1947 photographs. One photograph reveals the crumbling and mangled platform that had once been Vishniac’s living room. Other images capture the tentative steps of a city emerging from devastation: children walking hand-in-hand and playing amidst the ruins, flowers growing through the rubble, and hairdressers once more advertising their services. Together, these pictures, which have not been previously printed or exhibited, constitute a unique and highly personal contribution to the documentation of postwar life in Berlin.

 

Roman Vishniac. '[Boy standing on a mountain of rubble, Berlin]' 1947

 

Roman Vishniac
[Boy standing on a mountain of rubble, Berlin]
1947
© Mara Vishniac Kohn, courtesy International Center of Photography

 

Roman Vishniac. 'The streets are free of brown batallions!, Berlin' 1947

 

Roman Vishniac
The streets are free of brown batallions!, Berlin
1947
© Mara Vishniac Kohn, courtesy International Center of Photography

 

 

Refugees and Displaced Persons’ Camps, Germany and France, 1947

In the aftermath of World War II, the Allied nations had initially expected the repatriation of displaced refugees to take six months. Most Jewish refugees, however, no longer had communities or family to which they could return, presenting a unique challenge. Following the 1945 Harrison Report, the Allies considered Jewish survivors a distinct group, to be housed in exclusively Jewish camps and aided in eventual emigration. By mid-1947, 250,000 Jews lived in Displaced Persons’ Camps in Germany, Austria, and Italy. Officially administered by the United Nations, the primary aid, support, and administration for the DP Camps came from Jewish charitable organizations, most notably the American Jewish Joint Distribution Committee (AJDC). In France, Jewish organizations ran DP Camps privately, housing nearly 40,000 refugees. Despite difficult conditions and profound trauma, Jewish life soon flourished in the camps, as families reunited and formed anew.

Commissioned by the AJDC and the United Jewish Appeal (UJA), Vishniac traveled to various DP Camps in 1947, documenting a broad range of relief programs, including food distribution centers, visa application lines, occupational training, and health services. Other images record children’s camps, religious and cultural events, and refugee reunions. Wired back to America, Vishniac’s images helped publicize the plight of homeless and stateless Jewish refugees, raising funds and increasing the pressure on Britain and the U.S. to open their doors to survivors.

Spurred by these cultural and educational programs and the emerging Zionist youth movement, survivors soon rallied against British restrictions on immigration to Palestine. Following the Declaration of the State of Israel in 1948, and the American Displaced Persons Act of 1948, most Jews left DP Camps for Israel or the United States. By 1952, almost all DP Camps had closed.

Maya Benton, Curator at the International Center of Photography

 

Roman Vishniac. '[Holocaust survivors and American relief worker, probably Schlachtensee Displaced Persons' Camp, Zehlendorf, Berlin]' 1947

 

Roman Vishniac
[Holocaust survivors and American relief worker, probably Schlachtensee Displaced Persons' Camp, Zehlendorf, Berlin]
1947
© Mara Vishniac Kohn, courtesy International Center of Photography

 

Roman Vishniac. '[Holocaust survivors gathering outside a building where matzoh is being made in preparation for the Passover holiday, Hénonville Displaced Persons' Camp, Picardy, France]' 1947

 

Roman Vishniac
[Holocaust survivors gathering outside a building where matzoh is being made in preparation for the Passover holiday, Hénonville Displaced Persons' Camp, Picardy, France]
1947
© Mara Vishniac Kohn, courtesy International Center of Photography

 

 

 

 

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Nieuwe Amstelstraat 1
1011 PL Amsterdam

Opening hours:

Jewish Historical Museum website

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12
Aug
14

Exhibition: ‘Carelton Watkins: The Stanford Albums’ at the Cantor Arts Center at Stanford University

Exhibition dates: 23rd April – 17th August 2014

 

Who would you put in your top eleven photographers of all time?

