Archive for the 'digital photography' Category

08
Sep
14

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

Exhibition dates: 6th June – 4th September 2014

 

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

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

Dr Marcus Bunyan

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

 

 

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

 

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

 

Cindy Sherman. 'Untitled #93' 1981

 

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

 

Cindy Sherman. Untitled #122 1983

 

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

 

Cindy Sherman. 'Untitled #129' 1983

 

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

 

Cindy Sherman. 'Untitled #146' 1985

 

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

 

Cindy Sherman. 'Untitled #153' 1985

 

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

 

Cindy Sherman. 'Untitled #170' 1987

 

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

 

Cindy Sherman. 'Untitled #216' 1989

 

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

 

 

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

THE THREATENING HEART OF UNTITLED HORRORS

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

110 WORKS IN TOTAL

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

Text from the Kunsthaus Zürich website

 

Cindy Sherman. 'Untitled #235' 1987-1991

 

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

 

Cindy Sherman. 'Untitled #304' 1994

 

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

 

Cindy Sherman. 'Untitled #324' 1996

 

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

 

Cindy Sherman. 'Untitled #348' 1999

 

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

 

Cindy Sherman. 'Untitled #352' 2000

 

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

 

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

 

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

 

Cindy Sherman. 'Untitled #420' 2004

 

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

 

Cindy Sherman. 'Untitled #458' 2007-2008

 

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

 

Cindy Sherman. 'Untitled #544' 2010 / 2012

 

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

 

Cindy Sherman. 'Untitled #549-C' 2010

 

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

 

 

Kunsthaus Zürich
Heimplatz 1
CH–8001 Zurich

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

Kunsthaus Zürich website

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04
Sep
14

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

Exhibition dates: 7th February – 7th September 2014

 

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

 

Bruce Davidson
Untitled from the Brooklyn Gang series
1959

 

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

 

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

 

 

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

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

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

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

 

 

When less – less famous, less obvious – is more

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

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

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

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

Marcus

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

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

 

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

 

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

 

 

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

 

Roger Marshutz. 'Elvis Presley' 1956

 

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

 

 

Herman Leonard. 'Frank Sinatra' c. 1956

 

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

 

 

Marcia Resnick. 'David Byrne' 1981

 

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

 

Julian Wasser. 'Joan Didion' 1970

 

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

 

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

 

Roy Schatt. 'James Dean' 1954

 

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

 

William Claxton. 'Steve McQueen' 1962

 

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

 

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

 

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

 

 

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

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

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

 

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

 

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

 

John Cohen. 'Jack Kerouac' 1959

 

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

 

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

 

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

 

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

 

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

 

 

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

 

Peter Hujar. 'Susan Sontag' 1975

 

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

 

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

 

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

 

 

Introduction

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

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

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

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

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

 

The Roots of Cool: Before 1940

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

The Birth of Cool: 1940-59

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

 

Cool and the Counterculture: 1960-79

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

 

The Legacies of Cool: 1980-Present

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

Press release from the Smithsonian National Portrait Gallery website

 

Martin Munkacsi. 'Fred Astaire' 1936

 

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

 

 

Philippe Halsman. 'Audrey Hepburn' 1955

 

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

 

Dmitri Kasterine. 'Jean-Michel Basquait' 1986

 

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

 

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

 

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

 

Carl Van Vechten. 'Bessie Smith' 1936

 

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

 

 

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

 

Robert Mapplethorpe. 'Deborah Harry' 1978

 

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

 

 

Philippe Halsman. 'Humphrey Bogart' 1944

 

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

 

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

 

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

 

Unidentified Artist. 'Frederick Douglas' 1856

 

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

 

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

 

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

 

 

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

 

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

 

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

 

 

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

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

 

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

 

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

 

 

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

 

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

 

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

 

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

 

 

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

 

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

 

Kate Simon. 'Madonna' 1983 (printed 2013)

 

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

 

 

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

 

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

 

 

Unidentified Artist. 'Bix Beiderbecke' c. 1920

 

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

 

 

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

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

 

Gerard-Malanga-lou-reed-WEB

 

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

 

 

Arnold A. Newman. 'Jackson Pollock' 1949

 

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

 

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

 

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

 

Philippe Halsman. 'Clint Eastwood' 1971

 

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

 

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

 

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

 

 

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

 

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

 

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

 

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

 

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

 

 

 

 

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

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

Exhibition dates: 15th March – 7th September 2014

 

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

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

Marcus

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

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

 

