Archive for the 'colour photography' Category

25
Jul
14

Exhibition: ‘Out of the closets, into the streets: gay liberation photography 1971-73′ at Edmund Pearce Gallery, Melbourne

Exhibition dates: Tuesday 22nd July – Saturday 26th July, 2014

Artists represented: Philip Potter, John Storey, John Englart, Barbara Creed, Ponch Hawkes, Rennie Ellis
Curated by Dr Marcus Bunyan and Nicholas Henderson

 

 

LAST DAY TOMORROW = MAKE SURE YOU DON’T MISS IT IF YOU ARE IN MELBOURNE!

Dr Marcus Bunyan

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

 

 

 

Curator Dr Marcus Bunyan talks about the exhibition Out of the closets, into the streets: Gay Liberation photography 1971-73 at Edmund Pearce Gallery, Melbourne July 2014

 

Phillip Potter. 'Gay is Good' 1971, printed 2014

 

Phillip Potter
Gay is Good
1971, printed 2014
Digital C type print on Kodak Endura Matte
© Phillip Potter

 

Phillip Potter. 'Queens' 1971, printed 2014

 

Phillip Potter
Queens
1971, printed 2014
Digital C type print on Kodak Endura Matte
© Phillip Potter

 

John Storey. 'Homosexual Law Reform' 1971, printed 2014

 

John Storey
Homosexual Law Reform
1971, printed 2014
Digital C type print on Kodak Endura Matte
© John Storey

 

Phillip Potter. 'I am a Lesbian and Beautiful' 1971, printed 2014

 

Phillip Potter
I am a Lesbian and Beautiful
1971, printed 2014
Digital C type print on Kodak Endura Matte
© Phillip Potter

 

Ponch Hawkes. 'Gay Liberation march, Russell Street, Melbourne' Melbourne, 1973

 

Ponch Hawkes
Gay Liberation march, Russell Street, Melbourne
Melbourne, 1973
Digital C type print on Kodak Endura Matte
© Ponch Hawkes

 

Ponch Hawkes. 'Gay Liberation march, Elizabeth Street, Melbourne' Melbourne, 1973

 

Ponch Hawkes
Gay Liberation march, Elizabeth Street, Melbourne
Melbourne, 1973
Digital C type print on Kodak Endura Matte
© Ponch Hawkes

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Photographer Rennie Ellis front and centre as always…

 

Rennie Ellis The Kiss, Gay Pride Week, Melbourne 1973

 

Rennie Ellis
The Kiss, Gay Pride Week, Melbourne 1973
1973, printed 2014
Silver gelatin photograph
© Rennie Ellis

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Gays held a picnic in the Botannical Gardens, Melbourne during Gay Pride Week. They decided to play spin the bottle after forming a circle – the bottle can be seen at bottom left – and much kissing ensued. Lots of straights stopped to watch and laugh. Someone called the cops and the confrontation occurred that can be seen in the photograph below. Apparently, they were breaking some council by law about not playing games in the gardens, even though families were kicking footballs right next to them on the lawn.

 

Rennie Ellis Confrontation, Gay Pride Week Picnic, Botanical Gardens 1973

 

Rennie Ellis
Confrontation, Gay Pride Week Picnic, Botanical Gardens 1973
1973, printed 2014
Silver gelatin photograph
© Rennie Ellis

 

Barbara Creed. 'Julian Desaily and Peter McEwan in the back of a VW Combi van, Melbourne' Melbourne, c. 1971-73

 

Barbara Creed
Julian Desaily and Peter McEwan in the back of a VW Combi van, Melbourne
Melbourne, c. 1971-73
Digital C type print on Kodak Endura Matte
© Barbara Creed

 

Barbara Creed. 'Julian Desaily and Peter McEwan in the back of a VW Combi van, Melbourne' Melbourne, c. 1971-73

 

Barbara Creed
Julian Desaily and Peter McEwan in the back of a VW Combi van, Melbourne
Melbourne, c. 1971-73
Digital C type print on Kodak Endura Matte
© Barbara Creed

 

Barbara Creed. 'Stills from a Super 8mm film of a Women’s Liberation march' Melbourne, 1973, printed 2014

Barbara Creed. 'Stills from a Super 8mm film of a Women’s Liberation march' Melbourne, 1973, printed 2014

Barbara Creed. 'Stills from a Super 8mm film of a Women’s Liberation march' Melbourne, 1973, printed 2014

Barbara Creed. 'Stills from a Super 8mm film of a Women’s Liberation march' Melbourne, 1973, printed 2014

Barbara Creed. 'Stills from a Super 8mm film of a Women’s Liberation march' Melbourne, 1973, printed 2014

 

Barbara Creed
Stills from a Super 8mm film of a Women’s Liberation march
Melbourne, 1973, printed 2014
Still from a Super 8mm film
Digital C type print on Kodak Endura Matte
© Barbara Creed

 

Anonymous. 'Photographs from Gay Pride Week, Adelaide, 1973'

Anonymous. 'Photographs from Gay Pride Week, Adelaide, 1973'

Anonymous. 'Photographs from Gay Pride Week, Adelaide, 1973'

Anonymous. 'Photographs from Gay Pride Week, Adelaide, 1973'

 

Anonymous
Photographs from Gay Pride Week, Adelaide, 1973
Adelaide, 1973
Digital C type print on Kodak Endura Matte
© Australian Lesbian and Gay Archives

 

John Englart. 'Sit down protest in Martin Place in protest at Council Officers preventing us handing out material' Sydney, 1973

 

John Englart
Sit down protest in Martin Place in protest at Council Officers preventing us handing out material
Sydney, 1973
Digital C type print on Kodak Endura Matte
© John Englart

 

John Englart. 'Gay Pride Week poster, outside the Town Hall Hotel, Sydney Town Hall' Sydney, 1973

 

John Englart
Gay Pride Week poster, outside the Town Hall Hotel, Sydney Town Hall
Sydney, 1973
Digital C type print on Kodak Endura Matte
© John Englart

 

John Englart. 'Dancing with the Hare Krishnas in the Sydney Domain' Sydney, 1973

 

John Englart
Dancing with the Hare Krishnas in the Sydney Domain
Sydney, 1973
Digital C type print on Kodak Endura Matte
© John Englart

 

Anonymous. 'Graffiti on Melbourne streets' 1971-73

Anonymous. 'Graffiti on Melbourne streets' 1971-73

Anonymous. 'Graffiti on Melbourne streets' 1971-73

 

Anonymous
Graffiti on Melbourne streets
1971-73

 

Phillip Potter. 'Portraits for CAMP Ink magazine' 1973

Phillip Potter. 'Portraits for CAMP Ink magazine' 1973

Phillip Potter. 'Portraits for CAMP Ink magazine' 1973

Phillip Potter. 'Portraits for CAMP Ink magazine' 1973

 

Phillip Potter
Portraits for CAMP Ink magazine
1973

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Gay activist Lex Watson is the person in the bottom photograph. Lex sadly died very recently.

 

 

Installation photographs

Around the room, surrounded by colour and movement with elements of stillness

 

Installation photograph of the exhibition 'Out of the closets, onto the streets: Gay Liberation photography 1971-73' at Edmund Pearce Gallery, Melbourne, July 2014

Installation photograph of the exhibition 'Out of the closets, onto the streets: Gay Liberation photography 1971-73' at Edmund Pearce Gallery, Melbourne, July 2014

Installation photograph of the exhibition 'Out of the closets, onto the streets: Gay Liberation photography 1971-73' at Edmund Pearce Gallery, Melbourne, July 2014

Installation photograph of the exhibition 'Out of the closets, onto the streets: Gay Liberation photography 1971-73' at Edmund Pearce Gallery, Melbourne, July 2014

Installation photograph of the exhibition 'Out of the closets, onto the streets: Gay Liberation photography 1971-73' at Edmund Pearce Gallery, Melbourne, July 2014

 

Title of the exhibition and opening images

 

Title of the exhibition with Barbara Creed's three 35mm black and white photographs

 

Title of the exhibition with Barbara Creed’s three 35mm black and white photographs

 

Phillip Potter and John Storey photographs of the first ever Gay Liberation protest in Sydney in 1971 to the right; then Ponch Hawkes four photographs followed by three photographs by Rennie Ellis

 

Phillip Potter and John Storey photographs of the first ever Gay Liberation protest in Sydney in 1971 to the right; then Ponch Hawkes four photographs followed by three photographs by Rennie Ellis

 

Phillip Potter and John Storey photographs of the first ever Gay Liberation protest in Sydney in 1971

 

Phillip Potter and John Storey photographs of the first ever Gay Liberation protest in Sydney in 1971.

From a series of photographs of the very first gay rights demonstration which attracts 70 people outside NSW Liberal Party headquarters in support of the pre-selection of Tom Hughes against a right wing challenge following his support for homosexual law reform.

 

Installation photograph of the exhibition 'Out of the closets, onto the streets: Gay Liberation photography 1971-73' at Edmund Pearce Gallery, Melbourne, July 2014

John Englart's five photographs of Sydney Gay Pride Week march 1973 in the centre with Rennie Ellis at right of these

 

John Englart’s five photographs of Sydney Gay Pride Week march 1973 in the centre with Rennie Ellis at right of these

 

Phillip Potter portraits for CAMP Ink magazine 1973 at left with Graffiti in Melbourne 1971-73 at right

 

Phillip Potter portraits for CAMP Ink magazine 1973 at left with Graffiti in Melbourne 1971-73 at right

 

Graffiti in Melbourne 1971-73

 

Graffiti in Melbourne 1971-73

 

Stills from a super 8mm Women's Liberation march by Barbara Creed, 1973, at left with Phillip Potter portraits for CAMP Ink magazine 1973 at right

 

Stills from a super 8mm Women’s Liberation march by Barbara Creed, 1973, at left with Phillip Potter portraits for CAMP Ink magazine 1973 at right

 

Barbara Creed. 'Stills from a Super 8mm film of a Women’s Liberation march' Melbourne, 1973, printed 2014

Barbara Creed. 'Stills from a Super 8mm film of a Women’s Liberation march' Melbourne, 1973, printed 2014

 

Barbara Creed
Stills from a Super 8mm film of a Women’s Liberation march
Melbourne, 1973, printed 2014

 

Sponsored by

CPL Digital logo.
For photographic services in Australia, Art Blart highly recommends CPL Digital (03) 8376 8376 cpldigital.com.au

 

Art Blart logo.
Dr Marcus Bunyan and the best photography blog in Australia sponsor this event artblart.com

 

ALGA logo.
The Archives actively collects and preserves lesbian and gay material from across Australia alga.org.au

 

Supported by

Edmund Peace logo.
EP is a contemporary Melbourne art space dedicated to the appreciation of photography (03) 9023 5775 edmundpearce.com.au

 

Rennie Ellis logo.
Rennie Ellis is an award winning photographer and writer (03) 9525 3862 www.rennieellis.com.au

 

 

Edmund Pearce Gallery
Level 2, Nicholas Building
37 Swanston Street (corner Flinders Lane)
Melbourne Victoria 3000
T: (03) 9023 5775

Opening hours:
Tues – Sat 11 am – 5 pm

Edmund Pearce Gallery website

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22
Jul
14

Exhibition: ‘Calder and Abstraction: From Avant-Garde to Iconic’ at the Los Angeles County Museum of Art (LACMA), Los Angeles

Exhibition dates: 24th November 2013 – 27th July 2014

 

Any of them – or just one of them. I don’t care!

Just to have one in your home would be like wishing upon a star… to contemplate, to observe, to understand these inherently tactile sculptures. What a joy.

Marcus

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Many thankx to the Los Angeles County Museum of Art (LACMA) for allowing me to publish the art work in the posting. Please click on the photographs for a larger version of the image. Download Calder and Abstraction: From Avant-Garde to Iconic Didactics (30kb pdf)

 

 

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Installation views of 'Calder and Abstraction: From Avant-Garde to Iconic' at the Los Angeles County Museum of Art (LACMA)

Installation views of 'Calder and Abstraction: From Avant-Garde to Iconic' at the Los Angeles County Museum of Art (LACMA)

Installation views of 'Calder and Abstraction: From Avant-Garde to Iconic' at the Los Angeles County Museum of Art (LACMA)

Installation views of 'Calder and Abstraction: From Avant-Garde to Iconic' at the Los Angeles County Museum of Art (LACMA)

Installation views of 'Calder and Abstraction: From Avant-Garde to Iconic' at the Los Angeles County Museum of Art (LACMA)

Installation views of 'Calder and Abstraction: From Avant-Garde to Iconic' at the Los Angeles County Museum of Art (LACMA)

Installation views of 'Calder and Abstraction: From Avant-Garde to Iconic' at the Los Angeles County Museum of Art (LACMA)

Installation views of 'Calder and Abstraction: From Avant-Garde to Iconic' at the Los Angeles County Museum of Art (LACMA)

Installation views of 'Calder and Abstraction: From Avant-Garde to Iconic' at the Los Angeles County Museum of Art (LACMA)

Installation views of 'Calder and Abstraction: From Avant-Garde to Iconic' at the Los Angeles County Museum of Art (LACMA)

Installation views of 'Calder and Abstraction: From Avant-Garde to Iconic' at the Los Angeles County Museum of Art (LACMA)

Installation views of 'Calder and Abstraction: From Avant-Garde to Iconic' at the Los Angeles County Museum of Art (LACMA)

Installation views of 'Calder and Abstraction: From Avant-Garde to Iconic' at the Los Angeles County Museum of Art (LACMA)

Installation views of 'Calder and Abstraction: From Avant-Garde to Iconic' at the Los Angeles County Museum of Art (LACMA)

 

Installation views of Calder and Abstraction: From Avant-Garde to Iconic at the Los Angeles County Museum of Art (LACMA)
© Calder Foundation, New York/Artists Rights Society (ARS) Photos: Fredrik Nilsen

 

 

“The Los Angeles County Museum of Art (LACMA) presents Calder and Abstraction: From Avant-Garde to Iconic, the first monographic presentation of Alexander Calder’s work in a Los Angeles museum. Taking as its compass the large-scale sculpture Three Quintains (Hello Girls), a site-specific fountain commissioned by LACMA’s Art Museum Council in 1964 for the opening of LACMA’s Hancock Park campus, Calder and Abstraction brings together a range of nearly fifty abstract sculptures, including mobiles, stabiles, and maquettes for larger outdoor works, that span more than four decades of the artist’s career. The exhibition at LACMA is organized by LACMA’s senior curator of modern art Stephanie Barron and designed by Gehry Partners, LLP.

Barron remarks, “Calder is recognized as one of the greatest pioneers of modernist sculpture, but his contribution to the development of abstract modern sculpture – steeped in beauty and humor – has long been underestimated by critics. Calder was considered a full-fledged member of the European avant-garde, becoming friendly with André Breton, Marcel Duchamp, Joan Miró, and Piet Mondrian, and exhibited alongside Jean Arp, Wassily Kandinsky, Fernand Léger, and many of the Surrealists. His radical inventions move easily between seeming opposites: the avant-garde and the iconic, the geometric and the organic, art and science – an anarchic upending of the sculptural paradigm.”

Calder and Abstraction offers a window into the remarkably original thinking of this distinguished artist and elucidates his revolutionary and pivotal contribution to the development of modern sculpture,” says Michael Govan, CEO and Wallis Annenberg Director of LACMA. “Three Quintains (Hello Girls) at LACMA has for decades been seen as an emblem of the museum. Following in the footsteps of its legacy, our campus continues to be enhanced by large-scale, public art—most recently with the inclusion of Chris Burden’s Urban Light (2008) and Michael Heizer’s Levitated Mass (2012).”

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Exhibition overview

Calder and Abstraction traces the evolution of abstraction in the artist’s sculptural practice. The exhibition, arranged in loose chronological order, presents highlights of Calder’s oeuvre from his earliest abstract works to the crescendo of his career in the late 1940s to his later public sculptural commissions. While he is considered one of the most popular artists of his time, his work also shares sensibilities with less immediately accessible artists, including the Surrealists and the champions of pure abstraction that made up the Abstraction-Création group, such as Robert Delaunay, Theo van Doesburg, and Kurt Schwitters, among others.

From 1926 to 1933, Pennsylvania-born Calder lived primarily in Paris and was a prevalent figure of the European avant-garde along with peers Marcel Duchamp, Joan Miró, Piet Mondrian, Jean Hélion, Wassily Kandinsky, Fernand Léger, Alberto Giacometti, fellow American Man Ray, and many of the Surrealists. At the time, Paris was the epicenter of creative production, and Surrealism was the most significant artistic movement in France. A number of his works from the 1930s referenced astronomy, a preoccupation shared by a number of avant-garde artists. In Gibraltar two off-kilter rods thrust upward from a plane encircling a wood base, suggesting a personal solar system. Calder was fascinated with representing the natural world and the cosmos as potent and brimming with energy: “When I have used spheres and discs … they should represent more than what they just are. … [T]he earth is a sphere but also has some miles of gas about it, volcanoes upon it, and the moon making circles around it. … A ball of wood or a disc of metal is rather a dull object without this sense of something emanating from it.”