(in no particular order)

  • Minor White
  • Eugene Atget
  • Frederick Sommer
  • Carelton Watkins
  • Julia Margaret Cameron
  • Walker Evans
  • Edward Weston
  • Lee Friedlander
  • Manuel Alvarez Bravo
  • Diane Arbus
  • Paul Strand

and then it gets a bit more difficult…

Is it a Josef Sudek, Robert Adams, Aaron Siskind, Man Ray, Berenice Abbott, Helen Levitt, Emmet Gowin, William Clift, Ernest Cole, William Eggleston, Lee Friedlander, Cindy Sherman, Charles Marville, Vivian Maier, Saul Leiter and suggestions from others – André Kertész, Josef Koudelka, Dorothea Lange, Henri Cartier-Bresson, Edouard Boubat, Paul Caponigro, etc …

 

What is more interesting is to ask:

Who are the interesting photographers anywhere who are alive now?

And my answer would be: there are very few who are alive now that are interesting.

That is – by looking at the ideas that are present in poetry, music, philosophy or even politics – who is there that is truly taking these ideas forward (or ideas that are as interesting).

Or who is arranging images with the elegance of a Sommer or an Atget or the dynamics of Arbus

= few if any.

In other words whose acts am I hanging upon, so that I am waiting with great anticipation to see what they are going to do next.

Only a few is my answer.

 

Which living photographers would I walk a mile to see their work?

= some (eg Lee Friedlander, Wolfgang Tillmans)

.

Which living Australian photographers would I walk an hour in the hot January sun to see?

= possibly two (Bill Henson, Rosemary Laing)

 

Dr Marcus Bunyan for the Art Blart blog

PS. Just look at Cape Horn, near Celilo (1867, below). You are not likely to see a more magnificent landscape photograph than this.

 

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

 

 

Carleton Watkins (U.S.A., 1829-1916) 'Sugar Loaf Islands and Seal Rocks, Farallons' 1868-1869

 

Carleton Watkins (U.S.A., 1829-1916)
Sugar Loaf Islands and Seal Rocks, Farallons
1868-1869
From the album Photographs of the Pacific Coast
Albumen print
Lent by Department of Special Collections, Stanford University Libraries.

 

Carleton Watkins (U.S.A., 1829-1916) 'Devils' Cañon Geysers, Looking Up' c. 1867

 

Carleton Watkins (U.S.A., 1829-1916)
Devils’ Cañon Geysers, Looking Up
c. 1867
From the album Photographs of the Pacific Coast
Albumen print
Lent by Department of Special Collections, Stanford University Libraries

 

Carleton Watkins (U.S.A., 1829-1916) 'Devils' Cañon Geysers, Looking Up' (detail) c. 1867

 

Carleton Watkins (U.S.A., 1829-1916)
Devils’ Cañon Geysers, Looking Up (detail)
c. 1867
From the album Photographs of the Pacific Coast
Albumen print
Lent by Department of Special Collections, Stanford University Libraries.

 

Carleton Watkins (U.S.A., 1829-1916) 'Alcatraz from North Point' 1862–1863

 

Carleton Watkins (U.S.A., 1829-1916)
Alcatraz from North Point
1862–1863
From the album Photographs of the Pacific Coast
Albumen print
Lent by Department of Special Collections, Stanford University Libraries

 

Carleton Watkins (U.S.A., 1829-1916) 'The Wreck of the Viscata' March 1868

 

Carleton Watkins (U.S.A., 1829-1916)
The Wreck of the Viscata
March 1868
From the album Photographs of the Pacific Coast
Albumen print
Lent by Department of Special Collections, Stanford University Libraries

 

Carleton Watkins (U.S.A., 1829-1916) 'Magenta Flume Nevada Co. Cal.' c. 1871

 

Carleton Watkins (U.S.A., 1829-1916)
Magenta Flume Nevada Co. Cal.
c. 1871
From the album Photographs of the Pacific Coast
Albumen print
Lent by Department of Special Collections, Stanford University Libraries

 

Carleton Watkins (U.S.A., 1829-1916) 'Flour and Woolen Mills, Oregon City' 1867

 

Carleton Watkins (U.S.A., 1829-1916)
Flour and Woolen Mills, Oregon City
1867
From the album Photographs of the Columbia River and Oregon
Albumen print. Lent by Department of Special Collections, Stanford University Libraries

