Archive for the 'digital photography' Category

28
Jun
15

Review: ‘Luminous World: Contemporary Art from the Wesfarmers Collection’ at The Ian Potter Museum of Art, Melbourne 

Exhibition dates: 31st March – 5th July 2015

Curator: Helen Carroll

 

 

Gorgeous catalogue with luscious plates, insightful text by Bill Henson (below) and evocative poetry by John Kinsella. Stars on the front cover and silver edged pages. No expense spared in production, with money literally thrown at the project, or so it would seem.

The curator, Helen Carroll, talks about ‘wonder': “It is a capacity for wonder that makes us human”. Henson talking about ‘wonder’ and ‘love’ – about moments that change your life when looking at and breathing in great art. Then why does this exhibition feel so… well, needless? Despite some fascinating individual works of art, collectively there is little wonder on show here.

Perhaps it is because this exhibition looks to be a cut down version of the one first shown at the Art Gallery of Western Australia in 2012, with many works missing from what are listed in the catalogue. Or perhaps it is the hang which at the Ian Potter Museum of Art consists of two rooms on the ground floor of the museum, one housing lighter works, the other dark works. Too dichotomous for my tastes. Nothing is ever so cut and dried.

Perhaps it’s the fact that the concept of the exhibition – light in its many guises – seems to have been tagged onto a groups of art works which are anything but about light. Or are about light in a roundabout, merry-go-round kind of way. The wall text states, “Rather than a chronological or stylistically ordered presentation, the exhibition follows a loosely intuitive flow of ideas and imagery, moving through night to day. The artists in this exhibition explore light from the perspective of the optical experience, the connection between the starts and the cycles of life on earth; and from diverse cultural, mythic and spiritual points of departure.” Apparently the works are more about the phenomena of light than about light itself.

While the art works are interesting in their own right they don’t really work together cohesively as a group to investigate the theme of the exhibition. Trying to burden a collection of art bought for investment purposes with a concept not “natural” to the work, or just a curator’s idea of what seems implicit in the work but is just a cerebral construction, simply does not work in this case. As I looked around the exhibition, I felt the works were more about the physicality of time and space (of history and place), about links in the existential chain, than they were about light. For me, this evinced Mikhail Bakhtin’s notion of the ‘chronotype’ – meaning ‘the connectedness of temporal and spatial relationships that are artistically expressed’ (in literature). Perhaps the intuitive flow of ideas and imagery and the multiple points of departure work against the very idea the exhibition seeks to investigate. This is so broadly thematic (the effects of light on the world) that it needed to be more focused in its conceptualisation.

It’s also a real worry when text panels in the exhibition quote Richard Goyder, Managing Director, Wesfarmers Limited, as saying that this is the first time that Wesfarmers has showcased the contemporary art of the collection, “and the works selected for Luminous World illustrate some of the ways in which the collection has grown in recent years. For instance, the inclusion of art from New Zealand, where Wesfarmers has a significant business presence, and the heightened emphasis on representing the great diversity of contemporary Indigenous art.”

The inclusion of New Zealand art because Wesfarmers has a significant business presence – not the quality or wonder of the art work – but a business presence. And only now are they collecting contemporary Indigenous art, after the collection has been in existence for more than three decades, 1977 being the first acquisition date. At least he is being refreshingly honest about why the art work has been added to the collection, but it does not give you confidence in the choice of the art work being displayed here. Goyder, Carroll and Kinsella also proselytize about the benefits of employee’s living with this art in their daily working lives and that may be the case. But for the casual visitor to the gallery this collection of art left me feeling cold and clammy – like a fish out of water.

As the add for Reflex copy paper says with more humour than any of this work can muster, I didn’t find “enwhitenment”, or wonder, within the gallery walls. Oh, the luminosity of it all.

Marcus

.
Many thankx to The Ian Potter 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.

 

 

What is the Night?

‘What is the night?’ Macbeth enquires in the banquet scene, once the ghost of Banquo has departed and his wide has dismissed their mystified guests. Deprived of sleep, and half-psychotic, he urgently needs to know the time. But this is also, implicitly, a philosophical question that hints at the ontological meaning of the night…

Macbeth, Shakespeare’s most elaborate meditation on the night, is a sustained, if not obsessive, exploration of the nocturnal as a realm of alternative values – ones that contradict and threaten to undermine those of the diurnal regime that is ostensibly the domain of politics in the early modern period. In this violent, vengeful tragedy, the language and culture of the medieval night, incarnated above all in the witches, irrupts into the more enlightened languages and culture of a purportedly post-medieval epoch. An apocalyptic night, in Macbeth’s barbaric court, is one of the forces that shape realpolitik. In the Renaissance, a period in which daily life encroaches more and more on the night, especially in public settings, in the form of elaborately lit masques at court, Macbeth thus stages the limits of enlightenment.

At a time when more systematic, socially centralized modes of illumination are increasingly disrupting older patterns of rest, including biphasic sleep – so that, for the early modern ruling class at least, night starts to feel like an extension of the day, its observe rather than its inverse – Shakespeare dramatizes the tyrannical attraction, the absolutism, of darkness. Macbeth describes a process of nocturnalization whereby the night irresistibly colonizes the day, fatally infiltrating both the state and the protagonist’s consciousness. To use a word that has some currency in the seventeenth century, but has long since fallen out of use, Shakespeare’s drama is a study of ‘benightment’.”

Matthew Beaumont. “What is the Night?” in Matthew Beaumont. Nightwalking: A Nocturnal History of London, Chaucer to Dickens. London and New York: Verso, 2015, pp. 86-87.

 

Luminous World brings together a selection of contemporary paintings, objects and photographs from the Wesfarmers Collection in a conversation about light. Through works of scale and conceptual invention that chart the range and depth of the collection, this exhibition presents significant contemporary paintings, photographs and objects by leading Australian and New Zealand artists acquired by Wesfarmers over three decades and shared together for the first time with the Australian public.

The Potter is the fifth venue for this touring exhibition which to date has travelled to Charles Darwin University Art Gallery, Darwin; National Library of Australia, Canberra; Samstag Museum of Art, Adelaide; and The Academy Gallery, University of Tasmania.

 

 

Brook Andrew. 'Replicant series: Owl' 2005 

 

Brook Andrew
Replicant series: Owl
2005
Ilfochrome print
130 x 195 cm
© Brook Andrew, reproduced courtesy of the artist and Wesfarmers Collection of Australian Art

 

 

Brook Andrew (1970- ) is a Sydney born/Melbourne based interdisciplinary artist of Wiradjuri and Scottish heritage. Andrew’s conceptual based practice incorporates, sculpture, photography, installation, video and performance. The Replicant 2006 series reflects (literally) upon the act of looking, and consequent interchanges between nature and culture, subject and object, real and represented. These dualities fit broadly within the artist’s addressing of Australian identity, polemics and the politics of difference.

For the Replicant 2006 series Andrew borrowed taxidermied specimens from the education department at the Australian Museum, Sydney. These included native species of indigenous significance such as an owl, possum, flying fox and parrot. He shot each animal – artificially propped in their natural poses – and digitally manipulated each image so as to appear duplicated, a process that evolved out of the Kalar midday 2004 series.

 

Bill Henson. 'Untitled' 2009-10 

 

Bill Henson
Untitled
2009-10
Archival inkjet pigment print
127 x 180 cm
© Bill Henson, reproduced courtesy of the artist and Wesfarmers Collection of Australian Art

 

 

” … And yet certain things – particular experiences that we have are excpetional. They stand apart from the rest of the general activity.

What causes this apprehension of significance – of something in face powerfully apprehended yet not always fully understood?

And why is it that all of us, at some time or other, with have this ‘epiphany’ – Christian or otherwise – in the presence of some work of art, in the experiencing of a performance piece or some unexpected encounter with the true magic of a particular piece of sculpture?

When it happens, I always think of it as being as if one’s life – and everything that it contains – had just been ever so slightly changed, forever. Nothing, if you will, is ever quite the same again.

What happens, I think, is simply that we fall in love – and it’s the apprehension of unexpected beauty that causes us to fall in love.

The sheer force of such beauty can affect us as if it were an act of nature – and of course it is, for despite the arrogance of some theoreticians, culture is never outside nature.

I think that it is this intense, if often quite subtle, love for the subject, and the resultant emotional and intellectual interdependence within that relationship – be it in musical form, something in the visual arts, theatre of dance – that is responsible for – and in fact makes possible at all – these great and fortunate encounters in the arts.

Stare back into time and all kinds of very ‘personal’ things return your gaze. This has always, to me, seemed to a large extent to be what art is about. Sure, it’s personal, but it’s also millennial.

The best art always heightens our sense of mortality. This is not morbidity that I am talking about – rather, we feel more alive in the presence of great art and this is because of a profound sense of continuity – our sense of being inside nature – is expanded.

If you like, art suggests the immortal in all of us.

When we listen to Michelangeli – or, say, Jörg Demus playing Kinderszenen – and we sense that simultaneously proximate and intimate yet utterly abstract presence (was that someone? Schumann perhaps?) and at the same time sense the unbridgeable gulf that exists between ourselves and that distant past – we know that we are in the presence of something magical.

In the end I think that it is love that fuels this activity – that animates the speculative capacity in all of us – and heightens this sense of wonder.

Excerpts from Bill Henson’s speech “Reflections,” in Luminous World catalogue. Perth: Wesfarmers Limited, 2012, pp. 23-24.

 

Installation view of the exhibition 'Luminous World: Contemporary Art from the Wesfarmers Collection' at The Ian Potter Museum of Art, The University of Melbourne

Installation view of the exhibition 'Luminous World: Contemporary Art from the Wesfarmers Collection' at The Ian Potter Museum of Art, The University of Melbourne

Installation view of the exhibition 'Luminous World: Contemporary Art from the Wesfarmers Collection' at The Ian Potter Museum of Art, The University of Melbourne

Installation view of the exhibition 'Luminous World: Contemporary Art from the Wesfarmers Collection' at The Ian Potter Museum of Art, The University of Melbourne

 

Installation views of the exhibition Luminous World: Contemporary Art from the Wesfarmers Collection at The Ian Potter Museum of Art, The University of Melbourne

 

David Stephenson. 'Star Drawing 1996/402' 1996

 

David Stephenson
Star Drawing 1996/402
1996
40 x 40″
Cibachrome Print
National Gallery of Victoria, Melbourne
Purchased, 1997
© Courtesy of the artist

 

 

While the subject of my photographs has shifted from the landscape of the American Southwest and Tasmania, and the minimal horizons of the Southern ocean, and the icy wastes of Antarctica, to sacred architecture and the sky at both day and night, my art has remained essentially spiritual – for more than two decades I have been exploring a contemporary expression of the sublime – a transcendental experience of awe with the vast space and time of existence. (David Stephenson, 1998)

 

Bill Henson. 'Untitled 39/139' 1990-91

 

Bill Henson
Untitled 39/139
1990-91
Paris Opera Project
Type C photograph
127 × 127 cm
Series of 50
Edition of 10 + 2 A/Ps

 

Stieg Persson. 'Offret' 1998 

 

Stieg Persson
Offret
1998
Oil on canvas
183 x 167 cm
© Stieg Persson, reproduced courtesy of the artist and Wesfarmers Collection of Australian Art

 

 

“Works focusing on light and darkness, and how light creates and reveals our world, from one of Australia’s pre-eminent corporate art collections compiled by Wesfarmers over the past 30 years, will be exhibited at the Ian Potter Museum of Art at The University of Melbourne.

The exhibition, Luminous World: Contemporary art from the Wesfarmers Collection, presents a diverse selection of contemporary paintings, photography and works of sculpture. The works traverse a diversity of cultural, aesthetic and philosophical perspectives, with the curatorial premise of how contemporary artists explore the phenomenon of light in their work.

Some 50 artists from Australia and New Zealand are featured in the exhibition including: Susan Norrie, Rosemary Laing, Howard Taylor, Dale Frank, Paddy Bedford, Bill Henson, Fiona Pardington (NZ), Brian Blanchflower, Brook Andrew, Timothy Cook and Nyapanyapa Yunupingu. Included alongside the art is a major new body of poetry by John Kinsella, written in response to works in the exhibition. These are published for the first time under the imprint of Fremantle Press in the book Luminous World, with new writing by artist Bill Henson and composer Richard Mills.

Ian Potter Museum of Art Director, Ms Kelly Gellatly said, “Luminous World highlights the strengths ofthe Wesfarmers Collection, which has generously been shared, through the tour of the exhibition, with the wider community.

“In bringing together works across a range of media by Indigenous and non-Indigenous artists, Luminous World successfully showcases both the depth and continuing resonance of contemporary Australian practice in a rich, open-ended and exploratory conversation about light.

“To know and experience light and its effects however, one must equally understand its other – darkness. Together, these concerns create an exhibition experience that is at once intellectual, emotional and experiential,” Ms Gellatly said.

The Wesfarmers Collection was started in 1977, and is housed in the Wesfarmers offices around Australia and shared with the community through a loan and exhibition program. A Wesfarmers and Art Gallery of Western Australia touring exhibition.”

Press release from The Ian Potter Museum of Art website

 

Installation view of the exhibition 'Luminous World: Contemporary Art from the Wesfarmers Collection' at The Ian Potter Museum of Art, The University of Melbourne

Installation view of the exhibition 'Luminous World: Contemporary Art from the Wesfarmers Collection' at The Ian Potter Museum of Art, The University of Melbourne

Installation view of the exhibition 'Luminous World: Contemporary Art from the Wesfarmers Collection' at The Ian Potter Museum of Art, The University of Melbourne

 

Installation views of the exhibition Luminous World: Contemporary Art from the Wesfarmers Collection at The Ian Potter Museum of Art, The University of Melbourne

 

 

“For more than three decades Wesfarmers has been collecting Australian art. From General Manager John Bennison’s first acquisition in 1977 of a pastoral scene by the Australian impressionist Elioth Gruner, Wesfarmers’ purpose was to accentuate the value of art in the workplace and encourage and understanding of the importance to society of supporting creative thinking and artistic vision. The company has always been committed to sharing its collection with the community through exhibitions and loans and by opening our workplaces for groups to view the art in our offices.

This is the first time Wesfarmers has showcased the contemporary art in the collection, and the works selected for Luminous World illustrate some of the ways in which the collection has grown in recent years. For instance, the inclusion of art from New Zealand, where Wesfarmers now has a significant business presence, and the heightened emphasis on representing the great diversity of contemporary indigenous art.

We thank the artists whose resonant and timeless works form part of Australia’s rich cultural heritage and hope that the Australian public will enjoy these works and marvel at the ingenuity and artistic vision they represent, as Wesfarmers does, surround by inspirational art in our daily lives.”

Richard Goyder
Managing Director, Wesfarmers Limited

 

The visual world is defined by light; everything we see is processed by the eye as patterns of brightness and colour. Monumental formations in the landscape as well as the most subtle nuances of atmosphere are made real to us by the action of light, transmitted in wavelengths as an infinitely varied register of colour that combine within the eye to shape our sense of space and form.

It is the action of light reflecting off, refracting through and being absorbed by the substance of the world that enables the eye to perceive contours, hues, and textures and mark the passing of time from day to night and season to season.

Luminous World presents a diverse selection of contemporary paintings, photography and works of sculpture, acquired by the Wesfarmers Collection over thirty years and considered through the lens of how contemporary artists variously utilise the phenomenon of light in their work.

Rather than a chronological or stylistically ordered presentation, it follows a loosely intuitive flow of ideas and imagery moving through night to day. The artists in this exhibition explore light from the perspective of the optical experience, the connection between the stars and the cycles of life on earth; and from diverse cultural, mythic and spiritual point of departure.

Published for the first time in the Luminous World catalogue are recent poems by John Kinsella, written in response to selected works in the exhibition, together with new writing by artist Bill Henson and composer Richard Mills that extend an artistic dialogue in which all can share.

 

Rosalie Gascoigne. 'Hung fire' 1995

 

Rosalie Gascoigne
Hung fire
1995
Retro-reflective road-sign on wood
209 x 176 cm
© Rosalie Gascoigne, licensed by Viscopy 2012 and Wesfarmers Collection of Australian Art

 

Elizabeth Nyumi. 'Parwalla' 2010 

 

Elizabeth Nyumi
Parwalla
2010
Acrylic on canvas
120 x 180 cm
© Elizabeth Nyumi, licensed by Viscopy 2012 and Wesfarmers Collection of Australian Art

 

 

About Parwalla

This painting depicts the country known as Parwalla, which is Nyumi’s father’s country. This country is far to the south of Balgo in the Great Sandy Desert, west of Kiwirrkurra, and is dominated by tali (sand hills). Parwalla is a large swampy area, which fills with water after the wet season rain and consequently produces an abundance of bush foods. The majority of Nyumi’s painting shows the different bush foods, including kantjilyi (bush raisin), pura (bush tomato) and minyili (seed). The whiteish colours, which dominate the painting, represent the spinifex that grows strong and seeds after the wet season rains. These seeds are white in colour, and grow so thickly they obscure the ground and other plants below.

Biography

When Nyumi was only a very young child her mother died at Kanari soakwater close to Jupiter Well. As a young girl, Nyumi lived with her family group in their country. As a teenager she walked along the Canning Stock Route into the old mission with her father and family group. There she was given clothes and taken to Billiluna Station to be trained as a domestic worker and to work for the wives of the station managers around the region.

Nyumi commenced painting in 1987 and emerged as a leading artist in the late 1990s. She is married to the artist Palmer Gordon and has four daughters, three of whom are still living and beginning to paint with strong encouragement from Nyumi. Her elder brothers Brandy Tjungurrayi and Patrick Olodoodi are both senior lawmen and recognised artists. Nyumi is a very strong culture woman and dancer and an enthusiastic teacher of culture to children, ensuring the traditional dances and songs are kept alive.

Nyumi’s paintings are mainly concerned with the abundant bush food in the country belonging to her family. Initially, she worked with a thick brush, covering the canvas with fluent lines in tones of yellow, green and red. She has now developed a strong personal style of thick impasto dotting, to build up fields of texture heavily laden with white, in which motifs of camp sites, coolamons, digging sticks and bush tucker stand out.