A crucial encounter for Calder occurred in 1930 upon visiting artist Piet Mondrian’s studio. Calder credited Mondrian with opening his eyes to the term “abstract,” providing the catalyst to a new phase in his practice. Calder later described this visit as pivotal in his move towards abstraction: “The visit gave me a shock. … Though I had heard the word ‘modern’ before, I did not consciously know or feel the term ‘abstract.’ So now, at thirty-two, I wanted to paint and work in the abstract.”

Calder appropriated Surrealism’s affinity to curvilinear, biomorphic forms into his sculptures, and when he met Miró in 1928, the two men discovered a mutual admiration for each other’s work and developed a close friendship. As Calder stated, “Well, the archaeologists will tell you there’s a little bit of Miró in Calder and a little bit of Calder in Miró.”

The decade after he met Miró and Mondrian proved to be the most radical of Calder’s career. He embraced the Surrealist notion of integrating chance into his works in addition to the Constructivist idea that painting and sculpture should be freed from their standard constraints, such as gravity and traditional sculptural mass. He consequently developed his two signature typologies: the mobile, a term coined by Marcel Duchamp after a visit to Calder’s home and studio in 1931; and the stabile, named by Jean Arp in 1932.

Calder’s mobiles are hanging, kinetic sculptures made of discrete movable parts stirred by air currents, creating sinuous and delicate drawings in space. Either suspended or freestanding, these often large constructions consist of flat pieces of painted metal connected by wire veins and stems. Eucalyptus (1940), one of Calder’s first mature mobiles, was created during World War II. The piece can be seen as a composition of violent, tortured biomorphic shapes that suggest gaping mouths, body parts, sexual organs, and sinister weapons.

Stabiles, which were developed alongside Calder’s mobiles but came to full maturity later in his career, are stationary abstract sculptures, often with mobiles attached to them (standing mobiles). In several of Calder’s works from the 1940s – the most prolific decade of his sculptural production – he effectively blended the mobile and stabile forms, as seen in Laocoön (1947), in which the stabile supports graceful, arcing branches that cut a broad swath as they rotate at an irregular rhythm.

In the mid-1950s, Calder began working with quarter-inch steel (thicker than the aluminum he had used during the 1940s), which enabled him to construct larger, more durable, and more ambitious sculptures and posed him as an ideal collaborator with architects to create works for public spaces. With commissions from the city of Spoleto, Italy (1962), Montreal’s Expo (1967) and Grand Rapids, Michigan (1969) – represented in the exhibition by La Grande vitesse (intermediate maquette) - Calder began a virtually non-stop output of public sculpture until his death in 1976.

Calder’s public sculpture evolved at a time when communities were becoming increasingly proud of public sculpture, although his resolutely bold abstract forms, though hard to imagine now, were initially met with some controversy. Today encountering Calder’s iconic sculpture in the center of a city, in front of a courthouse, in the midst of the Senate Office Building, or in front of a museum is a hallmark of postwar public sculpture that he helped to invent.

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Exhibition design and installation

Calder was constantly in conversation and collaborated with other artists and architects in his lifetime, but a major architect has not designed a Calder show since the 1980s. Frank O. Gehry’s design for LACMA’s exhibition allows for quiet areas of contemplation, unexpected juxtapositions of related works, and opportunities for both intimate and panoramic views of the works. Gehry’s gently curved walls frame the sculptures and recall the harmony between art and architecture, emphasizing the organic nature of Calder’s works. Gehry’s own method of developing architectural forms is inherently tactile, sharing some of the same hands-on techniques of a sculptor.

With the assistance of technology and effective planning, Calder and Abstraction at LACMA features a selection of sculptures that are animated throughout the course of the day.”

Press release from the LACMA website

 

Alexander Calder. 'Three Quintains (Hello Girls)' 1964

 

Alexander Calder
Three Quintains (Hello Girls)
1964
Sheet metal and paint with motor
275 x 288 inches
Los Angeles County Museum of Art
© Calder Foundation, New York/Artists Rights Society (ARS)
Photo: Museum Associates/LACMA

 

Alexander Calder. 'Blue Feather' c. 1948

 

Alexander Calder
Blue Feather
c. 1948
Sheet metal, wire and paint
42 x 55 x 18 inches
Calder Foundation, New York
© Calder Foundation, New York/Artists Rights Society (ARS)
Photo: Calder Foundation, New York/Art Resource NY

 

Alexander Calder. 'Little Face' 1962

 

Alexander Calder
Little Face
1962
Sheet metal, wire and paint
42 x 56 inches
Los Angeles County Museum of Art
© Calder Foundation, New York/Artists Rights Society (ARS)
Photo: Museum Associates/LACMA

 

Alexander Calder. 'Laocoön' 1947

 

Alexander Calder
Laocoön
1947
Sheet metal, wire, rod, string and paint
80 x 120 x 28 inches
The Eli and Edythe L. Broad Collection
© Calder Foundation, New York/Artists Rights Society (ARS)
Photo: Douglas M. Parker Studio, Los Angeles

 

Alexander Calder. 'Yucca' 1941

 

Alexander Calder
Yucca
1941
Sheet metal, wire and paint
73 x 23 x 20 inches
Solomon R. Guggenheim Museum, New York, Hilla Rebey Collection, 1971
© Calder Foundation, New York/Artists Rights Society (ARS)
Photo: Solomon R. Guggenheim Foundation, New York, by Kristopher McKay

 

Alexander Calder. 'Un effet du japonais' 1941

 

Alexander Calder
Un effet du japonais
1941
Sheet metal, rod, wire and paint
80 x 80 x 48 inches
Calder Foundation, New York
© Calder Foundation, New York/Artists Rights Society (ARS)
Photo: Calder Foundation, New York/Art Resource NY

 

Alexander Calder. 'Gibraltar' 1936

 

Alexander Calder
Gibraltar
1936
Lignum vitae, walnut, steel rods, and painted wood
52 x 24 x 11 inches
The Museum of Modern Art, New York. Gift of the artist.
© Calder Foundation, New York/Artists Rights Society (ARS)
Digital image: © 2013 The Museum of Modern Art/Licences by SCALA/Art Resource, NY

 

Alexander Calder. 'Constellation Mobile' 1943

 

Alexander Calder
Constellation Mobile
1943
Wood, wire, string and paint
53 x 48 x 35 inches
Calder Foundation, New York
© Calder Foundation, New York/Artists Rights Society (ARS)
Photo: Calder Foundation, New York/Art Resource NY

 

Alexander Calder. 'Bougainvillier' 1947

 

Alexander Calder
Bougainvillier
1947
Sheet metal, wire, lead and paint
78 x 86 inches
Collection of John and Mary Shirley
© Calder Foundation, New York/Artists Rights Society (ARS)
Photo: Calder Foundation, New York/Art Resource NY

 

Alexander Calder. 'Le Demoiselle' 1939

 

Alexander Calder
Le Demoiselle
1939
Sheet metal, wire and paint
58 x 21 x 29 inches
Glenstone
© Calder Foundation, New York/Artists Rights Society (ARS)

 

Alexander Calder. 'Red Disc' 1947

 

Alexander Calder
Red Disc
1947
Sheet metal, wire and paint
81 x 78 inches
Frances A. Bass
© Calder Foundation, New York/Artists Rights Society (ARS)

 

Alexander Calder. 'Untitled' 1947

 

Alexander Calder
Untitled
1947
Sheet metal, wire and paint
66 x 53 inches
Private collection
© Calder Foundation, New York/Artists Rights Society (ARS)
Photo: Calder Foundation, New York/Art Resource NY

 

Alexander Calder. 'Trois Pics (intermediate maquette)' 1967

 

Alexander Calder
Trois Pics (intermediate maquette)
1967
Sheet metal, bolts, and paint
96 x 63 x 70 inches
Calder Foundation, New York
© Calder Foundation, New York/Artists Rights Society (ARS)
Photo: Calder Foundation, New York/Art Resource NY

 

 

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

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

LACMA website

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18
Jul
14

Exhibition: ‘Posing Beauty in African American Culture’ at the Virginia Museum of Fine Arts, Richmond, Virginia

Exhibition dates: 26th April – 27th July 2014

 

An exhibition that questions the ways in which our contemporary understanding of beauty has been constructed and framed through the body and invites a deeper reading of beauty, its impact on mass culture and individuals and how the display of beauty affects the ways in which we see and interpret the world and ourselves. According to author and historian Barbara Summers: “Beauty is power. And the struggle to have the entire range of Black beauty recognized and respected is a serious one.”

If beauty is only skin deep, and colour deep, why the need to differentiate? Surely it doesn’t matter what colour your skin, beauty just is. You know it when you see it, regardless of colour. Not everything is about power; not everything is a site of contestation… to me, recognising true beauty is an acknowledgement of the light that shines from within, not something that is imposed from without. When you see true beauty, you know it instinctively. Intuitively. Enough of this posing - are you image or essence?

Marcus

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

 

“That there are so few images of African-American women circulating in popular culture or in fine art is disturbing; the pathology behind it is dangerous … We got a sistah in the White House, and yet mediated culture excludes us, denies us, erases us. But in the face of refusal, I insist on making work that includes us as part of the greater whole,” said Carrie Mae Weems in a 2009 interview conducted by Dawoud Bey for BOMB Magazine.

 

 

Bruce Davidson. 'Body Builder on Venice Beach, California' 1964

 

Bruce Davidson
Body Builder on Venice Beach, California
1964
Gelatin silver print
8 1/4 x 12 1/4 in.
Courtesy of Howard Greenberg Gallery, New York

 

Leonard Freed. 'Harlem Fashion Show, Harlem' 1963

 

Leonard Freed
Harlem Fashion Show, Harlem
1963
Gelatin silver print
17 x 21 ¼ inches
Magnum Photos

 

Theodore Fonville Winans (American, 1911-1992) 'Dixie Belles, Central Louisiana' 1938

 

Theodore Fonville Winans (American, 1911-1992)
Dixie Belles, Central Louisiana
1938
Courtesy of the Ogden Museum of Southern Art and Bob Winans

 

Dave Heath. 'Washington Square, New York City' 1960

 

Dave Heath
Washington Square, New York City
1960
Silver gelatin print

 

Malick Sidibé. 'Regardez-moi!' 1962

 

Malick Sidibé
Regardez-moi!
1962
Gelatin silver print
50 x 60 cm – 19,5 x 23,5 inches
© Malick Sidibé

 

Anthony Barboza. 'Pat Evans' c. 1970s

 

Anthony Barboza
Pat Evans
c. 1970s
Digital print
24½ x 24 inches
Courtesy of the photographer

 

 

“Exploring contemporary understandings of beauty, Posing Beauty in African American Culture frames the notion of aesthetics, race, class, and gender within art, popular culture, and political contexts. The exhibition – and its companion, Identity Shifts - will be on view April 26 – July 27, 2014.

Posing Beauty in African American Culture examines the contested ways in which African and African American beauty has been represented in historical and contemporary contexts through a diverse range of media including photography, film, video, fashion, advertising, and other forms of popular culture such as music and the Internet. The exhibition explores contemporary understandings of beauty by framing the notion of aesthetics, race, class, and gender within art, popular culture, and political contexts. The exhibition is organized by the Department of Photography & Imaging at New York University, Tisch School of the Arts, traveled by Curatorial Assistance Traveling Exhibitions, and curated by Dr. Deborah Willis. The touring exhibition is made possible in part by the JP Morgan Chase Foundation. Additional support has been provided by grants from the Tisch School of the Arts Office of the Dean’s Faculty Development Fund, Visual Arts Initiative Award from the NYU Coordinating Council for Visual Arts, and NYU’s Advanced Media Studio. Drawn from public and private collections, Posing Beauty features approximately 85 works by artists such as Carrie Mae Weems, Charles “Teenie” Harris, Eve Arnold, Gary Winogrand, Sheila Pree Bright, Leonard Freed, Renee Cox, Anthony Barboza, Bruce Davidson, Mickalene Thomas, and Jeanne Moutoussamy-Ashe.

Posing Beauty is divided into three thematic sections. The first theme, Constructing a Pose, considers the interplay between the historical and the contemporary, between self-representation and imposed representation, and the relationship between subject and photographer. The second theme, Body and Image, questions the ways in which our contemporary understanding of beauty has been constructed and framed through the body. The last section, Modeling Beauty and Beauty Contests, invites a deeper reading of beauty, its impact on mass culture and individuals and how the display of beauty affects the ways in which we see and interpret the world and ourselves.

According to author and historian Barbara Summers: “Beauty is power. And the struggle to have the entire range of Black beauty recognized and respected is a serious one.””

Press release from the Virginia Museum of Fine Arts website

 

Renee Cox. 'Baby Back', from the series 'American Family' 2001

 

Renee Cox
Baby Back,
from the series American Family
2001
Archival digital print
30 x 40 in.
Courtesy of the artist

 

Lauren Kelley. 'Pickin'' 2007

 

Lauren Kelley
Pickin’
2007
Color-coupler print
23 x 23⅛ inches
Courtesy of the photographer

 

Anthony Barboza. ''Marvelous' Marvin Hagler, boxer' 1981

 

Anthony Barboza
‘Marvelous’ Marvin Hagler, boxer
1981
Gelatin silver print

 

Jeffrey Henson Scales. 'Denzel Washington, Los Angeles' 1990s

 

Jeffrey Henson Scales
Denzel Washington, Los Angeles
1990s

 

Ken Ramsay. 'Susan Taylor, as Model' c. 1970s

 

Ken Ramsay
Susan Taylor, as Model
c. 1970s
Gelatin silver print
26.5 x 20 inches
Courtesy of the photographer

 

John W. Mosley. 'Atlantic City, Four Women' c. 1960s

 

John W. Mosley
Atlantic City, Four Women
c. 1960s
Gelatin silver print
20 x 16 inches
Charles L. Blockson Afro-American Collection, Temple University

 

Edward Curtis. 'A Desert Queen' 1898 (printed 2009)

 

Edward Curtis
A Desert Queen
1898 (printed 2009)
Modern digital print
20 x 16 inches,
Special Collections, University of Washington Libraries

 

Huey-P-Newton-WEB

 

Stephen Shames
Huey P Newton holds a Bob Dylan album at home after he was released from jail
c. 1967
Photograph
© Stephen Shames

 

Huey Percy Newton (February 17, 1942 – August 22, 1989) was an African-American political and urban activist who, along with Bobby Seale, co-founded the Black Panther Party in 1966. Newton had a long series of confrontations with law enforcement, including several convictions, while he participated in political activism. He continued to pursue an education, eventually earning a Ph.D. in Social Science. Newton spent time in prison for manslaughter and was involved in a shooting that killed a police officer, for which he was later acquitted. In 1989 he was shot and killed in Oakland, California by Tyrone “Double R” Robinson, a member of the Black Guerrilla Family. (Text from Wikipedia website)

 

Charles "Teenie" Harris. 'Mary Louise Harris on Mulford Street, Homewood, Pittsburgh, Pennsylvania' c. 1930-1939

 

Charles “Teenie” Harris
Mary Louise Harris on Mulford Street, Homewood, Pittsburgh, Pennsylvania
c. 1930-1939
Gelatin silver print
20 x 16 cm
© 2004 Carnegie Museum of Art, Charles “Teenie” Harris Archive

 

Jeffrey Henson Scales. 'Young Man in Plaid, New York City' 1992

 

Jeffrey Henson Scales
Young Man in Plaid, New York City
1992
Digital print
44.5 x 44 inches
Courtesy of the photographer

 

 

Virginia Museum of Fine Arts
200 N. Boulevard
Richmond, Virginia USA

Opening hours:
Sat – Wed: 10 am – 5 pm
Thu + Fri: 10 am – 9 pm

Virginia Museum of Fine Arts website

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16
Jul
14

Exhibition: ‘Out of the closets, into the streets: gay liberation photography 1971-73′ at Edmund Pearce Gallery, Melbourne

Exhibition dates: Tuesday 22nd July – Saturday 26th July, 2014

Opening: Tuesday 22nd July 6-8pm

Nite Art: Wednesday 23rd July until 11pm
Artists represented: Philip Potter, John Storey, John Englart, Barbara Creed, Ponch Hawkes, Rennie Ellis

Curated by Dr Marcus Bunyan and Nicholas Henderson
Catalogue essay by Professor Dennis Altman (below)

 

 

Five days, that’s all you’ve got! Just five days to see this fabulous exhibition. COME ALONG TO THE OPENING (Tuesday 22nd July 6-8pm) or NITE ART, the following night!

