Archive for the 'colour photography' Category

12
Jan
15

New Fredrick White Sculpture website

 

I have made a new website for my friend FW. The site is fully responsive on all devices and showcases his amazing work to advantage.

Visit his new website.

Marcus

 

 

Fredrick White Sculpture website

 

Fredrick White Sculpture website
2015

 

Fredrick White 'Transference' 2014

Fredrick White 'Transference' 2014

Fredrick White 'Transference' 2014

 

Fredrick White
Transference
2014
Aluminium pipe
802 x 133 x 290 cm

Photographed at Pipemakers Park, Maribyrnong

 

 

Fredrick White Sculpture website

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10
Jan
15

Text/Exhibition: ‘Wynn Bullock: Revelations’ at the High Museum of Art, Atlanta

Exhibition dates: 14th June 2014 – 18th January 2015

 

Being and Becoming in the work of Wynn Bullock

.
It’s strange how some artists become famous while others wane in relative obscurity. For 50 years after his death, J. S. Bach’s reputation as a composer declined, his work regarded as old-fashioned compared to the new style of the day. Just look at him now.

Wynn Bullock, contemporary of Edward Weston, Minor White, Harry Callahan, Aaron Siskind, Imogen Cunningham, Frederick Sommer and Ansel Adams, is not yet as well known as any of them. He should be. As the press release states, “Despite early acclaim, the true breadth and depth of Bullock’s career has remained largely in the shadows.” This first retrospective of his work in 40 years will hopefully start to change that perception. In my estimation he is up there in the pantheon of photographic stars. There are photographers… and there are master photographers. Bullock is one of the latter, in my top ten classical black and white analogue photographers of all time.

Bullock began pursuing “straight” photography after meeting Edward Weston in 1948. Work from the early 1950s has an essential, humanist flavour as can be seen in photographs such as Child in Forest (1951) and Let There Be Light (1951), both images appearing in Edward Steichen’s seminal exhibition The Family of Man at the Museum of Modern Art in 1955, printed at large scale. By the mid-50s Bullock was really hitting his straps and the work starts to become less didactic and more open to multiple interpretations and possibilities.

As Bullock says, the mysteries lie all around us waiting only to be perceived. But it’s more than that… it’s more than “what if”. Bullock claims the existence of these things while at the same time acknowledging that they are not generally accessible within the Western canon. That he expresses their existence is his gift to the world.

Take, for example, that most complex of images, Point Lobos Tide Pool (1957). Once seen, never forgotten. I remember seeing this image in my first year studying photography at university and it being seared into my brain. How could you get such an image! It encompasses every feeling and emotion about our place in the cosmos that I could ever think of. And then you hear the story (one that I recently confirmed with his daughter Barbara), which I recount here and which appeared in the book Darkroom edited by Eleanor Lewis, published in 1976 by Lustrum Press, and dedicated to Bullock’s memory.

Bullock was only able to make ONE exposure.

“The first photograph I want to discuss is the POINT LOBOS TIDE POOL. This is a contact print from an 8 x 10 negative. The picture was taken at sunset and the light was dim. The sun was striking only the edges of the rocks in the upper-left-hand corner. The tide pool itself was especially dull, and the light was disappearing so fast I had to make a quick exposure. The negative is very soft because in my hurry to capture the picture, I forgot to underexpose the film so that I could expand the contrast by overdeveloping. The tide pool, a critical part of the image, is especially soft.

“For the final print, I used Brovira No. 5 paper, Amidol developer, and developed it for three minutes to keep the dull parts from going flat. As soon as you use high contrast papers, everything gets more critical. A second or two variation in exposure in high contrast areas can mean the difference between seeing what I want to see, and not seeing anything but black or white paper.

“I could think of the negative-making process as one in which I would make a technically perfect negative. But the technically perfect negative doesn’t always give me what I want… By not always reaching for the easily printed negative, I get luminosity I wouldn’t otherwise have.

In the tide pool print, it’s always been a touchy problem to get the brilliance in the pool itself, where the negative is soft. Unless carefully controlled, that part goes muddy. The rest of the photograph is secondary, but requires some burning and dodging to get tonal balance.

“These are problems I’ve been living with. In doing so, I’ve developed printing skills. It’s a way of life with me. In printing, I don’t want to distort the reality of the image, but I don’t want to distort the reality of my feelings for it either. The two go hand in hand. I have no qualms about altering the image by burning and dodging. I’m not a purist in that way. I am a purist in that I don’t want the manipulation to show. As soon as it does, the magic is destroyed.”

As his daughter Barbara notes, “Point Lobos Tide Pool, 1957 is another serendipitous image that took place on the [Point Lobos State] Reserve. The day this photograph was made, Dad was hauling his heavy field camera along the South Shore Trail when he happened upon a tide pool with a galaxy in its midst. He set up his equipment as quickly as he could and made his first exposure. Normally, he liked to bracket his exposures, but before he could make a second one, a gust of wind swept across the pool and the complex pattern of microscopic organisms vanished.

Fortunately, one exposure was good enough. Whenever he told the story, Dad would laugh and say, “I was just damn lucky that day!” What he often left unexpressed was the lasting impression of the experience that exemplified for him the continual being-and-becoming nature of the universe as well as the kinship of its microcosmic and macrocosmic dimensions. The image remained a personal favorite for the rest of his life.” (Barbara Bullock-Wilson. “Point Lobos Tide Pool, 1957″ Commentary © 2013/2015 Barbara Bullock-Wilson. All rights reserved.)

.
It is as if the universe stood still for the length of time that it took Bullock to expose his plate, as though the universe was giving him permission for his previsualisation … … … before it moved on, in a gust of wind. But that is not the end of it, no! Because of the thin negative Bullock had to print on grade 5 paper, the most contrasty paper that you can get. And because the area of the tide pool was especially thin, the exposure time is absolutely critical for this print, to get the luminosity in the pool that the artist required. In the whole scheme of things there is a tiny window of opportunity with the exposure of this negative to get a glorious print. This is far from a straight print, and what makes the story even more remarkable is that Bullock had to delve into his scientific knowledge, had to experiment with his feelings (his exposure time), with the magic of the analogue print, to make this apparition appear!

The whole story is quite thrilling really. As my mentor observes, “Point Lobos is several km of coast if you measured into every bay – but there aren’t that many spots where you can photograph the actual tide zone – probably 7 or 8 inlets – some smaller than a basketball court. The spot that Minor White talks about as Weston cove is about basketball court size from memory. You can walk around above it a few metres in the air and see it all. Only someone with a specific aim would scramble down to be amongst what could already be clearly seen. There are just as many spots where you can’t get down like Weston’s sparkle on the sea shot. Weston cove feels amazing; full of ghosts. Bullock would have been very familiar with what would be likely to come around again and what would not.”

Close your eyes and just imagine dragging an 8 x 10 camera down there and finding that image.

.
Readers, you know that I am a passionate person, that I am passionate about photography. As I relatively young man what these great artists seemed to me to be doing were noble artistic things; I still feel that. You cannot talk about photography like other mediums that define themselves – not in a modernist sense of materials – Rothko can only be talked about by referring to Rothko, Beethoven, Mozart, etc… Much as Bullock says that light “permits the same freedom of expression as paint for the painter, words for the writer, numbers for the mathematician, or sound for the composer,” photography is of a different order. You are comparing a system of making using the hand with a system using a photo-mechanical eye. Making great images is of necessity much more difficult within this process (as can be see in the millions of meaningless images that flood the world today).

I believe that inherent to any photograph is the ability to transcend the medium – whether that is in vernacular photography (by chance) or through astute observation and meditation (MW and WB). Whether the person then recognises these images as such is another matter, but it only happens on limited occasions. But when you get something, the magic just works. In his Point Lobos Tide Pool (1957), Navigation without Numbers (1957), Under Monterey Wharf (1969) and Erosion (1959), Bullock is like a mystical time traveller – of both the body and the landscape. You only have to look at the timbre of the prints and the layering of tones. These images can’t be judged on any terms other than the terms the image itself lays down. They are beyond serious: and it shows how difficult photography really is - and how rare the good photograph is – that most photographers don’t really have a count that gets into double figures for a decade’s work. It doesn’t add up to much of a crop for a lifetimes work but does Bullock care… hell no!

As he says, “You really have to give of yourself to make good pictures… The fact that good pictures are rare, however, has never slowed me down. Just going out and looking at things and using a camera is therapeutic. I deeply love the whole process.”

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A deep love of the whole process, a deep love of being and becoming.

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The ability of the photographer is that they can massage the medium – through imagination, surrealism, reality, space/time etc… that ENACTS a difference that painters, musicians can only dream of – through a manipulation of reality, through a form of hyper-reality. In Bullock’s case it is the recognition of the mysteries that lie all around us in which the images take on a symbiotic relationship with an observation of the human mind THROUGH photography.

Openly talking in a clear language from a lifetime of meditation.

A clear language where words don’t quite equal the meanings normally attached to them.

From another dimension.

 

“In streams of light I clearly saw
The dust you seldom see,
Out of which the Nameless makes
A Name for one like me.

I’ll try to say a little more:
Love went on and on
Until it reached an open door –
Then Love Itself
Love Itself was gone.

All busy in the sunlight
The flecks did float and dance,
And I was tumbled up with them
In formless circumstance.

I’ll try to say a little more:
Love went on and on
Until it reached an open door –
Then Love Itself
Love Itself was gone.”

(from “Love Itself” lyrics by Leonard Cohen)

 

Dr Marcus Bunyan for the Art Blart blog

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

 

 

“Mysteries lie all around us, even in the most familiar of things, waiting only to be perceived.”

.
“Light to me is perhaps the most profound truth in the universe… [It] permits the same freedom of expression as paint for the painter, words for the writer, numbers for the mathematician, or sound for the composer.”

.
“You really have to give of yourself to make good pictures. Well, that giving takes a lot out of you, and you simply can’t operate at that intense level all the time. Neither can you predetermine what happens outside you.

The fact that good pictures are rare, however, has never slowed me down. Just going out and looking at things and using a camera is therapeutic. I deeply love the whole process.”

.
Wynn Bullock

 

 

Wynn Bullock (American, 1902–1975) 'Point Lobos Tide Pool' 1957

 

Wynn Bullock (American, 1902-1975)
Point Lobos Tide Pool
1957
Gelatin silver print
7 9/16 x 9 ½ in.
Collection Center for Creative Photography
© Bullock Family Photography LLC. All rights reserved

 

Point Lobos Tide Pool appears simultaneously to resemble both a galaxy and a bacterial growth across a petri dish, when in fact it is neither so large nor so small a subject, but rather a pool arrayed with microorganisms along the Carmel coast, transformed into a picture of astounding beauty.

 

Wynn Bullock (American, 1902-1975) 'Erosion' 1959

 

Wynn Bullock (American, 1902-1975)
Erosion
1959
Gelatin silver print
Collection Center for Creative Photography
© Bullock Family Photography LLC. All rights reserved

 

Bullock found this scene along a California roadway and was drawn to the insight it provides into what goes on in spaces that normally lie beyond our perception. The eroded embankment reveals the slow evolution of the world across centuries, with organic and inorganic elements coexisting together at different stages of growth and decay. Stripped of its skin and flayed by the corrosive power of water, the hill in Bullock’s picture reveals a powerfully foreign world as real and as beautiful as anything on the surface of the earth. Bullock’s efforts were decidedly pointed toward making the ordinary profound and in revealing a complexity beyond the surface of things.