 

Gretchen Albrecht. 'Pink and orange sherbet sky' 1975  

 

Gretchen Albrecht
Pink and orange sherbet sky
1975
Acrylic on canvas
166 x 177 cm
© Gretchen Albrecht, reproduced courtesy of the artist and Wesfarmers Collection of Australia

 

Rosemary Laing. 'Brumby mound #5' from the series 'One dozen unnatural disasters in the landscape' 2003

 

Rosemary Laing
Brumby mound #5 from the series One dozen unnatural disasters in the landscape
2003
C Type photograph
110 x 222 cm
© Rosemary Laing, reproduced courtesy of the artist and Wesfarmers Collection of Australian Art

 

 

Brumby mound #5 2003 is one of a series of photographs by Rosemary Laing that explores the way European culture has often been uncomfortably imposed on an ancient land. Laing chooses a desert-scape that many identify as quintessentially Australian as the setting for her interventions. The location is the Wirrimanu community lands around Balgo in north-east Western Australia. Onto these traditional lands Laing has incongruously placed items of mass-produced furniture painted to mimic the surroundings.

The words ‘brumby mound’ in her title are a reference to the introduced horses (or brumbies) that are feral and roam uncontrolled, much like the spread of furniture. The seductive beauty of these panoramic images shows the vast spectacle of the Australian bush and makes the disjunction of the natural and the unnatural all the more apparent. (Text from the NGV website)

 

Howard Taylor. 'Bushfire sun' 1996 

 

Howard Taylor
Bushfire sun
1996
Oil on canvas
122 x 152 cm
© Howard Taylor, courtesy of the artist’s estate and Wesfarmers Collection of Australian Art

 

Michael Riley. 'Untitled' from the series 'Cloud [Feather]' 2000

 

Michael Riley
Untitled from the series Cloud [Feather]
2000
Inkjet print on banner paper
86 x 120 cm
© Michael Riley Foundation, licensed by Viscopy 2012 and Wesfarmers Collection of Australian Art

 

 

“Feathers float – so do clouds – and dreams.

Feather – a Wiradjuri word for feather and wing are the same, Gawuurra. Probably Cowra, the name of a town to the south, comes from this. In contemporary Aboriginal practices of other groups, feather-appendage is extended in meaning to string tassel, sacred string marking a journey, connecting landscapes, people, family lineages, and, importantly, the embryo cord linking child and mother.

A wing of the eagle hawk, Malyan, a skin name, a scary dream-being overhead. Is it guardian angel or assassin? In the south-east, a feather left behind is often evidence of such a spiritual visit.

At the funeral of actor and activist Bob Maza in 2000, his son held his father’s Bible and recollected his words, ‘to dare to dream your dreams’. It’s interesting that Michael Riley chose to avoid the word ‘dream’ in naming his final photographic work cloud (2000), avoiding glib connections to ‘Dreamtime’. What rolls past our eyes and through our senses is the culmination of self-examination. In a series of poetic photographic texts made increasingly poignant through events in his personal life, these are dreams of childhood memories in Dubbo, New South Wales: dreams of floating, of release…

cloud appears as more personal and free. A floating feather; a sweeping wing; a vigilant angel; the cows from ‘the mission’ farm; a single Australian Plague Locust in flight, referring to the cyclical swarms of locusts; a comforting Bible; and a graceful emblematic returning boomerang. The boomerang is really the only overtly Aboriginal image in the series and the locust is one of the few native species left that is visible and cannot be swept aside. It persists…

Through the large, simply superimposed images of cloud, Michael was trying to minimalise things, to distil his ideas about physical reality and spirit. All are dichotomously connected to Dubbo and Riley and are also universal. They are not about a place but a state, the surrealistic cow with mud and manure on its hoofs floating by. In contrast to Empire’s scenes of a decayed, overworked and desolated landscape, there is no physical land in the cloud imagery.

Aboriginal creation stories begin with a sunrise and follow the journeys of an original being across a physical, seasonal and emotional landscape – seeing, experiencing, and naming this and that plant, animal, climatic occurrence and emotional feelings. Religious song cycles follow this progression. Michael’s set of large, single-subject memories can almost be thought of as a Wiradjuri song cycle of his land and his life.”

Extract from Djon Mundine. Wungguli – Shadow : Photographing the spirit and Michael Riley” on the Michael Riley: sights unseen National Gallery of Australia website.

 

Paddy Bedford. 'Merrmerrji–Queensland creek' 2005 

 

Paddy Bedford
Merrmerrji-Queensland creek
2005
Ochre and synthetic binder on composition board
80 x 100 cm
© Paddy Bedford, reproduced courtesy of the artist’s estate and Wesfarmers Collection of Australian Art

 

 

“Paddy Bedford was a senior Gija lawman born at Bedford Downs Station in the East Kimberly region. Like many indigenous artists, he lived a long life as a stockman before he looked upon the Turkey Creek elders – Rover Thomas and Paddy Jiminji – to begin painting. Bedford’s first works were made with the inception of the Jirrawun Aboriginal Art Cooperative in 1997.

The distinctive minimalist style of his work is but a mask to the multifarious layers of meaning. Bedford’s paintings are inspired by the distinctive landscape and stories of his country in the East Kimberly region of Western Australia, as he depicts from an aerial perspective the traditional dreamings of the Cockatoo, Emu and Turkey; the massacres of local Aboriginal people during the colonial period; as well as episodes from his own life as a stockman and as a senior elder of his community.

Merrmerrji- Queensland Creek, 2005 is characteristically sparse in composition with bold forms, a rhythmic application of dotted fluid lines and a powerfully imposing colour palate, which is gained from a wet-on-wet mixture of white and ochre pigments suspended in a fast drying acrylic medium. The effect is a pearly radiant luminosity, an ambience of the sacred.” (Text from the Annette Larkin Fine Art website)

 

 

The Ian Potter Museum of Art
The University of Melbourne,
Swanston Street (between Elgin and Faraday Streets)
Parkville, Melbourne, Victoria
Tel: +61 3 8344 5148

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

The Ian Potter Museum of Art website

LIKE ART BLART ON FACEBOOK

Back to top

31
May
15

Exhibition: ‘The photograph and Australia’ at the Art Gallery of New South Wales, Sydney

Exhibition dates: 21st March – 8th June 2015

Curator: Judy Annear, Senior curator of photographs, AGNSW

 

“Cultural theorist Ross Gibson has written that ‘being Australian might actually mean being untethered or placeless … and appreciating how to live in dynamic patterns of time rather than native plots of space’. Photographs always enable imaginative time and space regardless of their size and how little we might know of the ostensible subject. When people are oriented toward the camera and photographer, there is a gap which the viewer intuitively recognises. The gap is time as much as space. Occasionally – as in an anonymous 1855 daguerreotype taken at Ledcourt, Victoria, of Isabella Carfrae on horseback where we see a servant standing on the verandah, shading her eyes, and in the 1877 Fred Kruger photograph of the white-clad cricketer at Coranderrk – a subject in the photograph presses so close to the picture plane that we know for the time of the exposure they look directly into an unknowable future and collide now with our gaze as we look back.”

.
Judy Annear. “Time,” in Judy Annear. The photograph and Australia. Sydney: Art Gallery of New South Wales, 2015. p. 19

 

 

This is an important exhibition and book by Judy Annear and team at the Art Gallery of New South Wales, an investigation into the history of Australian photography that is worthy of the subject. Unfortunately, I could not get to Sydney to see the exhibition and I have only just received the catalogue. I have started reading it with gusto. With regard to the exhibition all I have to go on is a friend of mine who went to see the exhibition, and whose opinion I value highly, who said that is was the messiest exhibition that she had seen in a long while, and that for a new generation of people approaching this subject matter for the first time it’s non-chronological nature would have been quite off putting. But this is the nature of the beast (that being a thematic not chronological approach) and personally I believe that modern audiences are a lot more understanding of what was going on in the exhibition than she would give them credit for.

In the “Introduction” to the book, Annear rightly credits the work undertaken by colleagues – especially Gael Newton’s Shades of light: photography and Australia 1839-1988, published in 1988; Alan Davis’ The mechanical eye in Australia: photography 1841-1900, published in 1977; and Helen Ennis’ Photography and Australia, published in 2007. As the latter did, this new book “emphasises the ways in which photographs, especially in the nineteenth century, function in social, cultural and political contexts, exploring photography’s role in representing relationships between Indigenous and settler cultures, the construction of Australia, and its critique.” (Annear, p. 10)

While Ennis’ book took a chronological approach, with sections titled First Photographs, Black to Blak, Land and Landscape, Being Modern, Made in Australia, Localism and Internationalism, The Presence of the Past – Annear’s book takes a more conceptual, thematic approach, one that crosses time and space, linking past and present work in classificatory sections titled Time, Nation, People, Place and Transmission. Both books acknowledge the key issues that have to be dealt with when formulating a book on the photograph and Australia: “the medium itself, Australia’s history, and the relationship between them. Is Australian photography different? If so, how, and in relation to what? One has to look at places with not dissimilar histories, such as Canada and New Zealand. And other questions: what has preoccupied photographers working in relation to Australia at various points in time? Have their concerns been primarily commercial, aesthetic, historical, realist, interpretive, or theoretical? Have they developed projects unique to the photographic medium; for example, large-scale classificatory projects? What have they achieved, what did it mean then, and what does it mean now?” (Annear, p.10)

These questions are the nexus of Annear’s investigation and she seeks to answer them in the well researched chapters that follow, while being mindful of “preserving some of the slipperiness of the medium.” And there is the rub. In order to define these classificatory sections in the exhibition and book, it would seem to me that Annear shoehorns these themes onto the fluid, mutable state of “being” of the photograph, imposing classifications to order the mass of photography into bite sized entities. While “the book encourages the reader to explore connections – between different forms of photography, people and place, past and present” it also, inevitably, imposes a reading on these historical photographs that would not have been present at the time of their production.

The press release for the book says, “The photograph and Australia investigates how photography was harnessed to create the idea of a nation.” Now I find the use of that word “harnessed” – as in control and make use of – to be hugely problematic. Personally, I don’t think that the slipperiness and mutability of photography can ever be controlled by anyone to help create the idea (imagination?) of a nation. Nations build nations, not photography. As a friend of mine said to me, it’s a long bow to draw… and I would agree. The crux of the matter is that THERE ARE NO HANDLES, only the ones that we impose, later, from a distance. There is no definitive answer to anything, there are always twists and turns, always another possibility of how we look at things, of the past in the present.

Photography and photographs, “with its ability to capture both things of the world and those of the imagination,” are always unstable (which is why the photograph can still induce A SENSE OF WONDER) – always uncertain in their interpretation, then and now. Photographs do not belong to a dimension or a classification of time and space because you feel their being NOT their (historical) consequence. Hence, all of these classifications are essentially the same/redundant. Perhaps it’s only semantics, but I think the word “utilises” – make practical and effective use of – would be a better word in terms of Annear’s enquiries. It also occurred to me to turn the question around: instead of “how photography was harnessed to create the idea of a nation”; instead, “how the idea of a nation helped change photography.” Think about it.

Finally, a comment on the book itself. Beautifully printed, of a good size and weight, the paper stock is of excellent quality and thickness. The type is simple and legible and the book is lavishly illustrated with photographs. The reproductions are a little ‘flat’ but the main point of concern is the size of the reproductions. Instead of reproducing carte de visite at 1:1 scale (that is, 64 mm × 100 mm), their mounted on card size – they are reproduced at 40 mm x 68 mm (see p. 236 of the catalogue below). Small enough already, this printing size renders the detailed reading of the images almost impossible. Worse, the images are laid out horizontally on a vertical page, with no size attribution of the original, nor whether they are 1/9th, 1/6th daguerreotype’s or ambrotypes, CDV’s or cabinet cards next to the image.

The reproduction size of the daguerreotypes and ambrotypes is even worse, making the images almost unreadable. For example, in an excellent piece of writing at the end of the first chapter, “Time”, Annear refers to “an anonymous 1855 daguerreotype taken at Ledcourt, Victoria, of Isabella Carfrae on horseback where we see a servant standing on the verandah, shading her eyes,”. In the image in this posting (below) we can clearly see this woman standing on the verandah, but in the reproduction in the book (p. 139), she is reduced to a mere smudge in history, an invisibility caused by the size of the reproduction, thereby negating all that Annear comments upon. Instead of the “subject in the photograph presses so close to the picture plane that we know for the time of the exposure they look directly into an unknowable future and collide now with our gaze as we look back,” there is no pressing, hers has no presence, and our gaze cannot collide with this vision from the future past. Why designers of photographic books consistently fall prey to these traps is beyond me.

Dr Marcus Bunyan for the Art Blart blog

.
Many thank to the Art Gallery of New South Wales for allowing me to publish the photographs and text in the posting. Please click on the photographs for a larger version of the image.

 

Judy Annear. 'The photograph and Australia'. Sydney: Art Gallery of New South Wales, 2015. p. 236

 

Judy Annear. The photograph and Australia. Sydney: Art Gallery of New South Wales, 2015. p. 236

 

 

The first large-scale exhibition of its kind to be held in Australia in 27 years, The photograph and Australia presents more than 400 photographs from more than 120 artists, including Richard Daintree, Charles Bayliss, Frank Hurley, Harold Cazneaux, Olive Cotton, Max Dupain, Sue Ford, Carol Jerrems, Tracey Moffatt, Robyn Stacey, Ricky Maynard and Patrick Pound.

The works of renowned artists are shown alongside those of unknown photographers and everyday material, such as domestic and presentation albums. These tell peoples’ stories, illustrate where and how they lived, as well as communicate official public narratives. Sourced from more than 35 major collections across Australia and New Zealand, including the National Gallery of Australia, the National Library of Australia and the Australian Museum, The photograph and Australia uncovers hidden gems dating from 1845 until now.

A richly illustrated publication accompanies the exhibition, reflecting the exhibition themes and investigating how Australia itself has been shaped by photography.

 

Extract from “Introduction”

“The task of this book is to formulate questions around Australian photography and its history, regardless of Australia’s, and the medium’s, permeable identity. While early photography in Australia made histories of the colonies visible, and a great deal can be read from the surviving photographic archives, interpretation of this material is often conjecture, and much remains oblique. Patrick Pound describes the sheer mass of photographs and images in the world today as an “unhinged album.”11 This dynamic of making, accumulating, ordering, disseminating, reinterpreting, re-collecting and re-narrating is an important aspect of photography. The intimate relationship, historically, between the photograph and the various arts and sciences, along with the adaptability to technological change and imaginative interpretations, allows for a constant montaging or weaving together of uses and meanings. This works against the conventional linear structure of classical histories and the idea of any progressive evolution of the medium. If what we are dealing with is a phenomenon rather than simply a form then analysing the phenomenon and its dynamic relationship to art, society, peoples, sciences, genres, and processes is critical to our modern understanding of ourselves and our place in the world as well as of the medium itself.12

In the 1970s, cultural theorist Roland Barthes wrote an essay entitled The photographic message.13 While he focussed primarily on press photography and made a distinction between reportage and ‘artistic’ photography, his pinpointing of the special status of the photographic image as a message without a code – one could say, even, a face without a name – and his understanding of photography as a simultaneously objective and invested, natural and cultural, is relevant in the colonial and post-colonial context.

We search for clues in photographs of our past and present. In some ways this is a melancholy activity, in other ways valuable detective work. In many cases it is both. Photography since its inception has belonged in a nether world of being and not being, legibility and opacity. This book preserves some of the slipperiness of the medium, while providing a series of texts touching on the photographs at hand. The history of the photograph and its relationship to Australia remains tantalisingly partial; the ever-burgeoning archives await further excavation.”14

Judy Annear. “Introduction,” in Judy Annear. The photograph and Australia. Sydney: Art Gallery of New South Wales, 2015. p. 13.

 

11. See ‘Transmission’ pp. 227-33
12. See Geoffrey Batchen, blog.fotomuseum.ch/2012/10/5-a-subject-for-a-history-about-photography accessed 22 April 2014
13. Roland Barthes, ‘The photographic message’, Image, music, text, trans Stephen Heath, Flamingo, London, 1984, pp. 15-31
14. Parts of this Introduction were in a paper delivered at the symposium, Border-lands: photography & cultural contest, Art Gallery of New South Wales, Sydney 31 Mar 2012

 

Time

The relationship of the photograph to ‘Time’ is discussed in chapter one, which examines how contemporary artists such as Anne Ferran, Rosemary Laing and Ricky Maynard reinvent the past through photography. The activities of nineteenth-century photographers such as George Burnell and Charles Bayliss are also discussed… The manipulation by artists and photographers of imaginative time – the time of looking at the photographic image – allows for consideration of the nexus between space and time, how subjects can be momentarily tethered and, equally, how they can float free.

Nation

Chapter two considers the idea of ‘Nation': looking at the public role of the photograph in representing Australia at world exhibitions before Federation in 1901. Photography in this period enabled new classificatory systems to come into existence… Of particular importance was the use of the photograph to cement Darwinistic views that determined racial hierarchies according to superficial physical differences. The photograph also advertised the growing colonies to potential migrants and investors through the depiction of landscapes and amenities.

People

The third chapter, ‘People’, analyses the uncertain post-colonial heritage that all Australian inherit and how that can be evidenced and examined in photographs. The chapter encompasses portraits by Tracy Moffatt and George Goodman, for example, and considerations of where and how people lived and chose to be photographed. These include the people of the Kulin nation of Victoria, those who resided at Poonindie Mission in South Australia, the Yued people living at New Norcia mission in Western Australia, as well as the Henty family in Victoria, the Mortlocks of South Australia, the children living at The Bungalow in Alice Springs and the people of Tumut in New South Wales.

Place

‘Place’ is examined in chapter four, particularly in terms of the use of photography to enable exploration, whether to Antarctica (Frank Hurley), to map stars and further the natural sciences (Henry Chamberlain Russell, Joseph Turner), or to open up ‘wilderness’ for tourism or mining (JW Beattie, Nicholas Caire, JW Lindt, Richard Daintree) … Photographs are examined as both documents and imaginative interpretations of activity and place.