The exhibition Out of the closets, into the streets: gay liberation photography 1971-73 pictures the very beginning of the gay liberation movement in Australia through the work of Philip Potter, John Storey, John Englart, Barbara Creed, Ponch Hawkes and Rennie Ellis. The exhibition examines for the first time images from the period as works of art as much as social documents. The title of the exhibition is a slogan from the period.

As gay people found their voice in the early 1970s artists, often at the very beginning of their careers, were there to capture meetings in lounge rooms, consciousness raising groups and street protests. The liberation movement meant ‘being there’, putting your body on the line. “It was a key feature of the new left that this embodied politics couldn’t stop in the streets: that is, the public arena as conventionally understood. ‘Being there’ politically also applied to households, classrooms, sexual relations, workplaces and the natural environment.”1

Curated by Dr Marcus Bunyan and Nicholas Henderson and with a catalogue essay by Professor Dennis Altman (see below), the show is a stimulating experience for those who want to be inspired by the history and art of the early gay liberation movement in Australia.

The exhibition coincides with AIDS 2014: 20th International AIDS Conference (20-25 July 2014) and Nite Art which occurs on the Wednesday night (23rd July 2014). The exhibition will travel to Sydney to coincide with the 14th Australia’s Homosexual Histories Conference in November at a venue yet to be confirmed.

Dr Marcus Bunyan

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

 

 

Barbara Creed. 'Julian Desaily and Peter McEwan in the back of a VW Combi van, Melbourne' Melbourne, c. 1971-73

 

Barbara Creed
Julian Desaily and Peter McEwan in the back of a VW Combi van, Melbourne
Melbourne, c. 1971-73
Digital C type print on Kodak Endura Matte
© Barbara Creed

 

Ponch Hawkes. 'Gay Liberation march, Russell Street, Melbourne' Melbourne, 1973

 

Ponch Hawkes
Gay Liberation march, Russell Street, Melbourne
Melbourne, 1973
Digital C type print on Kodak Endura Matte
© Ponch Hawkes

 

John-Englart-Gay-Pride-Week-Sydney-1973-c

 

John Englart
Gay Pride Week poster, outside the Town Hall Hotel, Sydney Town Hall
Sydney, 1973
Digital C type print on Kodak Endura Matte
© John Englart

 

 

Out of the closets, onto the streets

Professor Dennis Altman

.
This exhibition chronicles a very specific time in several Australian cities, the period when lesbians and gay men first started demonstrating publicly in a demand to be accorded the basic rights of recognition and citizenship. Forty years ago to be homosexual was almost invariably to lead a double life; the great achievement of gay liberation was that a generation – although only a tiny proportion of us were ever Gay Liberationists – discovered that was no longer necessary.

The Archives have collected an extraordinary range of materials illustrating the richness of earlier lesbian and gay life in Australia, but this does not deny the reality that most people regarded homosexuality as an illness, a perversion, or a sin, and one for which people should be either punished or cured. It is revealing to read the first avowedly gay Australian novel, Neville Jackson’s No End to the Way [published in 1965 - in Britain - and under a pseudonym] to be reminded of how much has changed in the past half century.

Gay Liberation had both local and imported roots; the Stonewall riots in New York City, which sparked off a new phase of radical gay politics – when ‘gay’ was a term understood to embrace women, men and possibly transgender – took place in June 1969. They were barely noticed at the time in Australia, where a few people in the civil liberties world, most of them not homosexual, had started discussing the need to repeal anti-sodomy laws.

Small law reform and lesbian groups had already existed, but the real foundation of an Australian gay movement came in September 1970 when Christabel Pol and John Ware announced publicly the formation of CAMP, an acronym that stood for the Campaign Against Moral Persecution but also picked up on the most used Australian term for ‘homosexual’. Within two years there were both CAMP branches in most Australian capital cities, as well as small gay liberation groups that organised most of the demonstrations illustrated in this exhibition.

The differences between gay liberation and CAMP were in practice small, but those of us in Gay Liberation prided ourselves on our radical critique, and our commitment to radical social change. CAMP, with its rather daggy social events and its stress on law reform – at a time in history when homosexual conduct between men was illegal across the country – seemed to us too bourgeois, though ironically it was CAMP which organised the first open gay political protest in Australia [immediately identified by the balloons in the Exhibition photos].

It is now a cliché to say “the sixties” came to Australia in the early 1970s, but a number of forces came together in the few years between the federal election of 1969, when Gough Whitlam positioned the Labor Party as a serious contender for power, and 1972, the “It’s Time” election, when the ALP took office for the first time in 23 years. We cannot understand how a gay movement developed in Australia without understanding the larger social and cultural changes of the time, which saw fundamental shifts in the nature of Australian society and politics.

The decision of the Menzies government in 1965 to commit Australian troops to the long, and ultimately futile war in Vietnam, led to the emergence of a large anti-war movement, capable of mobilising several hundred thousand people to demonstrate by the end of the decade. Already under the last few years of Liberal government the traditional White Australia Policy was beginning to crumble, as it became increasingly indefensible, and awareness of the brutal realities of dispossession and discrimination against indigenous Australians was developing. Perhaps most significant for a movement based on sexuality, the second wave feminist movement, already active in the United States and Britain, began challenging the deeply entrenched sexist structures of society.

To quote myself, this at least reduces charges of plagiarism: “Anyone over fifty in Australia has lived through extraordinary changes in how we imagine the basic rules of sex and gender. We remember the first time we saw women bank tellers, heard a woman’s voice announce that she was our pilot for a flight, watched the first woman read the news on television. Women are now a majority of the paid workforce; in 1966 they made up twenty-nine per cent. When I was growing up in Hobart it was vaguely shocking to hear of an unmarried heterosexual couple living together and women in hats and gloves rode in the back of the trams (now long since disappeared). As I look back, it seems to me that some of the unmarried female teachers at my school were almost certainly lesbians, although even they would have been shocked had the word been uttered.”

In Australia Germaine Greer’s book The Female Eunuch became a major best seller, and Germaine appeared [together with Liz Fell, Gillian Leahy and myself] at the initial Gay Liberation forum at Sydney University in early 1972; looking back it is ironic that a woman who has been somewhat ambivalent in her attitudes to homosexuality was part of the public establishment of the gay movement.

But the early demonstrations illustrated in this exhibition did often include sympathetic “straights” – a term that seems to have disappeared from the language – for whom gay liberation was part of a wider set of cultural issues. It is essential to recognise that while political demonstrations may seem to assert certain claims they play widely different roles for those who participate. For some of us a public protest is a form of “coming out”; indeed many people had never been public about their sexuality before they attended their first demonstration. For others a demonstration is primarily a place to find solidarity, friendship, and, if lucky, sex.

For the gay movement more than any other just to declare oneself as gay was to take an enormous step, a step that some found remarkably easy while others had to wait until late in life to discover that actually almost everyone knew anyway. I remember the now dead Sydney playwright, Nick Enright, who was one of the first people to be open about his homosexuality, and was so without any sense of difficulty; at the same time there are still people who go to great lengths to hide their sexuality even while acknowledging they would face little risk of discrimination were they not to do so

Maybe there is a parallel for people who now declare their lost Aboriginal heritage, unsure how they will be regarded but aware that this is crucial to their sense of self. Every generation has its own version of coming out stories, this exhibition hones in on that time in our national history when everything seemed in flux, and gay liberation seemed a small part of creating a brave new world in which old hierarchies and restraints would disappear.

Looking back at the photos creates a certain nostalgia – we all look so young, so sure that we were changing the world, though in reality most of us were putting on a brave front. The oddest thing is that in some ways we did change the world. Forty years ago we looked at the police as threatening, symbolised in the photograph from Melbourne Gay Pride 1973 where the policeman is clearly telling people to move on. Today openly lesbian and gay cops march with us in the streets, and the very idea that homosexuality could be criminalised, as it still is in many parts of the world, has largely disappeared from historical memory. Indeed to many people attending this exhibition that may be the first time they confront the reality that being gay in Australia in the early 1970s was to live in a world of silence, evasion and fear.

.
Professor Dennis Altman
July 2014

© Dennis Altman
Reproduced with permission

 

Anonymous. 'I am a Lesbian, Gay Pride Week' Adelaide, 1973

 

Anonymous
I am a Lesbian, Gay Pride Week
Adelaide, 1973
Digital C type print on Kodak Endura Matte
© Australian Lesbian and Gay Archives

 

Anonymous. 'Man in black hat and red shirt, Gay Pride Week' Adelaide, 1973

 

Anonymous
Man in black hat and red shirt, Gay Pride Week
Adelaide, 1973
Digital C type print on Kodak Endura Matte
© Australian Lesbian and Gay Archives

 

 

Sponsored by

CPL Digital logo.
For photographic services in Australia, Art Blart highly recommends CPL Digital (03) 8376 8376 cpldigital.com.au

 

Art Blart logo.
Dr Marcus Bunyan and the best photography blog in Australia sponsor this event artblart.com

 

ALGA logo.
The Archives actively collects and preserves lesbian and gay material from across Australia alga.org.au

 

Supported by

Edmund Peace logo.
EP is a contemporary Melbourne art space dedicated to the appreciation of photography (03) 9023 5775 edmundpearce.com.au

 

Rennie Ellis logo.
Rennie Ellis is an award winning photographer and writer (03) 9525 3862 www.rennieellis.com.au

 

 

1. Connell, Raewyn. “Ours is in colour: the new left of the 1960s,” in Carolyn D’Cruz and Mark Pendleton (eds.,). After Homosexual: The Legacies of Gay Liberation. Perth: UWA Publishing, 2013, p.43.

 

AIDS 2014: 20th International AIDS Conference
20 July – 25 July 2014
Melbourne, Australia

AIDS 2014 website

Edmund Pearce Gallery
Level 2, Nicholas Building
37 Swanston Street (corner Flinders Lane)
Melbourne Victoria 3000
T: (03) 9023 5775

Opening hours:
Tues – Sat 11 am – 5 pm

Edmund Pearce Gallery website

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12
Jul
14

Exhibition: ‘Fútbol: The Beautiful Game’ at the Los Angeles County Museum of Art (LACMA)

Exhibition dates: 2nd February – 20th July 2014

 

In honour of the World Cup final and a wonderful tournament, here is a glorious posting to celebrate The Beautiful Game!

PS. So much of this work is conceptual graphic design, doesn’t anybody make art anymore?

Marcus

.
Many thankx to the Los Angeles County Museum of Art (LACMA) for allowing me to publish the photographs in the posting. Please click on the photographs for a larger version of the image.

 

On the eve of the World Cup – which, like the Olympics, takes place every four years – this exhibition celebrates football, the world’s game, and its richness as a field for metaphorical inquiry. Just as the World Cup brings together athletes and fans from around the globe, Fútbol: The Beautiful Game explores some of the ties that bind us as humans. Focusing on a simple game allows for a direct conversation about the communication and (more often) miscommunication that characterize our collective life, while celebrating one thing that most of the planet holds its breath for: the quadrennial event held to crown a nation as world champion of football. The sport has often been cited as a metaphor for nations, for cultures, and even for life, as is suggested by a statement attributed to the writer Albert Camus: “After many years in which the world has afforded me many experiences, what I know most surely about morality and obligations, I owe to football.” Camus believed that the simple rules governing the game often had more to teach us about life than did politicians and philosophers.

Fútbol: The Beautiful Game presents the work of more than 30 artists who address the game through its imagery, signs, symbols, and sounds while also touching on larger issues well apart from the field of play. These themes include masculinity and the construction of heroes; ritual and worship; marketing and power; and current political, social, and cultural phenomena.

 

 

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Dario Escobar. 'Obverse & Reverse XIV' 2013

 

Dario Escobar
Obverse & Reverse XIV
2013
Latex, leather, string and steel
11 1/2 × 6 9/16 × 6 9/16 ft. (349.89 × 199.94 × 199.94 cm)
Dario Escobar
Courtesy of the artist and Josée Bienvenu Gallery, New York

 

Nelson Leirner. 'Maracana' 2003
Nelson Leirner. 'Maracana' 2003 and Andreas Gursky 'Amsterdam, EM Arena I' 2000

 

In the background: Andreas Gursky
Amsterdam, EM Arena I
2000
Chromogenic print
108 1/4 × 80 11/16 × 2 7/16 in. (275 × 205 × 6.2 cm)
Gagosian Gallery
Andreas Gursky, Courtesy Gagosian Gallery

 

Nelson Leirner. 'Maracana' 2003

Nelson Leirner. 'Maracana' 2003

 

Nelson Leirner
Maracana
2003
Plaster, plastic, ceramic, wood
120 x 130 3/4 x 9.5 in.
Brooklyn Museum

 

EX7941-20140130-VW011-WEB

EX7941-20140130-VW013-WEB

Satch Hoyt 'Kick That' 2006 (in case) and George Afedzi Hughes 'Parallel' 2009-11

 

In case: Satch Hoyt
Kick That
2006
Mixed media with sound
Satch Hoyt
Courtesy of the artist

In the background: George Afedzi Hughes
Parallel
2009-11
Acrylic, oil, enamel on canvas
72 x 120 in. (182.88 x 304.8 cm)
Skoto Gallery
Collection of the artist, Courtesy Skoto Gallery

 

Stephen Dean. 'Volta' 2002-2003

 

Stephen Dean
Volta
2002-2003
Single-channel color DVD installation (9′) with audio and fabric enclosure
Collection of Ruth and William True

 

Mary Ellen Carroll. 'FREE THROW' 1984

 

Right on floor: Mary Ellen Carroll
FREE THROW
1984
Mannequin bottom and basketball with rubberized paint
4 x 3 x 1 ft. (121.91 x 91.44 x 30.48 cm)
Mary Ellen Carroll
Courtesy of the artist, 3rd Streaming-NYC, Galerie Hubert Winter-Vienna, Austria

 

EX7941-20140130-VW017-WEB

Wendy White. 'Clavado' 2013

 

Centre: Wendy White
Clavado
2013
Acrylic on canvas, wood, enamel
74 1/2 × 74 1/2 in. (189.23 × 189.23 cm)
Andrew Rafacz Gallery
Courtesy of the artist and Andrew Rafacz

 

Kehinde Wiley. 'Samuel Eto'o' 2010

 

Kehinde Wiley
Samuel Eto’o
2010
Oil on Canvas
76 x 60 in.
Roberts & Tilton Gallery
© Kehinde Wiley
Image courtesy of the artist, and Roberts & Tilton, Culver City

 

EX7941-20140130-VW020-WEB

Nery Gabriel Lemus. 'Thank You for the Game' 2013

 

Right: Nery Gabriel Lemus
Thank You for the Game
2013
Serigraph
36 x 50 in. (91.44 x 127 cm)
Self Help Graphics & Art, Professional Printmaking Program, 2013. On loan from the Self Help
Graphics & Art Collection
© Nery Gabriel Lemus

 

Dewey Tafoya. 'Olmeca1370 BCE' 2013

 

Right: Dewey Tafoya
Olmeca 1370 BCE
2013
Serigraph
36 × 50 in. (91.44 × 127 cm)
Self-Help Graphics
Self Help Graphics & Art, Professional Printmaking Program, 2013. On loan from the Self Help
Graphics & Art Collection

 

EX7941-20140130-VW023-WEB

 

Installation views of the exhibition Fútbol: The Beautiful Game at The Los Angeles County Museum of Art (LACMA)

 

 

“The Los Angeles County Museum of Art (LACMA) presents Fútbol: The Beautiful Game, an exhibition examining the sport of fútbol, or soccer, as it is known in the United States. Featuring approximately 50 works by nearly 30 artists on the subject of fútbol - often referred to as “the beautiful game” – the exhibition looks at issues of nationalism, identity, globalism, and mass spectacle as well as the shared human experience between spectators from a multitude of cultures. In anticipation of the 2014 World Cup that takes place in Brazil this summer, LACMA’s exhibition considers the sport through video, photography, painting, sculpture, and large-scale installation.

“A globally beloved sport celebrated in the context of a museum: what a great opportunity to explore the international scope of soccer through the lens of art,” said Michael Govan, CEO and Wallis Annenberg Director of LACMA. “Fútbol should excite all, especially as it coincides with the World Cup in Brazil in summer 2014.”

“When people watch a game, they feel inspired by the spirit of the team, the fans, and the sense of community,” remarked Franklin Sirmans, Terri and Michael Smooke Curator and department head of contemporary art at LACMA, “We, the fans, create the spirit of the team via our rituals. Witnessing a game is one of the few occasions during which a collective sense of enthusiasm is still possible. This exhibition explores that energy.”

.
Exhibition overview 

Two room-sized video installations anchor Fútbol: The Beautiful Game. The first, Zidane: A 21st Century Portrait by the artists Philippe Parreno and Douglas Gordon, provides an intimate portrait of Zinedine Zidane – one of the greatest soccer players in the history of the sport – during the course of a single match. Meanwhile, Stephen Dean’s Volta, set to samba music, directs its gaze at stadium crowds and draws attention to both the pandemonium and organized ritual of mass audiences.