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

Kaleidoscopic-Hexagon-#2-WEB

 

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

 

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

 

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

 

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

 

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

 

 

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

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

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

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

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

 

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

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

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

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

Robert Heinecken. 'Surrealism on TV' 1986

 

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

 

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

 

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

 

 

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

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

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

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

Text from the MoMA press release

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

 

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31
Aug
14

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

Exhibition dates: 29th June – 7th September 2014

 

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

Marcus

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

 

 

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

 

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

 

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

 

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

 

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

 

Edwin Townsend. 'Tony Sansone' c. 1950s

 

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

 

James Bidgood. 'Pan' 1965

 

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

 

 

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

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

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

Text from the ONE Archives website

 

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

 

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

 

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

 

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

 

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

 

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

 

Austin Young. 'Dani Daniels, Los Angeles' 2011

 

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

 

Wilhelm Von Gloeden. 'Untitled' 1895

 

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

 

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

 

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

 

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

 

 

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

 

 

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

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

ONE Archives website

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28
Aug
14

Exhibition: ‘Vanessa Winship’ at Fundación Mapfre, Madrid

Exhibition dates: 27th May – 31st August 2014

 

“Young heart, old soul.” And then the vulnerability in those eyes…. that burn right through you.

Such sensitivity, such presence. Glorious. All of them!

Marcus

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

 

 

Vanessa Winship. 'Untitled' from the series 'Imagined States and Desires. A Balkan Journey' 1999-2002

 

Vanessa Winship
Untitled from the series Imagined States and Desires. A Balkan Journey
1999-2002
© Vanessa Winship

 

Vanessa Winship. 'Untitled' from the series 'Imagined States and Desires. A Balkan Journey' 1999-2002

 

Vanessa Winship
Untitled from the series Imagined States and Desires. A Balkan Journey
1999-2002
© Vanessa Winship

 

Vanessa Winship. 'Untitled' from the series 'Imagined States and Desires. A Balkan Journey' 1999-2002

 

Vanessa Winship
Untitled from the series Imagined States and Desires. A Balkan Journey
1999-2002
© Vanessa Winship

 

Vanessa Winship. 'Untitled' from the series 'Black Sea. Between Chronicle and Fiction' 2002-2010

 

Vanessa Winship
Untitled from the series Black Sea. Between Chronicle and Fiction
2002-2010
© Vanessa Winship

 

Vanessa Winship. 'Untitled' from the series 'Black Sea. Between Chronicle and Fiction' 2002-2010

 

Vanessa Winship
Untitled from the series Black Sea. Between Chronicle and Fiction
2002-2010
© Vanessa Winship

 

Vanessa Winship. 'Untitled' from the series 'Black Sea. Between Chronicle and Fiction' 2002-2010

 

Vanessa Winship
Untitled from the series Black Sea. Between Chronicle and Fiction
2002-2010
© Vanessa Winship

 

Vanessa Winship. 'Untitled' from the series 'she dances on Jackson. United States' 2011-2012

 

Vanessa Winship
Untitled from the series she dances on Jackson. United States
2011-2012
© Vanessa Winship

 

 

“Fundación Mapfre opens its new photography gallery at Paseo de Recoletos 27 with the first retrospective exhibition dedicated to the work of British photographer Vanessa Winship. Curated by Carlos Martín García, the show offers visitors a complete overview of Winship’s work, featuring a broad selection of photographs from all of her series, starting with her initial project in the Balkans and ending with her work in Almería this year, produced by Fundación Mapfre and due to receive its first public showing at this exhibition.

Vanessa Winship (Barton-upon-Humber, United Kingdom, 1960) studied at the Polytechnic of Central London during the 1980s at the time when postmodern theory was beginning to permeate the practice of photography and cultural studies. These ideas are reflected in the artist’s deliberate remove of all potential documentary content from her photography in order to concentrate instead on notions more related to identity, vulnerability and the body. Accordingly, since the 1990s Vanessa Winship has worked in regions which, in the collective imaginary, are associated with the instability and darkness of a recent past and with the volatile nature of borders and identities. Her images, in black and white, challenge the perception of photography’s immovable truth. Meanwhile, the formal choice of black and while reflects a deliberate shift from the photograph as narrative and constitutes, in the words of the artist herself, a “marvelous instrument of abstraction that enables us to move between time and memory.”