 

Carleton Watkins (U.S.A., 1829-1916) 'Cape Horn, Columbia River' 1867

 

Carleton Watkins (U.S.A., 1829-1916)
Cape Horn, Columbia River
1867
From the album Photographs of the Columbia River and Oregon
Albumen print
Lent by Department of Special Collections, Stanford University Libraries

 

Carleton Watkins (U.S.A., 1829-1916) 'Mt. Hood and the Dalles, Columbia River' 1867

 

Carleton Watkins (U.S.A., 1829-1916)
Mt. Hood and the Dalles, Columbia River
1867
From the album Photographs of the Columbia River and Oregon
Albumen print
Lent by Department of Special Collections, Stanford University Libraries

 

Carleton Watkins (U.S.A., 1829-1916) 'Cape Horn, near Celilo' 1867

 

Carleton Watkins (U.S.A., 1829-1916)
Cape Horn, near Celilo
1867
From the album Photographs of the Columbia River and Oregon
Albumen print
Lent by Department of Special Collections, Stanford University Libraries

 

Carleton Watkins (U.S.A., 1829-1916) 'The Yosemite Valley from the "Best General View"' 1866

 

Carleton Watkins (U.S.A., 1829-1916)
The Yosemite Valley from the “Best General View”
1866
From the album Photographs of the Yosemite Valley
Albumen print
Lent by Department of Special Collections, Stanford University Libraries

 

Carleton Watkins (U.S.A., 1829-1916) 'Cathedral Rocks, 2630 ft., Yosemite' 1865-1866

 

Carleton Watkins (U.S.A., 1829-1916)
Cathedral Rocks, 2630 ft., Yosemite
1865-1866
From the album Photographs of the Yosemite Valley
Albumen print
Lent by Department of Special Collections, Stanford University Libraries

 

Carleton Watkins (U.S.A., 1829-1916) 'Pompompasos, the Three Brothers, Yosemite 4480 ft.' 1865-1866

 

Carleton Watkins (U.S.A., 1829-1916)
Pompompasos, the Three Brothers, Yosemite 4480 ft.
1865-1866
From the album Photographs of the Yosemite Valley
Albumen print
Lent by Department of Special Collections, Stanford University Libraries

 

Carleton Watkins (U.S.A., 1829-1916) 'Mirror View of the North Dome, Yosemite' 1865-1866

 

Carleton Watkins (U.S.A., 1829-1916)
Mirror View of the North Dome, Yosemite
1865-1866
From the album Photographs of the Yosemite Valley
Albumen print
Lent by Department of Special Collections, Stanford University Libraries

 

 

“Born in upstate New York, Carleton Watkins (1829-1916) ventured west in 1849 to strike it rich. But instead of prospecting for gold, Watkins developed a talent for photography – a medium invented only 22 years before. He documented the remote Pacific Coast in the 1860s and 1870s, capturing its vast scale and spirit with a custom-built camera that created “mammoth” 18 x 22-inch glass-plate negatives. In June 1864, his stunning photographs of Yosemite’s valley, waterfalls and peaks proved instrumental in convincing President Abraham Lincoln and the 38th U.S. Congress to pass the Yosemite Valley Grant Act, legislation that preserved the land for public use and set a precedent for America’s National Park System.

As the nation celebrates the 150th Anniversary of the Yosemite Grant, the Cantor Arts Center at Stanford University presents Carleton Watkins: The Stanford Albums, an exhibition featuring more than 80 original mammoth prints from three unique albums of Watkins’s work: Photographs of the Yosemite Valley (1861 and 1865-66), Photographs of the Pacific Coast (1862-76), and Photographs of the Columbia River and Oregon (1867 and 1870). The exhibition will be on view April 23 through August 17, 2014. Also featured will be cartographic visualizations developed in collaboration with Stanford’s Center for Spatial and Textual Analysis and the Bill Lane Center for the American West, which provide dynamic context for the geography and natural history of Watkins’s photographs. A fully illustrated publication will accompany the exhibition.