Other works by artists including Robin Rhode, Kehinde Wiley, Petra Cortright, Andy Warhol, Mark Bradford, Mary Ellen Carroll, Hassan Hajjaj, and Andreas Gursky, among others, provide a sense of the possibilities of the sport as a universal conversation piece. With artists hailing from as far afield as Morocco, Germany, Mexico, and South Africa – in addition to several Los Angeles–based artists – the geographic range represented in Fútbol: The Beautiful Game reflects the global reach of the sport.

Gustavo Artigas’s The Rules of the Game examines the ways in which communities that play different sports (basketball, soccer, and football) perceive one another, while Miguel Calderón’s video Mexico vs. Brasil dramatically unfolds during an unlikely victory for Mexico. Chris Beas harkens back to classical modes of presentation in his paintings: his athletic figures are depicted in a celebratory, almost mythic light. Meanwhile, the athletes featured in Generic Art Solutions’ works are almost caricatures caught in moments of extreme dramatization.

In collaboration with LACMA, a new edition of prints has been commissioned by Self Help Graphics under the direction of executive director, Evonne Gallardo. The new prints by Carolyn Castano, Nery Gabriel Lemus, Ana Serrano, Dewey Tafoya, Ami Motevelli and Mario Ybarra, Jr. address varied aspects of the game – from a commemoration for the Colombian soccer player Andres Escobar who was shot and killed shortly after the 1994 World Cup, seemingly for his mistaken own goal, to references to the Olmec culture of the first major civilization in Mexico.

As a nod to the imminent World Cup, the exhibition’s design alludes to the Brazilian flag with graphic symbolism as it evokes the environs of the sport – sun, sky, and grass – through a vibrant yellow, blue, and green.”

Press release from the LACMA website

 

Lyle Ashton Harris. 'Verona #2' 2001-2004

 

Lyle Ashton Harris
Verona #2
2001-2004
Silver gelatin print
16 x 20 in.
The Robert E. Holmes Collection
© Lyle Ashton Harris

 

George Afedzi Hughes. 'Parallel' 2009-11

 

George Afedzi Hughes
Parallel
2009-11
Acrylic, oil, enamel on canvas
72 x 120 in. (182.88 x 304.8 cm)
Skoto Gallery
Collection of the artist, Courtesy Skoto Gallery

 

Stephen Dean. 'VOLTA' 2002-2003 (still)

 

Stephen Dean
VOLTA (still)
2002-2003
Single-channel color DVD installation (9′) with audio and fabric enclosure
Collection of William and Ruth True, Seattle
Courtesy of the artist and Baldwin Gallery, Aspen
© Stephen Dean

 

Miguel Calderón. 'Mexico vs Brasil' (video still) 2004

 

Miguel Calderón
Mexico vs Brasil (video still)
2004
Video transferred to DVD
Duration: 1 hrs. 30 minutes
Courtesy of the artist and kurimanzutto, Mexico City
© Miguel Calderón

 

Antoni Muntadas. 'Celebracions' 2009

 

Antoni Muntadas
Celebracions
2009
DVD
Blake Byrne
Collection of Blake Byrne, Los Angeles

 

Chris Beas. 'Sir Bobby' 2007

 

 

Chris Beas
Sir Bobby
2007
Acrylic on Canvas
24 x 25 3/8 in.
Courtesy of the artist and Martha Otero Gallery
© Chris Beas

 

Ana Serrano. 'Narco Soccer' 2013

 

Ana Serrano
Narco Soccer
2013
Serigraph
50 × 36 in. (127 × 91.44 cm)
Self-Help Graphics
Self Help Graphics & Art, Professional Printmaking Program, 2013. On loan from the Self Help
Graphics & Art Collection

 

Generic Art Solutions. 'Pieta' 2008

 

Generic Art Solutions
Pieta
2008
Photograph
36 x 36 in.
Courtesy of Jonathan Ferrara Gallery, New Orleans
© Generic Art Solutions

 

Andy Warhol. 'Pele' 1978

 

Andy Warhol
Pele
1978
Silkscreen
40 x 40 in.
University of Maryland Art Gallery, College Park, MD
© Andy Warhol Foundation/Artists Rights Society (ARS), New York

 

Kehinde Wiley. 'Samuel Eto'o' 2010

 

Kehinde Wiley
Samuel Eto’o
2010
Oil on Canvas
76 x 60 in.
Roberts & Tilton Gallery
© Kehinde Wiley
Image courtesy of the artist, and Roberts & Tilton, Culver City

 

Nery Gabriel Lemus. 'Thank You for the Game' 2013

 

Nery Gabriel Lemus
Thank You for the Game
2013
Serigraph
36 x 50 in. (91.44 x 127 cm)
Self Help Graphics & Art, Professional Printmaking Program, 2013. On loan from the Self Help
Graphics & Art Collection
© Nery Gabriel Lemus

 

Philippe Parreno and Douglas. 'Gordon Zidane: A 21st Century Portrait' 2006

 

Philippe Parreno and Douglas Gordon
Zidane: A 21st Century Portrait
2006
© Philippe Parreno and Douglas Gordon

 

Philippe Parreno and Douglas. 'Gordon Zidane: A 21st Century Portrait' 2006

 

Philippe Parreno and Douglas Gordon
Zidane: A 21st Century Portrait
2006
© Philippe Parreno and Douglas Gordon

 

Philippe Parreno and Douglas. 'Gordon Zidane: A 21st Century Portrait' 2006

 

Philippe Parreno and Douglas Gordon
Zidane: A 21st Century Portrait
2006
© Philippe Parreno and Douglas Gordon

 

 

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

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

LACMA website

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03
Jul
14

Exhibition: ‘Ana Mendieta: Traces’ at the Museum der Moderne Salzburg

Exhibition dates: 29th March - 6th July 2014

 

If I had half of this artists courage, I might not even have a quarter of her talent.

Marcus

.
Many thankx to the Museum der Moderne Salzburg for allowing me to publish the photographs and text in the posting. Please click on the photographs for a larger version of the image.

View the catalogue essays Ana Mendieta: Traces by Stephanie Rosenthal and Embers by Adrian Heathfield (2.66Mb pdf)

 

 

“Art is a material act of culture, but its greatest value is its spiritual role, and that influences society, because it’s the greatest contribution to the intellectual and moral development of humanity that can be made”

“My art is grounded on the belief in one universal energy which runs through everything; from insect to man, from man to spectre, from spectre to plant, from plant to galaxy.”

“To me, the work has existed on different levels. It existed on the level of being in nature and eventually being eroded away. But obviously when it’s shown to someone as a photograph, that’s what it is.”

.
Ana Mendieta

 

The few women working with the body at that time were in instant affinity with each other… The struggle for all of us was to keep the sensuousness of the body and to de-eroticize it in terms of cultural expectations. It was gratifying and exciting to discover her work. Those of us who had already been situating the body as central to our visual aesthetic could also anticipate the resistance that would be around her.

I see her death as part of some larger denial of the feminine. Like a huge metaphor saying, we don’t want this depth of feminine eroticism, nature, absorption, integration to happen. It’s too organic. It’s too sacral. In a way, her death also has a symbolic trajectory. More than Ana dies, when she dies.”

.
Carolee Schneeman quoted in Camhi, Leslie. “ART; Her Body, Herself,” on the New York Times website published June 20, 2004 [Online] Cited 20/06/2014

 

“You do feel the sadness that she’s not with us and you wonder where she would have gone with her work.”

.
Raquelin
 Mendieta

 

 

Ana Mendieta. 'Untitled (Facial Cosmetic Variations)' (detail) 1972

 

Ana Mendieta
Untitled (Facial Cosmetic Variations)
(detail)
1972
Suite of eight color photographs (estate prints, 1997)
Each 50.8 x 40.6 cm
The Estate of Ana Mendieta Collection; courtesy Galerie Lelong, New York and Paris

 

Ana Mendieta. 'Untitled (Facial Hair Transplant)' 1972

 

Ana Mendieta
Untitled (Facial Hair Transplant)
1972
Suite of seven colour photographs, estate prints 1997
© The Estate of Ana Mendieta Collection, L.L.C.
Courtesy Galerie Lelong, New York and Paris and Alison Jacques Gallery, London

 

Ana Mendieta. 'Rape' 1973

 

Ana Mendieta
Rape
1973
Color photograph (lifetime print)
20.4 x 25.4 cm
The Estate of Ana Mendieta Collection; courtesy Galerie Lelong, New York and Paris

 

Ana Mendieta. 'Rape Scene' 1973

 

Ana Mendieta
Rape Scene
1973
Color photograph (lifetime print)
39.8 x 31 x 3.2 cm (framed)
Tate: Presented by the American Patrons of Tate, courtesy of the Latin American Acquisitions Committee 2010

 

Rape Scene (1973) was part of series of works devised in response to the rape and murder of a fellow student on the Iowa University campus, where Mendieta completed her BA, MA (painting) and an MFA (inter-media). She invited friends and fellow students to her apartment. The viewer entered through a slightly ajar door into a dark apartment into a room where the artist appeared under a single source of light revealing Mendieta stripped from the waist down. The artist stood slouched and bound over a table, nude from the waist down with her body smeared in blood. Around her was an assemblage of broken plates and blood on the floor. Her direct identification with a specific victim meant that she could not be seen as an anonymous object in a theatrical tableau.

 

Ana Mendieta. 'Untitled (Self-Portrait with Blood)' (detail) 1973

 

Ana Mendieta
Untitled (Self-Portrait with Blood)
(detail)
1973
Suite of six color photographs (estate prints 1997)
Each 50.8 x 40.6 cm
Private collection, London; Courtesy Alison Jacques Gallery, London

 

Ana Mendieta. 'Untitled (Body Tracks)' 1974

 

Ana Mendieta
Untitled (Body Tracks)
1974
Colour photograph, lifetime print
Collection of Igor DaCosta
© The Estate of Ana Mendieta Collection, L.L.C.
Courtesy Galerie Lelong, New York and Paris and Alison Jacques Gallery, London

 

Ana Mendieta. 'Untitled (Glass on Body Imprints)' 1972

 

Ana Mendieta
Untitled (Glass on Body Imprints)
1972
Suite of six colour photographs, estate prints
© The Estate of Ana Mendieta Collection, L.L.C.
Courtesy Galerie Lelong, New York and Paris and Alison Jacques Gallery, London

 

Ana Mendieta. 'Untitled' 1973

 

Ana Mendieta
Untitled
1973
Lifetime colour photograph
Collection Walker Art Center, Minneapolis, T. B. Walker Acquisition Fund, 2011
© The Estate of Ana Mendieta Collection, L.L.C.
Courtesy Galerie Lelong, New York and Paris and Alison Jacques Gallery, London

 

Ana Mendieta. 'Blood and Feathers #2' 1974

 

Ana Mendieta
Blood and Feathers #2
1974
Colour photograph, lifetime print
Collection Raquelín Mendieta Family Trust
© The Estate of Ana Mendieta Collection, L.L.C.
Courtesy Galerie Lelong, New York and Paris and Alison Jacques Gallery, London

 

Ana Mendieta. 'Imagen de Yagul' 1973

 

Ana Mendieta
Imagen de Yagul
1973
Lifetime colour photograph
Glenstone
© The Estate of Ana Mendieta Collection, L.L.C.
Courtesy Galerie Lelong, New York and Paris and Alison Jacques Gallery, London

 

 

“Ana Mendieta: Traces is the first comprehensive survey of this influential artist’s work to be presented in Great Britain or the German-speaking world. It persuasively demonstrates that her art, while very much rooted in the concerns of her day, maintains a powerful connection to our present moment. Born in Cuba in 1948, Mendieta was forced to immigrate to the United States as a child due to her father’s political situation, and much of her work is obliquely haunted by the exile’s sense of displacement, while also reflecting her position as a double minority in North America’s largely white, male art world of the 1970s and 1980s. From the beginning, motifs of transience, absence, violence, belonging, and an identity in flux animated her multidisciplinary art, which ranged nomadically across practices associated with body art, land art, performance, sculpture, photography and film. At its core lay her recurring use of her own body – its physical and photographic traces – and her interest in marginal outdoor sites and elemental materials.

Spanning her brief, yet remarkably productive, career, this exhibition explores the many distinct facets of her practice. It captures her powerfully visceral evocation of ritual and sacrifice, as well as cycles of life and decay, while also highlighting her pioneering role as a conceptual border-crosser. Including photographs, drawings, sculptures, Super-8 films and a substantial selection of photographic slides, most of which have not been exhibited until now, Ana Mendieta: Traces reveals an artist whose underlying concerns led her to bravely re-work and re-combine genres, to draw on different cultures, both archaic and contemporary, while challenging the limits of the art discourse of her time. Her work continues to profoundly challenge, disturb, influence and inspire.

The Museum der Moderne Salzburg will open an extensive retrospective of the work of Ana Mendieta, one of our era’s most important and influential artists. Mendieta was born to a politically active family in Havana, Cuba in 1948. In the wake of the Cuban revolution, when she was only twelve years old, her parents sent her together with her sister to the United States. In 1985, at just thirty-six years old, she died under tragic circumstance in New York. During her short yet prolific career, she developed a unique visual language that is mesmerizing in its intimacy, and equally challenging. Her pioneering work has been acknowledged by large retrospectives in the United States and Europe, and is represented in the collections of major museums.

According to Sabine Breitwieser, director at the Museum der Moderne Salzburg, who has arranged the exhibition, “a comprehensive exhibition in the German-speaking area, especially in Austria, and the German monograph on Ana Mendieta are long overdue. The artist’s distinctive work, in which she stages her body within the landscape, seems to be ideally exhibited at this site, where nature and the theatrical take on such a major role. Due to the fragility of the work, this could possibly be one of the last extensive Mendieta exhibitions.”

Among the central themes in Mendieta’s artistic work are exile and cultural displacement. In her search for identity and finding her place in the world, she attempted to create a dialogue between the landscape and the female body. Her work reveals numerous points of contingency with the emerging art movements of the 1960s and 1970s – Conceptual art, land art, and performance art. Nonetheless, it refuses any kind of categorization and instead addresses missing links or gaps between different media and art forms. “Through my art I want to express the immediacy of life and the eternity of nature,” wrote Mendieta in 1981. Using her own body and elementary materials, such as blood, fire, earth, and water, she created transitory pieces that combine rituals with metaphors for life, death, rebirth, and spiritual transformation. Her disembodied “earth body” sculptures were private, meditative ceremonies in nature documented in the form of slides and films. From them, Mendieta developed the so-called Siluetas (silhouettes), which form the core of her work. In the 1980s, Mendieta’s body disappeared from her artworks and she started to generate indoor works for galleries. Her engagement with nature continued in her sculptures and drawings, which she created as lasting works.

The exhibition presents roughly 150 works, which are organized throughout twelve spaces; two of these spaces are reconstructions of the original exhibitions by the artist. The works shown are in a multitude of media ranging from photography, film, and sculpture through to drawing. A further section will present the artist’s archive. Slides and photographs, notebooks and postcards offer insight into Mendieta’s working methods. The concern of Stephanie Rosenthal, chief curator of the Hayward Gallery London, is “to show Ana Mendieta’s outstanding work in all of its facets, and to place her artistic process at the center.”

While the artistic media that Mendieta utilizes in her works could not be any more diverse, the pictures that she produces are characterized by an unmistakable, overwhelming and mystical poetry. This exhibition makes clear that almost thirty years after the artist’s premature death, her work has lost none of its singularity and uniqueness.”

Text from the Museum der Moderne Salzburg website

 

Ana Mendieta. 'Untitled (Silueta Series)' 1978

 

Ana Mendieta
Untitled (Silueta Series)
1978
Gelatin silver print
20.3 x 25.4 cm
Solomon R. Guggenheim Museum

 

Ana Mendieta. 'Alma, Silueta en Fuego' (Soul, Silhouette on Fire) (still) 1975

 

Ana Mendieta
Alma, Silueta en Fuego (
Soul, Silhouette on Fire) (still)
1975
Super-8 color, silent film transferred to DVD
3:07 minutes
The Estate of Ana Mendieta Collection; Courtesy Galerie Lelong, New York and Paris, and Alison Jacques Gallery, London

 

Ana Mendieta. 'Anima, Silueta de Cohetes (Firework Piece)' (still) 1976

 

Ana Mendieta
Anima, Silueta de Cohetes (Firework Piece)
(still)
1976
(Soul, Silhouette of Fireworks)
Super-8 color, silent film transferred to DVD
2:22 minutes
The Estate of Ana Mendieta Collection; courtesy Galerie Lelong, New York and Paris

 

Ana Mendieta. 'Untitled (Cuilapán Niche)' 1973

 

Ana Mendieta
Untitled (Cuilapán Niche)
1973
Black-and-white photograph (lifetime print)
25.4 x 20.4 cm
Private collection, London; Courtesy Gallery Lelong, New York and Paris, and Alison Jacques Gallery London

 

 

“Ana Mendieta died at just 36 years old, but the imprint of her life digs deeper than most. Mendieta’s work occupies the indeterminate space between land, body and performance art, refusing to be confined to any one genre while working to expand the horizons of them all. With the immediacy of a fresh wound and the weightlessness of a half-remembered song, Mendieta’s artwork remains as haunting and relevant today as ever.