Vanessa Winship is one of the most renowned photographers on the contemporary international scene. In 2011 she was the first woman to win the prestigious Henri Cartier-Bresson (HCB) award. Her other distinctions include winning first prize in the Stories category of the World Press Photo awards in 1998 and 2008, the Descubrimientos award at PhotoEspaña in 2010, and the Godfrey Argent Prize in 2008, bestowed by the National Portrait Gallery in London.

 

A tour of the exhibition

I lived and worked in the region of the Balkans, Turkey and the Caucasus for more than a decade. My work focuses on the junction between chronicle and fiction, exploring ideas around concepts of borders, land, memory, desire, identity and history. I am interested in the telling of history, and in notions around periphery and edge. For me photography is a process of literacy, a journey of understanding.

Vanessa Winship

.
The Vanessa Winship exhibition adopts the form of a chronological journey through each of the series that make up her oeuvre, featuring a selection of 188 photographs.

Between 1999 and 2003 Vanessa Winship traveled through the regions of Albania, Serbia, Kosovo and Athens, coinciding with the armed conflict in the former Yugoslavia and resulting in her series Imagined States and Desires. A Balkan Journey. This project was a fundamental step in defining her photographic vision and in her decision to break with contemporary reportage and the traditional concept of the photojournalist. The images that make up this series mostly center on the tragedy of the exodus of Kosovar Albanian refugees from Serbia to neighboring countries. They are a collection of snapshots that reflect the volatile nature of borders, ethnic groups and creeds while asserting that identity is not bestowed by territory but is ingrained in individuals, wherever they go. The fragmentary nature of the series, its condensation into micro-stories, lays the foundations for her future practice.

In 2002 Vanessa Winship moved to the Black Sea region and over the next eight years traveled through Turkey, Georgia, Russia, Ukraine, Romania and Bulgaria. Her work in this area gave rise to one of her most renowned series, Black Sea: Between Chronicle and Fiction. In this series, she presents her vision of the area and the residents of the regions around the shores of the Black Sea, which she presents as a natural border – challenging all notions of geopolitical or historically established limits – of the vital space of each nation, and even of the distinction between public and private space. Winship’s work therefore focuses on the aspects that endure beyond the action of politics: collective rituals, modes of transportation, recreational spaces, and the movement of human beings up and down the coastlines.

In Black Sea, portraits of Turkish wrestlers and Ukrainian wedding guests allow Winship to elaborate on her reflections and explore the concepts of sexual differentiation governing societies: on one hand, Turkish wrestling, a direct descendant of Greco-Roman wrestling and an icon of masculinity in the country; on the other, participation in a wedding ceremony as a means of self-presentation in society for young Ukrainian women.

In both of these series, the images are accompanied by brief notes written by the artist, either expressing a single thought or a short description, which create a deliberately incomplete narrative. For Winship, these notes are meant to remind us of the power of text to evoke an image.

Sweet Nothings: Schoolgirls of Eastern Anatolia (2007), produced during her travels through Eastern Europe, is a key project in Vanessa Winship’s evolution as a photographer. It is an almost serial collection of portraits of schoolgirls from the rural area of Eastern Anatolia, a region bordering with Georgia, Armenia, Azerbaijan and Iran where the plurality of ethnic groups is silenced by the proliferation of uniforms, of both schoolchildren and military personnel. On a certain level, the school uniforms recall the tools used by states to classify the population, to “mark” their territory and neutralize the plurality of areas, as in Eastern Anatolia where the ethnic and geographic borders are not as clearly defined as they are on maps. This fact – the presence of uniforms – represents a framework for action, a boundary for the project, and allows Winship to further develop her interest in faces, gestures, and the sense of belonging to a group or community.

Georgia, another region on the shores of the Black Sea, is the setting for the series produced by between 2008 and 2010, in which she mostly focuses on portraits. Georgia. Seeds Carried by the Wind is a detailed study of the faces the photographer came across. These are portraits of youths and children, mostly individuals who, when grouped together, appear almost without variation as same-sex pairs. The collection suggests an energetic, survivor country. These images are combined with a series of colored photographs (the only ones in Winship’s entire output) that accompany tombstones in a cemetery. The two collections establish an interesting dialogue between different generations of Georgians and, simultaneously, between the artist herself and the original anonymous photographer. Meanwhile, the landscapes and stones that complete the series evoke a premature death. By combining landscape and portrait as places where the traces of identity, history and present are imprinted, this series is a key project in Winship’s work as it prompts a debate about her practice and the issues posed by the two genres.