 

Wynn Bullock (American, 1902–1975) 'Under Monterey Wharf' 1969

 

Wynn Bullock (American, 1902-1975)
Under Monterey Wharf
1969
Gelatin silver print
Collection Center for Creative Photography
© Bullock Family Photography LLC. All rights reserved

 

Wynn Bullock (American, 1902-1975) 'Navigation without Numbers' 1957

 

Wynn Bullock (American, 1902-1975)
Navigation without Numbers
1957
Gelatin silver print
6 13/16 x 8 15/16 in.,
Collection Center for Creative Photography
© Bullock Family Photography LLC. All rights reserved

 

Wynn Bullock (American, 1902–1975) 'Del Monte Forest' 1969

 

Wynn Bullock (American, 1902-1975)
Del Monte Forest
1969
Gelatin silver print
High Museum of Art, Atlanta, promised gift of Barbara and Gene Bullock-Wilson
© Bullock Family Photography LLC. All rights reserved

 

Wynn Bullock (American, 1902–1975) 'Nude by Sandy's Window' 1956

 

Wynn Bullock (American, 1902-1975)
Nude by Sandy’s Window
1956
Gelatin silver print
Center for Creative Photography
© Bullock Family Photography LLC. All rights reserved

 

In this picture, a brightly lit window occupies the bulk of Bullock’s composition, hovering over a woman who appears to be asleep; light shines in through the glass with a blinding intensity that obscures a clear view of the exterior while alluding to the existence of a world of indefinite proportions beyond.

 

Wynn Bullock (American, 1902–1975) 'Lynne, Point Lobos' 1956

 

Wynn Bullock (American, 1902-1975)
Lynne, Point Lobos
1956
Gelatin silver print
7 1/2 x 9 7/16 in.
Collection Center for Creative Photography
© Bullock Family Photography LLC. All rights reserved

 

 

“The most beautiful thing we can experience is the mysterious. It is the source of all true art and science.

He to whom this emotion is a stranger, who can no longer pause to wonder and stand rapt in awe, is as good as dead: his eyes are closed.”

.
Albert Einstein, quoted by Wynn Bullock

 

“In June 2014, the High Museum of Art will become the first major museum in nearly 40 years to mount a retrospective of work by Wynn Bullock (1902-1975) with the exhibition Wynn Bullock: Revelations, organized by the High in collaboration with the Center for Creative Photography.

One of the most significant photographers of the mid-20th century, Bullock worked in the American modernist tradition alongside Edward Weston, Harry Callahan and Ansel Adams. More than 100 black-and-white and color works by Bullock will come together for the exhibition, which will coincide with a major gift to the High from the Bullock Estate of a large collection of vintage photographs, making the Museum one of the most significant repositories of Bullock’s work in the U.S.

The High is home to the most robust photography program in the American Southeast with particularly distinct holdings in the classic modernist tradition. Wynn Bullock: Revelations offers an unprecedentedly holistic look at Bullock’s innovative career, beginning with his early light abstractions and moving through his landscapes, figure studies, color work, negative images and late abstractions. The exhibition will be on view June 14, 2014 through Jan. 18, 2015.

A close friend of influential West Coast artists Ansel Adams and Edward Weston, and a contemporary of Minor White, Harry Callahan, Aaron Siskind, Imogen Cunningham and Frederick Sommer, Bullock created a body of work marked by a distinct interest in experimentation, abstraction and philosophical exploration. His images Let There Be Light and Child in Forest (both of which will be included in the High’s exhibition) became icons in the history of photography following their prominent inclusion in Edward Steichen’s landmark 1955 exhibition at the Museum of Modern Art, The Family of Man.

Bullock’s photography received early recognition in 1941, when the Los Angeles County Museum of Art staged his first solo exhibition. His mature work appeared in one-man shows at the Bibliotèque Nationale, Paris; the Royal Photographic Society, London; the Metropolitan Museum of Art, New York; and the Art Institute of Chicago; among other prestigious venues. His archive was a foundational collection for the Center for Creative Photography in Tucson, Ariz., which is recognized as one of the most important photographic resources in the world.

Despite early acclaim, the true breadth and depth of Bullock’s career has remained largely in the shadows. Wynn Bullock: Revelations offers the most comprehensive assessment of the photographer’s extraordinary career in nearly 40 years. This retrospective traces Bullock’s evolution from his early experimental work of the 1940s, through the mysterious black-and-white imagery of the 1950s and color light abstractions of the 1960s, to his late metaphysical photographs of the 1970s.

“Bullock’s arresting work was integral to codifying what we now think of as quintessential mid-century style, which in turn paved the way for every stage of photography that has followed,” said Brett Abbott, curator of photography and head of collections at the High. “Presenting this exhibition and acquiring this generous body of work from Bullock’s estate will allow us to play a role in bringing him back into the popular consciousness. Our photography department has expanded greatly over the last few years, in terms of the work we own and the exhibitions we mount, giving us the ability to position this pivotal body of work as part of the nearly two-century-long story of the development of photography.”

Wynn Bullock: Revelations will be accompanied by a fully illustrated catalogue to be produced by the High in collaboration with the University of Texas Press. The book presents 110 images, including some from the Bullock Estate that have never been published before. An essay by Abbott explores the nuances of Bullock’s approach to photography and its fascinating relationship to the history of science and philosophy. The volume also includes an illustrated chronology, bibliography, selected collections, exhibitions history, plate list and notes.

 

About Wynn Bullock

Wynn Bullock was born on April 18, 1902, in Chicago, Ill. After graduating from high school, Bullock worked as a professional singer in New York City and across Europe. In 1938 he moved to Los Angeles to pursue a law degree but soon dropped out of school to become a photography student at Art Center School, where he became deeply involved in exploring alternative processes such as solarization and bas relief and began building a career in commercial photography. Bullock went on to serve in the military and then to build a successful private photography business, where he developed a way to control the line effect of solarization, a discovery for which he was awarded patents. Bullock began pursuing “straight” photography after meeting Edward Weston in 1948. Throughout the 1950s he explored the natural world from his own unique perspective in photography and came into the public spotlight through exhibitions at the Museum of Modern Art in New York City and the Corcoran Gallery in Washington, D.C. In the 1960s he created an innovative body of abstract color images. He later returned to experimental black and white, on which he continued to focus until his death in 1975. Bullock’s work is part of the collections of more than 90 major institutions throughout the world.”

Press release from the High Museum of Art website

 

Wynn Bullock (American, 1902–1975) 'Color Light Abstraction 1076' 1963

 

Wynn Bullock (American, 1902-1975)
Color Light Abstraction 1076
1963
Inkjet print
14 x 21 in.
High Museum of Art, Atlanta, promised gift of Barbara and Gene Bullock-Wilson
© Bullock Family Photography LLC. All rights reserved

 

Wynn Bullock (American, 1902–1975) 'Color Light Abstraction 1075' 1963

 

Wynn Bullock (American, 1902-1975)
Color Light Abstraction 1075
1963
Inkjet print
14 x 21 in.
High Museum of Art, Atlanta, promised gift of Barbara and Gene Bullock-Wilson
© Bullock Family Photography LLC. All rights reserved

 

Entrance Mural with glimpses of Galleries 1 and 3

Gallery 1

Gallery 2

Gallery 3

 

Wynn Bullock: Revelations installation at the High Museum of Art, Atlanta
Entrance mural with glimpses of Galleries 1 and 3 (top), Galleries 1, 2 and 3 (bottom)

 

 

“Love Itself”

The light came through the window,
Straight from the sun above,
And so inside my little room
There plunged the rays of Love.

In streams of light I clearly saw
The dust you seldom see,
Out of which the Nameless makes
A Name for one like me.

I’ll try to say a little more:
Love went on and on
Until it reached an open door –
Then Love Itself
Love Itself was gone.

All busy in the sunlight
The flecks did float and dance,
And I was tumbled up with them
In formless circumstance.

I’ll try to say a little more:
Love went on and on
Until it reached an open door –
Then Love Itself
Love Itself was gone.

Then I came back from where I’d been.
My room, it looked the same –
But there was nothing left between
The Nameless and the Name.

All busy in the sunlight
The flecks did float and dance,
And I was tumbled up with them
In formless circumstance.

I’ll try to say a little more:
Love went on and on
Until it reached an open door –
Then Love itself,
Love Itself was gone.
Love Itself was gone.

 

Lyrics by Leonard Cohen

 

Wynn Bullock (American, 1902–1975) 'Child in Forest' 1951

 

Wynn Bullock (American, 1902-1975)
Child in Forest
1951
Gelatin silver print
7 7/16 x 9 3/8 in.
High Museum of Art, Atlanta, purchase, 1978.62
© Bullock Family Photography LLC. All rights reserved

 

Wynn Bullock (American, 1902–1975) 'Stark Tree' 1956

 

Wynn Bullock (American, 1902-1975)
Stark Tree
1956
Gelatin silver print
7 5/8 x 9 1/16 in.
Collection Center for Creative Photography
© Bullock Family Photography LLC. All rights reserved

 

Wynn Bullock (American, 1902–1975) 'Let There Be Light' 1954

 

Wynn Bullock (American, 1902-1975)
Let There Be Light
1954
Gelatin silver print
7 3/8 x 9 7/16 in.
Collection Center for Creative Photography
© Bullock Family Photography LLC. All rights reserved

 

Wynn Bullock (American, 1902–1975) 'Old Typewriter' 1951

 

Wynn Bullock (American, 1902-1975)
Old Typewriter
1951
Gelatin silver print
7 1/16 × 9 7/16 in.
High Museum of Art, Atlanta, Gift of Lucinda W. Bunnen for the Bunnen Collection, 2012.594
© Bullock Family Photography LLC. All rights reserved

 

Wynn Bullock (American, 1902–1975) 'The Shore' 1966

 

Wynn Bullock (American, 1902-1975)
The Shore
1966
Gelatin silver print
9 1/4 x 13 5/8 in.
High Museum of Art, Atlanta, promised gift of Barbara and Gene Bullock-Wilson
© Bullock Family Photography LLC. All rights reserved

 

Wynn Bullock (American, 1902–1975) 'Sea Palms' 1968

 

Wynn Bullock (American, 1902-1975)
Sea Palms
1968
Gelatin silver print
7 1/2 x 9 ¼ in.
High Museum of Art, Atlanta, promised gift of Barbara and Gene Bullock-Wilson
© Bullock Family Photography LLC. All rights reserved

 

Wynn Bullock (American, 1902–1975) 'Driftwood' 1951

 

Wynn Bullock (American, 1902-1975)
Driftwood
1951
Gelatin silver print
7 1/2 x 9 ½ in.
High Museum of Art, Atlanta, promised gift of Barbara and Gene Bullock-Wilson
© Bullock Family Photography LLC. All rights reserved

 

Wynn Bullock (American, 1902–1975) 'Point Lobos Tide Pools' 1972

 

Wynn Bullock (American, 1902-1975)
Point Lobos Tide Pools
1972
Gelatin silver print
© Bullock Family Photography LLC. All rights reserved

 

Wynn Bullock (American, 1902–1975), 'Early Solarization' 1940

 

Wynn Bullock (American, 1902-1975)
Early Solarization
1940
Gelatin silver print
6 1/4 x 8 in.
Collection of Barbara and Gene Bullock-Wilson
© Bullock Family Photography LLC. All rights reserved

 

Wynn Bullock (American, 1902–1975) 'Edna' 1956

 

Wynn Bullock (American, 1902-1975)
Edna
1956
Gelatin silver print
7 1/2 x 7 ½ in.
High Museum of Art, Atlanta, promised gift of Barbara and Gene Bullock-Wilson
© Bullock Family Photography LLC. All rights reserved

 

Wynn Bullock (American, 1902–1975) 'Portrait of Edna, Cannery Row' 1955

 

Wynn Bullock (American, 1902-1975)
Portrait of Edna, Cannery Row
1955
Gelatin silver print
9 1/2 x 7 ½ in.
Collection of Barbara and Gene Bullock-Wilson
© Bullock Family Photography LLC. All rights reserved

 

Wynn Bullock (American, 1902–1975) 'Barbara through Window' 1956

 

Wynn Bullock (American, 1902-1975)
Barbara through Window
1956
Gelatin silver print
9 1/2 x 7 ½ in.
Collection Center for Creative Photography
© Bullock Family Photography LLC. All rights reserved

 

Wynn Bullock (American, 1902–1975) 'Nude Torso in Forest' 1958

 

Wynn Bullock (American, 1902-1975)
Nude Torso in Forest
1958
Gelatin silver print
9 1/2 x 6 1/4in.
Collection of Barbara and Gene Bullock-Wilson
© Bullock Family Photography LLC. All rights reserved

 

Wynn Bullock. 'Child on Forest Road' 1958

 

Wynn Bullock (American, 1902-1975)
Child on Forest Road
1958
Gelatin silver print
© Bullock Family Photography LLC. All rights reserved

 

Wynn Bullock (American, 1902–1975) 'Fallen Tree Trunk' 1972

 

Wynn Bullock (American, 1902-1975)
Fallen Tree Trunk
1972
Gelatin silver print
8 5/8 x 7 ½ in.
High Museum of Art, Atlanta, promised gift of Barbara and Gene Bullock-Wilson
© Bullock Family Photography LLC. All rights reserved

 

Wynn Bullock (American, 1902–1975) 'Tree Trunk' 1971

 

Wynn Bullock (American, 1902-1975)
Tree Trunk
1971
Gelatin silver print
Promised Gift of Lynne Harrington-Bullock
© Bullock Family Photography LLC. All rights reserved

 

To create this image, Bullock reversed the positive and negative values of his rendering of a tree trunk, and then turned the composition upside down. In so doing, he disrupts a habitual reading of the natural world, creates an experience of disorientation, and allows the forms pictured to engage the eye in freshly invigorating ways.