Her haunting imagery explores the relationship between earth and spirit while tackling the eternally plaguing questions of love, death and rebirth. Like an ancient cave drawing, Mendieta’s art gets as close as possible to her subject matter allowing no excess, using primal and visceral means to navigate her themes. Decades after her death, the Museum der Moderne Salzburg will show a retrospective of the late feminist artist’s work, simply titled “Ana Mendieta: Traces.”

Mendieta, who was born in Havana, Cuba in 1948, moved to the U.S. at 12 years old to escape Castro’s regime. There she hopped between refugee camps and foster homes, planting inside her an obsession with ideas of loss, belonging and the impermanence of place. As an artist in the 1970s, Mendieta embarked upon her iconic series “Silhouettes,” in which she merged body and earthly material, making nature both canvas and medium. In her initial “Silhouette,” Mendieta lay shrouded in an ancient Zapotec grave, letting natural forms eat up her diminutive form.

Her “earth-body” sculptures, as they came to be known, feature blood, feathers, flowers and dirt smothered and stuck on Mendieta’s flesh in various combinations. In “Imagen de Yagul,” speckled feverishly in tiny white flowers, she appears as ethereal and disembodied as Ophelia, while in “Untitled Blood and Feathers” Mendieta looks simultaneously the helpless victim and the guilty culprit. “She always had a direction – that feeling that everything is connected,” Ana’s sister Raquelin said of her work.

An uncertain mythology runs throughout Mendieta’s oeuvre, a feeling at once primal, pagan and feminine. Admirers have cited the Afro-Cuban religion of Santeria as an influence, as well as the ancient rituals of Mexico, where Mendieta made much of her work. Yet many of Mendieta’s pieces removed themselves from the spiritual realm to address present day events, for example “Rape Scene,” a 1973 performance based off the rape and murder of a close friend. For the piece Mendieta remained tied to a table for two hours, motionless, her naked body smeared with cow’s blood. In another work, Mendieta smushes her face and body against glass panes, like a child eager to peek into an off-limits locale, or a bug that’s crashed into a windshield. Against the glass, her scrambled facial features almost resemble a Cubist artwork.

Mendieta died tragically young in 1985, falling from her New York City apartment window onto a delicatessen below. She was living with her husband of eight months, minimalist sculptor Carl Andre at the time. Andre was convicted of murder following the horrific incident and later acquitted. Though the art world remains captivated by the mysterious nature of Mendieta’s passing, her sister emphasized the importance of removing Ana’s work from her life story. “I don’t want it to get in the way of the work,” she said. “Her death has really nothing to do with her work. Her work was about life and power and energy and not about death.”

Fellow feminist performance artist Carolee Schneeman disagrees, however, telling The New York Times in 2004: “I see her death as part of some larger denial of the feminine. Like a huge metaphor saying, we don’t want this depth of feminine eroticism, nature, absorption, integration to happen. It’s too organic. It’s too sacral. In a way, her death also has a symbolic trajectory.”

Since many of Mendieta’s artworks were bodily performances, the ephemera that remain are but traces of her original endeavors. For an artist whose career was built on imprints, ghosts and impressions, this seems aptly fitting. Visceral yet distant, bodily yet spiritual, Mendieta’s images speak a language very distant from the insular artistic themes that so often populate gallery and museum walls. Mendieta’s works present the female body turned out, at once vulnerable and all-powerful, frail and supernatural. As her retrospective makes obvious, her artistic traces are still oozing lifeblood.”

Priscilla Frank. “The Haunting Traces Of Ana Mendieta Go On View (NSFW),” on the Huffington Post website February 4, 2014 [Online] Cited 30/06/2014

 

Ana Mendieta. 'Untitled' 1976 "Silueta Series, Mexico"

 

Ana Mendieta
Untitled
1976
“Silueta Series, Mexico”
Color photograph (lifetime print)
39.8 x 31 x 3.2 cm (framed)
Tate: Presented by the American Patrons of Tate, courtesy of the Latin American Acquisitions Committee 2010

 

Mendieta formed a silueta on the beach at La Ventosa, Mexico, filling it with red tempera that was ultimately washed away by the ocean waves. The artist documented the obliteration of the figure by the tide in a sequence of 35 mm slides.

 

Ana Mendieta. 'Tree of Life' 1976

 

Ana Mendieta
Tree of Life
1976
Colour photograph, lifetime print
Collection Raquelín Mendieta Family Trust
© The Estate of Ana Mendieta Collection, L.L.C.
Courtesy Galerie Lelong, New York and Paris and Alison Jacques Gallery, London

Ana Mendieta. 'Untitled' 1978 "Silueta Series, Iowa"

 

Ana Mendieta
Untitled
1978
“Silueta Series, Iowa”
Color photograph (lifetime print)
25.4 x 20.3 cm
The Estate of Ana Mendieta Collection; courtesy Galerie Lelong, New York and Paris

 

Ana Mendieta. 'Itiba Cahubaba (Esculturas Rupestres)' [Old Mother Blood (Rupestrian Sculptures)] 1982

 

Ana Mendieta
Itiba Cahubaba (Esculturas Rupestres) [Old Mother Blood (Rupestrian Sculptures)]
1982
Black-and-white photograph, box mounted, exhibition copy
Collection Ignacio C. Mendieta
© The Estate of Ana Mendieta Collection, L.L.C.
Courtesy Galerie Lelong, New York and Paris and Alison Jacques Gallery, London

 

Ana Mendieta. 'Untitled' 1982

 

Ana Mendieta
Untitled
1982
Graphite on leaf of a copey tree (Clusia major)
E. Righi Collection
© The Estate of Ana Mendieta Collection, L.L.C.
Courtesy Galerie Lelong, New York and Paris and Alison Jacques Gallery, London

 

Ana Mendieta with Untitled wood sculpture, 1984-85

 

Ana Mendieta with Untitled wood sculpture, 1984-85
© The Estate of Ana Mendieta Collection, L.L.C.
Courtesy Galerie Lelong, New York and Paris and Alison Jacques Gallery, London

 

Ana Mendieta. 'El Laberinto de Venus' (Labyrinth of Venus) 1985

 

Ana Mendieta
El Laberinto de Venus (Labyrinth of Venus)
1985
Acrylic on paper
Collection Raquelín Mendieta Family Trust
© The Estate of Ana Mendieta Collection, L.L.C.
Courtesy Galerie Lelong, New York and Paris and Alison Jacques Gallery, London

 

 

Museum der Moderne Mönchsberg
Mönchsberg 32
5020 Salzburg
T: +43.662.84 22 20-403

Opening hours:
Tuesday - Sunday: 10.00 am - 6.00 pm
Wednesday: 10.00 am - 8.00 pm
Monday: closed

Museum der Moderne website

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03
Jul
14

Exhibition: ‘John Divola: As Far As I Could Get’ at the Los Angeles County Museum of Art (LACMA)

Exhibition dates: 6th October 2013 – 6th July 2014

 

FINALLY…. two postings on consecutive days by conceptual artists who use photography to document their staging, performance, sculpture, body, earth-body, action art, found art, land art – WORK THAT I REALLY LIKE AND CAN REALLY CARE ABOUT.

I care about both artists work not so much because of the quality of the photography but because of their passion, insight, ideas and general human nous, their need to understand humans and the worlds we inhabit: that INTELLIGENCE necessary for understanding what is true or real, using their intuition to root out, to dig down into the human psyche.

In this posting Divola eloquently investigates the mysterious process of creation through imagination (only for the original “model” then to be destroyed); the notion of photographic authenticity and an interrogation of the human impulse to master the natural world; photography at its most deceptively naturalistic revealing hidden, dead animals; and the landscape altered by human presence and staged to serve as a theater for creative activity through the “captured” act of running away.

Dr Marcus Bunyan for the Art Blart blog

.
Many thankx to the Los Angeles County Museum of Art (LACMA) 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 'John Divola: As Far As I Could Get' at the Los Angeles County Museum of Art (LACMA)

Installation view of 'John Divola: As Far As I Could Get' at the Los Angeles County Museum of Art (LACMA)

Installation view of 'John Divola: As Far As I Could Get' at the Los Angeles County Museum of Art (LACMA)

 

Installation views of John Divola: As Far As I Could Get at the Los Angeles County Museum of Art (LACMA)
© John Divola
Photo
© 2013 Museum Associates/LACMA

 

John Divola. 'Man in Vortex, 87CA2' 1987

 

John Divola
Man in Vortex, 87CA2
1987
Black and White Polapan Print (Polaroid)
20 x 24 inches
© John Divola

 

In Divola’s words, the Polaroids feature “The photograph as an object has an relationship to that which it represents, something like the relationship the snake skin has to the snake that sheds it. The relationship of something dead to something living.” The Polapan prints especially lend themselves to this associate with skin. Their plasticity and their alchemical marks bear witness to a mysterious process of creation; their subject matter conjured up, and then discarded. Divola’s “studio constructions,” as he called them, were temporary structures made solely for the purpose of photographic depiction, including funnels, human and animal figures, and expressively painted backdrops. Divola’s photographs are themselves echo chambers: they replicate and reverberate light from objects that have long since vanished.

Divola’s process has important photo-conceptual precedents: Richard Long’s photographic records of lines made by walking, Jan Dibbets’ play with optical illusion through the camera’s lens, or Robert Smithson’s Yucatan Mirror Displacements. Divola’s work, though, is equally in conversation with the work of Jasper Johns. Johns, known for his paintings of numbers, flags, maps, and targets, focused on flat subjects as a means to conjoining the surface of subject matter with a painting’s flat picture plane. Divola has transmuted the achievements and medium-specificity of high modern painting into images that explore photography’s mimetic qualities and its sheer surface. These are images are about a recognizable reality we cannot access, dim echoes of a familiar world, yet one that has vanished.”

“JOHN DIVOLA – Echo Chamber” on the Gallery Luisotti website.

 

John Divola. 'Cone, 87CN09' 1987

 

John Divola
Cone, 87CN09
1987
Black and White Polapan Print (Polaroid)
20 x 24 inches
© John Divola

 

John Divola. 'Rock and Water #1, 88RW1' 1988

 

John Divola
Rock and Water #1, 88RW1
1988
Black and White Polapan Print (Polaroid)
20 x 24 inches
© John Divola

 

John Divola. 'Cells, 87CA1' 1987-89

 

John Divola
Cells, 87CA1
1987-89
Internal Dye-diffusion print
20 x 24 inches
© John Divola

 

John Divola. 'Man on Hill, 89MHA1' 1987-89

 

John Divola
Man on Hill, 89MHA1
1987-89
Internal Dye-diffusion Print
20 x 24 inches
© John Divola

 

 John Divola. 'Moon, 88MOA1' 1988

 

John Divola
Moon, 88MOA1
1988
Internal Dye-diffusion print
20 x 24 inches
Courtesy of the artist
© John Divola

 

John Divola. 'Rabbit, 87RBA1' 1987

 

John Divola
Rabbit, 87RBA1
1987
Internal Dye-diffusion print
20 x 24 inches
Courtesy of the artist
© John Divola

 

John Divola. 'Artificial Nature' (detail, 1 of 36) 2002

 

John Divola
Artificial Nature (detail, 1 of 36)
2002
Gelatin Silver Print
8 x 10 in.
Los Angeles County Museum of Art, purchased with funds provided by the Ralph M. Parsons Fund and the Photographic Arts Council, 2013
© John Divola

 

“Across the gallery is a series of found photographs, “Artificial Nature” (2002), made up of continuity stills (the photographs taken on film sets to make ensure uniformity from scene to scene) from mid-century films. The photographs show fabricated landscapes created in studio backlots. The images zero in on the notion of photographic truth – the idea that when you look at a photograph, what you’re seeing is an accurate representation of the world – by presenting a false natural landscape. Without outside knowledge, upon first glance, the photographs look like ordinary landscapes.”

Maxwell Williams. “John Divola’s SoCal Moment,” on the Art in America website

 

“Artificial Nature” (2002) stands out, and as with many of Divola’s series, the bluntness of the title belies the delicacy and actual locus of interest. Composed of thirty-six “continuity stills”, these black and white prints have been repurposed from movie studio archives, framed and hung in a tight grid. Ranging in provenance from the 1930s to the 1960s, each picture documents a movie set dressed as a lush, natural landscape. A clapperboard sign planted in the foreground might identify the scene as “wooded hillside” or “the beach.” At once romantic and businesslike, the series opens a delicious gap between intention and effect. To view these pictures only through the lens of nature vs. artifice would be reductive and superficial at best. Treat them instead as a peek into the cabinetry of early pop mechanics, or evidence of a peculiar temporality where worlds should be fixed with a sign because they so routinely congeal and vanish.”

Kristin Posehn. “John Divola: As Far As I Could Get,” on The Miami Rail website.

 

John Divola. 'Artificial Nature' (detail, 1 of 36) 2002

John Divola. 'Artificial Nature' (detail, 1 of 36) 2002

John Divola. 'Artificial Nature' (detail, 1 of 36) 2002

John Divola. 'Artificial Nature' (detail, 1 of 36) 2002

 

John Divola
Artificial Nature (detail, 4 of 36)
2002
Gelatin Silver Print
8 x 10 in.
Los Angeles County Museum of Art, purchased with funds provided by the Ralph M. Parsons Fund and the Photographic Arts Council, 2013
© John Divola

 

 

“With a career compromising four decades, John Divola is as distinctive for his commitment to the photographic community as for his thought-provoking work, Divola’s infuence within the field of photography is widely recognized by curators, critics, scholars and photographers throughout the country; yet, his work has remained largely uncelebrated. Many of his former students have achieved illustrious careers and far more recognition, even as Divola continues to mentor and inspire both undergraduate and graduate students in contemporary practice.

As Far As I Could Get is the first over-arching presentation of Divola’s work and is a collaborative project led by the Santa Barbara Museum of Art (SBMA), shown simultaneously at SBMA, the Los Angeles County Museum of Art (LACMA), and the Pomona College Museum of Art (PCMA) in the fall of 2013. Though Divola’s photographic series are diverse in subject matter, this approach as one exhibition among three Southern California venues emphasizes the consistent conceptual and performative threads that run through Divola’s entire body of work.

Divola was born in Los Angeles in 1949. After graduating with a BA from California State University, Northridge, he entered the MFA program at the University of California Los Angeles. There, under the tutelage of Robert Heineken, the artist began to develop his own unique photographic practice, one that merges photography, painting, and conceptual art. In addition to his own studio practice, he teaches contemporary art in the underserved California inland empire and writes on current phhotographic practice for a national audience.

John Divola’s photos of photographs range widely but the intellectual rigor from which they spring is unvarying. Whether testing the visual limits of photography by vandalizing abandoned houses, interrogating the iconography of the divine through paint, flour, and film, or emphasizing the distance between image and reality through the blurred figure of a running dog, Divola’s work is simultaneously fun and philosophical, visually appealing as well as intellectually stimulating.

LACMA On view:  Four series of John Divola’s work in the Ahmanson Building, 2nd Floor

The series 20 x 24 Polaroids is Divola’s earliest work exhibited at LACMA, shot between 1987 and 1989. Hastily fabricated sculptures created out of impermanent materials attempt, on one level, to approximate actual physical objects in the world – branches, a rabbit, the moon, etc. At the same time, the roughly-hewn surfaces and ticky-tacky backdrops insist on the artificiality of what is depicted. These works express Divola’s ambivalence to the idea of photography as a descriptive medium with a one-to-one relationship to the real. Photography, in this case, is not employed in the service of documentary truth, but instead is held up as a crucial interlocutor in a creatiive exercise.

Artificial Nature (2002) offers a clear example of Divola’s interrogation of the human impulse to master the natural world. The work is a collecction of 36 continuity stills from films made between the 1930s and the 1960s. These photographs, taken on film sets to establish consistency across multiple cuts (to ensure that the placement of objects remains constant from take to take), document fabricated landscapes contained within the artificial space of the film studio. Representinng the diversity of natural topographies add weather patterrns, the images also include accessories such as signage and clapperboards, highlighting the distance between ourselves and the natural world – a diistance that is only accentuated by cinematic representation.