In 2011 Vanessa Winship received the prestigious Henri Cartier-Bresson (HCB) photography award. The project for she won the prize led to the series she Dances on Jackson. United States (2011-2012), produced in the United States, a country which she represents as of great uncertainty, where the weight of the recent past is manifested through public works and constructions which are either underused or have fallen into disuse, and where the faces of anonymous individuals and groups reveal their disillusionment with the promises of the American dream. This series also constitutes Winship’s definitive approach to landscape photography, a genre which has gained increasing prominence in her output. Short texts written by the author replace the gradual disappearance of the portrait, operating as narratives of the missing photographs. In she Dances on Jackson. United States the geographic leap to the other side of the Atlantic defines the characters that people Winship’s earlier photography.

Before embarking on her trip to the United States, Winship worked in her home town on the estuary of the Humber river (2010), for which this series is titled. In this project, we again witness the growing preeminence of landscape in her work. This process culminates masterfully in her most recent series, produced in Almería, which represents the reaffirmation of her work as a landscapist and the total absence of the human figure. In January 2014, for the purposes of this exhibition, the artist moved to Almería, a place marked by rootlessness and its border nature and geological diversity, to carry out her latest project. Winship has focused on photographing the geological formations along the coastline of Cabo de Gata and the devastation of the area following the proliferation of intensive agriculture based on greenhouse production. The land of gold, Spaghetti westerns and marble now appears as a land of plastic and, like all other places Winship has photographed, seems to be located in a place suspended in space and time. All of the images in this section of the show reflect the rapid transformation of the region following the introduction of greenhouses, a radical systemic change and altered coexistence brought about by the arrival of communities of immigrants and their access to consumer society customs. Almería, as Winship’s photographs clearly show, continues to be a fragmented landscape in which urban and rural collide and where the “non-place” that is the greenhouse acts as a metaphor for the area’s instability and vulnerability.

Catalogue

The exhibition will be accompanied by a catalogue featuring all the images on display and specially commissioned essays about the work of Vanessa Winship by Neil Ascherson, Stanley Wolukau-Wanambwa and Carlos Martín García. The catalog will also include two excerpts from Campos de Níjar (Níjar Country) and Coto Vedado (Forbidden Territory) by Juan Goytisolo, as well as a biography-timeline, an updated bibliography, and a selection of the texts the photographer uses to complement her series, in the manner of a “travel diary”. To date there are only two monographs on Winship, one devoted to the Black Sea series and one to Sweet Nothings, which means that this catalog will be the first and most incisive historiographical approximation to her entire oeuvre.”

Press release from Fundación Mapfre

 

Vanessa Winship. 'Untitled' from the series 'Almería. Where Gold Was Found' 2014

 

Vanessa Winship
Untitled from the series Almería. Where Gold Was Found
2014
© Vanessa Winship

 

Vanessa Winship. 'Untitled' from the series 'Almería. Where Gold Was Found' 2014

 

Vanessa Winship
Untitled from the series Almería. Where Gold Was Found
2014
© Vanessa Winship

 

Vanessa Winship. 'Untitled' from the series 'Black Sea. Between Chronicle and Fiction' 2002-2010 © Vanessa Winship

 

Vanessa Winship
Untitled from the series Black Sea. Between Chronicle and Fiction
2002-2010
© Vanessa Winship

 

Vanessa Winship. 'Untitled' from the series 'Georgia. Seeds Carried by the Wind' 2008-2010 © Vanessa Winship

 

Vanessa Winship
Untitled from the series Georgia. Seeds Carried by the Wind
2008-2010
© Vanessa Winship

 

Vanessa Winship. 'Untitled' from the series 'Sweet Nothings: Schoolgirls of Eastern Anatolia' 2007 © Vanessa Winship

 

Vanessa Winship
Untitled from the series Sweet Nothings: Schoolgirls of Eastern Anatolia
2007
© Vanessa Winship

 

Vanessa Winship. 'Untitled' from the series 'Humber' 2010-2011 © Vanessa Winship

 

Vanessa Winship
Untitled from the series Humber
2010-2011
© Vanessa Winship

 

Vanessa Winship. 'Untitled' from the series 'she dances on Jackson. United States' 2011-2012 © Vanessa Winship

 

Vanessa Winship
Untitled from the series she dances on Jackson. United States
2011-2012
© Vanessa Winship

 

Vanessa Winship. 'Untitled' from the series 'Georgia. Seeds Carried by the Wind' 2008-2010 © Vanessa Winship

 

Vanessa Winship
Untitled from the series Georgia. Seeds Carried by the Wind
2008-2010
© Vanessa Winship