Transmission

Chapter five, ‘Transmission’, considers the traffic in photographs and the fascination with the medium’s reproducibility and circulation… The evidential aspect of the photograph has proven to be fleeting and only tangentially related to the thing it traces. The possibility of being able to fully decipher a photograph’s meaning is remote, even when it has been promptly ordered and annotated in some form of album. Each photographic form expands the possibility of instant and easy communication, but the swarm of material serves only to prove the impossibility of order, classification, and accuracy. The photograph as an aestheticised object continues regardless of platform, and the imaginative possibilities of the medium have not been exhausted.

Sections from Judy Annear. “Introduction,” in Judy Annear. The photograph and Australia. Sydney: Art Gallery of New South Wales, 2015. p. 12.

 

Charles Bayliss. 'Group of local Aboriginal people, Chowilla Station, Lower Murray River, South Australia' 1886

 

Charles Bayliss
Group of local Aboriginal people, Chowilla Station, Lower Murray River, South Australia
1886
From the series New South Wales Royal Commission: Conservation of water. Views of scenery on the Darling and Lower Murray during the flood of 1886
Albumen photograph
Art Gallery of New South Wales, purchased 1984

 

 

This tableaux of Ngarrindjeri people fishing was carefully staged by photographer Charles Bayliss in 1886. Not just subjects, they actively participated in the photography process. It was observed at the time that the fishermen arranged themselves into position, with “the grace and unique character of which a skillful artist only could show.”

“In one extraordinary image created in 1886 by the photographer Charles Bayliss, the Ngarrindjeri people of the lower Murray River were active participants in the staging of a fishing scene. Writing in his journal, Bayliss’s companion Gilbert Parker noted: “Without a word of suggestion, these natives arranged themselves in a group, the grace and unique character of which a skilful artist only could show.” Annear says the image looks like a museum diorama to modern eyes. “But these people were very active in deciding how they wanted to be photographed,” she says. “They were determined to create an image they felt was appropriate.”

The first photographs of indigenous Australians were formal, posed portraits, taken in blazing sunlight. The sitters are often pictured leaning against each other (stillness was required for long exposure times) with eyes turned to the camera and bodies wrapped in blankets or kangaroo skins. Some wore headdresses or necklaces that may or may not have belonged to them.

“Indigenous Australians agreed to be photographed out of curiosity, or perhaps for food,” says Judy Annear, curator of The photograph and Australia, a major new photography exhibition at the Art Gallery of New South Wales. “In the past, it was considered that these sorts of early pictures were indicative of the colonial gaze. But now there is a lot of research going on into how these early photos were made. Often, the local people would have been invited to come into a studio and they were paid. They would have been dressed up and told what to do.”” (Text in quotations from the Sydney Morning Herald website)

 

Unknown photographer. 'Australian scenery, Middle Harbour, Port Jackson' c. 1865

 

Unknown photographer
Australian scenery, Middle Harbour, Port Jackson
c. 1865
Carte de visite
Art Gallery of New South Wales, gift of Josef & Jeanne Lebovic, Sydney 2014

 

Unknown photographer. 'Australian scenery, Middle Harbour, Port Jackson' (verso) c. 1865

 

Unknown photographer
Australian scenery, Middle Harbour, Port Jackson (verso)
c. 1865
Carte de visite
Art Gallery of New South Wales, gift of Josef & Jeanne Lebovic, Sydney 2014

 

Ernest B Docker. 'The Three Sisters Katoomba – Mrs Vivian, Muriel Vivian and Rosamund 7 Feb 1898' 1898

 

Ernest B Docker
The Three Sisters Katoomba – Mrs Vivian, Muriel Vivian and Rosamund 7 Feb 1898
1898
Stereograph
Macleay Museum, The University of Sydney

 

Charles Nettleton (Australia 1825 – 1902) 'Untitled' 1867-1874

 

Charles Nettleton (Australia 1825 – 1902)
Untitled
1867-1874
Carte de visite
6.2 x 9.1 cm image; 6.3 x 10.0 cm mount card
Purchased 2014
Art Gallery of New South Wales

 

 

Charles Nettleton was a professional photographer born in the north of England who arrived in Australia in 1854, settling in Melbourne. He joined the studio of Townsend Duryea and Alexander McDonald, where he specialised in outdoor photography. Nettleton is credited with having photographed the first Australian steam train when the private Melbourne-Sandridge (Port Melbourne) line was opened on 12 September 1854. Nettleton established his own studio in 1858, offering the first souvenir albums to the Melbourne public. He worked as an official photographer to the Victorian government and the City of Melbourne Corporation from the late 1850s to the late 1890s, documenting Melbourne’s growth from a colonial town to a booming metropolis. He photographed public buildings, sewerage and water systems, bridges, viaducts, roads, wharves, and the construction of the Botanical Gardens. In 1861 he boarded the ‘Great Britain’ to photograph the first English cricket team to visit Australia and in 1867 was appointed official photographer of the Victorian visit of the Duke of Edinburgh. For the Victorian police he photographed the bushranger Ned Kelly in 1880. This is considered to be the only genuine photograph of the outlaw.

 

Tracey Moffatt. 'I made a camera' 2003

 

Tracey Moffatt
I made a camera
2003
Photolithograph
Collection of the artist
© Tracey Moffatt, courtesy Roslyn Oxley9 Gallery, Sydney

 

 

“The Art Gallery of New South Wales is proud to present the major exhibition The photograph and Australia, which explores the crucial role photography has played in shaping our understandings of the nation. It will run from 21 March to 8 June 2015.

Tracing the evolution of the medium and its many uses from the 1840s until today, this is the largest exhibition of Australian photography held since 1988 that borrows from collections nationwide. It presents more than 400 photographs by more than 120 artists, including Morton Allport, Richard Daintree, Paul Foelsche, Samuel Sweet, JJ Dwyer, Charles Bayliss, Frank Hurley, Harold Cazneaux, Olive Cotton, Max Dupain, Sue Ford, Carol Jerrems, Tracey Moffatt, Robyn Stacey, Ricky Maynard, Anne Ferran and Patrick Pound.

Iconic images are shown alongside works by unknown and amateur photographers, including photographic objects such as cartes de visite, domestic albums and the earliest Australian X-rays. The exhibition’s curator – Judy Annear, senior curator of photographs, Art Gallery of NSW – said:

“Weaving together the multiple threads of Australia’s photographic history, The photograph and Australia investigates how photography invented modern Australia. It poses questions about how the medium has shaped our view of the world, ourselves and each other. Audiences are invited to experience the breadth of Australian photography, past and present, and the sense of wonder the photograph can still induce through its ability to capture both things of the world and the imagination.”

The exhibition brings together hundreds of photographs from more than 35 private and public collections across Australia, England and New Zealand, including the National Gallery of Australia, the National Library of Australia and the State Library of Victoria. Highlights include daguerreotypes by Australia’s first professional photographer, George Goodman, and recent works by Simryn Gill. From mass media’s evolution in the 19th century to today’s digital revolution, The photograph and Australia investigates how photography has been harnessed to create the idea of a nation and reveals how our view of the world, ourselves and each other has been changed by the advent of photography. It also explores how photography operates aesthetically, technically, politically and in terms of distribution and proliferation, in the Australian context.

Curated from a contemporary perspective, the exhibition takes a thematic rather than a chronological approach, looking at four interrelated areas: Aboriginal and settler relations; exploration (mining, landscape and stars); portraiture and engagement; collecting and distributing photography. A lavishly illustrated 308-page publication, The photograph and Australia (Thames & Hudson, RRP $75.00), accompanies the exhibition, reflecting its themes and investigating the medium’s relationship to people, place, culture and history.”

Press release from the Art Gallery of New South Wales

 

David Moore (Australia 06 Apr 1927 – 23 Jan 2003) 'Migrants arriving in Sydney' 1966, printed later

 

David Moore (Australia 06 Apr 1927 – 23 Jan 2003)
Migrants arriving in Sydney
1966, printed later
gelatin silver photograph
30.2 x 43.5 cm image; 35.7 x 47.0 cm sheet
Gift of the artist 1997
© Lisa, Karen, Michael and Matthew Moore

 

 

In this evocative image Moore condenses the anticipation and apprehension of immigrants into a tight frame as they arrive in Australia to begin a new life. The generational mix suggests family reconnections or individual courage as each face displays a different emotion.

Moore’s first colour image Faces mirroring their expectations of life in the land down under, passengers crowd the rail of the liner Galileo Galilei in Sydney Harbour was published in National Geographic in 1967.1 In that photograph the figures are positioned less formally and look cheerful. But it is this second image, probably taken seconds later, which Moore printed in black-and-white, that has become symbolic of national identity as it represents a time when Australia’s rapidly developing industrialised economy addressed its labour shortage through immigration. The strength of the horizontal composition of cropped figures underpinned by the ship’s rail is dramatised by the central figure raising her hand – an ambiguous gesture either reaching for a future or reconnecting with family. The complexity of the subject and the narrative the image implies ensured its public success, which resulted in a deconstruction of the original title, ‘European migrants’, by the passengers, four of whom it later emerged were Sydneysiders returning from holiday, alongside two migrants from Egypt and Lebanon.2 Unintentionally Moore’s iconic image has become an ‘historical fiction’, yet the passengers continue to represent an evolving Australian identity in relation to immigration.

1. Max Dupain and associates: http://www.mdaa.com.au/people/moore-05.php. Accessed 17.06.2006
2. Thomas D & Sayers A 2000, From face to face: portraits by David Moore, Chapter & Verse, Sydney

© Art Gallery of New South Wales Photography Collection Handbook, 2007

 

David Moore. 'Redfern Interior' 1949

 

David Moore
Redfern Interior
1949
Silver gelatin print
26.7 x 35.4 cm image; 40.3 x 50.5 cm sheet
Purchased with funds provided by the Art Gallery Society of New South Wales 1985

 

David Moore’s career spanned the age of the picture magazines (for example: Life, Time, The Observer) through to major commissions such as the Sydney Opera House, CSR, and self initiated projects like To build a Bridge: Glebe Island. The breadth and depth of his career means there is an extraordinary archive of material which describes and interprets the last 50 years of Australian life, the life of the region, and events in Britain and the United States. He was instrumental in advancing Australian photography throughout his career and in the early 1970s was active in setting up the Australian Centre for Photography, Sydney. From well-known images such as Migrants arriving in Sydney to Redfern interior, Moore has documented events and conditions in Sydney.

 

Charles Bayliss (England, Australia 1850 – 1897) Henry Beaufoy Merlin (England, Australia 1830 – 1873) 'Untitled' c. 1872

 

Charles Bayliss (England, Australia 1850 – 1897)
Henry Beaufoy Merlin (England, Australia 1830 – 1873)
Untitled
c. 1872
Albumen photograph
Dimensions
24.5 x 29.4 cm image/sheet
Gift of Josef & Jeanne Lebovic, Sydney 2014

 

Paul Foelsche. 'Adelaide River' 1887

 

Paul Foelsche
Adelaide River
1887
Albumen photograph
Art Gallery of New South Wales, gift of Josef & Jeanne Lebovic, Sydney 2014

 

 

This photo of people relaxing on the banks of the Adelaide River in the Northern Territory was taken by Paul Foelsche, a policeman and amateur anthropologist.

The collection of 19th century images brought together in The photograph and Australia show indigenous people in formal group portraits or as “exotic” subjects. They are photographed alongside early settlers, working as stockmen or holding tools. Amateur gentleman photographers such as the Scottish farmer John Hunter Kerr captured such images on his own property, Fernyhurst Station, in Victoria. Another amateur photographer, Paul Foelsche, the first policeman in the Northern Territory, took portraits of the Larrakia people, which have since become a priceless archive for their descendants.

 

NSW Government Printer. 'The General Post Office, Sydney' 1892–1900

 

NSW Government Printer
The General Post Office, Sydney
1892-1900
Albumen photograph
State Library of New South Wales, Sydney, presented 1969

 

J. W. Lindt (Germany 1845 – Australia from 1862, Australia 1926) 'Body of Joe Byrne, member of the Kelly gang, hung up for photography, Benalla' 1880

 

J. W. Lindt (Germany 1845 – Australia from 1862, Australia 1926)
Body of Joe Byrne, member of the Kelly gang, hung up for photography, Benalla
1880
Gelatin silver print

 

 

Australia’s first ever press photograph pushed boundaries few journalists would transgress today. Captured by J.W, Lindt in 1880, the photo shows the dead body of a member of Ned Kelly’s infamous gang, strung up on a door outside the jail house in Benalla in regional Victoria.

Joe Byrne died from loss of blood after being shot in the groin during the siege of Glenrowan pub. Another photographer is pictured mid-shot, while an illustrator walks away from the new technology with his hat on and portfolio tucked under his arm. “We see this as the first Australian press photograph. It has that spontaneity media photographs have, and it’s also very evocative with many different stories in it,” the gallery’s senior curator of photographs, Judy Annear, said. (Text from the Sydney Morning Herald website)

 

Richard Daintree. 'Midday camp' 1864–70

 

Richard Daintree
Midday camp
1864-70
Albumen photograph, overpainted with oils
Queensland Museum, Brisbane

 

This image was an albumen photograph (using egg whites to bind chemicals to paper) which was then hand-coloured with oil paints to bring it to life. The photographer took it in the 1860s to advertise Australia as a land of opportunity.

 

Ricky Maynard. 'The Healing Garden, Wybalenna, Flinders Island, Tasmania' 2005

 

Ricky Maynard (Australia 1953 – )
Ben Lomond, Tasmania , Cape Portland, Tasmania
The Healing Garden, Wybalenna, Flinders Island, Tasmania, from the series Portrait of a distant land
2005, printed 2009
Gelatin silver photograph, selenium toned
34.0 x 52.0 cm image; 50.3 x 60.8 cm sheet
Art Gallery of New South Wales, purchased with funds provided by the Aboriginal Collection Benefactors’ Group and the Photography Collection Benefactors’ Program 2009

 

 

Ricky Maynard has produced some of the most compelling images of contemporary Aboriginal Australia over the last two decades. Largely self taught, Maynard began his career as a darkroom technician at the age of sixteen. He first established his reputation with the 1985 series Moonbird people, an intimate portrayal of the muttonbirding season on Babel, Big Dog and Trefoil Islands in his native Tasmania. The 1993 series No more than what you see documents Indigenous prisoners in South Australian gaols.

Maynard is a lifelong student of the history of photography, particularly of the great American social reformers Jacob Riis, Lewis Hines, Dorothea Lange and Walker Evans. Maynard’s images cut through the layers of rhetoric and ideology that inevitably couch black history (particularly Tasmanian history) to present images of experience itself. His visual histories question ownership; he claims that ‘the contest remains over who will image and own this history…we must define history, define whose history it is, and define its purpose as well as the tools used for the telling it’.

In Portrait of a distant land Maynard addresses the emotional connection between history and place. He uses documentary style landscapes to illustrate group portraits of Aboriginal peoples’ experiences throughout Tasmania. Each work combines several specific historical events, creating a narrative of shared experience – for example The Mission relies on historical records of a small boy whom Europeans christened after both his parents died in the Risdon massacre. This work highlights the disparity between written, oral and visual histories, as Maynard attempts to create ‘a combination of a very specific oral history as well as an attempt to show a different way of looking at history in general’.

 

JW Lindt. 'No 37 Bushman and an Aboriginal man' 1873

 

JW Lindt
No 37 Bushman and an Aboriginal man
1873
Albumen photograph
Grafton Regional Gallery Collection, Grafton, gift of Sam and Janet Cullen and family 2004

 

Professional photographers such as the Frankfurt-born John William Lindt (who became famous for photographing the capture of the Kelly Gang at Glenrowan in 1880) took carefully posed tableaux images in his Melbourne studio. One set of Lindt photographs, taken between 1873 and 1874, show settlers and indigenous people posing with the tools of their trade. One unusual image shows a settler holding a spear and a local man holding a rifle.

Annear says the photographs speak of a time when early settlers and indigenous people were engaged in an exchange of cultures. “These photos weren’t just a passive, one-way process,” Annear says. “It wasn’t just about capture and exoticism. We are finding contemporaneous accounts that point to a level of exchange going on that was extremely important. These photos show who those people were, where they lived and what they were doing. They have a very powerful presence in that regard, and Aboriginal people today are going back through these photographs in order to trace their family trees.” …

Annear says she could have put together an exhibition of images of the “great suffering” experienced by Aboriginal people in Australia, but chose not to. “I found the 19th century material so rich and strong and most people aren’t aware of these images. It seemed like a great opportunity to bring them forward,” she says. “I don’t want to whitewash history, but I do want people to see how rich life was, how people were adapting, and then how that was removed. After Federation and the White Australia policy and other assimilation policies, photos of indigenous people seem to disappear. Why did they disappear? The people were still here. They were greatly diminished in many senses, but nonetheless they were still here.”

Elissa Blake. “Art Gallery of NSW photography exhibition: Stories told in black and white,” on the Sydney Morning Herald website, April 2, 2015

 

Charles Bayliss. 'Lawrence Hargrave trochoided plane model' 1884

 

Charles Bayliss
Lawrence Hargrave trochoided plane model
1884
Albumen photograph
Museum of Applied Arts and Sciences, Sydney, gift of Mr William Hudson Shaw 1994

 

Unknown photographer. 'Duryea Gallery, Grenfell Street, Adelaide' c. 1865

 

Unknown photographer
Duryea Gallery, Grenfell Street, Adelaide
c. 1865
Carte de visite
State Library of South Australia, Adelaide

 

JJ Dwyer. 'Kalgoorlie's first post office' c. 1900

 

J. J. Dwyer
Kalgoorlie’s first post office
c. 1900
Gelatin silver photograph
Kerry Stokes Collection, Perth
Photo: Acorn Photo, Perth

 

Harold Cazneaux. 'Spirit of endurance' 1937

 

Harold Cazneaux
Spirit of endurance
1937
Gelatin silver photograph
Art Gallery of New South Wales, gift of the Cazneaux family 1975

 

Keast Burke (New Zealand, Australia 1896 - 1974) 'Husbandry 1' c. 1940

 

Keast Burke (New Zealand, Australia 1896 – 1974)
Husbandry 1
c. 1940
Gelatin silver photograph, vintage
30.5 x 35.5 cm image/sheet
Gift of Iris Burke 1989

 

Unknown photographer. 'Isabella Carfrae on horseback, Ledcourt, Stawell, Victoria' c. 1855 (detail)

 

Unknown photographer
Isabella Carfrae on horseback, Ledcourt, Stawell, Victoria
c. 1855
Daguerreotype, hand-tinted
National Gallery of Australia, Canberra, purchased 2012

 

Unknown photographer. 'Isabella Carfrae on horseback, Ledcourt, Stawell, Victoria' c. 1855

 

Unknown photographer
Isabella Carfrae on horseback, Ledcourt, Stawell, Victoria
c. 1855
Daguerreotype, hand-tinted
National Gallery of Australia, Canberra, purchased 2012

 

 

“In the late 19th century, cameras were taking us both inside the human body and all the way to the moon. By the 1970s the National Gallery of Victoria had begun collecting photographic art, and within another decade the digital revolution was underway. But this exhibition – the largest display of Australian photography since Gael Newton mounted the 900-work Shades of Light: Photography and Australia 1838-1988 at the National Gallery of Australia 27 years ago – is not chronological.