 

Wynn Bullock (American, 1902–1975) 'Photogram' 1970

 

Wynn Bullock (American, 1902-1975)
Photogram
1970
Gelatin silver print
9 1/8 x 7 3/8 in.
Collection of Barbara and Gene Bullock-Wilson
© Bullock Family Photography LLC. All rights reserved

 

Wynn Bullock (American, 1902–1975) 'Rock' 1973

 

Wynn Bullock (American, 1902-1975)
Rock
1973
Gelatin silver print
8 5/8 x 6 ¾ in.
Collection of Barbara and Gene Bullock-Wilson
© Bullock Family Photography LLC. All rights reserved

 

 

High Museum of Art
1280 Peachtree Street,
N.E. Atlanta, GA 30309

Opening hours:
Monday Closed
Tuesday 10 am to 5 pm
Wednesday  10 am to 5 pm
Thursday 10 am to 5 pm
Friday  10 am to 9 pm† (Half-Price after 4 pm!)
Saturday 10 am to 5 pm
Sunday 12 noon to 5 pm

High Museum of Art website

Wynn Bullock Photography website
Wynn Bullock Photography web page dedicated to the exhibition

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08
Jan
15

Exhibition: ‘Joel Meyerowitz Retrospective’ at NRW-Forum Düsseldorf

Exhibition dates: 27 September 2014 – 11th January 2015

 

Meyerowitz really comes into his own in the ’70s. Luscious colours and lascivious compositions in which the attention of the photographer is directed towards the relationship between object, light and time. The image becomes an object of fetishistic desire.

The hyperreal colours and placement of figures are crucial to this ocular obsession. Look at the image Gold corner, New York City (1974) and observe the precise, choreographed placement of the figures and how the colours flow, from orange/brown to green/blue and onto turquoise/red and polka dot, the central figure’s eyes shielded under a wide-brimmed hat, hand to head, model style. This is colour porn for the eyes. And Meyerowitz does it so well… the stretch of thigh and shadow in Los Angeles Airport, California (1976), the classic red of Truro (1976) or the bare midriff and raised yellow heel in New York City, 42nd and Fifth Ave (1974).

The best of these photos give you a zing of excitement and a surge of recognition – like a superlative Stephen Shore or an outstanding William Eggelston. At his best Meyerowitz is mesmerising.

Marcus

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

 

 

Joel Meyerowitz. 'New York City' 1963

 

Joel Meyerowitz
New York City
1963

 

Joel Meyerowitz. 'Untitled' 1976

 

Joel Meyerowitz
Ballston Beach, Truro, Cape Cod
1976

 

Joel Meyerowitz. 'Los Angeles Airport, California' 1976

 

Joel Meyerowitz
Los Angeles Airport, California
1976

 

Joel Meyerowitz. 'Dairyland, Provincetown' 1976

 

Joel Meyerowitz
Dairyland, Provincetown
1976

 

 Joel Meyerowitz. 'Truro' 1976

 

Joel Meyerowitz
Truro
1976

 

Joel Meyerowitz. 'Red Interior, Provincetown, Massachusetts' 1977

 

Joel Meyerowitz
Red Interior, Provincetown, Massachusetts
1977

 

 

“Joel Meyerowitz is a “street photographer” in the tradition of Henri Cartier-Bresson and Robert Frank, who influenced him greatly at the beginning of his career. Since the mid-seventies he has photographed exclusively in colour.

The artist was born in 1938 in the Bronx. He initially studied art, history of art and medical illustration at the Ohio State University. Back in New York City he began his career in 1959 as an Art Director and Designer. Particularly impressed by an encounter with the photographer Robert Frank, he started taking photographs in 1962 and in the same year he left the agency, devoting himself from this point on, exclusively to photography. He travelled through New York City and capturing the mood of the streets. He soon developed his distinctive sensitivity and his candid, people-focussed style, a very unique visual language. In 1966, he embarked on an 18 month trip through Europe, which both profoundly affected and also influenced him and can be described as an artistic turning point. Meyerowitz photographed many of his works from a moving car. These works were displayed in 1968 in his first exhibition at the Museum of Modern Art in New York: Photographs from a moving car, curated by the photography legend John Szarkowski. From the late seventies onward, Joel Meyerowitz concentrated exclusively on colour photography. In the first half of the seventies, he created numerous unique works of “street photography”. In order to further improve the image quality, the artist took another crucial step: in the mid 1970s he changed from the 35mm format to the 8 x 10″ plate camera.

In 1979, his first book Cape Light was published by Phaidon Verlag. The picture book sold over 100,000 copies and is to this day regarded as a milestone in colour photography. 17 further publications followed, most recently in 2012 with a comprehensive two-volume edition Taking my Time, a retrospective of 50 years of his photography, also published by Phaidon Verlag.

A few days after the attack on the World Trade Center, Meyerowitz began to document its destruction and reconstruction. As the only photographer, he received unrestricted access to the site of the incident. It resulted in over 8000 photographs for the The World Trade Center exhibition, which was displayed in the 9/11 Memorial Museum in New York City.

Joel Meyerowitz’ works have been and will be shown in numerous solo and group exhibitions around the world; several times in the Museum of Modern Art in New York City. On 27 September, the NRW Forum in Düsseldorf opens the most comprehensive retrospective of the artist. In addition, the works are represented in many international collections, including in the Museum of Modern Art and the Boston Museum of Fine Art.”

Text from the NRW-Forum Düsseldorf website

 

Joel Meyerowitz. 'New York City' 1965

 

Joel Meyerowitz
New York City
1965

 

Joel Meyerowitz. 'London, England' 1966

 

Joel Meyerowitz
London, England
1966

 

Joel Meyerowitz. 'JFK Airport, New York City' 1968

 

Joel Meyerowitz
JFK Airport, New York City
1968

 

Joel Meyerowitz. 'Paris, France' 1967

 

Joel Meyerowitz
Paris, France
1967

 

Joel Meyerowitz. 'New York City, 42nd and Fifth Ave' 1974

 

Joel Meyerowitz
New York City, 42nd and Fifth Ave
1974

 

Joel Meyerowitz. 'Dusk, New Jersey' 1978

 

Joel Meyerowitz
Dusk, New Jersey
1978

 

 

“Joel Meyerowitz (born 1938 in New York) is, along with William Eggleston and Stephen Shore, one of the most important representatives of American New Colour Photography of the 1960s / 70s. After a first encounter with Robert Frank 1962, Meyerowitz decided to give up his job as art director in New York and to devote himself to photography. In particular, his photographs of street scenes of American cities, which he takes with his 35mm camera as fleeting moments, make him a precursor of street photography and his works icons of contemporary photography.
“Watching Life is all about Timing”

A first turning point in his photography was his annual trip to Europe in 1966/67, a trip which allowed him to critically question his color photography. As early as 1968, he had his first solo exhibition at the Museum of Modern Art (MoMA) of works created in Europe under the title From a moving car. His first book, Cape Light (1978), in which he examines achromatic variations of light at Cape Cod, is now regarded as a milestone in photography. In addition to his film camera, which he always carries with him, Meyerowitz has been working since the late 1970s with the 8 x 10 plate camera, which allows him to capture the relationship between object, light and time in a new and more accurate way for him.
“Time is what Photography is About”

The exhibition at the NRW-Forum presents the entire photographic spectrum of 50 years of his photography for the first time in Germany. In addition to the early black / white and color photographs of the 1960s / there will be years works from all business groups such as Cape Light, Portraits, Between the Dog and the Wolf and Ground Zero series, presented to allow the visitor a photographic and cultural image-comparison between Europe and the USA. In addition, the first documentary about the life and work of the photographer, created over a period of three years in France, Italy and the United States, will have its world premiere.”

Text from the NRW-Forum Düsseldorf website

 

Joel Meyerowitz. 'Gold corner, New York City' 1974

 

Joel Meyerowitz
Gold corner, New York City
1974

 

Joel Meyerowitz. 'Madison Avenue, New York City' 1975

 

Joel Meyerowitz
Madison Avenue, New York City
1975

 

Joel Meyerowitz. 'New York City' 1975

 

Joel Meyerowitz
New York City
1975

 

Joel Meyerowitz. 'Provincetown' 1977

 

Joel Meyerowitz
Provincetown
1977

 

Joel Meyerowitz. 'Roseville Cottages, Truro, Massachusetts' 1976

 

Joel Meyerowitz
Roseville Cottages, Truro, Massachusetts
1976

 

Joel Meyerowitz. 'New York City' 1963

 

Joel Meyerowitz
New York City
1963

 

Joel Meyerowitz. 'Cape Cod' 1976

 

Joel Meyerowitz
Cape Cod
1963

 

Joel Meyerowitz. 'Pool, Dusk, Sun in Window, Florida' 1978

 

Joel Meyerowitz
Pool, Dusk, Sun in Window, Florida
1978

 

Joel Meyerowitz. 'Bay Sky, Provincetown, Massachusetts' 1985

 

Joel Meyerowitz
Bay Sky, Provincetown, Massachusetts
1985

 

Joel Meyerowitz. 'Five more found, New York City' 2001

 

Joel Meyerowitz
Five more found, New York City
2001

 

 

NRW-Forum Kultur und Wirtschaft
Ehrenhof 2, 40479 Düsseldorf
Tel.: +49 (0)211 – 89 266 90

Opening hours:
Tuesday to Sunday 11.00 – 20.00
Friday until 22.00

NRW-Forum Kultur und Wirtschaft website

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06
Jan
15

Exhibition: ‘Eyes Wide Open: 100 Years of Leica Photography’ at Deichtorhallen Hamburg

Exhibition dates: 24th October 2014 – 11th January 2015

Curator: Hans-Michael Koetzle

 

A photographic revolution. So much more than just photojournalism… and it has a nice sound as well.
“Indiscreet discretion” as the photographer F. C. Gundlach puts it. Some memorable photographs here.

Marcus

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

 

 

Oskar Barnack. 'Wetzlar Eisenmarkt' 1913

 

Oskar Barnack
Wetzlar Eisenmarkt
1913
© Leica Camera AG

 

Ernst Leitz. 'New York II' 1914

 

Ernst Leitz
New York II
1914
© Leica Camera AG

Just a few months before the outbreak of the First World War, Ernst Leitz II travelled to the USA. While there, he was able to capture photos, using a second model of the “Liliput” camera developed by Oskar Barnack, which most certainly would be found in a history of street photography.