 

 

 

FUNDACIÓN MAPFRE – Instituto de Cultura
Paseo de Recoletos, 23
28004 Madrid, Spain
T: +34 915 81 61 00

 

Opening hours:
Sunday 11.00 am – 7.00 pm
Monday 2.00 – 8.00 pm
Tuesday 10.00 am – 8.00 pm
Wednesday 10.00 am – 8.00 pm
Thursday 10.00 am – 8.00 pm
Friday 10.00 am – 8.00 pm
Saturday 10.00 am – 8.00 pm

 

Fundación Mapfre website

 

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26
Aug
14

Exhibition: ‘The Sievers Project’ at the Centre for Contemporary Photography (CCP), Fitzroy, Melbourne

Exhibition dates: 13th June – 31st August 2014

Artists: Jane Brown, Cameron Clarke, Zoë Croggon, Therese Keogh, Phuong Ngo, Meredith Turnbull, Wolfgang Sievers
Curated by Naomi Cass and Kyla McFarlane

 

 

Curated by CCP Director Naomi Cass and Kyla McFarlane, this intelligent exhibition features the work of six early career artists who respond in diverse ways to renowned Australian photographer Wolfgang Sievers (1913-2007). It was a joy to see again the large vintage silver gelatin, almost clinically composed photographs by Sievers. The light, tonality and stillness of the images make them seem mythic, modern and monumental.

Each artist offers a unique “take” on Sievers influence on Australian photography and design, including his interest in refugees and human rights issues and the representation of the dignity of labour (although the machine is more often represented in Sievers work with a distinct lack of human presence and the act of work itself).

My personal favourites were Phuong Ngo’s intimate silver gelatin photographs in four groups of sweat shop workers in Vietnam, people on boats coming to Australia, photographs of textile workers in Australia and photographs of his mother. Phuong Ngo’s shared stories of young Vietnamese refugees and the journeys taken by their mothers told through photographs is very moving, but only after you are told what the four bodies of images are about. Positioned in the small Gallery Four it was also difficult to associate this installation with the rest of the exhibition. Initially I thought it was a separate exhibition until the linkages were told, the light dawned, and the connections were made.

While Cameron Clarke’s photographs of Ford factory workers and machinery are meticulously lit and digitally observed, producing a strong body of work, it is Jane Brown’s gridded analogue triptych which steals the show (see photographs below). These are superbly rich and textured photographs, beautifully seen and resolved within the shifting mise-en-scène. Brown’s images kinetically flow from one image to another even as they are self contained within a modernist grid. In some instances the artist has used the same photograph within the triptych but cropped in a different manner, which pushes and pulls the viewer into a different perspective on the subject matter. This is highly intelligent art making that observes the self contained nature and monumentality of Sievers work and reworks it, lucidly commenting on the dis/integration of these spaces and industries in the present day.

This series of work is the best sequence of photographs I have seen this year and any institution worthy of their salt should snap up these works for their collection.

Dr Marcus Bunyan for the Art Blart blog

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Many thankx to the Director Naomi Cass and the CCP for allowing me to publish the text and photographs in the posting. Please click on the photographs for a larger version of the image. All installation photographs © Marcus Bunyan 2014

 

 

Jane Brown. 'Triptych. The Paper Mill (former Amcor and APM site), Fairfield' 2014

 

Jane Brown
Triptych. The Paper Mill (former Amcor and APM site), Fairfield
2014
3 panels of 9, 6 and 6 selenium toned, fibre-based, gelatin silver prints

 

Installation photographs of Jane Brown 'Triptych. The Paper Mill (former Amcor and APM site), Fairfield' 2014 (details) at the exhibition 'The Sievers Project' at the Centre for Contemporary Photography (CCP)

Installation photographs of Jane Brown 'Triptych. The Paper Mill (former Amcor and APM site), Fairfield' 2014 (details) at the exhibition 'The Sievers Project' at the Centre for Contemporary Photography (CCP)

Installation photographs of Jane Brown 'Triptych. The Paper Mill (former Amcor and APM site), Fairfield' 2014 (details) at the exhibition 'The Sievers Project' at the Centre for Contemporary Photography (CCP)

Installation photographs of Jane Brown 'Triptych. The Paper Mill (former Amcor and APM site), Fairfield' 2014 (details) at the exhibition 'The Sievers Project' at the Centre for Contemporary Photography (CCP)

 