It opens with a salon hang of portraits of 19th and 20th century photographers, as if to emphasise their say in what we see, and continues with works grouped by themes: Aboriginal and settler relations; exploration; mining, landscape and stars; portraiture and engagement; collecting and distributing photography.

“A number of institutions and curators have tackled Australian photography from a chronological perspective and have done an extremely good job of it,” Annear says. “I have used their excellent research as a springboard into another kind of examination of the history of photography in this country. Nothing in photography was actually invented here, so I have turned it around and considered how photography invented Australia.”

Most of the photographs – about three quarters of the show, in fact – date from the first 60 years after Frenchman Louis Daguerre had his 1839 revelation about how to capture detailed images in a permanent form. Annear says the decades immediately following photography’s arrival in Australia provide a snapshot of all that has followed since.

“In terms of the digital revolution it is interesting to look back at the 19th century. What is going on now was all there then, it is just an expansion. There is a very clear trajectory from the birth of photography towards multiplication. After the invention of the carte de visite in the late 1850s they were made like there was no tomorrow. There are millions of cartes de visite in existence.”

There are quite a few of these small card-mounted photographs (the process was patented in Paris, hence the French) in the exhibition too, including one of a woman reflected in water at Port Jackson dating from circa 1865. With the trillions of images now in existence, it is easy to forget that once upon a time catching your reflection in the water, glass or a mirror was the only way to glimpse your own image (short of paying hefty sums for an artist to draw you).

After the invention of photography, people were quick to see how easily they could manipulate the impression created. While photographs are about fixing a moment in time, we can never be really sure just what it is they are fixing. “It’s not as simple as windows and mirrors – what we are looking at has always been constructed in some way,” Annear says. “What’s interesting about the medium is that you think it’s recording, fixing and capturing, but it is just creating an endless meditation on whatever a photograph’s relationship might be to whatever was real at the time it was taken.”

Extract from Megan Backhouse. “How the Photograph Shaped a Nation,” on the Art Guide Australia website, 20 April 2015

 

Sue Ford. 'Self-portrait' 1986

 

Sue Ford
Self-portrait
1986
From the series Self-portrait with camera (1960-2006) 2008
Colour Polaroid photograph
Art Gallery of New South Wales, purchased with funds provided by the Paul & Valeria Ainsworth Charitable Foundation, Russell Mills, Mary Ann Rolfe, the Photography Collection Benefactors and the Photography Endowment Fund 2015
© Sue Ford Archive

 

George Goodman. 'Caroline and son Thomas James Lawson' 1845

 

George Goodman
Caroline and son Thomas James Lawson
1845
Daguerreotype
State Library of New South Wales, Sydney, presented 1991

 

Olive Cotton. 'Only to taste the warmth, the light, the wind' c. 1939

 

Olive Cotton
‘Only to taste the warmth, the light, the wind’
c. 1939
Gelatin silver photograph
Art Gallery of New South Wales, purchased with funds provided by John Armati 2006

 

Unknown photographer. 'John Gill and Joanna Kate Norton' 1856

 

Unknown photographer
John Gill and Joanna Kate Norton
1856
Albumen photograph
Picture Collection, State Library of Victoria, Melbourne

 

Unknown photographer. 'Alfred and Fred Thomas, proprietors of the Ravenswood Hotel' 1880-90

 

Unknown photographer
Alfred and Fred Thomas, proprietors of the Ravenswood Hotel
1880-90
Tintype
State Library of Western Australia, Perth

 

Mervyn Bishop. 'Prime Minister Gough Whitlam pours soil into the hands of traditional land owner Vincent Lingiari, Northern Territory' 1975

 

Mervyn Bishop
Prime Minister Gough Whitlam pours soil into the hands of traditional land owner Vincent Lingiari, Northern Territory
1975
Type R3 photograph
Art Gallery of New South Wales, Hallmark Cards Australian Photography Collection Fund 1991
© Mervyn Bishop. Department of the Prime Minister and Cabinet

 

Axel Poignant (England, Australia, England 12 Dec 1906 – 05 Feb 1986) 'Aboriginal stockman, Central Australia' c. 1947, printed 1982

 

Axel Poignant (England, Australia, England 12 Dec 1906 – 05 Feb 1986)
Aboriginal stockman, Central Australia
c. 1947, printed 1982
Type C photograph
35.6 x 24.4 cm image/sheet
Purchased 1984
© Courtesy Roslyn Poignant

 

 

Though not born in Australia, Axel Poignant’s work is largely about the ‘Outback’, its flora and fauna and the traditions of Australian and Indigenous identity. Poignant was born in Yorkshire in 1906 to a Swedish father and English mother, and arrived in Australia in 1926 seeking work and adventure. After tough early years of unemployment and homelessness, he eventually settled in Perth and found work as a portrait photographer, before taking to the road and the bush in search of new subjects. Poignant became fascinated with the photo-essay as a means of adding real humanity to the medium, and much of his work is in this form. The close relationships he developed with Aborigines on his travels are recorded in compassionate portraits of these people and their lives – the low angles and closely cropped frames appear more natural and relaxed than the stark compositions of earlier ethnographic photography.

 

Nicholas Caire. 'Fairy scene at the Landslip, Blacks' Spur' c. 1878

 

Nicholas Caire
Fairy scene at the Landslip, Blacks’ Spur
c. 1878
Albumen photograph
National Gallery of Victoria, Melbourne, purchased 1994

 

Frank Styant Browne. 'Hand' 1896

 

Frank Styant Browne
Hand
1896
X-ray
Queen Victoria Museum and Art Gallery collection, Launceston

 

 

Art Gallery of New South Wales
Art Gallery Road, The Domain
Sydney NSW 2000, Australia

Opening hours:
Open every day 10am – 5pm
except Christmas Day and Good Friday

Art Gallery of New South Wales website

LIKE ART BLART ON FACEBOOK

Back to top

29
Apr
15

Review: ‘Earth Matters: contemporary photographers in the landscape’ at the Monash Gallery of Art, Wheelers Hill, Melbourne

Exhibition dates: 6th March – 3rd May 2015

 

The term “landscape” can be ambiguous and is often used to describe a creative interpretation of the land by an artist and the terrain itself. But there is a clear distinction: the land is shaped by natural forces while the artist’s act of framing a piece of external reality involves exerting creative control. The terms of this ‘control’ have be theorised since the Renaissance and, while representations of nature have changed over the centuries, a landscape is essentially a mediated view of nature.”

.
Dr Isobel Crombie. Stormy Weather. Contemporary Landscape Photography (exhibition catalogue). Melbourne: National Gallery of Victoria, 2010, p. 15.

 

 

What’s the story!

I wish I could say that this is a marvelous, magical exhibition, that it has value in its being in the world… but I can’t. The exhibition is very disappointing, dispiriting even. If this is the current state of contemporary photographers working in the landscape in Australia, then the Earth is in deep trouble (as if we didn’t know it already).

A large part of the exhibition is given over to the work of the ND5 photographic collective. I am not going to name the photographers here since most of the exhibited work does not contain specific names (unlike this posting). The work has been culled (an appropriate word given the theme of the exhibition) from numerous bodies of work spanning the years 2010-2013. Pairs of photographs have been renamed with poetic titles such as The lie of the land and The walls of the world with seemingly scant regard for the origins and stories of the photographs from their respective series, and then cobbled together in this present form under the banal title Investigations (2010-13). This process pays no heed to the original conceptualisation of each series and the concerns of the collective at that time they were made and here this produces a display that has little rhyme or reason. Text quotations (see below) try to remedy the situation to little avail.

Further, if you think of those lush coffee table books – “Australia from the air” or “The wonders of the Great Barrier Reef” then you get the picture. Technically, the work is superb but aesthetically and emotionally these images are invariably dead (perhaps that is the irony – I looked for irony but it was sadly lacking). The collective say that they are fascinated – in the broadest sense – by places and opposites:
.

“We are fascinated in the broadest sense by places like the Pilbara, including our ignorance and insensitivity to them. We are not ‘in the Pilbara’ in the way that scientists collect and identify it. Rather, we are collecting what can’t be seen; evidence of our uncertainty, interaction, wanderings and pondering…

We were drawn to its boundaries and edges; between solid and liquid, weight and weightlessness, hot and cool, dry and wet, between ourselves and the rest of the world, and that line of habitation that encrusts, indeed misrepresents our nation … The problem is how we index, moralise and politicise land use, rather than appropriating or projecting country as an aesthetic object.”

ND5. “The Pilbara Project – Photographers’ Cut” 2011

.
Firstly, the opposites thing is such an easy way out; and secondly, as Isobel Crombie notes in the quotation at the top of the posting, any artist’s view of the landscape is always a mediated view of nature. Through their lurid, hyperreal photographs of the land these photographs do exactly what this collective said they didn’t want to do… appropriate and project country as an aesthetic object. Here the pastiche is the real.

The group also seems to want to have AGENCY in both its meanings – as in photographic agency (a business or organization providing a particular service on behalf of another business, person, or group); or an action or intervention producing a particular effect. What the collective is doing, in the broadest sense (for that is what they are working with), is creating an ideology of the landscape. And it’s not an ideology that I buy into.

You could propose that a couple of the photographs build an argument around the conceit / concept of the sublime – to question whether it can be undermined through irony (the impression of multiple light sources in Stirling Ranges, 2013, below), or to question whether it actually belongs on the surface of the earth (the dust-storm, In my Garden, 2012, below), where it can only be viewed as if the lens is detached from the surface of the earth. But this is drawing a long bow when these are viewed in the context of the rest of the work.

It is worth quoting Joan Fontcuberta extensively here for he, much more eloquently than I, names this work for what it is:
.

“Arthus-Bertrand is a highly experienced and highly regarded professional who has taken more than 100,000 aerial shots, covering almost the entire surface of the globe [author of Earth from Above – “as magnificent a coffee-table book as you could hope to find, whose successive reprints have sold in astronomical numbers”]. There is no doubt as to the quality of his work, on the contrary, we can only celebrate the fact that he and his team at the specialised agency Altitude continue to be so prolific and so creative. But his popular and commercial impact and the eagerness of the cultural institutions to clasp him to their bosoms prompt reflections that go to the very heart of documentary photography and its current crisis.

When paparazzi and the celebrity/human interest-genre reign supreme, serious photo reportage gives way to mere illustration, to the aestheticisation of the world and the masking of conflicts rendered insignificant by distance. Something is wrong when readers can say, ‘How picturesque the favelas are, with those bright colours! What wonderful colours these polluted rivers have!’ Bretch said photographic realism bounces of the façade of things: a photo of the Krupp factories shows us smokestacks and sheds, but tells us nothing about the relations of exploitation inside them. What was needed to refute him were photographers with the talent and the guts to demonstrate that it was a matter of critical sense and eloquence, that photography was a language which really could penetrate the camouflaging surfaces of the real.”

Joan Fontcuberta. “Cosmic Palimpsests,” in Joan Fontcuberta. Pandora’s Camera: Photogr@phy after Photography. Mack, 2014, pp. 156-157.

 

That photography was a language which really could penetrate the camouflaging surfaces of the real. In this case the wonderful, hyperreal, saturated colours of the polluted rivers – that really hits the nail on the head.

If, as the collective says, “they want to examine its particular confluxes of culture, industry, environment and history in order to begin to craft a stronger vision for its future” (The Pilbara Project – 2010) then they need to be more concerned about what is present in the landscape, what is present in the community not from several emotional steps removed. You only have to look at the work of Edward Burtynsky and his Australian Minescape series to understand that in his series the photographs are all made in a way, and with a concern that goes beyond technical competence and cinematic craft – something that can rarely be said of the work presented by ND5.

Personally, I believe one of the main reasons for being an artist is to seek to redefine the sets of opposites that we find, to excavate… to pull away the mundane description of things. And in my opinion, if you really LOOK AT THIS WORK – and that’s seems to be a simple thing to ask an artist to do, to really look at their own work – then you have to ask yourself ‘Why would I want to look at this?’ There is no story, no pulling away of the veil, for these are boring images cloaked, as Fontcuberta says, in the colours of polluted rivers, in the camouflaging surfaces of the hyperreal. Perhaps these contemporary “picturesque” images are the modern form of the end of Pictorialism?

.
The lack of a story continues to haunt the rest of the exhibition as well. If we address the title Earth Matters in both its forms – that Earth really does matter to us; and that Earth matters (as in we are all made up of atoms and that matter commonly exists in four states (or phases): solid, liquid and gas, and plasma) then the work can relate to the body, place, landscape, etc… what an opportunity!

The usually reliable Rosemary Laing provides a dirge-like image that took me nowhere. Siri Hayes supplies a wonderful, ironic image (Wanderer in a sea of images 2013, below) with chopped down trees in a grand vista, a person taking a photograph of a person taking a photograph with belching power stations in the background – and then prints it at a massive scale which over stretches the boundaries of the technical possibilities of the negative. At a distance it just about holds up, but as can be seen from the closeup below (click on it for the large version) the image is blurred and distorted when printed at this huge scale. Photographs have a correct proportion to their significance as an image which is completely destroyed here.

David Tatnall exposes black and white pinhole images of the landscape which really didn’t do much for me, especially with an extraneous blurred human figure that really meant very little in the context of the images, while Harry Nankin’s work fails to convince. His creatures crawling over photo-senstised plates of glass and then displayed on a light box left me cold – and yet another artist where you had to look up the meaning of the title / word ekkyklêma to try and understand the story being told. Christian Bumbarra Thompson supplies an image that means nothing to the uninitiated (another story that can only be guessed at – there is no text to explain), while Anne Ferran’s beautiful, luminous ink-jet print’s on aluminium, Untitled (2008) are just that – beautiful and luminous – unless you know the backstory which is nowhere explained in the gallery. (The photographs are “more than a decade’s exploration of a piece of ground on the outskirts of the small village of Ross in central Tasmania. Today little remains of its past as a female convict prison, apart from some mounds of earth and scattered stones. Her photographs and video works about this site reflect the ongoing difficulty of grasping and making sense of a ruined and fragmented past.”)

And last but not least, to the star of the show: Silvi Glattauer’s series Sanctuary (2014, below). OMG, these are gorgeous!

Beautiful photogravure prints on cotton paper give a wonderful soft tonality to these alien environments. The worlds are like liquid mercury. I did a double take trying to work out what they were for quite a few seconds before I got it. Beautifully composed, quiet, sensitive and eloquent these are everything that so much of the rest of the show isn’t. The story is in the macrocosm and the microcosm, the world at our fingertips that we never see, that we are forever destroying. Not the broadest of brush strokes picturesque but getting in and getting your hands dirty, paradoxically revealing cosmic worlds that we usually only dream of. Finally a story worth photographing: some matter that really does matter.

Dr Marcus Bunyan for the Art Blart blog

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

 

 

Christian Bumbarra Thompson. 'I'm not going anywhere without you' 2009

 

Christian Bumbarra Thompson
Bidjara man of the Kunja Nation
I’m not going anywhere without you
2009
from the series Lost together
Chromogenic print
100.0 x 99.3 cm
Monash Gallery of Art, City of Monash Collection acquired 2009
Reproduction courtesy of the artist

 

Installation photograph of 'Earth Matters' at the Monash Gallery of Art, Melbourne

Siri Hayes (born Australia 1977) 'Wanderer in a sea of images' 2013

 

Siri Hayes (born Australia 1977)
Wanderer in a sea of images
2013
Ink-jet print on polyester
220.0 x 280.0 cm
Collection of the artist
Courtesy of the artist

 

Siri Hayes’s exquisitely detailed photographs depict picturesque landscapes but landscapes that are also disturbed, perhaps devastated by fire, littered with debris, or cleared of their native vegetation for plantation timber. By using the conventions of classical landscape painting to photograph the contemporary landscape, Hayes draws our attention to environmental themes in this unique, large-scale installation.