Seven Songbirds and a Rabbit (1995) is a series of details from the Keystone Mast ccollection of stereographic negatives housed at the California Museum of Photography, University of Caliifornia Riverside. Stereoscopy, a three-dimensional imaging technology popular from the mid 19th to the early 20th century, exemplifies photography at its most deceptively naturalistic. When Divola began to examine the original glass-plate negatives in the Keystone collection, he found a wealth of detail, such as the birds and rabbit nestled amidst the folliage that gave the series its title.

The series As Far As I Could Get (1996-2010), five works of which are included in the LACMA exhibition, has Divola once again engaging with the natural environment, but this time in a more performative vein. Divola positioned his camera on a tripod, set the timer for ten seconds, and then ran straight into the established frame. At one level, this was a completely dispassionate endeavor. On another level, because the resulting pictures depict a man in a landscape, not in a controlled experimental setting, the viewer cannot suppress a frisson of physical and emotional tension. The works engage the viewer with the natural landscape – a landscape altered by human presence and staged to serve as a theater for creative activity.”

Press release from the LACMA website

 

John Divola. 'Seven Songbirds and a Rabbit' (detail) 1995

John Divola. 'Seven Songbirds and a Rabbit' (detail) 1995

John Divola. 'Seven Songbirds and a Rabbit' (detail) 1995

John Divola. 'Seven Songbirds and a Rabbit' (detail) 1995

John Divola. 'Seven Songbirds and a Rabbit' (detail) 1995

John Divola. 'Seven Songbirds and a Rabbit' (detail) 1995

 

John Divola
Seven Songbirds and a Rabbit (details)
1995
Gelatin Silver Print on Linen
20 x 20 inches
© John Divola

 

John Divola. 'As Far As I Could Get (R02F09), 10 Seconds' 1996-97

 

John Divola
As Far As I Could Get (R02F09), 10 Seconds
1996-97
Pigment Print
60 x 40 inches
© John Divola

 

John Divola. 'As Far As I Could Get (R02F06), 10 Seconds' 1996-97

 

John Divola
As Far As I Could Get (R02F06), 10 Seconds
1996-97
Pigment Print
60 x 40 inches
© John Divola

 

“Divola is a photographer who works in distinct conceptual series that span and stretch the reaches of photography as art. For instance, at LACMA, the works include a series called “As Far As I Could Get” (1996-2010), where Divola sets a 10-second timer and sprints as far from the camera as he can. It’s performative, simple, amusing and alienating – a tiny body in full physical exertion, far off in the landscape.”

Maxwell Williams. “John Divola’s SoCal Moment,” on the Art in America website.

 

John Divola. 'As Far As I Could Get (R02F33), 10 Seconds' 1996-97

 

John Divola
As Far As I Could Get (R02F33), 10 Seconds
1996-97
Pigment Print
60 x 40 inches
© John Divola

 

John Divola. 'As Far As I Could Get, 10 Seconds' 1996-97

 

John Divola
As Far As I Could Get, 10 Seconds
1996-97
Pigment Print
60 x 40 inches
© John Divola

 

John Divola. 'As Far As I Could Get, 10 Seconds' 1996-97

 

John Divola
As Far As I Could Get (R02F33), 10 Seconds
1996-97
Pigment Print
60 x 40 inches
© John Divola

 

John Divola. 'As Far As I Could Get, 10 Seconds' 1996-97

 

John Divola
As Far As I Could Get (R02F33), 10 Seconds
1996-97
Pigment Print
60 x 40 inches
© John Divola

 

 

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

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

LACMA website

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01
Jul
14

Exhibition preview: ‘Vital Signs – Interpreting the Archive’ at Blindside, Melbourne

Exhibition dates: Wednesday 9th – Saturday 26th July 2014
Opening: Thursday 10th July 6 – 8pm

Artists: Marcus Bunyan, Penny Byrne, Ray Cook, Deborah Kelly, Peter Lambropoulos, Salote Tawale
Curated by: Angela Bailey and Nick Henderson

 

Nite Art Melbourne: Wednesday 23rd July 6 – 11 pm

Short and sharp – on the hour, every hour – featuring artists and curator talks, music and performance. As part of the Nite Art CBD program Blindside is one of many galleries staying open late.

Queering the Archive panel discussion: Saturday 12th July 2.30 – 4 pm

A panel discussion on GLBTQI representation in collections and its interpretations with: Susan Long (Artist and SLV Librarian); Nick Henderson (Archivist, ALGA Committee Member); Peter Lambropoulos (Vital Signs Artist). All welcome.

 

 

“Vital Signs presents a unique opportunity for contemporary artists to engage  with and creatively interpret the collection of the Australian Lesbian and Gay Archives (ALGA). Each of the artists have a rich art practise that considers social justice, activism and GLBTQI cultures and will engage with different aspects of the collection to inform their work.

The Archives were established in 1978 and for the last 35 years has actively collected and preserved GLBTQI material from across Australia and actively sought to educate a wider audience about Australian GLBTQI history. The Archives is a community-orientated organisation committed to preserving and sharing the rich and diverse histories of the GLBTQI communities for future generations. The exhibition is presented as part of the Cultural Program of the AIDS 2014 20th International AIDS Conference in Melbourne and considers the shared histories of the GLBTQI and HIV communities in a contemporary representation.

Vital Signs is supported by the National Association of People Living with HIV Australia (NAPWHA)ALGA and the Victorian AIDS Council.”

Press release from the Blindside website. Please click on the photographs for a larger version of the image.

 

 

Penny Byrne. 'Badge of Honour' (installation detail) 2014

 

Penny Byrne
Badge of Honour (installation detail)
2014

 

Peter Lambropoulos. 'Side A' (video still) 2014

 

Peter Lambropoulos
Side A (video still)
2014
Duration 31 minutes
Digital video on iPad (continuous loop)

 

Peter Lambropoulos. 'Side A, Side B and Master' 2014

 

Peter Lambropoulos
Side A, Side B and Master (still)
2014
Digital video on iPad (continuous loop)

 

Salote Tawale. 'Pocari Sweat' (video still) 2014

 

Salote Tawale
Pocari Sweat (video still)
2014
Video

 

Ray Cook. 'Arm' 2009

 

Ray Cook
Arm
2009
Photograph
80 x 80cm
Image courtesy the artist

 

Ray Cook. 'Untitled' from the series 'Conversations with Ancestors' 2014

 

Ray Cook
Untitled from the series Conversations with Ancestors
2014
(Lottie, Melbourne 1960′s from the ALGA collection)
Digital photograph

 

Deborah Kelly. 'Acting up' (in memory of the Floral Clock action, 1991) 2014

 

Deborah Kelly
Acting up (in memory of the Floral Clock action, 1991)
2014
Paper collage on Stonehenge cotton paper with pigment ink
56 x 76.5 cm

 

Marcus Bunyan. 'Untitled' from the series 'Deep Water' 2014

 

Marcus Bunyan
Untitled from the series Deep Water
2014
Digital photograph on archival rag paper
70 x 97 cm

 

Marcus Bunyan. 'Untitled' from the series 'Deep Water' 2014

 

Marcus Bunyan
Untitled from the series Deep Water
2014
Digital photograph on archival rag paper
70 x 97 cm

 

 

Blindside
Level 7, Room 14, Nicholas Building
37 Swanston Street, Melbourne
VIC 3000 Australia
T: (+61 3) 9650 0093
E: info@blindside.org.au

Opening hours:
Tuesday to Saturday, 12 – 6pm (during exhibition program)
Closed on public holidays

Blindside website

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National Association of People Living with HIV Australia (NAPWHA) website Australian Lesbian and Gay Archives website
Victorian AIDS Council website Nite Art Melbourne website

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29
Jun
14

Review: ‘Concrete’ at the Monash University Museum of Art (MUMA), Melbourne

Exhibition dates: 3rd May – 5th July 2014

Artists: Laurence Aberhart (NZ), Jananne al-Ani (IRQ/UK), Kader Attia (DEU/DZA), Saskia Doherty (AUS), Fabien Giraud & Raphaël Siboni (FRA), Igor Grubić (CRO), Carlos Irijalba (ESP), Nicholas Mangan (AUS), Rä di Martino (ITY), Ricky Maynard (AUS), Callum Morton (AUS), Tom Nicholson (AUS),  Jamie North (AUS), Justin Trendall (AUS) and James Tylor (AUS)

Curator: Geraldine Kirrihi Barlow

 

While not as strong as previous exhibitions such as NETWORKS (cells & silos) (2011) and Reinventing the Wheel: the Readymade Century (2013), this exhilarating show at the Monash University Museum of Art (MUMA) confirms that this is the premier public gallery in Melbourne staging intellectually stimulating group exhibitions on specific ideas, concepts and themes.

There are some really interesting works here and I easily spent an hour and a half on each visit pondering, looking, thinking and inquiring. Some of the work is a little overexposed, such as Tom Nicholson’s Comparative monument (Palestine) (2012) – seen in Melbourne Now; Nicholas Mangan’s Some kinds of duration (2011), Ricky Maynard’s photographs and even more Callum Morton after his appearance in the Reinventing the Wheel exhibition. It’s about time some other local artists were given a go.

Justin Trendall’s white Lego buildings are stunning; Laurence Aberhart’s war memorials are printed too dark and seemed to be neither a record nor a feeling (they looked so much better in the recently published book); James Tylor’s photographs are adaptive as they seek to place traditional Indigenous dwellings back into the landscape but the base photographs from which he is working are not up to much; Rä di Martino’s Star Wars ruins are just too cute; and Carlos Irijalba’s drilling/tides are fascinating, but only if you know the context from which the work emanates. Video art was the highlight of the exhibition, and I don’t get to make that statement too often. Igor Grubic’s film Monument (2014, below) was mesmerising, as was Jananne al-Ani’s Shadow sites II (2011, below) – two of the best pieces of video art I have seen in a long time.

Monument features a series of meditative ‘portraits’ of the massive concrete memorials called ‘Spomenik’ built by the former Yugoslav communist state. Grubic abstracts these huge, cathedral-like memorials to various battles (usually of the Second World War) and events,  instead focusing on textures, environments and seasons. He photographs the monuments in mist and accompanies the images with ambient soundscapes that are haunting and evocative. The film holds the viewer in the palm of its hand and you are unable to look away, as the artist’s camera scours the surface of concrete and steel, intercut with branches and leaves, angles and vistas, pulling back and pushing forward. Usually video art doesn’t hold my attention for all but a few minutes but this film you can’t take your eyes from. The screen flickers and crackles, fades to orange and back again – its almost like a failure of transmission, as though the signal is not strong enough to support these interstitial spaces.

In Jananne al-Ani’s immersive film Shadow sites II, the viewer sits in a darkened room and the screen is full width of the space. Here, we are constantly moving forward and the camera never pulls back from the image. The film offers a sequence of aerial views in sepia tones; second by second our perspective nears the ground – but we never arrive. Accompanied by a David Sylvian style ambient soundtrack, the images are absolutely beautiful and intriguing as they morph one to another. Are you looking at the earth, the ground or a closeup of the surface of concrete, such as the patterns in Man Ray’s Dust Breeding (1920), which documents Duchamp’s The Large Glass after it had collected a year’s worth of dust while he was in New York? You are never quite sure…

The other thing to note with this exhibition is that, like many contemporary exhibitions, there are no wall notes or even a hand-out at the beginning that would enable the casual visitor to gain insight into the nature and meaning of the works. If I had not read the press release and done my own research I would have had no idea about the origins of some of the concepts for the work. This really is not good enough for the casual visitor to the gallery, any gallery. Are visitors expected to spend hours before they arrive, researching what the work is about so that they might actually understand what is going on? I took a friend to the gallery and luckily I was on hand to explain to her the ‘how’ and ‘why’ of the works concepts and origins. For example, if you read the wall label for Monuments you would have no idea that these were in Yugoslavia and that they had mostly been built to honour the dead from World War II; similarly, if you read the wall label to Carlos Irijalba’s High Tides (drilling) (2012) you would gain only the vaguest idea that the soil drilling sample was taken from under the tarmac of a former weapons factory in the Urdaibai or Guernica Estuary, Basque Country. Guernica – that place of horror bombed in the Spanish Civil War and most notably memorialised in the painting by Picasso of the same name. We, the viewer, need to know these things… not as an addendum after hours of reading, or on getting home and reading the catalogue essay – but while we are at the gallery!

While artists hint at the meaning of a work, leaving interpretation open ended and up to the viewer’s imagination and what life history they bring to the work, it may be useful and indeed I think desirable to provide the viewer with some tangible clues. Not much, just a paragraph that they can take with them to help with interpretation. It’s not much to ask, is it?

Dr Marcus Bunyan for the Art Blart blog

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

 

“Concrete is an interesting metaphor in the sense that it’s an aggregate that’s then bonded together. In some ways, that might represent this positive idea of pluralism, or it could be this completely hideous idea of homogeneity. Many of the works deal with samples of time and cycles violence and trauma and how we go about representing that history.”

.
Geraldine Kirrihi Barlow

 

 

Igor Grubic. 'Monument' 2014

 

Igor Grubic
Monument
2014
Video still
Courtesy of the artist

 

Igor Grubic. 'Monument' 2014

 

Igor Grubic
Monument
2014
Video still
Courtesy of the artist

 

14-5_MUMA-Concrete_13-WEB

 

Igor Grubic
Monunment (work in progress) installation view, Monash University Museum of Art, 2014
2014
Video projection, colour, sound
53 minutes
Photo: Christian Capurro

 

Born in Zagreb, Croatia, 1969. Lives and works in Zagreb

In the film Monument Zagreb-based artist Igor Grubic offers a series of meditative ‘portraits’ of the massive concrete memorials built by the former Yugoslav state. With the rise of neo-fascism these mysterious sentinel forms, originally intended to honour World War II victims of fascism, are increasingly subject to neglect, even attack.

Emphasising the unexpected fragility of these monumental structures, Grubic sets human attempts to fix meaning, memory and the experience of loss against a backdrop of seasonal change. In a landscape which has witnessed so many cycles of trauma and upheaval, this work mirrors the rise and fall of many monuments built to preserve the memory of events which might otherwise be forgotten. Can such forms ever communicate a stable message through time?

“The work is void of explanation or commentary, instead concentrating on the surfaces of the monuments, their surrounding environments and the shifting seasons. We are left with little but their looming presence. “When we were filming, I was trying to read them without ideological background or context, but at the same time I couldn’t help but feel the fact that lots of people died and suffered at these sites – I could feel a real sense of spirituality. I began seeing them as new cathedrals in a way.”” (Text from the Sydney Morning Herald website)

 

 

Extracts from Igor Grubic’s film Monument 2014

 

Jananne al-Ani. 'Shadow sites II' 2011

 

Jananne al-Ani
Shadow sites II
2011
Video still
Courtesy of the artist

 

Born in Kirkuk, Iraq, 1966. Lives and works in London

Jananne al-Ani’s film Shadow sites II offers a sequence of aerial views in sepia tones; second by second our perspective nears the ground. Our appreciation of the formal beauty of these images co-exists with our unease as we try to determine what it is we are looking at. Are these archaeological sites, or housing compounds damaged by missile or drone strikes? Iraqi-born al-Ani notes as inspiration the ‘strange beauty’ of Edward Steichen’s 1918 photographs of the Western Front taken whilst he was a member of the US Aerial Expeditionary Force.

“UK-based Iraqi artist Jananne al-Ani’s striking video work saw her film archaeological sites in the Middle East from high up in a fixed-wing airplane, the shadows of the early morning and late evening revealing former buildings, structures and sites of significance in extraordinary resolution. While al-Ani’s work evokes the nightmarish recent histories of drone strikes and bombing campaigns, it also digs deep into the past.” (Text from the Sydney Morning Herald website)

 

 

Extracts from Jananne al-Ani’s film Shadow sites II 2011

 

James Tylor. '(Deleted scenes) From an untouched landscape #3' 2013

 

James Tylor
(Deleted scenes) From an untouched landscape #3
2013
Inkjet print on Hahemuhle paper with hole removed to a black velvet void, ed. 4/5
Photo: Christian Capurro

 

James Tylor. '(Deleted scenes) From an untouched landscape #1' 2013

 

James Tylor
(Deleted scenes) From an untouched landscape #1
2013
Inkjet print on Hahemuhle paper with hole removed to a black velvet void, ed. 4/5
Photo: Christian Capurro

 

James Tylor. 'Un-resettling (stone footing for dome hut)' 2013

 

James Tylor
Un-resettling (stone footing for dome hut)
2013
Hand coloured archival inkjet prints
Courtesy of the artist

 

Born in Mildura, Victoria. Lives and works in Adelaide, South Australia

Australian cities and communities feature a wide array of memorials, however the long history of Indigenous Australia is almost entirely absent from such solid forms of public acknowledgement. In Un-resettling James Tylor presents the beginnings of a formal typology of Indigenous dwellings, a number of which relate to his own personal heritage. Tylor states, “Un-resettling seeks to place traditional Indigenous dwellings back into the landscape as a public reminder that they once appeared throughout the area.” Tylor’s photographs remind us of the invisible histories of this land, for instance the fertile volcanic plains west of Melbourne with remnants of stone dwellings and larger ceremonial sites of which there is little public knowledge.