Installation photographs of Jane Brown Triptych. The Paper Mill (former Amcor and APM site), Fairfield 2014 (details) at the exhibition The Sievers Project at the Centre for Contemporary Photography (CCP)

 

Jane Brown. 'Staircase. The Paper Mill (former Amcor and APM site), Fairfield, 2014' 2014

 

Jane Brown
Staircase. The Paper Mill (former Amcor and APM site), Fairfield, 2014
2014
Fibre-based, gelatin silver print

 

Jane Brown. 'Mining machinery, Line of Lode Miners Memorial Complex, Broken Hill 2014-06-10' 2014

 

Jane Brown
Mining machinery, Line of Lode Miners Memorial Complex, Broken Hill 2014-06-10
2014
Brown toned, fibre-based, gelatin silver print
Courtesy the artist

 

installation-m

 

Installation photograph of Jane Brown’s work at the exhibition The Sievers Project at the Centre for Contemporary Photography (CCP)

 

Wolfgang Sievers. 'Gears for the Mining Industry, Vickers Ruwolt, Burnley, Victoria, 1967' 1967

 

Wolfgang Sievers
Gears for the Mining Industry, Vickers Ruwolt, Burnley, Victoria, 1967
1967
Gelatin silver photograph
49.6 x 39.3 cm
National Library of Australia, Wolfgang Sievers Photographic Archive

 

Wolfgang Sievers. 'Sulphuric Acid Plant Electrolytic Zinc, Risoon, Tasmania, 1959' 1959

 

Wolfgang Sievers
Sulphuric Acid Plant Electrolytic Zinc, Risoon, Tasmania, 1959
1959
Gelatin silver photograph

 

nstallation photograph of the work of Meredith Turnbull (foreground) and Zoë Croggon (rear wall) at the exhibition 'The Sievers Project' at the Centre for Contemporary Photography (CCP)

 

Installation photograph of the work of Meredith Turnbull (foreground) and Zoë Croggon (rear wall) at the exhibition The Sievers Project at the Centre for Contemporary Photography (CCP)

 

Zoë Croggon. 'John Holland Constructions, Ginninderra Bridge (after Wolfgang Sievers)' 2014

 

Zoë Croggon
John Holland Constructions, Ginninderra Bridge (after Wolfgang Sievers)
2014
Photocollage
70 cm x 86 cm
Courtesy the artist and Daine Singer, Melbourne

 

Zoë Croggon. 'Comalco Aluminium Used in the Construction of the National Gallery of Victoria [7] (after Wolfgang Sievers)' 2014

 

Zoë Croggon
Comalco Aluminium Used in the Construction of the National Gallery of Victoria [7] (after Wolfgang Sievers)
2014
Photocollage
Courtesy the artist and Daine Singer, Melbourne

 

Zoë Croggon. 'Comalco Aluminium Used in the Construction of the National Gallery of Victoria [18] (after Wolfgang Sievers)' 2014

 

Zoë Croggon
Comalco Aluminium Used in the Construction of the National Gallery of Victoria [18] (after Wolfgang Sievers)
2014
Photocollage
Courtesy the artist and Daine Singer, Melbourne

 

Zoë Croggon. 'Westgate Bridge (after Wolfgang Sievers)' 2014

 

Zoë Croggon
Westgate Bridge (after Wolfgang Sievers)
2014
Photocollage
Courtesy the artist and Daine Singer, Melbourne

 

 

“Six early career artists, working in photography through to installation, have responded in diverse ways to renowned Australian photographer Wolfgang Sievers (1913-2007), icon of 20th century Australian photography. Sievers’ commercial practice exemplifies mid-century positivism and modernity, and the mythmaking role of photography. As a German Jewish immigrant, he had a strong interest in refugees and human rights issues as well as an expressed commitment to representing the dignity of labour. The Sievers Project presents key historical works as a context for engaging the past through the present.

Photographers Jane Brown and Cameron Clarke have followed in his footsteps to industrial clients Sievers photographed and valorised, finding sites that are visually dynamic within industries now in decline. Through her intrepid, research-based practice, Therese Keogh has developed a materially-rich work from the starting point of a single, anomalous photograph Sievers took at the Roman Forum in 1953. Meredith Turnbull draws on his connections with Melbourne’s design community in the 1950s and 60s, including Gerard Herbst and Frederick Romberg. In Sievers’ photographs of industrial sewing machines and their machinists, Phuong Ngo finds shared stories of young Vietnamese refugees and the journeys taken by their mothers. Zoë Croggon positions fragments of Sievers’ iconic architectural photographs against found photographs of the human body in movement.”