 

Oskar Barnack. 'Flood in Wetzlar' 1920

 

Oskar Barnack
Flood in Wetzlar
1920
© Leica Camera AG

From around the time of 1914, Oskar Barnack must have carried a prototype camera with him, particularly during his travels – the camera first received the name Leica in 1925. Perhaps his most famous sequence of images, because it has been shown continually since, is the striking series of the floods in Wetzlar, Germany, in 1920

 

'Ur-Leica' 1914

 

Ur-Leica
1914
© Leica Camera AG

 

Oskar Barnack invents the Ur-Leica

Designed by Oskar Barnack, the first functional prototype of a new camera for 35 mm perforated cinema film stock was completed in March 1914.
The camera consisted of a metal housing, had a retractable lens and a focal plane shutter, which is not overlapped, however. A bolt-on lens cap that was swiveled during film transport, prevented incidental light. For the first time film advance and shutter cocking were connected to a camera – double exposures were excluded. The camera has gone down in the history of photography under the name Ur-Leica.

 

Ilse Bing. 'Self-portrait in Spiegeln' 1931

 

Ilse Bing
Self-portrait in Spiegeln
1931
© Leica Camera AG

 

Anton Stankowski. 'Greeting, Zurich, Rüdenplatz' 1932

 

Anton Stankowski
Greeting, Zurich, Rüdenplatz
1932
© Stankowski-Stiftung

 

Henri Cartier-Bresson. 'Behind the Gare Saint-Lazare, Paris' 1932

 

Henri Cartier-Bresson
Behind the Gare Saint-Lazare, Paris
1932

 

Alexander Rodchenko. 'Girl with Leica' 1934

 

Alexander Rodchenko
Girl with Leica
1934

Jewgenija Lemberg, shown here, was a lover of the photographer Alexander Rodchenko for quite some time. In 1992, a print of this photo brought in a tremendous 115,000 British pounds at a Christie’s auction in London. Alexander Rodchenko was continually capturing Jewgenija Lemberg in new, surprising and bold poses – until her death in a train accident. 

 

Heinrich Heidersberger. 'Laederstraede, Copenhagen' 1935

 

Heinrich Heidersberger
Laederstraede, Copenhagen
1935
© Institut Heidersberger

 

Robert Capa. 'Loyalist Militiaman at the Moment of Death, Cerro Muriano, September 5, 1936' 1936

 

Robert Capa
Loyalist Militiaman at the Moment of Death, Cerro Muriano, September 5, 1936
1936

At the age of 23 and equipped with his Leica, Robert Capa embedded himself in the Spanish Civil War while on assignment for the French press. On 5 September 1936, he managed to capture the perhaps most well-known war photo of the 20th century. 

 

Henri Cartier-Bresson. 'Sunday on the banks of the River Marne' Juvisy, France 1938

 

Henri Cartier-Bresson
Sunday on the banks of the River Marne
Juvisy, France 1938

This photo was taken two years after the large-scale strikes that ultimately led to a fundamental improvement in social conditions. Against this backdrop, the picnic in nature is also, above all, a political message – convincing in a formal, aesthetic way, and inherently consistent and suggestive at the same time.

 

Jewgeni Chaldej. 'The Flag of Victory' 1945

 

Jewgeni Chaldej
The Flag of Victory
1945
© Collection Ernst Volland and Heinz Krimmer, Leica Camera AG

Although this scene was staged, it loses none of its impact as an image and in no way hampers the resounding global response that it has achieved. The Red Army prevailed – there’s nothing more to convey in such a harmonious picture.

 

Alfred Eisenstaedt. 'VJ Day, Times Square, NY, 14. August 1945'

 

Alfred Eisenstaedt
VJ Day, Times Square, NY, 14. August 1945
© Alfred Eisenstaedt, 2014

This photo appeared on the cover of Life magazine and grew to become one of Alfred Eisenstaedt’s most well-known images. “People tell me,” he once said, “that when I am in heaven they will remember this picture.”

 

W. Eugene Smith. 'Guardia Civil, Spain' 1950

 

W. Eugene Smith
Guardia Civil, Spain
1950
Gelatin silver print
25.1 x 32.1 cm

W. Eugene Smith’s image of Guardia Civil is also a symbol of an imperious, backward Spain under the rule of Franco. For two months, W. Eugene Smith went scouting for a village and photographed it with the residents’ consent. What he shows us is a strange world: rural, archaic, as if on another planet. 

 

Inge Morath. 'London' 1950

 

Inge Morath
London
1950

Inge Morath’s photo titled “London” is well spotted, clearly composed and yet complicated in its arrangement. It also tells of a structure of domination, of hierarchies and traditions which certainly were more stable in England than in other European countries. 

 

Franz Hubmann. 'Regular at the Café Hawelka, Vienna' 1956/57

 

Franz Hubmann
Regular guest at the Café Hawelka, Vienna
1956/57
© Franz Hubmann. Leica Camera AG

We shall never discover who the man is in this photo. Franz Hubmann, more or less while walking by the table, captured the guest gently balancing a cup with the tips of his fingers – viewed from above without the use of flash, without any hectic movement, and not at all staged.

 

Frank Horvat. 'Givenchy Hat For Jardin des Modes' 1958

 

Frank Horvat
Givenchy Hat For Jardin des Modes, Paris
1958
Abzug 1995 / Haus der Photographie / Sammlung F.C. Gundlach Hamburg

 

F.C. Gundlach. 'Fashion reportage for 'Nino', Port of Hamburg' 1958

 

F.C. Gundlach
Fashion reportage for ‘Nino’, Port of Hamburg
1958
© F.C. Gundlach

 

Hans Silvester. 'Steel frame assembly' about the end of the 1950s

 

Hans Silvester
Steel frame assembly
about the end of the 1950s
Silver gelatin, vintage print
© Hans Silvester / Leica AG

 

 

 

“The exhibition EYES WIDE OPEN: 100 YEARS OF LEICA PHOTOGRAPHY illuminates across fourteen chapters various aspects of recent small-format photography, from journalistic strategies to documentary approaches and free artistic positions, spanning fourteen chapters. Among the artists whose work will be shown are Alexander Rodchenko, Henri Cartier-Bresson, Robert Capa, Christer Strömholm, Robert Frank, Bruce Davidson, William Klein, William Eggleston, René Burri, Thomas Hoepker and Bruce Gilden. Following its premiere in the House of Photography at the Deichtorhallen Hamburg, the exhibition will travel to Frankfurt, Berlin, Vienna and Munich.

Some 500 photographs, supplemented by documentary material, including journals, magazines, books, advertisements, brochures, camera prototypes and films, will recount the history of small-format photography from its beginnings to the present day. The exhibition, which is curated by Hans-Michael Koetzle, follows the course of technological change and photographic history.

According to an entry in the workshop records, by March 1914 at the latest, Oskar Barnack, who worked as an industrial designer at Ernst Leitz in Wetzlar, completed the first functional model of a small-format camera for 35mm cinema film. The introduction of the Leica (a combination of “Leitz” and “Camera”) which was delayed until 1925 due to the war, was not merely the invention of a new camera; the small, reliable and always-ready Leica, equipped with a high-performance lens specially engineered by Max Berek, marked a paradigm shift in photography. Not only did it offer amateur photographers, newcomers and emancipated women greater access to photography; the Leica, which could be easily carried in a coat pocket, also became a ubiquitous part of everyday life. The comparatively affordable small-format camera stimulated photographic experimentation and opened up new perspectives. In general, visual strategies for representing the world became more innovative, bold and dynamic. Without question, the Leica developed by Oskar Barnack and introduced by Ernst Leitz II in 1924 was something like photography’s answer to the phenomenological needs of a new, high-speed era.

The exhibition EYES WIDE OPEN: 100 YEARS OF LEICA PHOTOGRAPHY will attempt for the first time to offer a comprehensive overview of the change in photography brought about by the invention and introduction of the Leica. Rather than isolating the history of the camera or considering it for its own sake, it will examine the visual revolution sparked by the technological innovation of the Leica. The exhibition will take an art- and cultural-historical perspective in pursuit of the question of how the photographic gaze changed as a result of the Leica and the small-format picture, and what effects the miniaturization of photography had on the work of amateurs, artists and photojournalists. Not least, it will also seek to determine what new subjects the camera addressed with its wide range of interchangeable lenses, and how these subjects were seen in a new light: a new way of perceiving the world through the Leica viewfinder.

Among the featured photographers are those who are internationally known for their work with Leica cameras as well as amateurs and artists who have not yet been widely associated with small-format photography, including Ilja Ehrenburg, Alfons Walde, Ben Shahn and George Grosz. Important loans, some of which have never been shown before, come from the factory archives of Leica Camera AG in Wetzlar, international collections and museums, as well as private lenders (Sammlung F. C. Gundlach, Sammlung Skrein, Sammlung WestLicht).”

Press release from the Deichtorhallen Hamburg website

 

 

Robert Lebeck. 'The stolen sword, Belgian Congo Leopoldville' 1960

 

Robert Lebeck
The stolen sword, Belgian Congo Leopoldville
1960
© Robert Lebeck/ Leica Camera AG

When a young Congolese man grabs the king’s sword from the backseat of an open-top car on 29 June 1960, Robert Lebeck manages to capture the image of his life. The photo became a metaphor for the end of the descending dominance by Europeans on the African continent. 

 

Christer Strömholm. 'Nana, Place Blanche, Paris' 1961

 

Christer Strömholm
Nana, Place Blanche, Paris
1961
© Christer Strömholm/Strömholm Estate, 2014

 

Ulrich Mack. 'Wild horses in Kenya' 1964

 

Ulrich Mack
Wild horses in Kenya
1964
© Ulrich Mack, Hamburg / Leica Camera AG

Ulrich Mack travelled to Africa to discover the continent as a reporter – a continent that had been battered by warmongers and massacres. But all this changed: as if in a state of ecstasy, Ulrich Mack photographed a herd of wild horses, virtually throwing himself down under the animals

 

Claude Dityvon. "L'homme à la chaise" [The man in the chair], Bd St. Michel, 21 May 1968

 

Claude Dityvon
“L’homme à la chaise” [The man in the chair], Bd St. Michel, 21 May 1968
1968
© Chris Dityvon, Paris

 

Fred Herzog. 'Man with Bandage' 1968

 

Fred Herzog
Man with Bandage
1968
Courtesy of Equinox Gallery, Vancouver
© Fred Herzog, 2014

 

Lee Friedlander. 'Mount Rushmore, South Dakota' 1969

 

Lee Friedlander
Mount Rushmore, South Dakota
1969
Haus der Photographie / Sammlung F.C. Gundlach Hamburg

 

Nick Út: The Associated Press. 'Napalm attack in Vietnam' 1972

 

Nick Út: The Associated Press
Napalm attack in Vietnam
1972
© Nick Út/AP/ Leica Camera AG

 

Eliott Erwitt. 'Felix, Gladys and Rover' New York City, 1974

 

Eliott Erwitt
Felix, Gladys and Rover
New York City, 1974

Elliott Erwitt’s passion focused on dogs – for him, they were the incarnation of human beings, with fur and a tail. His photo titled “New York City” was taken for a shoe manufacturer. 

 

René Burri. 'San-Cristobál' 1976

 

René Burri
San-Cristobál
1976

 

Martine Franck. 'Swimming pool designed by Alain Capeilières' 1976

 

Martine Franck
Swimming pool designed by Alain Capeilières
1976

 

Wilfried Bauer. From the series "Hong Kong", 1985

 

Wilfried Bauer
From the series Hong Kong
1985
Originally published in the Frankfurter Allgemeine Zeitung # 307, 17.01.1986
© Nachlass Wilfried Bauer/Stiftung F.C. Gundlach

 

Rudi Meisel. 'Leningrad' 1987

 

Rudi Meisel
Leningrad
1987

 

Jeff Mermelstein. 'Sidewalk' 1995

 

Jeff Mermelstein
Sidewalk
1995
© Jeff Mermelstein

 

Michael von Graffenried. From the series 'Night in Paradise', Thielle (Switzerland) 1998

 

Michael von Graffenried
From the series Night in Paradise, Thielle (Switzerland)
1998
© Michael von Graffenried

 

Bruce Gilden: 'Untitled', from the series "GO", 2001

 

Bruce Gilden
Untitled, from the series “GO”
2001
© Bruce Gilden 2014/Magnum Photos

Bruce Gilden is an avid portrait photographer, without his photos ever appearing posed or staged. His image of humanity arises from the flow of life, the hectic everyday goings-on or – like in “Go” – the deep pit of violence, the Mafia and corruption. 