“The Cantor is thrilled to be leading such an innovative, interdisciplinary effort to look at Watkins’s work anew,” says Connie Wolf, the Cantor’s John & Jill Freidenrich Director. “These extraordinary albums from Stanford University Libraries’ singular collection provide us with an unparalleled opportunity to examine Watkins’s place in the history of photography, and to more fully understand the critical role photography played in the preservation, promotion, and development of the West. It is fascinating to note that Watkins and Leland Stanford were contemporaries. Watkins even photographed Stanford’s family, making this university a proud and apt home for these albums.”

 

The Albums

Photographs of the Yosemite Valley (1861 and 1865-66)

In 1861, Watkins loaded up a team of mules with nearly a ton of photographic equipment including a mobile darkroom tent, a dangerous assortment of flammable chemicals, and an enormous custom-built camera that produced “mammoth” 18 x 22-inch glass-plate negatives. He headed 75 miles into the rugged and remote Yosemite Valley on a sometimes perilous journey to capture the natural wonders of the Sierra Nevada. The technical challenges of creating wet-plate negatives in the field were immense. Dust and grit could easily ruin the work as the plates were coated, exposed for up to an hour, and developed. Water had to be carried great distances. The sun warped and shrank camera parts. But the resulting suite of photographs became an international sensation – not only because they provided virtual access to one of America’s grandest wilderness areas but also for their extraordinary beauty. The New York Times declared in 1862 that “as specimens of the photographic art they are unequaled.”

Watkins’s album Photographs of the Yosemite Valley is sequenced to replicate the experience of entering the Mariposa Grove trail and traveling into the valley. From Cathedral Rocks to Half Dome, Watkins captures the quiet majesty of Yosemite’s natural monuments. The album contains images from both his initial expedition in 1861 and a subsequent visit as an ad hoc member of the California State Geological Survey team in 1865-66. Throughout his career, Watkins maintained close relationships with geologists as well as botanists who were deeply interested in his documentation of native tree species.

In Yosemite, Watkins found a spectacular natural laboratory for testing and refining his approach to landscape photography. His compositional choices were unique. In The Yosemite Valley from the “Best General View” (1866), for instance, Watkins cropped off the top of the lone tree in the foreground instead of framing it, lending a painterly quality to the image. By manipulating focus and perspective, Watkins also achieved an unusual balance of crispness against softer tonalities.

Watkins’s technical achievements under adverse conditions were unmatched and astonished his peers. The resolution of his photographs still rivals that of the high-end digital cameras of today. After 1861, capitalizing on the success of his Yosemite pictures and his reputation as a landscape photographer, Watkins renamed his studio at 425 Montgomery Street in San Francisco the “Yo-Semite Gallery.” The exhibition features more than 30 photographs from the album Photographs of the Yosemite Valley including various views of Yosemite Valley; mountains and rock formations such as Cathedral Rocks, Half Dome, and El Capitan; waterfalls and water views such as Mirror Lake and Yosemite Falls; and photographs of Yosemite’s majestic trees.

Photographs of the Pacific Coast (1862-76)

Watkins made his living mostly as a field photographer for hire, accepting commissions from logging companies and mining operations up and down the coast. Early in his career, Watkins’s photographs were often used to attract investors or as documentation in court evidence for land disputes. In the fast-developing West, photography was a means of establishing ‘truth claims’ to property and resource rights. And in a region where vast swaths of territory were rarely traveled by city dwellers, photography filled in the gaps.

Watkins added images from these underwritten trips to an album he called Photographs of the Pacific Coast. Along with his commercial photographs of smelting works at the New Almaden Mine in Santa Clara County and the hydraulic North Bloomfield mine in Nevada County, the album contains remarkable vistas of San Francisco including a dramatic photograph of the shipwreck Viscata on Ocean Beach, also images of the Devil’s Canyon geysers in Sonoma County and the Farallon Islands.

The album also includes images commissioned by California’s sixth governor, Milton Slocum Latham, of Latham’s mansion on San Francisco’s Rincon Hill. It was, in fact, Latham’s wife, Mollie, who commissioned the three albums now at Stanford. One of the original bindings is on display so visitors can appreciate its massive size and ornate details. With the Civil War raging in the eastern part of the country until 1865, Watkins’s images of the pristine Pacific Coast must have provided Americans a welcome alternative to the images of carnage issuing from the battlefield.