Text from the CCP website

 

Foreword to the catalogue

The Sievers Project follows a number of exhibitions over the last five years where CCP has opened up a vista on contemporary practice by exhibiting early work by living artists such as Bill Henson, Kohei Yoshiyuki and Robert Rooney, as well as historical photography, alongside contemporary work. As a commissioning exhibition we have titled this a ‘project’ to point towards the year-long research period integral to the exhibition, capturing the curatorial gesture of inviting early career artists to engage with the past.

The Sievers Project represents a significant curatorial endeavour for CCP, the tale of which is recounted in the Introduction. It would simply not have taken place were it not for the willingness and generosity of Julian Burnside AO QC to participate, through allowing the artists research access to his Wolfgang Sievers collection and lending work from it for the exhibition, as well as contributing an essay for this catalogue.

I acknowledge the artists for setting out on this project and for returning with thoughtful and excellent work. It has been a pleasure to both engage with and exhibit the work of Jane Brown, Cameron Clarke, Zoë Croggon, Therese Keogh, Phuong Ngo and Meredith Turnbull.

The Sievers Project has been dignifi ed by contributions by a number of experts and I wish to acknowledge Professor Helen Ennis, Australian National University School of Art who has also contributed a catalogue essay; Madeleine Say, Picture Librarian, Eve Sainsbury, Exhibitions Curator and Clare Williamson, Senior Exhibitions Curator, State Library of Victoria; Maggie Finch, Curator of Photography, National Gallery of Victoria and Professor Harriet Edquist and Kaye Ashton, Senior Coordinator, RMIT Design Archives, who all took time to speak about Sievers and share his work with the artists.

Opportunities to commission artists are relatively rare and funding through the inaugural Early Career Artist Commissions Grant from the Australia Council has enabled the project. CCP is pleased to acknowledge this recognition and support. We are delighted that Lovell Chen Architects & Heritage Consultants have provided further critical support to realise the project, for which we are grateful. We see a germane link between Lovell Chen and the premise of The Sievers Project.

The Besen Family Foundation are champions for enabling CCP to produce catalogues for selected exhibitions. I acknowledge the Foundation for their long-standing and generous engagement with CCP. We thank the National Library of Australia for providing permission to reproduce Sievers’ work in this catalogue.

The Sievers Project has provided a welcome opportunity for CCP to engage with colleagues in the fi eld of architecture and we are delighted to acknowledge a partnership with the Robin Boyd Foundation to present public programs. We are grateful to Tony Lee from the Foundation for his interest in the project.

Without doubt CCP’s ability to both present contemporary art well and look after artists is greatly enhanced through the longstanding and generous support of Tint Design and Sofi tel Melbourne on Collins. CCP is pleased to present a parallel exhibition of The Sievers Project at the 2014 Melbourne Art Fair and we thank the Melbourne Art Foundation for enabling CCP to bring the exhibition to broad new audiences. For the Art Fair exhibition we are also indebted to Christine Downer, previous CCP Board member and current supporter, for the loan of a major Sievers work.

The Sievers Project has been ably assisted by Philippa Brumby, curatorial intern. Co-curator Dr Kyla McFarlane and I thank Philippa for her wide-ranging skills over a substantial period of time. Lastly, I acknowledge Kyla for her excellent curatorial work and for the pleasure of collaborating with such a playful, dedicated and steely intellect.

.
Naomi Cass, Director, CCP

 

And what about his Legacy?