 

François Fontaine. 'Vertigo' from the 'Silenzio!' series 2012

 

François Fontaine
Vertigo from the Silenzio! series
2012

 

Julia Baier. From the series "Geschwebe," 2014

 

Julia Baier
From the series Geschwebe
2014
© Julia Baier

 

 

Deichtorhallen Hamburg
House of Photography
Deichtorstr. 1-2
D – 20095 Hamburg

Opening hours:
Tuesday – Sunday 11 am – 6 pm
Every first Thursday of the month 11 am – 9 pm

Deichtorhallen Hamburg website

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05
Jan
15

Exhibition: ‘The City Lost and Found: Capturing New York, Chicago, and Los Angeles, 1960-1980′ at the Art Institute of Chicago

Exhibition dates: 26th October 2014 – 11th January 2015

 

What looks to be another fascinating exhibition. They are coming thick and fast at the moment, it’s hard to keep up!

Marcus

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

 

 

“The American city of the 1960s and 1970s experienced seismic physical changes and social transformations, from urban decay and political protests to massive highways that threatened vibrant neighborhoods. Nowhere was this sense of crisis more evident than in the country’s three largest cities: New York, Chicago, and Los Angeles. Yet in this climate of uncertainty and upheaval, the streets and neighborhoods of these cities offered places where a host of different actors – photographers, artists, filmmakers, planners, and activists – could transform these conditions of crisis into opportunities for civic discourse and creative expression.

The City Lost and Found is the first exhibition to explore this seminal period through the emergence of new photographic and cinematic practices that reached from the art world to the pages of Life magazine. Instead of aerial views and sweeping panoramas, photographers and filmmakers turned to in-depth studies of streets, pedestrian life, neighborhoods, and seminal urban events, like Bruce Davidson’s two-year study of a single block in Harlem, East 100th Street (1966-68). These new forms of photography offered the public a complex image of urban life and experience while also allowing architects, planners, and journalists to imagine and propose new futures for American cities.

Drawn from the Art Institute’s holdings, as well as from more than 30 collections across the United States, this exhibition brings together a large range of media, from slideshows and planning documents to photo collage and artist books. The City Lost and Found showcases important bodies of work by renowned photographers and photojournalists such as Thomas Struth, Martha Rosler, and Barton Silverman, along with artists known for their profound connections to place, such as Romare Bearden in New York and ASCO in Los Angeles. In addition, projects like artist Allan Kaprow’s Chicago happening, Moving, and architect Shadrach Wood’s hybrid plan for SoHo demonstrate how photography and film were used in unconventional ways to make critical statements about the stakes of urban change. Blurring traditional boundaries between artists, activists, planners, and journalists, The City Lost and Found offers an unprecedented opportunity to experience the deep interconnections between art practices and the political, social, and geographic realities of American cities in the 1960s and 1970s.

Organizer
The City Lost and Found: Capturing New York, Chicago, and Los Angeles, 1960-1980 is organized by the Art Institute of Chicago and the Princeton University Art Museum.”

Text from the Art Institute of Chicago website

 

 

James Nares
Pendulum
1976
Courtesy of Paul Kasmin Gallery, New York

 

James Nares’s film Pendulum illustrates the extraordinary status of Lower Manhattan during the 1970s, where disuse and decay created both the threat of demolition and the freedom to produce ambitious public art projects. The film shows a large pendulum swinging languidly in largely abandoned streets, suggesting the passage of time as well as the menace of the wrecking ball. Nares created this project by suspending a cast-concrete ball from an elevated pedestrian bridge on Staple Street on the Lower West Side adjacent to his loft. Unlike many neighborhoods, urban renewal plans never came to fruition for this area, which still retains a connection to this precarious, yet liberating time in New York.

 

Romare Bearden. 'The Block II' (detail) 1972

 

Romare Bearden
The Block II (detail)
1972
Collection of Walter O. and Linda J. Evans

 

This monumental collage depicts both a specific, identifiable block in Harlem and also the importance of everyday routines to the city. From the 1960s Romare Bearden used collage to convey the texture and dynamism of urban life, combining paint and pencil with found photographs and images from newspapers, magazines, product labels, and fabric and wallpaper samples. Here Bearden showed the diverse inhabitants of Harlem apartment buildings perched in windows and on fire escapes, sitting on front stoops and street benches. The scene highlights the innumerable ways city dwellers “make do” so that their environments are more functional and livable, from transforming front steps into a living room to turning sidewalks into playgrounds. While Bearden’s work has strong connections to avant-garde art and American and African histories, his collage technique can also be seen as a form of making do, just like the practices of his neighbors in New York.

 

 

“The American city of the 1960s and ’70s witnessed seismic physical changes and social transformations, from shifting demographics and political protests to the aftermath of decades of urban renewal. In this climate of upheaval and uncertainty, a range of makers – including photographers, filmmakers, urban planners, architects, and performance artists – countered the image of the city in crisis by focusing on the potential and the complexity of urban places. Moving away from the representation of cities through aerial views, maps, and sweeping panoramas, new photographic and planning practices in New YorkChicago, and Los Angeles explored real streets, neighborhoods, and important urban events, from the Watts Rebellion to the protests surrounding the Democratic National Convention in Chicago. These ideas and images defined not only cities’ social and political stakes in the eyes of the American public, but they also led a new generation of architects, urban planners, and sociologists to challenge long-held attitudes about the future of inner-city neighborhoods.

Works throughout the exhibition describe this new ideal of urban experience following three main lines of inquiry – preservation, demonstration, and renewal. The first reflects the widespread interest in preserving urban neighborhoods and communities, including the rise of the historic preservation movement in the United States. The second captures the idea of demonstration in the broadest sense, encompassing political protests during the 1960s, as well as temporary appropriations of streets and urban neighborhoods through performance art, film, and murals. The third, renewal, presents new and alternative visions for the future of American cities created by artists, filmmakers, architects, and planners. Together these works blur the lines between artists, activists, and journalists, and demonstrate the deep connections between art practices and the political, social, and geographic realities of American cities in a tumultuous era.”

 

New York

The election of Mayor John Lindsay in 1965 represented a watershed for New York, as the city moved away from administrator Robert Moses’s highly centralized push for new infrastructure and construction in previous decades. Lindsay’s efforts to create a more open and participatory city government were often in dialogue with ideas advanced by critic Jane Jacobs, who argued for the value of streets, neighborhoods, and small-scale change. This new focus on local and self-directed interventions had a wide influence, leading to the development of pocket parks to replace vacant lots and the groundbreaking Plan for New York City’s use of photo essays and graphic design to express goals of diversity and community. In turn, many artists of the period, including Hans Haacke and Mierle Laderman Ukeles, created work that directly engaged with important social and political issues in the city, such as slum housing and labor strikes.

A multifaceted theme of preservation comes to the fore in work by the many artists and architects in New York who documented, staged, and inhabited areas where buildings were left vacant and in disrepair following postwar shifts in population and industry. The historic streets of Lower Manhattan became an integral part of projects by artist Gordon Matta-Clark and architect Paul Rudolph, for example, while low-income, yet vibrant neighborhoods like Harlem gave rise to important bodies of work by Romare Bearden, Bruce Davidson, and Martha Rosler. James Nares’s elegiac film Pendulum and Danny Lyon’s remarkable photographs in The Destruction of Lower Manhattan are examples of a growing awareness of the struggle to preserve the existing urban fabric and cultures of New York during the 1960s and ’70s.

 

Mierle Laderman Ukeles. 'Touch Sanitation Performance' 1977-80

 

Mierle Laderman Ukeles
Touch Sanitation Performance
1977-80
Courtesy of Ronald Feldman Fine Arts, New York

 

In 1977 Mierle Laderman Ukeles embarked on the multiyear performance piece Touch Sanitation, in which she shook the hand of every one of the 8,500 sanitation workers, or “sanmen,” employed by the city of New York, in keeping with her practice’s focus on labor. After the vilification of sanitation workers during the strikes of 1968, Ukeles’s personal and political camaraderie with the workers took on particular importance; every handshake was accompanied by the words “Thank you for keeping the city alive.” She worked the same hours as the sanmen and followed their paths through the streets of New York. Touch Sanitation was also distinguished by the importance Ukeles placed on the participation of the workers, as she explained in the brochure for the project: “I’m creating a huge artwork called TOUCH SANITATION about and with you, the men of the Department. All of you.”

 

Paul Rudolph. 'Lower Manhattan Expressway, New York City, perspective section' c. 1970

 

Paul Rudolph
Lower Manhattan Expressway, New York City, perspective section
c. 1970
The Paul Rudolph Archive, Library of Congress

 

Known for high-tech buildings in concrete, architect Paul Rudolph began working on a project for Lower Manhattan Expressway in 1965, funded by the Ford Foundation as research and design exploring “New Forms of the Evolving City.” Rudolph diverged from Robert Moses’s strategy for infrastructural projects through a sensitive engagement with the scale and texture of the dense urban fabric of Lower Manhattan. He proposed a below-grade road surmounted by a large, continuous residential structure of varying heights that would protect the surrounding neighborhood from the pollution and noise of the highway. In many places this terraced megastructure was precisely scaled to the height of the surrounding loft buildings, with entrances and gardens on existing streets, a contextual quality emphasized in his detailed drawings. Rudolph also designed the expressway complex to resonate with established functions and symbols of the city, with tall buildings flanking the Manhattan and Williamsburg Bridges like monumental gates to the city.

 

Thomas Struth. 'Crosby Street, New York, Soho' 1978

 

Thomas Struth
Crosby Street, New York, Soho, 1978
© Thomas Struth

 

Thomas Struth’s 1978 photographs in the series Streets of New York City are remarkable representations of a city undergoing dramatic change, from the derelict streets of Lower Manhattan and public-housing buildings in Harlem to the dazzling, mirage-like towers of the newly built World Trade Center. Struth produced these photographs during a residency at the New York Institute for Art and Urban Resources, Inc. (now MoMA’s PS1) from December 1977 until September 1978. As he would later write, “I was interested in the possibility of the photographic image revealing the different character or the ‘sound’ of the place. I learned that certain areas of the city have an emblematic character; they express the city’s structure.” Although these photographs adopt the symmetrical framing and deadpan documentary style of his mentors Bernd and Hilla Becher, they led Struth to ask, “Who has the responsibility for the way a city is?”

 

Bruce Davidson. 'Untitled', from 'East 100th Street' 1966-68

 

Bruce Davidson
Untitled, from East 100th Street
1966-68
Courtesy of Howard Greenberg Gallery, New York and Magnum Photos

 

 

Chicago

In the 1960s and ’70s Chicago emerged from its industrial past led by a powerful mayor, Richard J. Daley, who prioritized development in the downtown areas. His work to modernize the city resulted in the construction of massive highways, housing projects, and imposing skyscrapers – new architectural and infrastructural icons that were explored by many photographers of the era. The arts experienced a similar boom, with the foundation and expansion of museums and university programs. Growth came at a cost, however, and the art of this period highlights the disparate experiences of local communities in Chicago, including Jonas Dovydenas’s photographs of life in ethnic neighborhoods and independent films exploring issues ranging from the work of African American community activists to the forced evictions caused by urban renewal projects.

Demonstrations loomed large in Chicago, where artists responded to two major uprisings in 1968, the first on the West Side, following the assassination of Martin Luther King Jr., and the second downtown, during the Democratic National Convention. These violent confrontations between protestors and police drew national attention to issues of race relations and political corruption in Chicago and led to an outpouring of new art projects as forms of demonstration, including community murals like the West Wall and an exhibition at the Richard Feigen Gallery condemning Daley’s actions during the DNC. The image of Chicago that emerged in the mass media of this period was one of destruction and resilience, a duality highlighted by contemporary artists like Gordon-Matta Clark and Allan Kaprow, whose work existed in the fragile space of opportunity between the streets and the wrecking ball.