In the exhibition, there are more than 20 California photographs from the album Photographs of the Pacific Coast including scenes of San Francisco neighborhoods, homes, and natural sites including the Farallon Islands; commissioned images of mining operations; and views of Mt. Shasta, Mendocino County, and Sonoma County.

Photographs of the Columbia River and Oregon (1867 and 1870)

While Watkins’s name is most closely associated with Yosemite, photographers often cite Watkins’s album Photographs of the Columbia River and Oregon as his crowning artistic achievement. No longer a novice, Watkins demonstrates mastery of his craft and a keen eye for composition in these images. A friend at the Oregon Steam Navigation Company arranged for Watkins to travel by rail up and down the Columbia River to photograph the company’s rail portages and scenic beauty to document the company’s progress. Watkins was the first to photograph this area and traveled for four months to do so.

In the resulting views of Portland, Oregon City, rail portages, river industry, and scenery, Watkins made art of the river landscapes and the railroad laid alongside it. Cape Horn, Near Celilo (1867), taken at the final point of his journey where the tracks ended, shows a stark horizon, suggesting both the far edge of the world and the determination of early industrial pioneers. In Mt. Hood and the Dalles, Columbia River (1867), a spectacular view of Mt. Hood and of the meandering river at the base of basalt cliffs is disrupted by the object of greatest focus – a tiny white outbuilding for the railroad.

The exhibition features more than 15 photographs from the album Photographs of the Columbia River and Oregon including views along the Columbia River of Cape Horn, Castle Rock and Mt. Hood; and images of Portland, Oregon City, and smaller towns and industries along the railroad.

Exploring Watkins’s Photographs with Digital Technology

Stanford’s Center for Spatial and Textual Analysis, the Bill Lane Center for the American West, the Branner Earth Sciences Library, and the Cantor worked together to create an innovative cartographic digital accompaniment for each album.

For Photographs of Yosemite Valley, the team – including select students – generated “viewsheds” of several of Watkins’s photographs that enable visitors to see where each was likely taken and what topographical elements are either illuminated or obscured in them. With Photographs of the Pacific Coast, fascinating before-and-after visualizations illustrate the incredible changes in the landscape of San Francisco over the last century and a half. Lastly, a cartographic accompaniment to Photographs of the Columbia River and Oregon details the early railroad routes Watkins traveled to take his photographs.

Carleton Eugene Watkins (1829-1916)

Born in upstate New York in 1829, Watkins ventured west to look for opportunities and settled in the Bay Area in 1852. While working for a photography studio, he was asked to step in for a photographer who had unexpectedly quit. Watkins quickly learned the daguerreotype process and within two years he was making ambrotypes and wet-plate collodion photographs.

Throughout his career, Watkins documented the remote American West, generating more than 7,000 photographs of its most majestic wilderness sites as well as the dramatic transformation of isolated territories caused by logging and mining industries. His photographs won awards throughout the United States and abroad. With his early success, he established a gallery in San Francisco on prestigious Montgomery Street in 1861.

But Watkins’s fortunes took a turn with the 1874 failure of the Bank of California and the resulting economic panic. Heavily in debt at the time, Watkins had to declare bankruptcy and lost both the gallery and the majority of his negatives to a competitor. Watkins rebuilt his inventory, continuing to travel and work into the 1890s, but never recovered financially. At one point he and his family lived in a rail car in Oakland. Watkins’s health also declined, and by 1903 he was nearly blind. Watkins died tragically. The 1906 earthquake and fire destroyed his studio and his life’s work, and he never got over the shock. His family eventually had him committed to Napa State Hospital. He died there in 1916.”