 

Siri Hayes (born Australia 1977) 'Wanderer in a sea of images' 2013 (detail)

 

Siri Hayes (born Australia 1977)
Wanderer in a sea of images (detail)
2013
Ink-jet print on polyester
220.0 x 280.0 cm
Collection of the artist
Courtesy of the artist

 

Silvi Glattauer (born Argentina 1966; arrived Australia 1974) 'Sanctuary' 2014

 

Silvi Glattauer (born Argentina 1966; arrived Australia 1974)
Sanctuary
2014
Six photogravure prints on cotton paper
27.6 x 27.7 cm (each)
Collection of the artist
Courtesy of the artist

 

Silvi Glattauer. 'Sanctuary I' 2014

 

Silvi Glattauer (born Argentina 1966; arrived Australia 1974)
Sanctuary I
2014
Six photogravure prints on cotton paper
27.6 x 27.7 cm (each)
Collection of the artist
Courtesy of the artist

 

Silvi Glattauer. 'Sanctuary VI' 2014

 

Silvi Glattauer (born Argentina 1966; arrived Australia 1974)
Sanctuary VI 
2014
Six photogravure prints on cotton paper
27.6 x 27.7 cm (each)
Collection of the artist
Courtesy of the artist

 

 

Rosemary Laing. 'Swanfires, Chris's shed' 2002–04

 

Rosemary Laing
Swanfires, Chris’s shed
2002-04
Chromogenic print
110.0 x 235.5
Monash Gallery of Art, City of Monash Collection acquired 2011
Reproduction courtesy of the artist and Tolarno Galleries, Melbourne

 

Installation photograph of 'Earth Matters' at the Monash Gallery of Art, Melbourne

Installation photograph of 'Earth Matters' at the Monash Gallery of Art, Melbourne

 

Installation photographs of Earth Matters at the Monash Gallery of Art, Melbourne

 

Harry Nankin (born Australia 1953) 'Minds in the cave / fragment 2' 2014

 

Harry Nankin (born Australia 1953)
Minds in the cave / fragment 2
2014
Pigment ink-jet prints on cotton pape
Collection of the artist

 

Harry Nankin (born Australia 1953) 'Ekkyklema #1' 2014 (detail)

Harry Nankin (born Australia 1953) 'Ekkyklema #1' 2014 (detail)

Harry Nankin (born Australia 1953) 'Ekkyklema #1' 2014 (detail)

 

Harry Nankin (born Australia 1953)
Ekkyklema #1 (installation photographs)
2014
Gelatin silver chemogram films on starfire glass [on lightbox]
0.5 x 14.0 x 14.0 cm (each)
Courtesy of the artist
Collection of the artist
Note: 112 plein air silver gelatin shadowgram and chemogram films on starfire glass panes

 

 

An ekkyklêma (“roll-out machine”) was a wheeled platform rolled out through a skênê in ancient Greek theatre. It was used to bring interior scenes out into the sight of the audience. Some ancient sources suggest that it may have been revolved or turned.

It is mainly used in tragedies for revealing dead bodies, such as Hippolytus’ dying body in the final scene of Euripides’ play of the same name, or the corpse of Eurydice draped over the household altar in Sophocles’ Antigone. Other uses include the revelation in Sophocles’ Ajax of Ajax surrounded by the sheep he killed whilst under the delusion that they were Greeks. The ekkyklêma is also used in comedy to parody the tragic effect. An example of this is in Aristophanes’ Thesmophoriazusae when Agathon, portrayed as an effeminate, is wheeled onstage on an ekkyklêma to enhance the comic absurdity of the scene. (Text from Wikipedia)

 

Anne Ferran. 'Untitled' 2008

 

Anne Ferran
Untitled
2008
From the series Lost to worlds
2 ink-jet print on aluminium
120.0 x 120.0 cm
Monash Gallery of Art, City of Monash Collection acquired with assistance from the Robert Salzer Foundation 2009
Reproduction courtesy of the artist and Sutton Gallery (Melbourne)

 

Anne Ferran. 'Untitled' 2008

 

Anne Ferran
Untitled
2008
From the series Lost to worlds
2 ink-jet print on aluminium
120.0 x 120.0 cm
Monash Gallery of Art, City of Monash Collection acquired with assistance from the Robert Salzer Foundation 2009
Reproduction courtesy of the artist and Sutton Gallery (Melbourne)

 

 

Intellectually and emotionally engaging, sometimes austere, her [Ferran’s] photographs have explored histories of incarceration in prisons, asylums, hospitals and nurseries. They play with invisibility and anonymity, and are often haunted by things lost or unseen. Lost to Worlds 2008 was the culmination of more than a decade’s exploration of a piece of ground on the outskirts of the small village of Ross in central Tasmania. Today little remains of its past as a female convict prison, apart from some mounds of earth and scattered stones. Her photographs and video works about this site reflect the ongoing difficulty of grasping and making sense of a ruined and fragmented past.

 

Ninety Degrees Five. 'Earth matters' 2015 installation photograph

Ninety Degrees Five. 'Earth matters' 2015 installation photograph

Ninety Degrees Five. 'Earth matters' 2015 installation photograph

 

Ninety Degrees Five
Earth matters (installation stills)
2015
Multimedia, 10.13 minutes
Filmed and edited: Michael Fletcher
Score: Jo Quail-Sonver Collection of the artists

 

 

Earth matters: contemporary photographers in the landscape is an exhibition developed by MGA for ART+CLIMATE=CHANGE; a Melbourne-wide arts festival exploring climate change and environmental ethics. MGA’s contribution to this festival highlights the ecological sensitivity of contemporary Australian photographers. Moving away from the detached ‘picturesque’ views of nature, so prevalent in the history of photography, these artists engage with the earth in immersive and connected ways.

Siri Hayes and Christian Thompson wander into epic vistas to enact comical self-portraits that capture the capricious nature of human presence on this planet. Silvi Glattauer peers into the interiors of bromeliad plants to find fecund microcosms that bubble with humble but hopeful vitality. Rosemary Laing pays tribute to ecological tragedy with a monumental photograph of bushfire devastation, while Anne Ferran ruminates over the tragic scars of colonial history in the landscape. David Tatnall’s eerie photographs have been produced with a rudimentary pinhole camera, embed in the environment to bear witness to the earth’s passing. Harry Nankin does away with the camera and its singular perspective altogether, using raw photographic film to record ecological forces in nocturnal landscapes.

Earth matters features a new installation by the Ninety Degrees Five collective alongside the work of other contemporary landscape photographers including Anne Ferran, Silvi Glattauer, Siri Hayes, Harry Nankin, David Tatnall and Christian Thompson. Ninety Degrees Five (ND5) is a collective of five Australian artists established in 2010, featuring Peter Eastway, Christian Fletcher, Michael Fletcher, Tony Hewitt & Les Walkling.

Text from the MGA website

 

Installation view of various Ninety Degrees Five 'Investigations' 2010-13 at the exhibition 'Earth Matters', Monash Gallery of Art

 

Installation view of Ninety Degrees Five Investigations 2010-13 at the exhibition Earth Matters, Monash Gallery of Art

 

 

 

Ninety Degrees Five
The lie of the land
(Christian Fletcher, left; Les Walkling, right)
2012-13
From the series Investigations 2010-13
Pigment ink-jet prints
Collection of the artists

 

 

Christian Fletcher
From the series South West Light
2012
Pigment ink-jet print (detail)

 

Ninety Degrees Five. 'The walls of the world' 2012-13

 

Ninety Degrees Five
The walls of the world
(Tony Hewitt, left; Peter Eastway, right)
2012-13
From the series Investigations 2010-13
Pigment ink-jet prints
Collection of the artists

 

Tony Hewitt From the series 'Shark Bay Inscription' 2013

 

Tony Hewitt
From the series Shark Bay – Inscription
2013
Pigment ink-jet print (detail)

 

 

About Ninety Degrees Five

“Our work … seeks to encourage and reinforce public concern for the fate of the earth, and our responsibility to act on that awareness.”

Les Walkling

.
Ninety Degrees Five (ND5) is a unique collaboration of four photographers, Christian Fletcher, Peter Eastway, Tony Hewitt, Les Walkling and film maker Michael Fletcher.

ND5 initially came together for The Pilbara Project in 2010. The Pilbara Project was developed and produced by FORM, an independent, non-profit cultural organisation in Western Australia. Curated by William L. Fox, the Director of the Center for Art and Environment of the Nevada Museum of Art, and Mollie Hewitt (FORM), the collaboration resulted in the book, The Pilbara Project: Field Notes and Photographs Collected over 2010, and the first Pilbara Project exhibition: 52 Weeks On, in February 2011.

Subsequent ND5 projects, South West Light 2011, Shark Bay – Inscription 2012, EAST 2013 and NORTH 2014 consolidated the collective’s independence and artistic agenda. The result has been ten exhibitions on three continents since 2011. Each exhibition is supported by public performances and events, including broadcast media, workshops, master classes, and artist talks.

Investigations 2010-2013 is ND5’s latest installation that remixes works from the first three ND5 projects (The Pilbara Project, South West Light, and Shark Bay – Inscription) to highlight their transcending artistic projections and cultural concerns. In this sense ND5’s projects are a primary research model for their ongoing Investigations, and thereby demonstrate an engaging, enquiring, and speculative process, not just its resolved and published outcome. This is important because ND5 has also become a case study in what can happen when a group forms from diverse but supportive individuals who are secure enough in their own practice to experiment with it.

This model privileges something of the urgency and necessity surrounding our worryingly fragile relationship to land and landscape, place and belonging, rights and duties, environmental crisis and environmental justice, sovereignty and reconciliation, trust and despair.

Investigations 2010-2013 also extends ND5’s collaborative endeavour through the acknowledgement, quotation and incorporation of other voices no less concerned with such matters, and thereby seeks to promote this conversation beyond individuals and collectives.

ND5

 

Text that accompanies the Ninety Degrees Five series 'Investigations' 2010-13

Text that accompanies the Ninety Degrees Five series 'Investigations' 2010-13

Text that accompanies the Ninety Degrees Five series 'Investigations' 2010-13

Text that accompanies the Ninety Degrees Five series 'Investigations' 2010-13

Text that accompanies the Ninety Degrees Five series 'Investigations' 2010-13

 

Text that accompanies the Ninety Degrees Five series Investigations 2010-13

 

Christian Fletcher. 'Stirling Ranges' 2013

 

Christian Fletcher
Stirling Ranges
2013
From the series South West Light
965mm x 2165mm

 

Tony Hewittt. 'Red Coast' 2014

 

Tony Hewittt
Red Coast
2014
From the series Shark Bay – Inscription
965mm x 965mm

 

Peter Eastway. 'South of Faure Island' 2014

 

Peter Eastway
South of Faure Island
2014
From the series Shark Bay – Inscription
965mm x 965mm

 

Les Walkling. 'In my Garden' 2012

 

Les Walkling
In my Garden
2012
From the series The Pilbara Project
965mm x 965mm

 

 

 

Monash Gallery of Art
860 Ferntree Gully Road, Wheelers Hill
Victoria 3150 Australia
T: + 61 3 8544 0500

Opening hours:
Tue – Fri: 10am – 5pm
Sat – Sun: 12pm – 5pm
Mon/public holidays: closed

Monash Gallery of Art website

LIKE ART BLART ON FACEBOOK

Back to top

15
Apr
15

New work: ‘Too Much of the Air’ 2015 by Marcus Bunyan

April 2015

 

And now for something completely different…

After 16 months hard work, I have completed a new 52 image sequence. Below is a selection of images from the sequence. Please click on the photographs for a larger version of the image.

To view the whole sequence please visit my website.

 

 

“Imagine being in these planes knowing that you only had moments to live, and knowing that you could do nothing about it. What brought you to that point, what decisions did you take as a human being (or were taken for you) that enacted this scenario.

The “greatness” as the event passes is what is being worked with here. It is the inverse aspect of the sublime. Usually the
sublime is regarded as beyond time … but not here. Essentially I am sustaining the last moments of a doomed life, outside of time.

We are unusually privileged to experience the sublime in this way. It is usually a lost aspect through the death of the witness.”

Dr Marcus Bunyan

 

Note: these images wil be printed large to reinforce the disintegration of the image, technology and human being.
This painting was one of a few starting points, inspirations, for the new sequence.

Tullio Crali
Before the Parachute Opens (Prima che si apra il paracadute)
1939

 

 

Beginning of the sequence

 

Marcus Bunyan. 'Too Much of the Air' 2015

 

Marcus Bunyan. 'Too Much of the Air' 2015

 

Marcus Bunyan. 'Too Much of the Air' 2015

 

Marcus Bunyan. 'Too Much of the Air' 2015

 

 

 

 

Marcus Bunyan. 'Too Much of the Air' 2015

 

Marcus Bunyan. 'Too Much of the Air' 2015

 

 

 

 

 

Marcus Bunyan. 'Too Much of the Air' 2015

Marcus Bunyan. 'Too Much of the Air' 2015

 

 

Marcus Bunyan. 'Too Much of the Air' 2015

 

 

 

 

Marcus Bunyan. 'Too Much of the Air' 2015

Marcus Bunyan. 'Too Much of the Air' 2015

 

 

 

End of the sequence

 

Marcus Bunyan. 'Too Much of the Air' 2015

 

Marcus Bunyan. 'Too Much of the Air' 2015

 

 

 

 

 

Marcus Bunyan. 'Too Much of the Air' 2015

 

 

 

 

 

Marcus Bunyan. 'Too Much of the Air' 2015

 

 

Marcus Bunyan. 'Too Much of the Air' 2015

 

 

 

 

Marcus Bunyan. 'Too Much of the Air' 2015

air-zs

 

 

 

Marcus Bunyan. 'Too Much of the Air' 2015

 

Marcus Bunyan. 'Too Much of the Air' 2015

 

 

 

 

 

Marcus Bunyan. 'Too Much of the Air' 2015

 

 

 

 

Marcus Bunyan. 'Too Much of the Air' 2015

 

 

 

 

 

Marcus Bunyan. 'Too Much of the Air' 2015

 

 

 

 

Marcus Bunyan. 'Too Much of the Air' 2015

 

Marcus Bunyan. 'Too Much of the Air' 2015

 

 

Marcus Bunyan website

LIKE ART BLART ON FACEBOOK

Back to top

26
Mar
15

Exhibition: ‘Tattoo’ at Museum für Kunst und Gewerbe Hamburg

Exhibition dates: 12th February – 20th September 2015

 

Because it took such a long time to collate and construct this MONSTER posting will have to last you nearly a week – until next Wednesday anyway.

 

Although I have ten tattoos by different artists – including a full back job by Alex Binnie of London – and scarification done in 1992, you always remember your first tattoo. I was in my early twenties when I decided to get inked. And the person recommended for the job was the legendary Alan Oversby (aka Mr. Sebastian), an S/M tattooist and one of the primary figures in the development of contemporary body piercing.

I remember travelling down to the East End of London and rocking up to this non-descript office block, climbing to the third floor I think it was, and entering a tiny square room, Alan’s studio. What an experience it was to be tattooed by him. Not so much the tattoo itself, which was a tiger on my upper left arm – first part of my earth, air, water, fire, void elemental sequence – but his presence and being surrounded by these fantastic, outrageous photographs on all four walls, floor to ceiling. Here was men’s tackle of all different shapes and sizes, the cocks and pubic area heavily tattooed and some of them heavily pierced, lying on pristine white dinner plates. Welcome to lunch.

For a young man this was an amazing, wondrous display. I totally loved him, the photographs, and his work. Unfortunately I don’t have any photographs of that studio and there are none that I could find online. Suffice it to say that the experience only confirmed me on my path of delicious deviancy that will not stop until the day I die.

Dr Marcus Bunyan

.
Many thankx to Museum für Kunst und Gewerbe Hamburg for allowing me to publish the photographs and text in the posting. The videos were all sourced from YouTube. Many thankx also to Becky Nunes who I contacted directly and who provided the wonderful photographs of Tã moko facial tattoos of the Maori in New Zealand.

 

 

Alan Oversby (Mr Sebastian)

 

Alan Oversby (Mr. Sebastian)

 

Alan Oversby (20 February 1933 – 8 May 1996) was one of the primary figures in the development of contemporary body piercing in Europe. He was better known by his professional name Mr. Sebastian.

Originally an art teacher, Alan Oversby left his initial profession to pursue his interests in tattooing and piercing instead. From his studio in London, he promoted both tattooing and body piercing, especially within the gay leather community. He was a correspondent of both Doug Malloy and Jim Ward. Sponsored by Malloy, he visited Los Angeles. Malloy also sponsored trips to London to visit him, bringing along Ward and Sailor Sid Diller. These exchanges were critical to the global spread of the techniques and technology used in contemporary body piercing.

Oversby was also responsible for the adoption of the use of topical and local anesthetics as part piercing procedure in Europe. Although they are used less now, it used to be standard practice to use anesthetics when performing piercings in England, where in North America this practice is almost unknown. He was interviewed in the fourth issue of PFIQ. He performed much of the tattooing and piercing on Psychic TV musicians Genesis P-Orridge and Paula P-Orridge. His vocals were used in the Psychic TV track “Message from The Temple” which appeared on their first album Force the Hand of Chance.

In 1987, Alan Oversby was one of 16 men charged as a part of Operation Spanner, a series of raids that resulted in the arrest of men who were all engaged in consensual homosexual BDSM activities. Alan, like the other men, was charged with assault occasioning actual bodily harm for performing a genital piercing on a client. He was also charged with using anaesthetic without a licence and for sending obscene material through the post (photographs of piercings). As the judge was not willing to take the consensuality of the participants into account, Alan pleaded guilty along with the other 15 men. He received a sentence of 15 months, which was suspended for two years.