 

Ken Josephson. 'Chicago' 1969

 

Ken Josephson
Chicago
1969
The Art Institute of Chicago, Gift of the School of the Art Institute of Chicago

 

Still from Lord Thing, directed by DeWitt Beall, 1970

 

Still from Lord Thing, directed by DeWitt Beall, 1970. Courtesy Chicago Film Archives

 

Lord Thing documents the development of the Vice Lords from an informal club for young men on the streets of Chicago’s West Side, its emergence as a street gang, and its evolution into the Conservative Vice Lords, a splinter group that aspired to nonviolent community activism. The film uses a mix of black-and-white sequences to retrospectively analyze the group’s violent middle period and contrasts these with color sequences that show the Conservative Vice Lords fostering unity and developing black-owned businesses and social programs during the late 1960s. Together, Lord Thing argues for the agency of African Americans in the face of decades of spatialized oppression in Chicago.

 

Art Sinsabaugh. 'Chicago Landscape #117' 1966

 

Art Sinsabaugh
Chicago Landscape #117
1966
Art Sinsabaugh Archive, Indiana University Art Museum
© 2004 Katherine Anne Sinsabaugh and Elisabeth Sinsabaugh de la Cova

 

Sinsabaugh’s panoramic photographs are among the most distinctive visual records of Chicago, capturing the built landscape with what Sinsabaugh called “special photographic seeing,” achieved with large-format negatives. The Department of City Planning used his photographs in a 1963 planning document to help describe the qualities of Chicago’s tall buildings “as vertical forms contrasting with these two great horizontal expanses [the flat prairie and the lakefront edge].” Sinsabaugh’s panoramas also flirt with abstraction when depicting such remarkable places as Chicago’s Circle Interchange, a monumental coil of highways completed in the early 1960s. Sinsabaugh recalled that for the photographer, like the motorist, freeways provided “an access, an opening, a swath cut right through the heart of the City in all directions.” However, his early thrill at the novelty of these developments soon gave way to an appreciation of their violence, in which entire “neighborhoods were laid bare and their very bowels exposed.” (Please enlarge by clicking on the image)

 

Alvin Boyarsky. 'Chicago à la Carte: The City as Energy System' 1970

 

Alvin Boyarsky
Chicago à la Carte: The City as Energy System
1970
Special issue of Architectural Design, December 1970
Courtesy Alvin Boyarsky Archive, London

 

The concept of the city as organism emerged during the 1960s as a response to the increasingly complex interconnections of technology, communication, and history. One exceptional project in this vein was the British architect Alvin Boyarsky’s Chicago à la Carte. Boyarsky drew on an archive of historical postcards, newspaper clippings, and printed ephemera to trace a hidden history of Chicago’s built environment as an “energy system.” This idea was represented on the cover by a striking postcard image of a vivisection of State Street in the Loop, showing subway tunnels, sidewalks, El tracks, and skyscrapers in what Boyarsky described as “the tumultuous, active, mobile, and everywhere dynamic centre of a vast distribution system.” On other pages, Boyarsky showed images of Chicago’s newly built skyscrapers with newspaper clippings of recent political protests to juxtapose the city’s reaction to recent political protests against the disciplinary tradition of modern architecture in Chicago.

 

 

Los Angeles

Los Angeles has always been known for its exceptionalism, as a city of horizontal rather than vertical growth and a place where categories of private and public space prove complex and intertwined. During the 1960s and ’70s these qualities inspired visual responses by seminal artists like Ed Ruscha as well as critics like Reyner Banham, one of the most attentive observers of the city during this period. In many other respects, however, Los Angeles experienced events and issues similar to those of New York and Chicago, including problems of racial segregation, a sense of crisis about the decay of its historical downtown, and large-scale demonstrations, with responses ranging from photography and sculpture to provocative new forms of performance art by the collective Asco.

Concerns about the future forms of urbanism in Los Angeles and a renewal of the idea of the city were major preoccupations for artists, architects, and filmmakers. Many photographers focused on the everyday banality and auto-centric nature of the city, such as Robbert Flick’s Sequential Views project and Anthony Hernandez’s Public Transit Areas series. The historic downtown core continued to hold a special place in popular memory as many of these areas – including the former neighborhood of Bunker Hill – were razed and rebuilt. Julius Shulman’s photographs of new development in the 1960s – including Bunker Hill and Century City – focus on the spectacular quality of recent buildings as well their physical and cultural vacancy. Architects played a strong role in creating new visions for the future city, including an unrealized, yet bold and influential plan for redeveloping Grand Avenue as a mixed-use district shaped by ideals of diversity and pedestrian-friendly New Urbanism.

 

Julius Shulman. 'The Castle, 325 S. Bunker Hill Avenue, Los Angeles, California, (Demolished 1969)' c. 1968

 

Julius Shulman
The Castle, 325 S. Bunker Hill Avenue, Los Angeles, California, (Demolished 1969)
c. 1968
Julius Shulman Photography Archive, Research Library at the Getty Research Institute, Los Angeles (2004.R.10)
© J. Paul Getty Trust. Used with permission

 

Asco. 'Decoy Gang War Victim' 1974 (printed later)

 

Asco
Decoy Gang War Victim
1974 (printed later)
Photograph by Harry Gamboa Jr.
Courtesy of Harry Gamboa Jr.

 

The Chicano art collective Asco was famous for their No Movies – works that appropriate certain stylistic qualities of the movies while maintaining a nonchalance that allows them to critique the media industry’s role in Los Angeles. Asco’s performances, therefore, function on different registers to engage with current events and issues facing the Chicano community as well as acknowledge the mainstream media’s distorted image of the city. For Decoy Gang War Victim, Asco’s members staged a fake gang shooting then circulated the images to local television stations, simultaneously feeding and deriding the media’s hunger for sensationalist imagery of urban neighborhoods.

 

William Reagh. 'Bunker Hill to soon be developed' 1971 (printed later)

 

William Reagh
Bunker Hill to soon be developed
1971 (printed later)
Los Angeles Public Library

 

John Humble. '300 Block of Broadway, Los Angeles, October 3, 1980' 1980

 

John Humble
300 Block of Broadway, Los Angeles, October 3, 1980
1980
Courtesy of Craig Krull Gallery, Santa Monica

 

 

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30
Dec
14

Exhibition: ‘Horst: Photographer of Style’ at the Victoria & Albert Museum, London

Exhibition dates: 6th September 2014 – 4th January 2015

Curator: Susanna Brown, Curator of Photographs at the V&A

 

 

Steichen, Penn, Avedon, Newman – and then there is Horst, master of them all. Style, elegance, lighting, framing, colour but above all panache – the guts and talent to push it just that little bit further.

Marcus

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

 

 

“Fashion is an expression of the times. Elegance is something else again.”

.
Horst, 1984

 

 

Installation image of 'Horst - Photographer of Style' at the V&A

Installation image of 'Horst - Photographer of Style' at the V&A

Installation image of 'Horst - Photographer of Style' at the V&A

Installation image of 'Horst - Photographer of Style' at the V&A

Installation image of 'Horst - Photographer of Style' at the V&A

Installation image of 'Horst - Photographer of Style' at the V&A

 

Installation images of Horst – Photographer of Style at the V&A
© Victoria and Albert Museum, London

 

 

“This autumn, the V&A will present the definitive retrospective exhibition of the work of master photographer Horst P. Horst (1906-1999) – one of the leading photographers of the 20th century. In his illustrious 60-year career, German-born Horst worked predominantly in Paris and New York and creatively traversed the worlds of photography, art, fashion, design, theatre and high society.

Horst: Photographer of Style will display 250 photographs, alongside haute couture garments, magazines, film footage and ephemera. The exhibition explores Horst’s collaborations and friendships with leading couturiers such as Coco Chanel and Elsa Schiaparelli in Paris; stars including Marlene Dietrich and Noël Coward; and artists and designers such as Salvador Dalí and Jean-Michel Frank. Highlights of the exhibition include photographs recently donated to the V&A by Gert Elfering, art collector and owner of the Horst Estate, previously unpublished vintage prints, and more than 90 Vogue covers by Horst.

The exhibition will also reveal lesser-known aspects of Horst’s work: nude studies, travel photographs from the Middle East and patterns created from natural forms. The creative process behind some of his most famous photographs, such as the Mainbocher Corset, will be revealed through the inclusion of original contact sheets, sketches and cameras. The many sources that influenced Horst – from ancient Classical art to Bauhaus ideals of modern design and Surrealism in 1930s Paris – will be explored.

Martin Roth, Director of the V&A said: “Horst was one of the greatest photographers of fashion and society and produced some of the most famous and evocative images of the 20th century. This exhibition will shine a light on all aspects of his long and distinguished career. Horst’s legacy and influence, which has been seen in work by artists, designers and performers including Herb Ritts, Robert Mapplethorpe, Bruce Weber and Madonna, continues today.” 

Horst’s career straddled the opulence of pre-war Parisian haute couture and the rise of ready-to-wear in post-war New York and his style developed from lavish studio set-ups to a more austere approach in the latter half of the 20th century. The exhibition will begin in the 1930s with Horst’s move to Paris and his early experiments in the Vogue studio. Among his first models and muses were Lisa Fonssagrives, Helen Bennett and Lyla Zelensky. Vintage black and white photographs from the archive of Paris Vogue will be displayed alongside garments in shades of black, white, silver and gold by Parisian couturiers such as Chanel, Lanvin, Molyneux and Vionnet.

The exhibition will then focus on Horst’s Surreal-inspired studies and collaborations with Salvador Dalí and Elsa Schiaparelli. Fashion photographs will be shown with trompe l’oeil portraits and haunting still lifes. Horst excelled at portraiture and in the 1930s he captured some of Hollywood’s brightest stars: Rita Hayworth, Bette Davis, Vivien Leigh, Noël Coward, Ginger Rogers, Marlene Dietrich and Joan Crawford, to name a few.

Horst travelled widely throughout the 1940s and 1950s to Israel, Iran, Syria, Italy and Morocco. An escape from the world of fashion and city environs, his little-known travel photographs reveal a fascination for ancient cultures, landscapes and architecture. On display will be works taken in Iran such as the Persepolis Bull, Horst’s powerful image of a vast sculpture head amidst the ruins of a once magnificent palace, and images documenting the annual migration of the nomadic Qashqai clan.

Detailed studies of natural forms such as flowers, minerals, shells and butterfly wings from the project Patterns From Nature, will be shown alongside a series of kaleidoscopic collages made by arranging photographs in simple repeat; his intention was that these dynamic patterns could be used as designs for textiles, wallpaper, carpets, plastics and glass.

Horst was admired for his dramatic lighting and became one of the first photographers to perfect the new colour techniques of the 1930s. A short film of him at work in the Vogue studios during the 1940s will be shown with an introduction to his peers including Lee Miller, Cecil Beaton and Irving Penn. The advent of colour enabled a fresh approach and Horst went on to create more than 90 Vogue covers and countless pages in vivid colour. A selection of 25 large colour photographs, newly printed from the original transparencies from the Condé Nast Archive, will demonstrate Horst’s exceptional skill as a colourist. These prints feature Horst’s favourite models from the 1940s and 50s, such as Carmen Dell’Orefice, Muriel Maxwell and Dorian Leigh, and will be shown together with preparatory sketches, which have never previously been exhibited.

In the early 1950s, Horst created a series of male nudes for an exhibition in Paris for which the models were carefully posed and dramatically lit to accentuate their musculature. The series evokes the classical sculpture that Horst so admired throughout his career. During the 1960s and 1970s, Horst photographed some of the world’s most beautiful and luxurious homes for House and Garden and Vogue under the editorship of his friend Diana Vreeland. A three-sided projection and interactive screens will present these colourful studies. Among the most memorable are the Art Deco apartment of Karl Lagerfeld, the three lavish dwellings of Yves Saint Laurent and the Roman palazzo of artist Cy Twombly.