A response to this necessarily combines elements of certitude and speculation. Sievers himself was totally committed to ensuring his legacy as a photographer. He spent years meticulously cataloguing and documenting his work and was assiduous in placing as much of it as he could in major photography collections around the country – art galleries and libraries. The bulk of his archive, a staggering 65,000 negatives and prints, was acquired by the National Library where it has been digitised and is available online to users in perpetuity. But there is another aspect to his preoccupation with legacy that has troubled me over the years – his desire to control the readings of his work, to ensure that he ‘owned’ the contextualisation and interpretation of it. As I see it, some of the framing narratives he constructed were retrospective and are misleading because they are not borne out by the evidence, that is, by the photographs themselves. This is especially apparent in his insistence that the relationship between ‘man and machine’ was central to his industrial photography. In my assessment of his enormous archive, images that extol this interaction are actually relatively few in number. They are outweighed by thousands and thousands of other industrial scenes in which the worker is locked into the dreary, repetitive tasks associated with mass production, or is not present at all having been displaced by machines that are far more efficient than humans will ever be. In other words, the bulk of Sievers’ own photographs contradict his central tenet of the dignity of labour in the modern machine era. The most important aspect of his legacy is undoubtedly his photographs and the astonishingly vast, high quality body of architectural and industrial work he produced between 1938 and the early 1970s. My view is that his black and white photography is the best although he did not agree with me, arguing that his colour photography, with its expressive and dramatic qualities, was equally fine. For me, it is his black and white images that are visionary, their precision, clarity and drama embodying the belief in progress that underpinned modernity. I would also suggest Sievers’ legacy isn’t confined to his photography. As a man he cared deeply about the world and wanted it to be better. He was closely involved in the restoration of Karl Friedrich Schinkel’s buildings in Berlin in the 1990s and in the re-evaluation of his own father’s reputation (Professor Johannes Sievers was an expert on Schinkel and had used his young son’s photographs in his books on the architect in the 1930s). Wolfgang donated his photographs to fund-raising campaigns for human rights and remained a passionate antiwar activist until his death.

 

What would he have thought about this project?

I suspect that he would have been thrilled to know that his contribution to Australian life and photography is the touchstone for the six photographers involved in the project and that his work continues to be appreciated.

.
Professor Helen Ennis is Director of the Centre for Art History and Art Theory at ANU School of Art, Canberra.

 

Installation photographs of the exhibition 'The Sievers Project' at the Centre for Contemporary Photography (CCP)

Installation photographs of the exhibition 'The Sievers Project' at the Centre for Contemporary Photography (CCP)

Installation photographs of the exhibition 'The Sievers Project' at the Centre for Contemporary Photography (CCP)

Installation photographs of the exhibition 'The Sievers Project' at the Centre for Contemporary Photography (CCP)

Installation photographs of the exhibition 'The Sievers Project' at the Centre for Contemporary Photography (CCP)

 

Installation photographs of the exhibition The Sievers Project at the Centre for Contemporary Photography (CCP)

 

nstallation photograph of the work of Therese Keogh (detail) in the exhibition 'The Sievers Project' at the Centre for Contemporary Photography (CCP)

 

Installation photograph of the work of Therese Keogh (detail) in the exhibition The Sievers Project at the Centre for Contemporary Photography (CCP)

 

Installation photograph of the work of Meredith Turnbull (detail) in the exhibition 'The Sievers Project' at the Centre for Contemporary Photography (CCP)

 

Installation photograph of the work of Meredith Turnbull (detail) in the exhibition The Sievers Project at the Centre for Contemporary Photography (CCP)

 

Therese Keogh. 'In the Forum Romanum (after Sievers)' 2013

 

Therese Keogh
In the Forum Romanum (after Sievers)
2013
Graphite on paper
Courtesy the artist

 

Cameron Clarke. 'Loui Nedeski, Ford Motor Company, Geelong' 2014

 

Cameron Clarke
Loui Nedeski, Ford Motor Company, Geelong
2014
Archival inkjet print
50 x 63 cm
Courtesy the artist

 

Cameron Clarke. 'Küsters Washer, Bruck Textiles, Wangaratta' 2014

 

Cameron Clarke
Küsters Washer, Bruck Textiles, Wangaratta (detail)
2014
Archival inkjet print

 

Cameron Clarke. 'Theis Dye Jets, Bruck Textiles, Wangaratta' 2014

 

Cameron Clarke
Theis Dye Jets, Bruck Textiles, Wangaratta (detail)
2014
Archival inkjet print

 

Phuong Ngo. 'Untitled' 2014

 

Phuong Ngo
Untitled
2014
from the Mother Vietnam series
Inkjet print
Courtesy the artist

 

 

Centre for Contemporary Photography
404 George St, Fitzroy
Victoria 3065, Australia
T: + 61 3 9417 1549

Opening Hours:
Wednesday – Saturday, 11am – 6pm
Sunday, 1pm – 5pm

Centre for Contemporary Photography website

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21
Aug
14

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

Exhibition dates: 31st March – 1st September 2014

 

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

 

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

 

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

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

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

 

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

 

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

 

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

 

demand-vault-WEB

 

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

 

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

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

 

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

 

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

 

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

 

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

 

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

 

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

 

 

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

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

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

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

 

 

The Metropolitan Museum of Art
1000 Fifth Avenue at 82nd Street
New York, New York 10028-0198
T: 212-535-7710

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The Metropolitan Museum of Art website

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Dr Marcus Bunyan

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

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