Text from Wikipedia website

 

Masahiko Adachi. Film still from 'Flesh Color' 2010

 

Masahiko Adachi (*1983, Tokyo)
Film still from Flesh Color
2010
Japan
Animation / 4 Min.
© Masahiko Adachi

 

Ruiko Yoshida. 'One Holiday of a Japanese Masseuse, Tokyo, 1978' 1978

 

 

Ruiko Yoshida
One Holiday of a Japanese Masseuse, Tokyo, 1978
1978
C-Print
27 x 27.2 cm
© Museum für Kunst und Gewerbe Hamburg

 

Unknown artist. 'Tattooed Man' 1880-1890

 

Unknown artist
Tattooed Man
1880-1890
Albumen paper, hand-colored
21 x 27 cm
© Museum für Kunst und Gewerbe Hamburg

 

Unknown artist. 'Tattooed Man' 1880-1890 (detail)

 

Unknown artist
Tattooed Man (detail)
1880-1890
Albumen paper, hand-colored
21 x 27 cm
© Museum für Kunst und Gewerbe Hamburg

 

Utagawa Kuniyoshi. 'Tengan Isobyôe and Yajin Ran' 1830-1845

 

Utagawa Kuniyoshi
Tengan Isobyôe and Yajin Ran
1830-1845
Color woodcut, paper
37 x 25 cm
© Museum für Kunst und Gewerbe Hamburg

 

Christian Warlich. 'Tattoo flash sheet by Christian Warlich, Hamburg' c. 1930

 

Christian Warlich
Tattoo flash sheet by Christian Warlich, Hamburg
c. 1930
© Tattoo Museum Willy Robinson

 

Ruiko Yoshida. 'I Am a Japanese Taxi Driver, the Front, Tokyo, 1978' 1978

 

Ruiko Yoshida
I Am a Japanese Taxi Driver, the Front, Tokyo, 1978
1978
Silver gelatin paper
40 x 28.6 cm
© Museum für Kunst und Gewerbe Hamburg

 

Bodysuit tattoo by Luke Atkinson

 

Bodysuit tattoo by Luke Atkinson
Nd
© Luke Atkinson

 

Tattoos by Gwendal & Karl Marc

 

Gewendal & Karl Marc
Tattoos by Gwendal & Karl Marc
Nd
© Karl Marc

 

Ashleigh tattooed by Saira Hunjan

 

Ashleigh tattooed by Saira Hunjan
Nd
Foto: Tareq Kubaisi
© Saira Hunjan

 

Ralf Mitsch. 'René' 2014

 

Ralf Mitsch
René
2014
From the series Why I love tattoos
© Ralf Mitsch

 

Ralf Mitsch. 'Trudy' 2014

 

Ralf Mitsch
Trudy
2014
From the series Why I love tattoos
© Ralf Mitsch

 

Ralf Mitsch. 'Tim' 2014

 

Ralf Mitsch
Tim
2014
From the series Why I love tattoos
© Ralf Mitsch

 

Marlon Wobst (*1980) 'Skin Ball' 2012

 

Marlon Wobst (*1980)
Skin Ball
2012
Oil in canvas
55 x 50 cm
© Schwarz Contemporary, Berlin

 

 

The Tattoo exhibition is dedicated to old traditions and new stories. It takes a look at the vibrant, innovative and multi­faceted tattoo culture, with a focus on artistic, artisanal and culture-specific issues. International exhibits from diverse perspectives are displayed and current debates considered. This is the first time that an exhibition has brought together such a broad range of references, presenting the phenomenon of the tattoo with a particular focus on art and design, since these enduring pictures, words and symbols inspire artists and designers. The theme of the exhibition is therefore the reciprocal influence of art, traditional and lived tattoo art and visual design. The exhibition Tattoo throws light on the ambivalence of the tattoo between a mark of distinction, a sign allocating its bearer to a social class, a badge of identi­ty and a stigma in various cultures, social classes and epochs. Tattoo shows over 250 pieces of work, including photo­graphs, coloured woodcuts, paintings and sculptures, as well as video clips and audio installations, stencils and historical specimens of tattooed skin. From tattooing instruments made of simple tools available in nature to intricate precision machines, colors and pigments convey an impression of the craft in practice. In this show the MKG also looks back on the long tradition of the Hamburg tattoo scene, which had its cradle in the port milieu of the late 19th century. Historical photos which have never before been on public show document the typical tattoos of the working class in Hamburg around 1890. Legendary tattooists such as Christian Warlich (“The Tattoo King”) and Herbert Hoffmann exemplify a many-facetted and highly expressive art form which generates ever new experimental designs. A glimpse into this is given by work from local tattoo artists who let themselves be inspired by the museum’s collection. A picture loop shows many pieces of work by celebrated tattooists, men and women, from the current international scene, which is marked by a huge diversity of stylistic approaches and new aesthetic movements.

.
The traditional cultural technique

All over the world, many cultures use the human skin as a surface to carry images. The tradition of tattooing is among the earliest art forms and the most ancient crafts. The exhibition shows selected examples. The facial tattoos of Chin women in Burma are part of a rite of passage marking the transition from childhood to adult­hood. With the help of thorns or needles, female tattooists incise patterns into the skin which vary from one family clan to another. Tā Moko, the facial tattoos of the Maori in New Zealand, indicate a person’s family affiliation and social sta­tus. Each part of the face is reserved for a particular type of information. A tattoo on the center of the forehead, for in­stance, testifies to high status. In Thailand, sacred tattoos – known as Sak Yant – are widespread. They are intended to protect their bearer from bad luck and to help them lead a morally impeccable life. Tattoos have a long tradition in Japan too, dating back to the 3rd century. Their design follows a particular harmony and elegance and is characterized by clear­ly demarcated areas of color. The tattoos often cover wide expanses of the body surface and connect to a cohesive image. The motifs often reference subjects of traditional woodcuts or represent mythological beings which are supposed to ex­emplify particular qualities of their bearer’s character. For instance, the dragon stands for virility, power or heaven. Since tattoos were banned from 1870 to 1948 in Japan, they were for a long time associated with the criminal milieu of the Yakuza, a Japanese mafia organization.

.
The spread of tattooing in the Western world

In the 18th and 19th centuries, illustrated travel reports were a major influence on the way people viewed other cultures in far-off lands and fired curiosity about the practice of tattooing, which seemed exotic in those days. The word tattow in the Polynesian language is first mentioned in James Cook’s reports of his expeditions to the South Seas in the 18th century. Modern tattooing became widespread in the West through the very popular early ethnographic drawings and prints as well as later through photographs. At the beginning, the art of tattooing often stood for the erotically titillating flair of the exotic and magic-mystical in a world attended by strange cults and rituals. Tattoos flourished in Europe and America during the years leading up to the World War I. For this reason, the members of the American upper class and of almost all European royal families – including the German imperial family – were tattooed. In this period, this form of body decoration was regarded as an expression of good taste. In the 19th century a more ambivalent attitude towards tattooing develops, however, above all among the bourgeoisie. In consequence, very little lies between fascination and rejection in the Western historical view of tattooing: this is what underlies the dual character of tattooing as stigma and mark of distinction.

.
Codes and their reinterpretation

The functions and meanings attributed to tattooing proliferate due to its diffusion throughout different social classes and groups over the last century. First and foremost, its ambiguity, signaling both stigma and distinction, is symptomatically revealed in the different tattooing practices followed in different milieus. While sailors and soldiers flaunt the record of their travels with exotic images, tattoos develop into veritable badges of recognition in the criminal underworld. In the context of photographic “mugshots”, first used in the hunt for criminals at the beginning of the 20th century, tattoos already take on great significance as a means of identifying suspects. In Russian prison camps of the late 19th century tattoos and branding are systematically employed by the state to mark out people as convicts. In response professional criminals in Russia, however, get around this form of stigmatization by adopting their own informal tattoos. They modify traditional motifs and develop a system of secret signs, which reveals the group they belong to, their convictions or their rank in the criminal hierarchy. The French photographer and filmmaker Christian Poveda has documented the heavily tattooed members of the Latin American gangs of the Mara Salvatrucha and M-18, the lettering and symbols displayed on their skin have an important function in recognition and promotion of group affinity. The work of the Austrian Klaus Pichler traces the current significance of tattoos in prisons and offers a photographic glimpse into what are actually forms of coping with imprisonment within the penal system.

.
Women and tattoos

Another aspect of the exhibition are objects dealing with the relationship between women and tattoos. Historical photos highlight the vicissitude, ranging from the exhibition of the heavily tattooed female body as a fairground attraction in the 1920s up to the glamour girls in the vaudeville shows of the 1960s and the first female tattooists, who independently and with great determination carved out a place for themselves in a male-dominated profession. Tattoo culture is meanwhile unthinkable without women and they play an important role as artists in the contemporary scene.

.
Tattoos in contemporary art

The complex spectrum of meanings conveyed also plays a major role in contemporary art. The Japanese woman artist Fumie Sasabuche, for instance, takes as the theme of her sculptural and photographic works the interplay between the traditional Japanese tattoo motifs of the Yakuza and the aesthetic impulses of Western mass culture. Enrique Marty’s sculptures from his series Art is Dangerous, too, fall back on the Yakuza iconography in order to raise ironic questions about the role of art and the meaning conveyed by tattoos in combination with the grotesque effect created by the figures. The Spanish concept artist Santiago Sierra discusses the subject from the perspective of social and capitalistic criticism in his films. He pays members of socially marginalized groups to have a continuous line tattooed on their backs as part of a performance. With the deliberately unsteadily drawn line he is alluding to the precarious existence they lead and the social stigmatization that goes with it. The Polish artist Artur Żmijewski addresses relentlessly and provocatively the practice of tattooing prisoners in the Nazi concentration camps. His video 80064, which sparked fierce and controversial debate among its viewers, shows Josef Tarnawa, a 92-year old survivor of Auschwitz, whom the artists persuaded to have his fading camp number freshly tattooed. On the one side, Tarnawa is being stigmatized all over again by this procedure, on the other side the number on his left forearm takes on the function of a shocking admonition not to forget. Active remembrance, Artur Żmijewski seems to be saying here, is channeled today into much too orderly forms. The burn mark and the involuntary tattoo have faded out of view today in the Western history of tattooing, but what was practiced during the Second World War remains deeply engraved on the artist’s memory.

The tension between the tattoo as a work of art and its existence on the “living canvas” is the subject of an exemplary treatment by the Belgian concept artist Wim Delvoye. The exhibition shows the tattooed pig Donata, which the artist decorated under anesthetic in 2005, with the help of several professional tattooists, on his Chinese “Art Farm”. Delvoye subsequently exhibited the animal as a living work of art, and had it stuffed after it died. The second work by Delvoye shown in the exhibition picks up on this idea and articulates critical questions about moral principles in the art market, power and the right to make use of the human body as an artistic object. The Swiss Tim Steiner had a work by the Belgian artist tattooed on his back between 2006 and 2008; in 2008 it was purchased by a Hamburg art collector, together with the right to pass Tim Steiner on as an item on loan, to sell him, to bequeath him and to have his skin conserved after his death. Since then the work Tim has been the subject of great international controversy. He will be on show in the Hamburg exhibition on 11 and 12 April and on 27 and 28 June 2015.

Pricking the skin with a needle demands the same aesthetic imagination and care, the same controlled craftsmanship and knowledge of materials and color sense as any other design technique. The contemporary tattooing scene is highly innovative, transcending the traditional language of tattooing and renewing the medium. A picture loop in the exhibition shows international work in a great variety of styles and in outstanding quality.

With contributors including: Masahiko Adachi (JP) / Diane Arbus (USA) / Imogen Cunningham (USA) / Wim Delvoye (BEL) / Chris Eckert (USA) / Goran Galić & Gian-Reto Gredig (CH) / Herbert Hoffmann (DE/CH) / Mario Marchisella (CH) / Enrique Marty (ESP) / The Rich Mingins Collection (GB) / Ralf Mitsch (NL) / Becky Nunes (NZ) / Jens Uwe Par¬kitny (DE) / Klaus Pichler (AUT) / Christian Poveda (FR) / Rodolphe Archibald Reiss (DE/CH) / Fumie Sasabuchi (JP) / Santiago Sierra (ESP) / Aroon Thaewchatturat (THA) / Timm Ulrichs (DE) / Christian Warlich (D) / Artur Żmijewski (POL). Work in the picture loop by: Luke Atkinson (DE) / Curly (GB) / Mike DeVries (USA) / Thea Duskin (USA) / Lionel Fahy (FR) / Sabine Gaffron (DE) / Valentin Hirsch (DE) / Saira Hunjan (GB) / Inma (GB) / Bastien Jean (FR) / Jon John (GB) / Guy LeTatooer, (FR) / Filip Leu, (CH) / Karl Marc, (FR) / Volko Merschky & Simone Pfaff, (DE) / Lea Nahon, (FR) / Roxx (USA) / Minka Sicklinger (USA) / Liam Sparkes (GB) / Jacqueline Spoerle (CH) / Kostek Stekkos (BE) / Amanda Wachob (USA) / Seth Wood (USA).

Tattoo is a production of the Gewerbemuseum Winterthur, Schweiz, curator Susanna Kumschick, and is being shown for the first time in Germany.

Press release from the Museum für Kunst und Gewerbe Hamburg website

 

 

Installation view of the exhibition 'Tattoo' at the Museum für Kunst und Gewerbe Hamburg

Installation view of the exhibition 'Tattoo' at the Museum für Kunst und Gewerbe Hamburg

Installation view of the exhibition 'Tattoo' at the Museum für Kunst und Gewerbe Hamburg

Installation view of the exhibition 'Tattoo' at the Museum für Kunst und Gewerbe Hamburg

 

Installation views of the exhibition Tattoo at the Museum für Kunst und Gewerbe Hamburg

 

 

Kept under wraps in winter and proudly displayed in summer: tattoos are now ubiquitous. However, they are much more than just a current mass phenomenon and trendy fashion accessory: many cultures throughout the world are familiar with the tradition of tattooing, and human skin has always been used as a canvas. Tattooing is one of the earliest art forms and oldest handicrafts.

Tattoos last for a lifetime. Pigments are inserted under the skin forever, yet they are as transient as the life of the person who bears them. They tell personal stories, create identity and affiliation, embellish, heal, protect – and they can both fascinate and repulse. For a long while they were most commonly known as a mark of social distinction or as a means of identifying social outcasts, and as a method of self stigmatization used by sailors, criminals, prostitutes and gang members to distinguish themselves from “the other”. It is easy to forget that the craze for inking one’s body spread even to aristocratic circles in the later nineteenth century, in a trend that is now echoed by the current fashion for tattoos.

The Tattoo exhibition is dedicated to old traditions and new stories. It takes a look at the vibrant, innovative and multifaceted tattoo culture, with a focus on artistic, artisanal and culturespecific issues. International exhibits from diverse perspectives are displayed and current debates considered. This is the first time that an exhibition has brought together such a broad range of references, presenting the phenomenon of the tattoo with a particular focus on art and design, since these enduring pictures, words and symbols inspire artists and designers. The theme of the exhibition is therefore the reciprocal influence of art, traditional and lived tattoo art and visual design.

 

Johann Baptist von Spix. 'Journey to Brazil on command Maximilian Joseph I, King of Bavaria, in the years 1817-1820'

 

Johann Baptist von Spix
Journey to Brazil on command Maximilian Joseph I, King of Bavaria, in the years 1817-1820
/ made and described by Johann Baptist von Spix and Carl Friedrich von Martius – Munich: [sn], 1823 – 1831
Loan: Museum of Ethnology, Hamburg

 

Expedition to Brazil

Johann Baptist von Spix, 1817-1820

Between 1817 and 1820, the zoologist Johann Baptist von Spix and the botanist Carl Friedrich Philipp von Martius undertook an expedition to Brazil at the behest of Maximilian Joseph I, King of Bavaria. They were also interested in the culture of the Brazilian indigenous tribes on the Rio Yapurà, and they published their findings in a three-volume travel report. The illustration is a portrait of Juri, “The son of a cacique of the Juri nation”.

Illustrated travel books were very popular in the 18th and 19th centuries. They shaped western ideas about foreign cultures and also indicate the early interest in exotic tattooing practices. James Cook’s reports on his expeditions to the South Seas in the 18th century contain the mention of the word “tattow” derived from the Polynesian. The term quickly spread and tattooing became popular in the Western world soon afterwards.

Early ethnographic drawings and engravings such as those made by Georg Forster and Karl von den Steinen attracted widespread interest, as did photographs at a later date such as the studio portraits taken by Felice Beato in Japan. They helped to make the art of tattooing into a symbol of the eroticized alien, and a magico-mythical world of cults and rites. Tattoos elicited a mixture of fascination and revulsion right from the start, particularly in middle-class circles during the 19th century: tattooing thus developed a dual character as both stigma and mark of distinction.

 

Enrique Marty. 'Pablo & Ruth' 2010

 

Enrique Marty (*1969, Spain)
Pablo & Ruth
2010
From the series Art is Dangerous
Oil paint on latex on polyurethane, human hair, textiles, metal
155 x 90 x 53.5 cm/143 x 60 x 35 cm
Loan: Deweer Gallery, Otegem, Belgium

 

Real portraits are always the starting point for Enrique Marty’s tragicomic sculptures. The tattoos of Pablo & Ruth in the Art is Dangerous series reflect the iconography of the tattoo motifs in Japanese yakuza which the artist has explored in detail and incorporated into his work. His grotesque figures also make reference to early sculptural traditions such as those used in the quaint waxworks exhibitions of the 19th century. He builds on these themes and develops an original sculptural world. Ironic inversions and humour are essential strategies which he uses as an effective weapon. “Art is dangerous”: protest or parody? An allegory of the market system? Can art be dangerous? Or should it be? What role does the art of tattooing play?

 

 

Tattoo equipment

Throughout the world tattooing is performed by introducing pigments to the dermis, or second layer of skin. Pieces of wood, thorns, bones, horns, tortoiseshells, metals and shards can be worked into tools. Depending on the shape of the tattooing implement, the patterns produced may be smooth or dotted, narrow or broad. The individual instruments have not changed greatly over the years. However, one notable step forward was the use of electricity which resulted in new techniques and styles at the beginning of the 20th century after Samuel O’Reilly had patented his rotary tattoo machine in 1891. The electric motor moves the needles up and down regularly, enabling the operator to work smoothly and steadily. It is also a less painful process for the client. These electric machines are in widespread use today. Nevertheless, traditional tools, which have hardly changed, are also still employed.

.
Tattoo inks

It was not until the 20th century that tattoo inks began to be manufactured as industrial products. Previously, they had been mixed in small quantities according to individual recipes using pigments, oils and plant juices. Synthetic pigments not only altered the colour spectrum and production techniques of tattoo inks, but also led to new requirements and constraints as is clear from developments over the last forty years. Today, challenges in the manufacturing process for tattoo inks primarily concern the purity of the ink production process and the quality of the pigments procured. Other requirements tend to be connected with new problems which are no longer to do with the actual pigment that is inserted into the skin. Nowadays the main focus is on the risks posed by laser treatment for tattoo removal.

 

The Rich Mingins Collection: 1288 Pictures of Early Western Tattooing from the Henk Schiffmacher Collection 2011

 

The Rich Mingins Collection: 1288 Pictures of Early Western Tattooing from the Henk Schiffmacher Collection
2011

 

 

The Rich Mingins Collection

Rich Mingins (1916-1968) ran a tattoo studio with his father and his brother Alf Mingins in Cumbria, which is in the north-west of England, and later in London. Tattooing was his passion and he was a master of his craft. He also collected photographs and newspaper cuttings about tattoos. Today all that remains is his photo album which documents the history of tattooing from 1922 to 1949. Unfortunately, it lacks a chronology or any precise dates, and no accompanying commentary has been found. The digital version with extracts from the photo album shows his clients, other well-known tattoo artists of his era, copies of pictures that were in circulation at the time and the artist himself: Rich Mingins poses for the camera with clenched fists, displaying the picture of Jesus Christ with crown, that was tattooed on his chest by his brother Alf Mingins (no. 424).