In the latter years of Horst’s life, his early aesthetic experienced a renaissance. The period also witnessed a flurry of new books, exhibitions, and television documentaries celebrating his work. Horst produced new, lavish prints in platinum-palladium for museums and the collector’s market, selecting emblematic works from every decade of his career, which will be showcased as the finale to the exhibition.”

Press release from the V&A

 

Behind the scenes at American Vogue, 1946 from Victoria and Albert Museum

 

Showing clips from the publication house’s cutting room floor, as well as editors at work, this never-before-seen footage shot from late 1946 to early 1947 gives a fascinating insight into the history of fashion publishing. This film is comprised of outtakes from the documentary Fashion Means Business. Dorian Leigh models the latest American designs in the Condé Nast studio for Horst and his assistant Vassilov, overseen by Vogue editors Muriel Maxwell and Priscilla Peck. The photographs are selected with editor Jessica Daves and art director Alexander Liberman, and the page layout finalised with Marcel Guillaume and Liberman.

With permission from HBO Archives/The March of Time. Provided by Condé Nast Archive

 

Horst P. Horst. 'Chanel, Vogue France' 1935

 

Horst P. Horst
Chanel, Vogue France
1935
© Condé Nast/Horst Estate

A fore-runner of the timeless look of Chanel, here in brown and white check rayon with collar, cuffs and lapels in white piquè that matches the buttoned top.

 

Horst P. Horst. 'Hat and coat-dress by Bergdorf Goodman, modelled by Estrella Boissevain' 1938

 

Horst P. Horst
Hat and coat-dress by Bergdorf Goodman, modelled by Estrella Boissevain
1938
© Conde Nast / Horst Estate

 

Horst P. Horst. 'Corset by Detolle for Mainbocher' 1939

 

Horst P. Horst
Corset by Detolle for Mainbocher
1939
© Conde Nast / Horst Estate

 

Horst P.Horst. 'Lisa with Turban, New York' 1940

 

Horst P.Horst
Lisa with Turban, New York
1940
© Conde Nast / Horst Estate

 

Horst P. Horst. 'Gertrude Stein at Balmain Fashion Show' 1946

 

Horst P. Horst
Gertrude Stein at Balmain Fashion Show
1946
© Conde Nast / Horst Estate

 

Horst P. Horst. 'Birthday Gloves, New York' 1947

 

Horst P. Horst
Birthday Gloves, New York
1947
© Condé Nast/Horst Estate

 

Horst P. Horst. 'Lillian Marcuson in Dior's belted two-piece suit in black rustic wool, called 'Milieu du Siècle'' 1949

 

Horst P. Horst
Lillian Marcuson in Dior’s belted two-piece suit in black rustic wool, called ‘Milieu du Siècle’
1949
© Condé Nast/Horst Estate

 

Horst P. Horst. 'Nina de Voe' 1951

 

Horst P. Horst
Nina de Voe
1951
© Condé Nast/Horst Estate

 

Horst P. Horst. 'Lillian Marcuson, New York' 1950

 

Horst P. Horst
Lillian Marcuson, New York
1950
© Condé Nast/Horst Estate

 

Horst P. Horst. 'Outfit by Tina Leser' Vogue, April 1950

 

Horst P. Horst
Outfit by Tina Leser
Vogue, April 1950
© Condé Nast/Horst Estate

 

Horst P.Horst. 'Bombay Bathing Fashion' 1950

 

Horst P.Horst
Bombay Bathing Fashion
1950
© Condé Nast/Horst Estate

Model (unidentified) and Dorian Leigh (r) in bathing suit and sleeveless shirt cover-up by Carolyn Schnurer 1951 Vogue

 

Haute Couture

When Horst joined Vogue in 1931, Paris was still the world’s undisputed centre of high fashion. Photography had begun to eclipse graphic illustration in fashion magazines and the publisher Condé Montrose Nast devoted large sums to improving the quality of image reproduction. He insisted that Vogue photographers work with a large format camera, which produced richly detailed negatives measuring ten by eight inches.

The creation of a Horst photograph was a collaborative process, involving the talents of the photographer and model, the art director, fashion editor, studio assistants and set technicians. The modelling profession was still in its infancy in the 1930s and many of those who posed under the hot studio lights were stylish friends of the magazine’s staff, often actresses or aristocrats.

By the mid 1930s, Horst had superseded his mentor George Hoyningen-Huene as Paris Vogue‘s primary photographer. His images frequently appeared in the French, British and American editions of the magazine. Many of the photographs on display in the exhibition are vintage prints from the company’s archive.

 

Horst P. Horst. 'Dress by Hattie Carnegie' 1939

 

Horst P. Horst
Dress by Hattie Carnegie
1939
© Conde Nast / Horst Estate

 

Horst P. Horst. 'Dress by Hattie Carnegie' 1939

 

Horst P. Horst
Dress by Hattie Carnegie
1939
© Conde Nast / Horst Estate

 

Horst P. Horst. 'Muriel Maxwell, American Vogue' 1939

 

Horst P. Horst
Muriel Maxwell, American Vogue
1939
© Conde Nast / Horst Estate

 

Horst P. Horst. 'Summer Fashions, American Vogue cover' 1941

 

Horst P. Horst
Summer Fashions, American Vogue cover
1941
© Conde Nast / Horst Estate

 

Horst P. Horst. 'Dinner suit and headdress by Schiaparelli' 1947

 

Horst P. Horst
Dinner suit and headdress by Schiaparelli
1947
© Conde Nast / Horst Estate

 

Horst P. Horst. 'Millicent Rogers in a Charles James gown and a gold necklace of her own design' Vogue, February 1, 1949

 

Horst P. Horst
Millicent Rogers in a Charles James gown and a gold necklace of her own design
Vogue,
February 1, 1949
© Conde Nast / Horst Estate

 

Horst in Colour from Victoria and Albert Museum

 

This film reveals the process of creating new colour prints for the exhibition Horst: Photographer of Style. Horst was quick to master new colour processes, introduced in the late 1930s, and he created hundreds of vibrant fashion photographs for Vogue.

The V&A team worked closely with specialists at the Condé Nast Archive and expert printer Ken Allen to select and print from Horst’s early transparencies, which date from the 1930s to the 1950s. The film includes insights into Horst’s dynamic approach from model Carmen Dell’Orefice and Vogue’s International Editor at Large, Hamish Bowles.​

 

Fashion in Colour

The 1930s ushered in huge technical advancements in colour photography. Horst adapted quickly to a new visual vocabulary, creating some of Vogue’s most dazzling colour images. In 1935 he photographed the Russian Princess Nadejda Sherbatow in a red velveteen jacket for the first of his many Vogue cover pictures.

The occupation of Paris transformed the world of fashion. The majority of French ateliers closed and many couturiers and buyers left the country. Remaining businesses struggled with extreme shortages of cloth and other supplies. The scarcity of French fashions in America, however, enabled American designers to come into their own.

Horst’s colour photographs are rarely exhibited because few vintage prints exist. Colour capture took place on a transparency which could be reproduced on the magazine page without the need to create a photographic print. The size of the new prints displayed in this room of the exhibition echoes the large scale of a group of Horst images printed in 1938 at the Condé Nast press.

 

Horst P. Horst. 'Marlene Dietrich, New York' 1942

 

Horst P. Horst
Marlene Dietrich, New York
1942
© Conde Nast / Horst Estate

 

Horst P. Horst. 'Gloria Vanderbilt age 17 wearing a dress by Howard Greer, New York' 1941

 

Horst P. Horst
Gloria Vanderbilt age 17 wearing a dress by Howard Greer, New York
1941
© Conde Nast / Horst Estate

At 17, in Beverly Hills wearing a tabletop dress by Howard Greer. Tabletop dresses looked good from the waist up when stars were photographed sitting in restaurants and nightclub

 

Stage and Screen

Horst’s portraits spanned a wide cross-section of subjects, from artists and writers to presidents and royalty. In the 1930s, he became aware of a new focus for his work. As he later noted in his book Salute to the Thirties (1971), glamorous Hollywood movie stars were imperceptibly assuming the place left vacant by Europe’s vanishing royal families. With the approach of the Second World War, the escapism offered by theatre and cinema gained in popularity. Horst began to photograph these new, classless celebrities, both in costume and as themselves.

The first well-known star Horst photographed was the English performer Gertrude Lawrence, then appearing in Ronald Jeans’ play Can the Leopard…? at the Theatre Royal, Haymarket. Horst’s first portrait of a Hollywood actress, Bette Davis, appeared in Vogue‘s sister magazine Vanity Fair in 1932.

 

Horst P. Horst. 'Round the Clock, New York' 1987

 

Horst P. Horst
Round the Clock, New York
1987
© Conde Nast / Horst Estate

 

Platinum

The 1980s witnessed a flurry of new books, exhibitions and television documentaries about Horst. He produced new prints for museums and the collector’s market, selecting emblematic works from every decade of his career to be reprinted in platinum-palladium, sometimes with new titles. This was a complex and expensive technique, employing metals more expensive than gold. Failing eyesight finally forced him to stop working in 1992.

Horst’s platinum-palladium prints are treasured for their nuanced tones, surface quality and permanence. His style had experienced a renaissance in 1978 when Francine Crescent, French Vogue‘s editor in chief, had invited him to photograph the Paris collections. Horst’s work for her echoed his atmospheric, spot-lit studies of the 1930s. His use of the platinum process for creating new and reproducing early works ensured his mastery of light, mood and composition would be enjoyed by a new audience.

 

Horst P. Horst. 'Male Nude #3' 1952, printed 1980s

 

 

Horst P. Horst
Male Nude #3
1952, printed 1980s
© Conde Nast / Horst Estate

 

Horst P. Horst. 'Still Life' Nd

 

Horst P. Horst
Still Life
Nd
© Conde Nast / Horst Estate

 

Horst P. Horst. 'Male Nude' 1952

 

Horst P. Horst
Male Nude
1952
© Conde Nast / Horst Estate

 

Male Nudes

In the early 1950s Horst produced a set of distinctive photographs unlike much of his previous output. These male figure studies were exhibited for the first time in Paris in 1953 and reprinted using the platinum-palladium process in the 1980s. The studies exemplify Horst’s sense of form. All emphasis is on the idealised human body, expressive light and shadow. Monumental and anonymous nudes resemble classical sculptures. As Mehemed Agha (1929-78), art director of American Vogue, commented:

“Horst takes the inert clay of human flesh and models it into the decorative shapes of his own devising. Every gesture of his models is planned, every line controlled and coordinated to the whole of the picture. Some gestures look natural and careless, because carefully rehearsed; the others, like Voltaire’s god, were invented by the artist because they did not exist.”

 

Horst P. Horst. 'Salvador Dali's costumes for Leonid Massine's ballet 'Bacchanale'' 1939

 

Horst P. Horst
Salvador Dali’s costumes for Leonid Massine’s ballet Bacchanale
1939
© Conde Nast / Horst Estate

 

Horst P. Horst. 'Lisa Fonssagrives hands, New York' 1941

 

Horst P. Horst
Lisa Fonssagrives hands, New York
1941
© Conde Nast / Horst Estate

 

Horst P. Horst. 'Odalisque I' 1943

 

Horst P. Horst
Odalisque I
1943
© Conde Nast / Horst Estate

 

Horst P.Horst. 'Bunny Hartley' Vogue, 1938

 

Horst P.Horst
Bunny Hartley
Vogue,
1938
© Conde Nast / Horst Estate

 

Horst P. Horst. 'Lisa Fonssagrives "I Love You"' 1937

 

Horst P. Horst
Lisa Fonssagrives “I Love You”
1937
© Conde Nast / Horst Estate

 

Surrealism

The Surrealist art movement explored unique ways of interpreting the world, turning to dreams and the unconscious for inspiration. During the 1930s Surrealism escaped its radical avant-garde roots and transformed design, fashion, advertising, theatre and film. Horst’s photographs of this period feature mysterious, whimsical and surreal elements combined with his classical aesthetic. He created trompe l’oeil still lifes, photographed the surreal-infused dress designs of his friend Elsa Schiaparelli and collaborated with the artist Salvador Dalí. He shared with the Surrealists a fascination with the representation of the female body, often fragmenting and eroticising the human form in his images.