 

Kader Attia. 'Rochers carrés' 2008

 

Kader Attia
Rochers carrés [Square rocks]
2008
Courtesy of the artist and Galerie Nagel Draxler, Berlin and Cologne

 

14-5_MUMA-Concrete_20-WEB

 

Concrete installation view, Monash University Museum of Art, 2014
Justin Trendall (at right), Tom Nicholson (on floor, see below), James Tylor (back wall middle, see above), Kader Attia (back wall left, see above)
Photo: Christian Capurro

 

'Concrete' installation view, Monash University Museum of Art, 2014

 

Concrete installation view, Monash University Museum of Art, 2014
Justin Trendall (back left), Tom Nicholson (on floor, see below), Rä di Martino (back wall right, see below)
Photo: Marcus Bunyan

 

Rä di Martino. 'No More Stars (Abandoned Movie Set, Star Wars)' 2010 (detail)

 

Rä di Martino
No More Stars (Abandoned Movie Set, Star Wars) 33°50’34 N 7°46’44 E Chot El-Gharsa, Tunisia 01 September 2010 (detail)
2010
Series of 9 photographs, unique edition, lambda prints, wooden frame
30cm x 30cm each

 

No More Stars (Abandoned Movie Set, Star Wars) 33°50’34 N 7°46’44 E Chot El-Gharsa, Tunisia 01 September 2010 is a series of photographs taken in the abandoned movie sets of the film saga Star Wars, filmed through the years in different locations in the south of Tunisia. Unexpectedly those sets have been left on the locations so after years have now mostly become ruins, almost as some sort strange archeological sites. The particular hot and dry climate has helped mantain intact many parts of the sets, or buried under the sand just sections of it. (Artist statement)

 

In September 2010, New York-based visual artist and filmmaker Rä di Martino set out on a quest to photograph and document old abandoned film sets in the North African deserts of Tunisia. The project had started when she discovered that it was common practice to abandon these sets without tearing them down, leaving them fully intact and crumbling over time, like archeological ruins. Martino spent that month traveling around Chott el Djerid in Tunisia, finding and photographing three Star Wars sets in all for her photo series No More Stars and Every World’s a Stage.

“I think is very interesting the amazing poetic potential of those ruins, being ruins of something that was the future in our imagination,” Martino explained in an email to The Huffington Post. “It’s bewildering to see the biological decay of those cheap materials, which once built perfect images of our past and future.”

 

Tom Nicholson. 'Comparative monument (Palestine)' 2012

 

Tom Nicholson. 'Comparative monument (Palestine)' 2012

 

Tom Nicholson
Comparative monument (Palestine)
2012
9 stacks of 1000 two-sided off-set printed posters
50 x 50cm each

 

Proposition for a monument, articulated as 9 stacks of 1000 two-sided off-set printed posters, each 50x50cm, for visitors to take away, and also pasted up around Ramallah.

Comparative monument (Palestine) is a proposition for a future monument, which takes the form of nine stacks of posters, from which the audience is free to take a poster. The project began with a search for war monuments bearing the name ‘Palestine’ erected in and around Melbourne in the early 1920s to commemorate the presence of Australian troops in Palestine during WW1. This project rethinks possibilities for the monument and suggests new forms of connection between different parts of the world and their histories.

Throughout Australia, war monuments bear the name “Palestine” to commemorate the presence of Australian troops in Palestine during World War I and, in particular, Australian involvement in the 1917 British capture of Beersheba (in turn a critical city in the events of 1948 and the Nakba). These monuments also reflect the realities of the 1920s (when they were erected) and the era of the British Mandate, when the name Palestine implicitly invoked the shared position of Australia and Palestine within British imperialism. Comparative monument (Palestine) begins with a complete photographic record of these monuments bearing the name “Palestine” in and around Melbourne. Figuring this material into a Palestinian context – both a kind of “homecoming” and exile for these Australian monumental forms – becomes a way to reanimate these linkages between Australia and Palestine. In these forms dedicated to 1917, Nicholson implicates the events and repercussions of 1948 with their echoes of Australian Aboriginal experiences of dispossession and colonial violence. Comparative monument (Palestine) is an attempt to rethink the possibilities of the monument in the face of these histories of dispossession and the acts of imagination and solidarity these histories demand.

 

Nicholas Mangan. 'Some kinds of duration' (detail) 2011

 

Nicholas Mangan
Some kinds of duration (detail)
2011
Installation view, Monash University Museum of Art, 2014
Photo: Marcus Bunyan

 

Nicholas Mangan. 'Some kinds of duration' 2011

 

Nicholas Mangan
Some kinds of duration
2011
Installation view, Monash University Museum of Art, 2014
Photo: Christian Capurro

 

 

“MUMA’s second exhibition for 2014, Concrete brings together the work of twelve artists, both Australian and international. The exhibition explores the concrete, or the solid and its counter: change, the flow of time. As we prepare to mark the centenary of the First World War, the exhibition considers the impact of time upon built and monumental form, reading between materiality and emotion, form and memory.

Monuments reflect a desire for commemoration, truth, honour and justice. Equally, they may function to consolidate political power and national identity. Works in the exhibition locate the monumental in relation to longer cycles of construction, displacement and erasure; archaeology, geology and palaentology; the shifting politics of memory and ways to describe a history of place.
“Concrete explores the human desire to mark our presence as a complex drive for memory – as well as the need for a blank or negative, a placeholder for the unknowable, the unsayable, the missing.”

Exhibition curator, Geraldine Kirrihi Barlow
“Concrete introduces a number of artists to Australian audiences for the very first time. Continuing MUMA’s highly regarded series of thematic and discursive exhibitions, and presenting a broad range of significant projects, Concrete considers the function of monuments and ruins from poetic, material and political perspectives.”

Director, Charlotte Day

Text from the MUMA press release

 

Carlos Irijalba. 'High Tides (drilling)' 2012

 

Carlos Irijalba
High Tides (drilling)
2012
Installation view
Courtesy of the artist

 

Carlos Irijalba. 'High Tides (drilling)' 2012 (detail)

 

Carlos Irijalba
High Tides (drilling) (detail)
2012
Photo: Marcus Bunyan

 

Born in Pamplona, Spain, 1979. Lives and works in Amsterdam, Netherlands

High Tides (drilling) by Carlos Irijalba presents a 17 metre drilling core from the site of a former weapons factory in the Urdaibai or Guernica Estuary, Basque Country. Beneath an asphalt ‘cap’, layers of soil, clay, limestone and the sedimentary rock Marga are evident. The bombing of Guernica is remembered for its devastating impact upon the civilian population and was the subject of an iconic painting by Pablo Picasso. Irijalba offers a window into the history of this place, as well as longer geological measures of time and materiality.

Tides I, II and III 2012 is a series of three photographs of converging layers of asphalt from which the sample has been taken. Together, these images detail a common surface so ubiquitous we cannot value it as rare or particular. And yet these images record a very specific piece of ‘ground’ or earth, just as they also suggest a vast aerial view, perhaps the meeting of two oceans.

 

'Concrete' installation view, Monash University Museum of Art, 2014

 

Concrete installation view, Monash University Museum of Art, 2014
Laurence Aberhart (left), Jamie North (doorway), Carlos Irijalba (right)
Photo: Christian Capurro

 

Laurence Aberhart. 'Auroa Taranaki' 1991

 

Laurence Aberhart
Auroa Taranaki
1991
Silver gelatin photograph

 

Laurence Aberhart. 'Matakana, North Auckland' 1994

 

Laurence Aberhart
Matakana, North Auckland
1994
Silver gelatin photograph

 

Born in New Zealand, 1949. Lives and works in Russell, Northland, New Zealand

Photographer Laurence Aberhart is drawn to the edge of dominant historical narratives, creating archives of built and monumental forms particular to certain places and periods of time. He returns to these chosen subjects repeatedly. His photographs of the ANZAC memorials of Australia and New Zealand have been taken over the past thirty years. Familiar across both countries, the memorials were built after the First World War to commemorate those who served with the Australia and New Zealand Army Corps. Very few families were able to visit the graves of those who died, and so these monuments served the bereaved as well as larger national concerns. As we approach the centenary of the war, these memorials are the focus of greater attention, yet what they mean is difficult to lock down. In these images the single figure on each column is a fixed point against landscapes in states of constant change.

 

Saskia Doherty. 'Footfalls' 2013-14

 

Saskia Doherty
Footfalls
2013-14
Cast concrete and printed paper
Installation view, Monash University Museum of Art, 2014
Photo: Christian Capurro

 

Saskia Doherty poetically references the Samuel Beckett play Footfalls, expanding on an image of famed American palaeontologist Dr Barnum Brown discovering a dinosaur footprint with texts and concrete sculptural gestures, describing the footprint as “a vastly preserved index of a life”.

 

Jamie North. 'Tropic cascade #1 and #2' 2014

 

Jamie North
Tropic cascade #1 and #2
2014
Cement, blast furnace slag, coal ash, galvanised steel, Australian native plants
Installation view, Monash University Museum of Art, 2014
Photo: Christian Capurro

 

Jamie North. 'Tropic cascade #2' (detail) 2014

 

Jamie North
Tropic cascade #2 (detail)
2014
Cement, blast furnace slag, coal ash, galvanised steel, Australian native plants
Installation view, Monash University Museum of Art, 2014
Photo: Marcus Bunyan

 

 

Monash University Museum of Art (MUMA)
Ground Floor, Building F.
Monash University Caulfield campus
900 Dandenong Road
Caulfield East, VIC 3145
T: 61 3 9905 4217

Opening hours:
Tuesday – Friday 10am – 5pm
Saturday 12 – 5pm

Monash University Museum of Art (MUMA) website

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24
Jun
14

Exhibition: ‘Public Intimacy: Art and Other Ordinary Acts in South Africa’ at the Yerba Buena Center for the Arts, San Francisco

Exhibition dates: 21st February - 29th June 2014

Exhibition artists

Public Intimacy presents

  • Photography by Ian Berry, Ernest Cole, David Goldblatt, Terry Kurgan, Sabelo Mlangeni, Santu Mofokeng, Billy Monk, Zanele Muholi, Lindeka Qampi, Jo Ractliffe, and Mikhael Subotzky and Patrick Waterhouse
  • Video works by William Kentridge, Donna Kukama, Anthea Moys, and Berni Searle
  • Painting and sculpture by Nicholas Hlobo and Penny Siopis
  • Puppetry by Handspring Puppet Company
  • Publications, prints, graphic works, and public interventions by Chimurenga, ijusi (Garth Walker), Anton Kannemeyer, and Cameron Platter
  • Performances by Athi-Patra Ruga, Kemang Wa Lehulere, and Sello Pesa and Vaughn Sadie with Ntsoana Contemporary Dance Theatre

 

Continuing my fascination with South African art and photography, here is another exhilarating collection of work from an exhibition jointly arranged between SFMOMA and the Yerba Buena Center for the Arts, San Francisco. This art has so much joy, life, movement and “colour”. I particularly like The Future White Women of Azania series by Athi-Patra Ruga, who presented his work at the 55th Venice Biennale in the African pavilion. Images of his incredible tapestries can be found on the Whatiftheworld website, and photographs of his installation at the WhatIfTheWorld Gallery can be found on the Empty Kingdom website. Thank god not another rehashed colonial image, even though he is working with the tropes of myth and the history of Africa as a contemporary response to the post-apartheid era.

Marcus

.
Many thankx to SFMOMA and Yerba Buena Center for the Arts for allowing me to publish the installation photographs in the posting. Most of the other photographs were gathered from the internet. Please click on the photographs for a larger version of the image.

 

“Disrupting expected images of South Africa, the 25 contemporary artists and collectives featured in Public Intimacy eloquently explore the poetics and politics of the everyday. This collaboration with Yerba Buena Center for the Arts presents pictures from SFMOMA’s collection of South African photography alongside works in a broad range of media, including video, painting, sculpture, performance, and publications – most made in the last five years, and many on view for the first time on the West Coast. Coinciding with the 20th anniversary of democracy in South Africa, Public Intimacy reveals the nuances of human interaction in a country still undergoing significant change, vividly showing public life there in a more complex light.”

Text from the SFMOMA website

 

 

Santu Mofokeng. 'Opening Song, Hand Clapping and Bells' 1986

 

Santu Mofokeng
Opening Song, Hand Clapping and Bells
1986
From the series Train Church
Pigment print
9 13/16 x 13 3/4 in. (25 x 35 cm)
© Santu Mofokeng

 

Santu Mofokeng. 'Leading in Song, Johannesburg - Soweto Line' 1986

 

Santu Mofokeng
Leading in Song, Johannesburg – Soweto Line
1986
From the series Train Church
Pigment print
9 13/16 x 13 3/4 in. (25 x 35 cm)
© Santu Mofokeng

 

Santu Mofokeng. 'Hands in Worship, Johannesburg - Soweto Line' 1986

 

Santu Mofokeng
Hands in Worship, Johannesburg – Soweto Line
1986
From the series Train Church
Pigment print
9 13/16 x 13 3/4 in. (25 x 35 cm)
© Santu Mofokeng

 

Santu Mofokeng. 'Supplication, Johannesburg - Soweto Line' 1986

 

Santu Mofokeng
Supplication, Johannesburg – Soweto Line
1986
From the series Train Church
Pigment print
9 13/16 x 13 3/4 in. (25 x 35 cm)
© Santu Mofokeng

 

Ian Berry. 'Guests at a 'moffie'drag party' Cape Town, South Africa, 1960

 

Ian Berry
Guests at a ‘moffie’drag party
Cape Town, South Africa, 1960
Silver gelatin photograph

 

Billy Monk. 'The Catacombs, 30 September 1967' 1967, printed 2011

 

Billy Monk
The Catacombs, 30 September 1967
1967, printed 2011
Gelatin silver print
10 1/16 x 14 15/16 in. (25.56 x 37.94 cm)
Collection SFMOMA, Accessions Committee Fund purchase
© Estate of Billy Monk

 

Billy Monk. 'The Catacombs, 5 February 1968' 1968, printed 2011

 

Billy Monk
The Catacombs, 5 February 1968
1968, printed 2011
Gelatin silver print
11 x 16 in. (27.94 x 40.64 cm)
Courtesy of Stevenson, Cape Town and Johannesburg
© Estate of Billy Monk

 

Zanele Muholi. 'Nomonde Mbusi, Berea, Johannesburg' 2007

 

Zanele Muholi
Nomonde Mbusi, Berea, Johannesburg
2007
From the Faces and Phases series
Gelatin silver print
23 13/16 in. x 34 1/16 in. (60.5 cm x 86.5 cm)
Courtesy of the artist and Stevenson, Cape Town and Johannesburg
© Zanele Muholi

 

Zanele Muholi, born 1972

Muholi’s work addresses the reality of what it is to be LGBT (lesbian, gay, bisexual, transgender) in South Africa. She identifies herself as a visual activist, dealing with issues of violation, violence and prejudice that she and her community face, despite South Africa’s progressive constitution.

In Faces and Phases, she sets out to give visibility to black lesbians and to celebrate the distinctiveness of individuals through the traditional genre of portraiture. The portraits are taken outdoors with a hand-held camera to retain spontaneity and often shown in a grid to highlight difference and diversity. In the series Beulahs, she shows young gay men, wearing Zulu beads and other accessories usually worn by women, who invert normative gender codes in both costume and pose. At the same time her photographs evoke tourist postcards and recycled stereotypes of Africans and recall traditional anthropological and ethnographic iconography.

Faces and Phases, is a group of black and white portraits that I have been working on from 2006 until now – it has become a lifetime project. The project is about me, the community that I’m part of. I was born in the township: I grew up in that space. Most of us grew up in a household where heterosexuality was the norm. When you grow up, you think that the only thing that you have to become as a maturing girl or woman is to be with a man; you have to have children, and also you need to have lobola or “bride price” paid for you. For young men, the expectation for them is to be with women and have wives and procreate: that’s the kind of space which most of us come from. We are seen as something else by society – we are seen as deviants. We’re not going to be here forever, and I wanted to make sure that we leave a history that is tangible to people who come after us.’

Zanele Muholi, interviewed by Tamar Garb, South Africa, 2010.
Text from the V & A website

 

David Goldblatt. 'Woman smoking, Fordsburg, Johannesburg' 1975

 

David Goldblatt
Woman smoking, Fordsburg, Johannesburg
1975
Pigment inkjet print
23 5/8 in. x 29 1/2 in. (60 cm x 75 cm)
Collection SFMOMA, Accessions Committee Fund purchase
© David Goldblatt.