 

 

Painting The Lily! (1936, 1.12 mins.)

.
In this documentary, George Burchett (1872-1953) tattoos two women with permanent makeup at his studio in the West End of London. His clientele included members of the English upper classes and European royalty such as King Alfonso XIII of Spain, King Frederick IX of Denmark and King George V of England. George Burchett also tattooed Horace Ridler, the legendary Zebra Man also known as “The Great Omi”.

 

 

Tattoo Soldiers (1942, 1.15 mins.)

.
Three Australian soldiers talk about their tattoos from all over the world.

 

 

Woman Tattooist (1952, 1 min.)

.
The first British female tattooist, Jessie Knight (1904-1994), tattoos young women soldiers in Aldershot, Hampshire. She ran a number of studios from the 1920s up to the 1980s.

 

 

Tattoo Club (1954, 1.51 mins.)

.
The well-known British tattooist Les Skuse (1912-1973) founded the Bristol Tattoo Club in 1953 and in 1955 he organized the world’s first tattoo competition, the precursor of the tattoo conventions of today. In the 1950s the Bristol Tattoo Club was the focal point of the tattoo scene, counting famous people such as Bob Maddison, Al Schiefley, Albert Cornelissen and Tattoo Peter among its members.

 

Photograph from the Christian Warlich estate, 1961

 

Photograph from the Christian Warlich estate, 1961
Loan: Hamburg Museum, Sammlung Fotografie

 

 

Christian Warlich: the “King of the tattoo artists”

During his lifetime, Christian Warlich (1890-1964) was held to be the greatest tattoo artist in Germany and gained an international reputation as “King of the tattoo artists”. He had taught the craft to the Hamburg tattoo legend Herbert Hoffmann and later made him to be his “Crown Prince”. Warlich himself is believed to have come into this profession by chance. After an apprenticeship as a boilermaker he had gone to sea and become acquainted with tattoo artists in the United States. From there, he brought back one of the first electric tattoo machines. In 1919, Warlich opened an inn in today’s Clemens-Schultz-Straße in St. Pauli, Hamburg, where one of the corners served as a “Modern Tattoo Studio”. Warlich took on tattooing as a serious business: he promoted the store, traded with tattoo machines and tools and in addition to his tattooing, he offered a residue-free and painless removal of tattoos by using a special tincture. Warlich was not only noticed because of his business sense, his work was characterized by craftsmanship and artistic standards, too. Unlike other tattoo artists of his time, he strove for a continuous improvement of the shapes and for the modernisation of the image repertoire. For these purposes, he developed new designs and collected all kinds of templates, for instance from Chinese sample books, movie posters or advertising images. In addition, Warlich kept in contact with tattooists all over Europe, North America and Asia. They exchanged sketches photographs and celluloid stencils with which the outlines of the motifs were transferred to the skin of the customers.

.
The tattooist Herbert Hoffmann: a legend

The world famous tattooist Herbert Hoffmann (1919-2010) lived through and helped shape various stages of the history of western tattooing. Throughout his life he was very keen to help tattoos gain acceptance and social approval. Having been trained by Christian Warlich, he later became the proprietor of Germany’s oldest tattoo studio in the St. Pauli district of Hamburg, where he worked until 1980. He then moved to Switzerland, where he lived with his partner Jakob Acker in Schwendi bei Heiden in the canton of Appenzell Ausserrhoden. Hoffmann was active in the tattoo scene right up to his death in 2010, attending conventions throughout Europe and acting as an important role model for younger tattoo artists. He himself bore tattoos by Christian Warlich, Tattoo Peter, Tatover Ole, Horst Streckenbach and others. Throughout his life he was also a keen photographer and collector. Many of his photographs were published in the photo book Living Picture Books, Portrait of a Tattooing Passion 1878-1952, which is now out of print. The images displayed in the exhibition are from his private archive and have rarely been shown before. These are photographs from his personal albums with portraits of his friends and clients. They depict Herbert Hoffmann himself at different stages of his life, as well as his environment. At the same time, they narrate an important chapter in the history of tattooing from the 1920s to the 1970s. Unfortunately his written comments can no longer be traced.

.
Women and tattoos from the private collection of Herbert Hoffmann

The picture archive of the tattooist and collector Herbert Hoffmann (1919-2010) also includes photographs of tattooed women from the 1920s up to the 1970s. Some of them are photographs he took himself but others are copies and images that were circulated in various forms by like-minded people. They are not systematically arranged, most of them are undated and there is no commentary. The collection also includes iconic photographs which had a decisive impact on how tattooed women were viewed at that period. This selection of Herbert Hoffmann’s pictures is a chronicle of women with tattoos, from circus attractions of the 1920s and glamour girls of the 1960s to the predecessors of the famous “new burlesque” artists like Dita Von Teese. However, there are also photos of “ordinary women” with tattoos in the prim-and-proper 1950s and – more rarely – of female tattooists. Herbert Hoffmann’s collection ends with the “renaissance” of tattooing in the 1970s. At that time, women in particular were discovering tattoos as a sign of self-empowerment and the number of female creative tattoo artists making their way in this male-dominated profession began to increase. Today there is a huge variety of (self-)expression by tattooed women, and female tattoo artists play an essential and influential role in the rich contemporary tattoo culture.

 

Maud Stevens Wagner, Tattoo Artist (1877-1961, photo from 1907)

 

Maud Stevens Wagner, Tattoo Artist, USA (1877-1961, photo from 1907)

 

Maud Stevens Wagner (1877-1961)

The American tightrope walker and contortionist Maud Wagner was the first well-known female tattooist in the Western world. Like others of the small number of female tattooists in the 1920s, she learned her craft from her husband, Gus Wagner, whom she met at the St. Louis World’s Fair in 1904.

 

Lady Viola (1898-1977) Nd

 

Lady Viola (1898-1977)
Nd

 

Lady Viola (1898-1977)

Ethel Martin Vangi, who became famous as “Lady Viola”, was a circus performer and later tattooist; she had portraits of presidents Woodrow Wilson, George Washington and Abraham Lincoln tattooed on her chest. Her left thigh was tattooed with pictures of popular figures of the day, such as Babe Ruth and Charlie Chaplin.

 

Artoria Gibbons (1893-1985) Nd

 

Artoria Gibbons (1893-1985)
Nd

 

Artoria Gibbons (1893-1985)

Like many tattooed circus attractions, Anna Mae Burlington Gibbons was a working-class woman who had herself tattooed when she fell on hard times, and then earned good money as a result (especially as a woman). She and her husband, the tattooist Charles Gibbons, travelled all over America in the 1920s and worked as a team in the circus business. She had one tattoo showing a section of Botticelli’s Annunciation, another depicting a part of Michelangelo’s Holy Family, and her chest featured a portrait of George Washington.

 

Cindy Ray Nd

 

Cindy Ray
Nd

 

Cindy Ray

The last great circus lady, Cindy Ray – also known as “Miss Technicolor” or “The Classy Lassie with the Tattooed Chassis” – toured Australia and New Zealand in the 1960s. She learned how to do tattooing and is still working today under her real name, Bev Nicholas, at the Moving Pictures Tattoo Studio near Melbourne.

 

Imogen Cunningham. 'Irene "Bobbie" Libarry' 1976

 

Imogen Cunningham (1883-1976, USA)
Irene “Bobbie” Libarry
1976
Silver gelatin estate print
19.3 x 17.8 cm
Loan: The Imogen Cunningham Trust, Lopez Island, USA

 

Irene “Bobbie” Libarry (1893-1978)

Irene “Bobbie” Libarry (1893-1978) worked as a circus performer, magician and market vendor. She was tattooed by her husband in 1918, ran her own sideshow “The World’s Strangest People” in the 1930s and later worked as a tattoo artist in San Francisco.

 

Unknown. 'Karl Paul Johann Frank' c. 1880s - 1890s

 

Unknown artist
Karl Paul Johann Frank
c. 1880s – 1890s
Inv. Nr. 2013 – 4492
© Museum für Kunst und Gewerbe Hamburg

 

Unknown. 'Carl Wilhelm August Otto Sternke' c. 1880s - 1890s

 

Unknown artist
Carl Wilhelm August Otto Sternke
c. 1880s – 1890s
Inv. Nr. 2013 – 4491
© Museum für Kunst und Gewerbe Hamburg

 

 

Images of an epoch

Numerous historical portraits of tattooed men have been preserved in the inheritance of the tattoo artist Christian Warlich (1890-1964). The pictures probably originate in the 1880s to 1890s [see both images above]. Especially typical contemporary garments, the beard and hair fashion of the time, relevant tattoo motifs from the German Empire under William I or the symbol of the tenth World Expo in 1889, the Eiffel Tower, give information about this type. All images are carefully rear numbered and labeled with the names of the people portrayed. On display are mainly dock workers and seafarers; members of underprivileged workers who were not used to posing in front of a camera. In the late 19th century, the loading work in the ports was extremely cumbersome and labour intensive, roosts such as the Hamburg Gängeviertel hosted thousands of working families. In this milieu relevant subjects such as anchors, sailboats or professional characters show the belonging to a social group. The tattoos document but beyond the story of people’s lives. There are references to the military service or the crossing of the equator, as well as prison stays or religious motives.

.
Preserved tattoo specimens

The specimens date from around 1900. At the time they were used to identify unknown corpses. Photography was not yet in routine use at that period and preserved specimens offered almost the only opportunity to document a tattoo in detail and keep it for later identification. The oldest known report of successful identification thanks to a tattoo dates back to the 11th century: King Harold II of England fell in battle and is said to have been identified by the inscription “Edith and England” tattooed above his heart, thanks to which he was buried in a manner befitting his rank.

 

Emile Lavril, Romeo und Julia Tattoo 14 November 1913, front

 

Emile Lavril, Romeo und Julia Tattoo
14 November 1913, front

 

Rudolf Archibald Reiss (1875-1929)

The criminologist, lecturer and photographer founded the “Institut de police scientifique” at the University of Lausanne in 1909. He also helped to set up courses in photography for investigative purposes at the same institution. Forensic photography, which was being carried out according to standard criteria for the first time was an essential component in his teaching. Since tattoos are important identification features, Reiss paid particular attention to them [see photograph above]. However, the technology available at the time made it difficult to obtain a sharp and accurate image. Reiss used photographs purely for forensic purposes. He refused to accept the then common opinion that offenders could be recognized simply because they had tattoos.

 

Arkady Bronnikov (*1926) 'Photographs of Russian convicts' 1960-1980

 

Eyes on the stomach denote homosexuality (the penis makes the ‘nose’ of the face). Stars on the shoulders show that an inmate is a criminal ‘authority’. The medals are awards that existed before the revolution and as such are signs of defiance towards the Soviet regime.

 

Arkady Bronnikov (*1926) 'Photographs of Russian convicts' 1960-1980

 

The devils on the shoulders of this inmate show a hatred of authority. This type of tattoo is known as an oskal (grin), a baring of teeth towards the system. They are sometimes accompanied by anti-Soviet texts.

 

Arkady Bronnikov (*1926) 'Photographs of Russian convicts' 1960-1980

 

The double-headed eagle is a Russian state symbol that dates back to the 15th century. After the fall of Communism, it replaced the hammer and sickle as the Russian Federation’s coat of arms. This Soviet-era photo is a bold symbol of rage against the USSR; the Statue of Liberty implies a longing for freedom.

 

Arkady Bronnikov (*1926)
Photographs of Russian convicts
1960-1980
Digital print on paper
Loan: Fuel Design and Publishing, London
© Arkady Bronnikov

 

 

Photographs of Russian convicts

Up until the end of the 19th century, it was usual for the government to burn the initials “B.O.R.” (Russian for thief) into thieves’ skin as a punishment. Subsequently, tattoos developed as a distinctive feature of professional criminals; serving as demarcation, identification, as well as a secret means of communication: they transmit information such as affiliation, profession, number of convictions or position in criminal hierarchies. This informal practice transliterated the original stigmatisation inflicted through the government, using a pictorial repertoire borrowed from traditional tattoo imagery while assigning a new meaning. Most of the prison tattoos were done with primitive instruments, such as modified electric shavers with attached needles. Oftentimes, a self-made mixture of rubber and urine was used as substitute ink, bearing great health risks. Arkady Bronnikov (*1926) was a leading forensic doctor at the interior ministry of the USSR. From the mid-1960s until the mid-1980s he interviewed and photographed numerous inmates of labour camps in the Urals and Siberia. Today, Bronnikov is a leading expert on tattoo iconography and owns what is considered to be one of the biggest photographic collections of Russian prison tattoos.

 

Klaus Pichler (*1977, Vienna) 'Untitled' (detail) Nd

 

Klaus Pichler (*1977, Vienna)
Untitled (detail)
Nd
Paper on aluminium
60 x 40 cm
© Klaus Pichler

 

Prison tattoos

The Austrian photographer Klaus Pichler (*1977) spent eight years looking for ex-prisoners, photographing their tattoos and writing down the stories behind them. The result was an impressive documentary account of the still poorly researched history of prison tattoos. The pictures and interviews were published in the book Inked for Life. The World of Prison Tattoos.

 

Unknown artist. 'Japanese Tattoo' 1880-1890

 

Unknown artist
Japanese Tattoo
1880-1890
Albumin paper
27 x 21 cm
© Museum für Kunst und Gewerbe Hamburg

 

Tradition and taboo

The acceptance of tattoos in Japanese society is subject to constant change. In the 19th century, large tattoos were considered decorative and were carried openly by rickshaw drivers, for example. For the scantily clad men an ornate body was helpful for their business because it attracted the attention of customers. The image of bullies and petty criminals adhered to rickshaw drivers, as well as to other professions from the simple population which led to a long-term negative perception of the skin images. As an identifying feature of “outlaws” they also function in the criminal milieu of the yakuza. In the Japanese mafia organization, tattoos still illustrate the milieu name of the bearer (“serpent”, “dragon”, etc.) and document his gang membership. The result was a social aversion to tattoos which continues to this day and also unjustly criminalises innocent citizens. Unlike their historical predecessors, taxi drivers today would only flaunt their tattoos for a photographer; because they are not good for business. Tattoos in Japan were rarely shown openly; in public bath houses they are even forbidden to this day. It was only through the appreciation of the Japanese tattoo tradition by the American tattoo scene of the 1960s and 1970s that the taboo was partially revised.

 

 

Masahiko Adachi (*1983, Tokyo)
Flesh Color
2010
Japan
Animation / 4 Min.

 

Utagawa Kuniyoshi. 'Tanmeijirôgenshôgo' 1827-1830

 

Utagawa Kuniyoshi
Tanmei jirôgenshôgo
1827-1830
Colour woodcut on paper
38.7 x 26 cm
Inv. Nr. S2012.56
© Museum für Kunst und Gewerbe Hamburg

 

 

Japanese colour woodcuts: The 108 heroes of the “Suikoden”

The Japanese name “Suikoden” stands for a famous Chinese adventure story that became very popular in both countries. In this story, a group of rebels fights against corruption and injustice, campaigning for the poor and the disadvantaged. The story originates in the 14th century and is set in the 12th century. For the first time, Kuniyoshi displays these rebels with naked, tattooed bodies which lead to a great success of the book. Until today, the Suikoden is a well-known theme of Japanese culture such as computer games and TV series.

 

Fumie Sasabuchi (*1975, Tokio / Berlin) 'Untitled' 2004

 

Fumie Sasabuchi (*1975, Tokyo / Berlin)
Untitled
2004
Pencil on paper
29.5 x 20.5 cm
Loan: private collection, Austria
© Fumie Sasabuchi

 

Fumie Sasabuchi draws irezumi tattoos on the skin of pictures of young girls taken from the children’s fashion magazine Vogue Angels. The motifs of the tattoos are part of the traditional repertoire of the Japanese yakuza mafia, and symbolise mortal danger, superhuman strength and special protection, among other things. Sasabuchi unites two media from Western and Eastern popular culture: photography from modern fashion magazines and the traditional woodcut. She combines Japanese myths with Western picture subjects and plays with the ensuing ambivalent images.

 

Christian Poveda. 'El Gangster de Iberia (Mara Salvatrucha)' San Salvador, 2008

 

Christian Poveda (1955-2009, France)
El Gangster de Iberia (Mara Salvatrucha)
San Salvador, 2008
Paper on aluminium
60 x 58 cm
Loan: Agence Vu’, Paris
© Christian Poveda / Agence VU’

 

 

The Mara Salvatrucha gang warfare in El Salvador

Twelve years of civil war in El Salvador came to an end in 1992. Today, gang warfare is an everyday reality in San Salvador, mainly because of two gangs: the Mara Salvatrucha (MS) and the Mara 18 (18). Every year 2,000 people die as a result. Some 14,000 abandoned youths dedicate their lives to the gangs which replace their families. They are the successors of the US gangs that were founded in the 1980s by refugees from the Salvadoran civil war. The Mara gangs today, which originated in the ghettos of Los Angeles, have over 70,000 members in El Salvador, Guatemala and Honduras. Members generally have a tattoo containing the letters M or MS, as well as the number 13 which refers to the position of M in the alphabet. Tattoos in the shape of teardrops represent the number of murders committed, or commemorate the death of a fellow Mara member and friend. The words “La vida loca” stand for “the crazy life” in the Mara, and a downward-pointing M formed with the fingers is used as a sign of recognition.

The Spanish-French photographer and documentary filmmaker Christian Poveda spent over a year with members of the Mara. He followed the lives of these “lost youths”, documenting them through interviews, impressive photographs and the film La vida loca (El Salvador / France / 2008 / 90 mins.). Poveda was killed by several shots to the head in San Salvador in 2009 while working on another film.