Press release from the Cantor Arts Center website

 

Carleton Watkins (U.S.A., 1829-1916) 'Cape Horn, Columbia River' 1867

 

Carleton Watkins (U.S.A., 1829-1916)
Cape Horn, Columbia River
1867
From the album Photographs of the Columbia River and Oregon
Albumen print
Lent by Department of Special Collections, Stanford University Libraries

 

Carleton Watkins (U.S.A., 1829-1916) 'Arch at the West End, Farallones' 1868-1869

 

Carleton Watkins (U.S.A., 1829-1916)
Arch at the West End, Farallones
1868-1869
From the album Photographs of the Pacific Coast
Albumen print
Lent by Department of Special Collections, Stanford University Libraries

 

Carleton Watkins (U.S.A., 1829-1916) 'Multnomah Falls, Columbia River, Oregon' 1867

 

Carleton Watkins (U.S.A., 1829-1916)
Multnomah Falls, Columbia River, Oregon
1867
From the album Photographs of the Columbia River and Oregon
Albumen print
Lent by Department of Special Collections, Stanford University Libraries

 

Carleton Watkins (U.S.A., 1829-1916) 'Multnomah Falls, Cascades, Columbia River' 1867

 

Carleton Watkins (U.S.A., 1829-1916)
Multnomah Falls, Cascades, Columbia River
1867
From the album Photographs of the Columbia River and Oregon
Albumen print
Lent by Department of Special Collections, Stanford University Libraries

 

Carleton Watkins (U.S.A., 1829-1916) 'Pohono, the Bridal Veil, Yosemite 900 ft.' 1865-1866

 

Carleton Watkins (U.S.A., 1829-1916)
Pohono, the Bridal Veil, Yosemite 900 ft.
1865-1866
From the album Photographs of the Yosemite Valley
Albumen print
Lent by Department of Special Collections, Stanford University Libraries

 

Carleton Watkins (U.S.A., 1829-1916) 'The Lower Yosemite Fall, Yosemite' 1865-1866

 

Carleton Watkins (U.S.A., 1829-1916)
The Lower Yosemite Fall, Yosemite
1865-1866
From the album Photographs of the Yosemite Valley
Albumen print
Lent by Department of Special Collections, Stanford University Libraries

 

Carleton Watkins (U.S.A., 1829-1916) 'The Yosemite Falls, 2634 ft.' 1865-1866

 

Carleton Watkins (U.S.A., 1829-1916)
The Yosemite Falls, 2634 ft.
1865-1866
From the album Photographs of the Yosemite Valley
Albumen print. Lent by Department of Special Collections, Stanford University Libraries

 

Carleton Watkins (U.S.A., 1829-1916) 'Mirror View of El Capitan, Yosemite' 1865-1866

 

Carleton Watkins (U.S.A., 1829-1916)
Mirror View of El Capitan, Yosemite
1865-1866
From the album Photographs of the Yosemite Valley
Albumen print
Lent by Department of Special Collections, Stanford University Libraries

 

Carleton Watkins (U.S.A., 1829-1916) 'Washington Column, 2082 ft., Yosemite' 1865-1866

 

Carleton Watkins (U.S.A., 1829-1916)
Washington Column, 2082 ft., Yosemite
1865-1866
From the album Photographs of the Yosemite Valley
Albumen print
Lent by Department of Special Collections, Stanford University Libraries

 

Carleton Watkins (U.S.A., 1829-1916) 'The Ponderosa, Yosemite' 1866

 

Carleton Watkins (U.S.A., 1829-1916)
The Ponderosa, Yosemite
1866
From the album Photographs of the Yosemite Valley
Albumen print
Lent by Department of Special Collections, Stanford University Libraries

 

Carleton Watkins (U.S.A., 1829-1916) 'Section of the Grizzly Giant, 33 ft. diameter' 1865-1866

 

Carleton Watkins (U.S.A., 1829-1916)
Section of the Grizzly Giant, 33 ft. diameter
1865-1866
From the album Photographs of the Yosemite Valley
Albumen print. Lent by Department of Special Collections, Stanford University Libraries

 

 

Cantor Arts Center at Stanford University
328 Lomita Drive at Museum Way
Stanford, CA 94305-5060
T: 650-723-4177

Opening hours:
Wednesday – Sunday 11 am – 5 pm
Thursday 11 am – 8 pm
Closed Monday and Tuesday

Cantor Arts Center at Stanford University 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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