His most celebrated photograph of the era is Mainbocher Corset (1939). Decades after the photograph was made, Main Bocher himself expressed his admiration for Horst’s virtuosity, writing,

“Your photographs are sheer genius and delight my soul … each one is perfect by itself.”

 

Horst P. Horst. 'Patterns from Nature Photographic Collage' 1945

 

Horst P. Horst
Patterns from Nature Photographic Collage
1945
© Conde Nast / Horst Estate

 

Patterns from Nature

Horst’s second book, Patterns from Nature (1946), and the photographs from which it originated, are a surprising diversion from the high glamour of his fashion and celebrity photographs. These close-up, black and white images of plants, shells and minerals were taken in New York’s Botanical Gardens, in the forests of New England, in Mexico, and along the Atlantic and Pacific coasts.

This personal project was partly inspired by photographs of plants by Karl Blossfeldt (1865-1932). Horst was struck by “their revelation of the similarity of vegetable forms to art forms like wrought iron and Gothic architecture.” Horst’s interest was also linked to the technical purity of ‘photographic seeing’, a philosophy associated with the New Objectivity movement of the 1920s and ’30s. Practitioners took natural forms out of their contexts and examined them with such close attention that they became unfamiliar and revelatory.

 

Horst P. Horst. 'View of ruins at the palace of Persepolis, Persia' 1949

 

Horst P. Horst
View of ruins at the palace of Persepolis, Persia
1949
© Conde Nast / Horst Estate

 

Travel

In the summer of 1949, Horst journeyed to the Middle East with his partner Valentine Lawford, then political counsellor at the British Embassy in Tehran. They travelled by road from Beirut to Persepolis, where Horst was able to photograph parts of the ancient Persian city that had only recently been uncovered. Afterwards, Horst visited the newly established State of Israel on a photographic assignment for Vogue.

The trip left a strong impression on Horst and he returned in the spring of 1950. He spent a week with Lawford at the relatively remote south-eastern shore of the Caspian Sea, before documenting the annual migration of the Qashqa’i clan. Horst and Lawford were invited by Malik Mansur Khan Qashqa’i to spend ten days with his tribe as they travelled by camel and horse, in search of vegetation for their flocks.

 

Horst P. Horst. 'Yves Saint Laurent poses in the apartment's grand salon for a November 1971 'Vogue' photo spread' 1971

 

Horst P. Horst
Yves Saint Laurent poses in the apartment’s grand salon for a November 1971 ‘Vogue’ photo spread
1971
© Conde Nast / Horst Estate

 

Living in Style

In 1947 Horst acquired five acres of land in Oyster Bay Cove, Long Island, part of the estate once owned by the designer Louis Comfort Tiffany. On the land he described as ‘everything I had ever dreamed of’, Horst built a unique house and landscaped garden. British diplomat Valentine Lawford visited for the first time in 1947, with Noël Coward, Christopher Isherwood, and Greta Garbo. It was the beginning of a relationship with Horst that would last until Lawford’s death in 1991.

They welcomed many friends and visitors to Long Island, including the dynamic editor Diana Vreeland. She left Harper’s Bazaar for Vogue in 1962 and soon put the couple to work on Vogue‘s ‘Fashions in Living’ pages. The homes and tastes of everyone from Jackie Onassis to the Duke and Duchess of Windsor, Andy Warhol and Karl Lagerfeld featured in their articles. Horst’s creative chemistry with Vreeland brought him a new lease of life.

 

Roy Stevens. 'Horst directing fashion shoot with Lisa Fonssagrives' 15 May 1941

 

Roy Stevens
Horst directing fashion shoot with Lisa Fonssagrives
15 May 1941
© Time & Life Pictures / Getty Images

 

In the Studio

During the 1940s Horst worked primarily in the Condé Nast studio on the 19th floor of the Graybar Building, an Art Deco skyscraper on Manhattan’s Lexington Avenue. The busy studio was well equipped with a variety of lights and props and Horst worked closely with talented art director Alexander Liberman. Like Horst, he had found refuge in the artistic circles of Paris and New York, and enjoyed a long career with Condé Nast.

By 1946 dressing the American woman had become one of the country’s largest industries, grossing over six billion dollars a year. The staff of Vogue expanded accordingly. In 1951 Horst found a studio of his own, the former penthouse apartment of artist Pavel Tchelitchew, with high ceilings and a spectacular view over the river. Horst developed a new approach to photography in response to the abundance of daylight and for a time his famous atmospheric shadows disappeared.

 

 

Victoria and Albert Museum
Cromwell Road, London SW7 2RL

Opening hours:
The V&A is open daily from 10.00 to 17.45 and until 22.00 on Fridays

Victoria and Albert Museum website, Horst web page

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22
Dec
14

Exhibition: ‘Irving Penn, Resonance’ at the Palazzo Grassi, Venice

Exhibition dates: 13th April – 31st December 2014

Curated by Pierre Apraxine and Matthieu Humery

 

 

Irving Penn’s platinum photographs fetch tens of thousands of dollars at auction. I could think of better things to spend my money on…

I have never been a fan – of his cigarette butts, fruit dishes, vanitas as well as animal skulls and ethnographic photos. There are just too clinically cold and dead for me. Other people may love them, but for work that supposedly investigates the ephemerality and brevity of human existence Penn tightens his essentially reductive approach until the conceptual (and formal) noose strangles the subject.

Irving Penn’s Worlds in a Small Room (where he set up baffles and stood “mudpeople” and other tribespeople), his masks, and his platinum prints of cigarette butts are his claim to fame. They were champoined by the US East Coast and commercial interests. They are not terrible, but I don’t believe they are deserving of their fame – well, they are terrible in a way because they are just sort of mildly pathetic really. The work was deliberately made to attract the limelight too, at least in the vibe I get from them.

Dr Marcus Bunyan for the Art Blart blog

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

 

 

Irving Penn: The Enduring Power of Formal Simplicity

“Irving Penn was one of the most significant and prolific photographers of the 20th century whose signature blend of classical elegance, cool minimalism and monumentality still command our attention… Penn’s visual innovations, compositional originality and intensity, his diversity and range, his meticulous perfectionism and his technical precision and insistence on clean spare elegant compositions are his trademarks… A remarkable sixty-year career was filled with amazing commissioned images which could not have been sustained without a relentless sense of precision and unyielding attention to details as well as a restless sense of curiosity… Penn’s approach from the beginning was essentially reductive – he described it as a ‘tightening process – the plastic search.’  He preferred the simple studio backdrop in order to concentrate on preserving the ‘sanctity of the document’… Penn’s legacy is his prodigious insatiable breadth of work blurring the worlds of commerce and fine art. He was constantly questioning the meaning of time, of life and its fragility.

.
Diana Edkins April 2014

 

 

Irving Penn. 'Lion (Front View)' Prague 1986

 

Irving Penn
Lion (Front View)
Prague, 1986
Copyright © by The Irving Penn Foundation

 

Irving Penn. 'Poppy: Showgirl' London, 1968

 

Irving Penn
Poppy: Showgirl
London, 1968
Copyright © by Condé Nast Publications, Inc.

 

Irving Penn. 'Cuzco Children' 1948

 

Irving Penn
Cuzco Children
1948
Copyright © by Condé Nast Publications, Inc.

 

 

“The exhibition Irving Penn, Resonance, curated by Pierre Apraxine and Matthieu Humery, brings together on the second floor of Palazzo Grassi 130 photographs, taken between the end of the 1940s and the mid-1980s. The exhibition is a collection of 90 platinum prints, 30 gelatin silver prints, 4 colorful dye transfer prints and 17 internegatives, which will be shown to the public for the first time.

It tackles the themes dear to Irving Penn and which, beyond their apparent diversity, all capture every facet of ephemerality. This is true of the selection of photographs from the series small trades, taken in France, England and the United States in the 1950s. It is also the case for the portraits taken between the 1950s and the 1970s of celebrities from the world of art, cinema, and literature. Exhibited alongside ethnographic photographs of the people of Dahomey and of tribesmen from New Guinea and Morocco, they strongly underline the brevity of human existence, whether affluent or resourceless, famous or unknown.

The exhibition path, which encourages dialogue and connections between works that differ in subject matter and period of time, gives prominence to still life photography from the late 1970s and the beginning of the 1980s: they are composed of cigarette ends, fruit dishes, vanitas as well as animal skulls photographed at the Narodni National Museum in Prague in 1986 for the series Cranium Architecture.

This broad overview of Irving Penn’s work puts relatively unknown images side-by-side with the most iconic ones, thereby revealing the particular ability to synthesize that characterizes this photographer: in his work, modernity is not necessarily in opposition with the past and the way he exerts control over every step of the process, from the studio to the printing (to which he dedicates a lot of attention and unprecedented care), enables one to come nearer to the truth of things and people, through a constant questioning of the meaning of time, of life and of its fragility.

 

Irving Penn

Irving Penn was born in 1917 in Plainfield, New Jersey. In 1934 he enrolled at the Philadelphia Museum School of Industrial Art where he studied design with Alexey Brodovitch. In 1938 he began a career in New York as a graphic artist – then, after a year painting in Mexico, he returned to New York City and began work at Vogue magazine where Alexander Liberman was art director.

Liberman encouraged Penn to take his first color photograph, a still life which became the October 1, 1943 cover of Vogue, beginning a fruitful collaboration with the magazine that lasted until his death in 2009. In addition to his editorial and fashion work for Vogue, Penn also worked for other magazines and for numerous commercial clients in America and abroad.

He published many books of his photographs including: Moments Preserved (1960); Worlds in a Small Room (1974); Inventive Paris Clothes (1977); Flowers (1980); Passage (1991); Irving Penn Regards The Work of Issey Miyake (1999); Still Life (2001); Dancer (2001); Earthly Bodies (2002); A Notebook At Random (2004); Dahomey (2004); Irving Penn: Platinum Prints (2005); Small Trades (2009); and two books of drawings and paintings.

Penn’s photographs are in the collections of major museums in America and abroad, including the Metropolitan Museum of Art, Moderna Museet in Stockholm, The National Gallery of Art in Washington, D.C., Smithsonian American Art Museum in Washington, D.C., The J. Paul Getty Museum in Los Angeles, and the Museum of Modern Art in New York, which honored him with a retrospective exhibition in 1984. This exhibition was circulated to museums in twelve countries. Irving Penn made a donation, in 1997, to the Art Institute of Chicago of prints and archival material. In November of that year, the Art Institute mounted a retrospective that also toured to 5 museums around the world beginning at The State Hermitage in St. Petersburg, Russia.”

Press release from the Palazzo Grassi website

 

Irving Penn. 'Black and White Vogue Cover (Jean Patchett)' New York, 1950

 

Irving Penn
Black and White Vogue Cover (Jean Patchett)
New York, 1950
Copyright © by Condé Nast Publications, Inc.

 

Irving Penn. 'Truman Capote (1 of 2)' New York, 1965

 

Irving Penn
Truman Capote (1 of 2)
New York, 1965
Copyright © by Condé Nast Publications, Inc.

 

Irving Penn. 'Deep-Sea Diver (C)' New York, 1951

 

Irving Penn
Deep-Sea Diver (C)
New York, 1951
Copyright © by Condé Nast Publications, Inc.

 

 

Palazzo Grassi
Dorsoduro, 2 
30123
Venezia
, Italy

Opening hours:

Palazzo Grassi website

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Marcus Bunyan black and white archive: ‘The Songs of Eternity’ 1994

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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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