 

 

Jointly organized by the San Francisco Museum of Modern Art (SFMOMA) and Yerba Buena Center for the Arts (YBCA), Public Intimacy: Art and Other Ordinary Acts in South Africa brings together 25 artists and collectives who disrupt expected images of a country known through its apartheid history. The exhibition features an arc of artists who look to the intimate encounters of daily life to express the poetics and politics of the “ordinary act,” with work primarily from the last five years as well as photographic works that figure as historical precedents. On view at YBCA February 21 through June 29, 2014, Public Intimacy presents more than 200 works in a wide range of mediums, many of them making U.S. or West Coast debuts.

The exhibition joins SFMOMA’s important and growing collection of South African photography with YBCA’s multidisciplinary purview and continued exploration of the Global South. Significant documentary photography is paired with new photographs and work in other mediums, including video, painting, sculpture, performance, and publications, to reveal the multifaceted nuances of everyday life in a country still undergoing significant change. Coinciding with the 20th anniversary of democracy in South Africa, Public Intimacy looks at the way artists imagine present and future possibilities in South Africa. A new orientation emerges through close-up views of street interactions, portraiture, fashion and costume, unfamiliar public actions, and human imprints on the landscape.

The exhibition’s three curators – Betti-Sue Hertz, director of visual arts at YBCA; Frank Smigiel, associate curator of public programs at SFMOMA; and Dominic Willsdon, Leanne and George Roberts Curator of Education and Public Programs at SFMOMA – developed the show after visits to South Africa, where they met with artists, curators, and critics. The exhibition – and a companion publication to be published in fall 2014 – grew out of this research.

“Although South Africa’s political history remains vital to these artists and is important for understanding their work, Public Intimacy offers a more subtle view of the country through personal moments,” said Hertz. “It goes against expectations in order to reveal the smaller gestures and illuminate how social context has affected artists and how they work.”

“The familiar image of contemporary South Africa as a place of turmoil is, of course, not the whole story,” added Willsdon. “The art in this exhibition restages how those violent incidents fit in the broader realm of human interactions – a way of showing public life there in a more complex light.”

“Another central aspect of the exhibition is live performance,” said Smigiel. “Three major live works will unfold both in and outside the gallery context, offering a way to situate and reframe San Francisco through the lens of what artists are producing in South Africa.”

Public Intimacy is part of SFMOMA’s collaborative museum exhibitions and extensive off-site programming taking place while its building is temporarily closed for expansion construction through early 2016. As neighbors across Third Street in San Francisco, YBCA and SFMOMA have partnered in the past on various performance and exhibition projects, but Public Intimacy represents the deepest collaboration of shared interests to date between the two institutions. It also brings together SFMOMA’s approach to curating live art and YBCA’s multidisciplinary interest in exhibitions, social practice, and performances.

 

Installation view of the exhibition 'Public Intimacy: Art and Other Ordinary Acts in South Africa' at the Yerba Buena Center for the Arts, San Francisco

Installation view of the exhibition 'Public Intimacy: Art and Other Ordinary Acts in South Africa' at the Yerba Buena Center for the Arts, San Francisco

Installation view of the exhibition 'Public Intimacy: Art and Other Ordinary Acts in South Africa' at the Yerba Buena Center for the Arts, San Francisco

Installation view of the exhibition 'Public Intimacy: Art and Other Ordinary Acts in South Africa' at the Yerba Buena Center for the Arts, San Francisco

Installation view of the exhibition 'Public Intimacy: Art and Other Ordinary Acts in South Africa' at the Yerba Buena Center for the Arts, San Francisco

Installation view of the exhibition 'Public Intimacy: Art and Other Ordinary Acts in South Africa' at the Yerba Buena Center for the Arts, San Francisco

 

Installation views of the exhibition Public Intimacy: Art and Other Ordinary Acts in South Africa at the Yerba Buena Center for the Arts, San Francisco with, in the last photo, Nicholas Hlobo, Umphanda ongazaliyo (installation view), 2008; rubber, ribbon, zips, steel, wood, plaster; ICA Boston; © Nicholas Hlobo; photo: John Kennar.

 

 

Exhibition highlights

While the exhibition explores new approaches to daily life in post-apartheid South Africa, it also makes visible the continued commitment of artists to activism and contemporary politics. Beginning with photographs from the late 1950s and after, the exhibition includes vital moments in the country’s documentary photography – from Ian Berry’s inside look at an underground drag ball to Billy Monk’s raucous nightclub photos – each capturing a moment of celebration within different social strata of South African society. Ernest Cole’s photographs of miners’ hostels and bars and Santu Mofokeng’s stirring photographs of mobile churches on commuter trains reveal everyday moments both tender and harsh.

David Goldblatt’s photographs depict the human landscape in apartheid and after, providing the genesis of the idea of “public intimacy.” Over decades of photographs in urban, suburban, and rural locations, Goldblatt has chronicled the changing nature of interpersonal engagement in South Africa. At the same time, they provide a historical backdrop and visual precedent for other artists in the exhibition, including Zanele Muholi and Sabelo Mlangeni.

Muholi has won several awards for her powerful photographic portraits as well as her activism on behalf of black lesbians in South Africa. Although best known for her photographs – in particular her Faces and Phases series – Muholi continuously experiments with an expanded practice including documentary film, beadwork, text, and her social-action organization Inkanyiso, which gives visibility to conditions facing lesbians of color in her country. “Sexual politics has been looked at less than racial politics in South Africa, but in many ways, the two have always been intertwined,” said Willsdon.

Mikhael Subotzky and Patrick Waterhouse bring another perspective to the upheavals of life in the city of Johannesburg with works from their Ponte City (2008-10) series, comprised of photographs, video, and a publication offering various views of this centrally located and iconic 54-story building. The works illustrate the struggles facing many native and immigrant South Africans in the years following the dissolution of apartheid, including stalled economic growth and social opportunities.

In contrast to the daily realities pictured in photographic works in the exhibition, Athi-Patra Ruga’s ongoing performance series The Future White Women of Azania (2010-present) features fantastical characters – usually played by the artist – whose upper bodies sprout colorful balloons while their lower bodies pose or process in stockings and high heels. Ruga’s Azania is a changing utopia, and Smigiel notes the shift: “The balloons are filled with liquid, and as the figure moves through the streets, they start popping, so the character dissolves and reveals a performer, and the liquid spills out and into a rather sloppy line drawing.” A new iteration of the series, The Elder of Azania, will premiere in the YBCA Forum during the exhibition’s opening weekend.

Chimurenga, an editorial collective working at the intersection of pan-African culture, art, and politics produces publications, events, and installations. Founded in 2002 by Ntone Edjabe, the collective has created the Chimurenga Library, an online archiving project that profiles independent pan-African paper periodicals from around the world. Expanding upon this concept, their presence in Public Intimacy will have two elements: a text and media resource space in YBCA’s galleries and an intervention at the San Francisco Public Library main branch that will explore the history of pan-African culture in the Bay Area, scheduled to open in late May.

Providing one of the most personally vulnerable moments in the exhibition, Penny Siopis’s series of 90 small paintings on enamel, Shame (2002), provokes a visceral reaction. With red paint reminiscent of blood and bruises, Siopis mixes color and text in an attempt to convey emotion rather than narrative. While she is interested in the guilt and embarrassment most frequently associated with shame, she also looks at the possibility for empathy that emerges from traumatic experiences.

In all of these works, explains Hertz, “We are looking at how art and activism align, but we’re also interested in how politics is embedded in less obviously political practices, such as Sabelo Mlangeni’s photographs of mining workers’ hostels, Penny Siopis’s powerful painting series about human vulnerability, or Nicholas Hlobo’s large-scale, organically shaped sculptures made primarily of rubber.”

Text from the SFMOMA website

 

Sabelo Mlangeni. 'Couple Bheki and Sipho' 2009

 

Sabelo Mlangeni
Couple Bheki and Sipho
2009
From the series Country Girls
Gelatin silver print
40 x 30 cm
Courtesy the artist and Stevenson, Cape Town and Johannesburg
© Sabelo Mlangeni

 

 

Figures & Fictions: Sabelo Mlangeni from Victoria and Albert Museum on Vimeo.

 

Anton Kannemeyer. 'D is for dancing ministers' 2006

 

Anton Kannemeyer
D is for dancing ministers
2006
From the series Alphabet of Democracy
Lithograph on Chine Collé
22 1/16 x 24 in. (56 x 61 cm)
Courtesy the artist and Stevenson, Cape Town and Johannesburg
© Anton Kannemeyer

 

Terry Kurgan. 'Hotel Yeoville' 2012

 

Terry Kurgan
Hotel Yeoville
2012
Digital print on bamboo hahnemulle paper
Courtesy the artist
© Terry Kurgan

 

Penny Siopis. 'Untitled' from the series 'Shame' 2002

 

Penny Siopis
Untitled from the series Shame
2002
Paint on enamel
© Penny Siopis

 

Athi-Patra Ruga. 'The Future White Women of Azania' 2012

 

Athi-Patra Ruga
The Future White Women of Azania
2012
Performed as part of Performa Obscura in collaboration with Mikhael Subotzky
Commissioned for the exhibition Making Way, Grahamstown, South Africa
Photo: Ruth Simbao, courtesy Athi-Patra Ruga and WHATIFTHEWORLD/GALLERY

 

Athi-Patra Ruga. 'The Future White Women of Azania' 2012

 

Athi-Patra Ruga
The Future White Women of Azania
2012
Performed as part of Performa Obscura in collaboration with Mikhael Subotzky
Commissioned for the exhibition Making Way, Grahamstown, South Africa
Photo: Ruth Simbao, courtesy Athi-Patra Ruga and WHATIFTHEWORLD/GALLERY

 

Athi-Patra Ruga. 'The Night of the Long Knives I' 2013



 

Athi-Patra Ruga
The Night of the Long Knives I
2013


Archival inkjet Print on Photorag Baryta
202 x 157 cm

 

“The Future White Woman of Azania is an ongoing series of performances first conceived in 2010 and evolving to engage new definitions of nationhood in relation to the autonomous body. In the enactment of the site-specific work commissioned for the 55th Venice Biennale, the performance takes the form of an absurdist funerary procession. The participants are the ABODADE – the sisterhood order of Azania and the central protagonist – The Future White Woman.

“Azania, as a geographic location, is first described in 1stCentury Greek records of navigation and trade, The Peryplus of the Erythrean Sea and is thought to refer to a portion of the East and Southern African coast. The word Azania itself is thought to have been derived from an Arabic word referring to the ‘dark-skinned inhabitants of Africa.’

Azania is then eulogised in the black consciousness movement as a pre-colonial utopian black homeland – this Promised Land, referenced in struggle songs, political sermons and African Nationalist speeches. In Cold War pop culture, Marvel Comics used Azania as a fictional backdrop to a Liberation story that bares a close resemblance to the situation that was Apartheid in Old South Africa… so it is at once a mythical and faintly factual place/state that this performance unfolds… Who are the Azanians for what it’s worth? It is in this liminal state that the performance unfolds…”

Seeking to radically reimage the potential of Azania and its inhabitants, the performance questions the mythical place that we mourn for and asks who its future inhabitants may be. Using the “Nation-Finding language of pomp and procession,” Ruga proposes a bold and iconoclastic break with the past Utopian promise of the elders and instead presents us with a new potential and hybridity.”

Text from the Athi-Patra Ruga blog

 

Athi-Patra Ruga. 'Uzuko' 2013


 

Athi-Patra Ruga
Uzuko
2013
Wool, thread and artificial flowers on tapestry canvas
200 x 180 cm

 

 

“Athi-Patra Ruga is one of a handful of artists, working in South Africa today, who has adopted the tropes of myth as a contemporary response to the post-apartheid era. Ruga has always worked with creating alternative identities that sublimate marginalized experience into something strangely identifiable.

In The Future White Women of Azania he is turning his attention to an idea intimately linked to the apartheid era’s fiction of Azania – a Southern African decolonialised arcadia. It is a myth that perhaps seems almost less attainable now than when the Pan Africanist Congress (PAC) appropriated the name in 1965 as the signifier of an ideal future South Africa – then at least was a time to dream more optimistically largely because the idea seemed so infinitely remote.

But Ruga, in his imaginings of Azania, has stuck closer to the original myth, situating it in Eastern Africa as the Roman, Pliny the Elder, did in the first written record of the name. Here Ruga in his map The Lands of Azania (2014-2094) has created lands suggestive of sin, of decadence and current politics. Countries named Palestine, Sodom, Kuntistan, Zwartheid and Nunubia are lands that reference pre-colonial, colonial and biblical regions with all their negative and politically disquieting associations. However, in what seems like something of a response to the ‘politically’ embroidered maps of the Italian artist Alighiero e Boetti, Ruga infers that the politicization of words are in a sense prior to the constructed ideology of the nation state.

What is more Azania is a region of tropical chromatic colours, which is populated with characters whose identities are in a state of transformation. At the centre of the panoply of these figures stands The Future White Woman whose racial metamorphosis, amongst a cocoon of multi-coloured balloons, suggests something disturbing, something that questions the processes of a problematic cultural assimilation. And it is here that the veracity of the myth of a future arcadia is being disputed if not entirely rejected.

To be sure, unlike Barthes’ suggestion in his essay ‘Myth Today’, Ruga is not creating myth in an act that depoliticizes, simplifying form in order to perpetuate the idea of an erroneous future ‘good society’. Instead, placing himself in amongst the characters in a lavish self portrait Ruga imagines himself into the space of the clown or jester (much like the Rococo painter Watteau did in his painting ‘Giles’), into the space of interpreter as well as a cultural product of the forces outside of his own control.

Ruga’s Azania is a world of confusing transformations whose references are Rococo and its more modern derivative Pop. But whatever future this myth is foreshadowing, with its wealth, its tropical backdrop, its complicated and confusing identities, it is not a place of peaceful harmony – or at least not one that is easily recognizable. As Ruga adumbrated at a recent studio visit, his generation’s artistic approach of creating myths or alternative realities is in some ways an attempt to situate the traumas of the last 200 years in a place of detachment. That is to say at a farsighted distance where their wounds can be contemplated outside of the usual personalized grief and subjective defensiveness.”

Statement from WHATIFTHEWORLD.com on the Empty Kingdom website

 

Mikhael Subotzky and Patrick Waterhouse. 'Ponte City from Yeoville Ridge' 2008

 

Mikhael Subotzky and Patrick Waterhouse
Ponte City from Yeoville Ridge
2008
Lightjet chromogenic print
Courtesy the artists and Goodman Gallery
© Mikhael Subotzky and Patrick Waterhouse

 

Mikhael Subotzky and Patrick Waterhouse. 'Ponte City, Johannesburg' 2008

 

Mikhael Subotzky and Patrick Waterhouse
Ponte City, Johannesburg
2008
Lightjet chromogenic print
Courtesy the artists and Goodman Gallery
© Mikhael Subotzky and Patrick Waterhouse

 

Mikhael Subotzky and Patrick Waterhouse. 'Ponte City, Johannesburg' 2008

 

Mikhael Subotzky and Patrick Waterhouse
Ponte City, Johannesburg
2008
Lightjet chromogenic print
Courtesy the artists and Goodman Gallery
© Mikhael Subotzky and Patrick Waterhouse

 

Mikhael Subotzky and Patrick Waterhouse. 'Cleaning the Core, Ponte City, Johannesburg' 2008

 

Mikhael Subotzky and Patrick Waterhouse
Cleaning the Core, Ponte City, Johannesburg
2008
Lightjet chromogenic print
49 7/16 x 59 1/16 in. (125.5 x 150 cm)
Courtesy the artists and Goodman Gallery
© Mikhael Subotzky and Patrick Waterhouse

 

Mikhael Subotzky and Patrick Waterhouse. 'Untitled I, Ponte City, Johannesburg' 2008

 

Mikhael Subotzky and Patrick Waterhouse
Untitled I, Ponte City, Johannesburg
2008
Lightjet chromogenic print
Courtesy the artists and Goodman Gallery
© Mikhael Subotzky and Patrick Waterhouse

 

Originally intended as a nuclear point in the upwardly mobile social cartography of Johannesburg’s Hillbrow, the 173 meter-high cylindrical apartment building Ponte City became an urban legend, and an essential part of visual renderings of the city. It was the conflicted spectacle of Ponte City that drew South African photographer, Mikhael Subotzky and Patrick Waterhouse, a British artist, to look more closely in rather than at the tower.

 

Mikhael Subotzky and Patrick Waterhouse. 'Lift Portrait 2, Ponte City, Johannesburg (0328)' 2008

 

Mikhael Subotzky and Patrick Waterhouse
Lift Portrait 2, Ponte City, Johannesburg (0328)
2008
C-print mounted on Dibond
124 cm x 151.5 cm

 

 

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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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