 

Jens Uwe Parkitny. 'Ma Hla Oo, Laytu-Chin, Northern Rakhine' 2005

 

Jens Uwe Parkitny (*1965, Singapore)
Ma Hla Oo, Laytu-Chin, Northern Rakhine
2005
Paper on aluminium
30 x 30 cm
© Jens Uwe Parkitny

 

Face tattoos, Burma

The face tattoos of the Chin women in Burma form part of a ritual to mark the transition from childhood to the adult world. Female tattoo artists use thorns 17 or needles to prick patterns into the skin. The symbolic meaning of the lines and dots cannot be ascertained, since no records exist. All that is known is that the patterns differentiate one clan from another. Although the tradition of facial tattooing has died out in many parts of Burma, it is now experiencing a partial revival.

 

Becky Nunes. 'Shane Te Ruki' 2005

 

Becky Nunes
Shane Te Ruki
2005
From the series Mau Moko, The World Of Maori Tattoo
Digital print
© Becky Nunes

 

Becky Nunes. 'Taurewa Vic Biddle' 2005

 

Becky Nunes
Taurewa Vic Biddle
2005
From the series Mau Moko, The World Of Maori Tattoo
Digital print
© Becky Nunes

 

Becky Nunes. 'June Tangohau' 2005

 

Becky Nunes
June Tangohau
2005
From the series Mau Moko, The World Of Maori Tattoo
Digital print
© Becky Nunes

 

 

Tã Moko, New Zealand

The Tã moko facial tattoos of the Maori in New Zealand give information about family membership, ancestors and social position, as well as the specific abilities of the tattooed person. Each part of the face is dedicated to a particular type of information. Few people have a tattoo in the centre of the forehead, for example, since this indicates high status. Men can usually wear tattoos over the entire face, whereas women have them only on the chin area. This tattoo tradition has been suppressed for a long period, as also happened in other cultures, but the Tã moko have recently been experiencing a renaissance.

.
Mau Moko:
photographic images of the world of Maori tattoo by Becky Nunes

“These are impressive and moving images, which deserve exhibition simply in their own right.
More than that, they place moko in a contemporary context, expressing the art as a living, relevant force in our culture and not some struggling remnant of a distant past. They strongly counter the negative connotations of moko.” (Hamish Keith, Art Historian 2009)
.
Mau Moko: the World of Maori Tattoo
 began as a research project at the University of Waikato, and evolved into a major publication, a scholarly yet entertaining journey from the art’s Pacific chisel origins to the marae workshops and sophisticated urban studios of Aotearoa today. It has been essentially a visual experience – the exacting portraiture of Parkinson and Jenner-Merrett, the iconic canvasses of Goldie and Lindauer, the pretty, ubiquitous postcard albums, and most recently, the brooding, elemental image-making of Westra and Friedlander, have all marked their own place, in their own time. With Mau Moko, and the consummate artistry of this collection, we reach the twenty first century. Becky Nunes’ eloquent lens engages the viewer, and the viewed, and one wonders who is saying
“Tirohia, he moko!”
It is about us. And yes, it is forever.

Ngahuia Te Awekotuku. May 2008

.
In December 2007 Penguin Books published Mau Moko, The World Of Maori Tattoo. The result of several years’ research, the book explores the cultural and spiritual issues around ta moko, and relates the stories of its wearers and practitioners. Mau Moko was authored by Ngahuia Te Awekotuku and Linda Waimarie Nikora with contemporary portraits photographed by Becky Nunes. Becky Nunes is a photographic artist and educator, making images for a range of commercial and editorial clients, as well as her own personal work. She heads the Photo Media department at Whitecliffe College of Arts & Design. For the Mau Moko project Nunes travelled through both the North and South Islands of Aotearoa/New Zealand meeting and photographing wearers and practitioners of ta moko. For more information please email Becky Nunes.

 

Aroon Thaewchatturat. 'Num, blessed photograph' Bangkok, 2010

 

Aroon Thaewchatturat (*1975, Bangkok)
Num, blessed photograph
Bangkok, 2010
Paper on plastic
60 x 40 cm
© Aroon Thaewchatturat

 

 

Sak Yant, Thailand

Sacred tattoos known as Sak Yant are commonly found in Thailand. They protect the bearers from accidents, misfortune and crime. At the same time they help them to lead a morally upright life. However, the rules set by the tattooist must be obeyed or the tattoos lose their power. Sak Yants are not intended for public view and therefore often kept hidden. The motifs used are derived from ancient Khmer script writings and animal symbols such as tigers, dragons, birds, snakes and lizards. The tiger, or Yant Sua, is a popular subject and is associated with strength, fearlessness and power.

.
Tattoo Master

There are several hundred tattooists in Thailand. Monks tattoo in their temples, and tattoo masters in studios. They are authority figures and their followers also seek advice from them. The sacred tattoos link tattooist and tattooed for a lifetime. 38-year-old Achan Neng Onnut is a tattoo master in On Nut, a district of Bangkok. The pricked motif is called Pho Kae. It depicts a recluse, or hermit, and bestows wisdom, goodness and a peaceful mind to the bearer. The tattoo master recites a mantra in order to activate the tattoo.

 

 

Santiago Sierra (*1966, Madrid / Mexico D.F.)
250 cm line tattooed on six paid people
1999
Espacio Aglutinador, Havanna / Cuba / doc. / 28.17 mins. / no sound
Loan: Galerie Kow, Berlin

 

In 1999 Santiago Sierra recruited six young unemployed men in Havana to stand in a row and have a horizontal line tattooed on them, running continuously from one man’s back to the next, in exchange for 30 dollars each. Further versions of this performance were carried out and documented as simply as possible. It alludes to the unequal values of capitalist society and to the relative and haphazard nature of remuneration. The imprecise line drawn of the tattoos suggests scarring, so the participants in the performance – members of socially marginalized groups – were subjected to further stigmatisation.

 

Artur Żmijewski. '80064' 2004

 

Artur Żmijewski (*1966, Warsaw)
80064
2004
11 mins.
Polish with English subtitles
Loaned by the artist and Galerie Peter Kilchmann, Zürich

 

The Polish artist Artur Żmijewski takes an unsparing and provocative look at the tattooing that took place in the Nazi concentration camps. His video shows 92-year-old Auschwitz survivor Josef Tarnawa whom the artist persuaded to have his fading camp number re-inked. While the tattooist is renewing the numbers, Josef Tarnawa recalls the most traumatic time of his life. Artur Żmijewski’s video work polarises opinions. On the one hand, Josef Tarnawa is stigmatized for a second time, but on the other, the number on his left forearm acts as a shocking memorial. According to Artur Żmijewski, nowadays active remembrance is often far too conventional.

In the history of western tattooing, brands and involuntary tattoos have receded into the background, although the practices used during the Second World War remain deep in people’s memories. Whereas the prisoners in Auschwitz were numbered, members of the SS had their blood group tattooed on their upper arms. This meant that after the war, what had started out as a useful medical information turned out to be an irreversible identification mark. The social connotations of a tattoo change over time, with proud insider symbols becoming the stigmata of an outsider group.

 

 

Wim Delvoye (*1965, Belgium)
Tim
2006-08
Tattoo, loan: Sammlung Reinking, Hamburg

 

Tim Steiner, a Swiss citizen, has had a work by the Belgian conceptual artist Wim Delvoye tattooed on his back. In 2008 the tattoo was sold to a Hamburg-based art collector who acquired the right to lend, sell and bequeath Tim Steiner as a loan object and to preserve his skin after his death. Since then, the work, called Tim, has given rise to international controversy. It raises important questions about ethics in the art market, and about power and the right to dispose of the human body (and its organs, such as the skin).

 

Chris Eckert. 'Auto Ink' 2010

 

Chris Eckert (*1968, USA)
Auto Ink
2010
Metal, paint, microelectronics
137 x 56 x 50 cm
Loaned by the artist

 

 

The kinetic sculpture of American artist Chris Eckert draws a random religious symbol on the arm of a volunteer subject. Membership of a religion integrates, connects and offers an ethical and moral framework for living with others. Yet many faiths compete with each other and regard the others with resentment and politically motivated enmity. Chris Eckert’s tattooing machine explores how having a particular faith can affect peaceful coexistence in a globalized world.

In European history, the now defunct tradition of religious pilgrim tattoos is an example of the practice of tattooing as a mark of identity and segregation. Examples include the crusader tattoos and tattooed guild symbols in the Middle Ages.

 

Thea Duskin. 'Untitled' 2011

 

Thea Duskin
Untitled
2011
Foto: Kimberly Frost
© Thea Duskin

 

Contemporary tattoo art

Inking the skin requires the same aesthetic imagination and care, the same manual dexterity, and the same knowledge of materials and colour as other artistic processes. The innovative contemporary tattoo scene is transcend¬ing the language of classical tattooing and regenerating the medium. The image loop shows a diverse range of top quality works by international tattoo artists in a huge variety of styles.

 

Frank Taki. 'Über(leben)' 2014

 

Frank Taki
Über(leben)
2014

 

Tradition and modernity

The rich and cross-cultural collection of the MKG has served as an inspiration for creative work to artists and craftspeople for over 130 years. The classic ornaments of historism, the floral patterns of art nouveau or the spirited characters of Japanese wood cuts: the continuous examination with this kind of historic artwork and its adaption into one’s own visual language are just as much a part of the art of tattooing as the creation of new images. In the autumn of 2014, the MKG has invited a selection of Hamburg tattoo artists to use the museum’s collection as a starting point for new tattoo designs.

 

Timm Ulrichs. 'The End Eyelid tattoo' 1970/1981/1997

 

Timm Ulrichs (*1940, Berlin)
The End
Eyelid tattoo, 1970/1981/1997
Inkjet print on canvas on stretcher bars, 150 x 150 cm
Loaned by the artist

 

In 1981, Timm Ulrichs had THE END tattooed on his right eyelid by “Tattoo Samy” (Horst Heinrich Streckenbach). The tattoo, which can only be read when the eye is closed, recalls the final credits of a film, the last performance and the final moment. This tattoo event was also documented on film, created in the context of the video of the same name which juxtaposes 60 final images.

 

 

Museum für Kunst und Gewerbe Hamburg
Steintorplatz, 20099 Hamburg

Opening hours:
Tuesday to Sunday 10 am – 6 pm
Thursday 10 am – 9 pm
Closed Mondays

Museum fur Kunst und Gewerbe Hamburg website

LIKE ART BLART ON FACEBOOK

Back to top

05
Mar
15

Exhibition: ‘Pieter Hugo: Kin’ at Fondation Henri Cartier-Bresson, Paris

Exhibition dates: 14th January – 26th April 2015

 

At this moment in time, I believe that Pieter Hugo is one of the best photographers in the world.

Approaching photography with a keen awareness of the problems inherent in pointing a camera at anything, Hugo’s latest series Kin is a tour de force where concept meets clarity of vision and purpose; where a deep suspicion of photography and what it can accurately portray is used in the most incisive way to interrogate identity formation and power structures, colonization, racial diversity and economic disparity in Hugo’s homeland of South Africa. This is intelligent, beautiful, focused art.

While there is a deep suspicion about what photography can achieve, Hugo uses that suspicion… and balances it with sensitivity, respect and dignity towards subject. An enquiring mind coupled with a wonderful eye, fantastic camera position and understanding of his colour palette complete the picture. These are beautiful, classical and yes, iconic images. Not for Hugo the interchangeability of so much contemporary photobook photography, where one image, one artist, can be replaced by another with no discernible difference in feeling or form. Where single images, whole series of work even, mean very little. The re/place ability of so much post-photography.

Just look at those eyes and face in Daniel Richards, Milnerton (2013, below), eyes that bore right through you; or the human being in At a Traffic Intersection, Johannesburg (2011, below) and tell me you’re not moved. Hugo is one of the brightest of stars in the photographic firmament.

Dr Marcus Bunyan

.
Many thankx to the Fondation Henri Cartier-Bresson for allowing me to publish the photographs in the posting. Please click on the photographs for a larger version of the image.

 

 

Created over the past eight years, Pieter Hugo’s series Kin confronts complex issues of colonization, racial diversity and economic disparity in Hugo’s homeland of South Africa. These subjects are common to the artist’s past projects in Nigeria, Ghana, Liberia and Botswana; however, this time, Hugo’s attention is focused on his conflicted relationship with the people and environs closest to home. 
Hugo depicts locations and subjects of personal significance, such as cramped townships, contested farmlands, abandoned mining areas and sites of political influence, as well as psychologically charged still lives in people’s homes and portraits of drifters and the homeless. Hugo also presents intimate portraits of his pregnant wife, his daughter moments after her birth and the domestic servant who worked for three generations of Hugo’s family. Alternating between private and public spaces, with a particular emphasis on the growing disparity between rich and poor, Kin is the artist’s effort to locate himself and his young family in a country with a fraught history and an uncertain future.

Text from the Fondation Henri-Cartier Bresson website

 

 

“I have a deep suspicion of photography, to the point where I do sometimes think it cannot accurately portray anything, really. And, I particularly distrust portrait photography. I mean, do you honestly think a portrait can tell you anything about the subject? And, even if it did, would you trust what it had to say?… It sounds extreme, but for me to work at all as a photographer, I have to be conscious always of the problems inherent in what I do. I have to be conscious, if you like, of the impossibility of photography…

I matriculated at the end of apartheid and the photographs I grew up looking at were directly political in that they attempted to reveal, or change, what was happening. Back then, the lines were clear. You tried to tell the world what was going on with your photographs. It’s much more complex now. I am of a generation that approaches photography with a keen awareness of the problems inherent in pointing a camera at anything.

My homeland is Africa, but I’m white. I feel African, whatever that means, but if you ask anyone in South Africa if I’m African, they will almost certainly say no. I don’t fit into the social topography of my country and that certainly fuelled why I became a photographer.”

.
Pieter Hugo quoted in Sean O’Hagan. “Africa as you’ve never seen it,” on the Guardian website 20th July 2008 [Online] Cited 24/02/2015

 

 

Pieter Hugo. 'Green Point Common, Capetown' 2013

 

Pieter Hugo
Green Point Common, Capetown
2013
© Pieter Hugo
Courtesy Stevenson Gallery, Capetown/Johannesburg and Yossi Milo, New York

 

Pieter Hugo. 'Loyiso Mayga, Wandise Ngcama, Lunga White, Luyanda Mzanti and Khungsile Mdolo after their initiation ceremony, Mthatha' 2008

 

Pieter Hugo
Loyiso Mayga, Wandise Ngcama, Lunga White, Luyanda Mzanti and Khungsile Mdolo after their initiation ceremony, Mthatha
2008
© Pieter Hugo
Courtesy Stevenson Gallery, Capetown/Johannesburg and Yossi Milo, New York

 

Pieter Hugo. 'Outside Pretoria' 2013

 

Pieter Hugo
Outside Pretoria
2013
© Pieter Hugo
Courtesy Stevenson Gallery, Capetown/Johannesburg and Yossi Milo, New York

 

Pieter Hugo. 'Thoba Calvin and Tshepo Cameron Sithole-Modisane, Pretoria' 2013

 

Pieter Hugo
Thoba Calvin and Tshepo Cameron Sithole-Modisane, Pretoria
2013
© Pieter Hugo
Courtesy Stevenson Gallery, Capetown/Johannesburg and Yossi Milo, New York

 

Pieter Hugo. 'Hilbrow' 2013

 

Pieter Hugo
Hilbrow
2013
© Pieter Hugo
Courtesy Stevenson Gallery, Capetown/Johannesburg and Yossi Milo, New York

 

Pieter Hugo. 'The Miners’ Monument, Braamfontein' 2013

 

Pieter Hugo
The Miners’ Monument, Braamfontein
2013
© Pieter Hugo
Courtesy Stevenson Gallery, Capetown/Johannesburg and Yossi Milo, New York

 

 

“From January 14th to April 26th, Fondation HCB is showing Kin, the last project of the south-african photographer Pieter Hugo. Through landscapes, portraits and still life photography exhibited for the first time in France, the photographer offers a personal exploration of South Africa. The exhibit, accompanied by a book published by Aperture is coproduced with Foto Colectania Foundation, Barcelone and Stevenson Gallery, Cape Town/Johannesburg.

Created over the past eight years, Pieter Hugo’s series Kin confronts complex issues of colonization, racial diversity and economic disparity in Hugo’s homeland of South Africa. These subjects are common to the artist’s past projects in Nigeria, Ghana, Liberia and Botswana; however, this time, Hugo’s attention is focused on his conflicted relationship with the people and environs closest to home.

Hugo depicts locations and subjects of personal significance, such as cramped townships, contested farmlands, abandoned mining areas and sites of political influence, as well as psychologically charged still lives in people’s homes and portraits of drifters and the homeless. Hugo also presents intimate portraits of his pregnant wife, his daughter moments after her birth and the domestic servant who worked for three generations of Hugo’s family. Alternating between private and public spaces, with a particular emphasis on the growing disparity between rich and poor, Kin is the artist’s effort to locate himself and his young family in a country with a fraught history and an uncertain future.

South Africa is such a fractured, schizophrenic, wounded and problematic place. It is a very violent society and the scars of colonialism and Apartheid run deep. Issues of race and cultural custodianship permeate every aspect of society here and the legacy of Apartheid casts a long shadow … How does one live in this society? How does one take responsibility for history, and to what extent does one have to? How do you raise a family in such a conflicted society? Before getting married and having children, these questions did not trouble me; now, they are more confusing. This work attempts to address these questions and to reflect on the nature of conflicting personal and collective narratives. I have deeply mixed feelings about being here. I am interested in the places where these narratives collide. ‘Kin’ is an attempt at evaluating the gap between society’s ideals and its realities.”

 

Biography 

Born in Johannesburg in 1976, Pieter Hugo grew up in Cape Town where he currently lives. His work is held in the permanent collections of The Metropolitan Museum of Art, New York; Museum of Modern Art, New York; J. Paul Getty Museum, Los Angeles; San Francisco Museum of Modern Art; Musée de l’Elysée, Lausanne; Huis Marseille, Amsterdam; and the Victoria and Albert Museum, London, among others. He is the winner of numerous awards, including in 2008 the KLM Paul Huf Award and the Discovery Award at Rencontres d’Arles. He won the Seydou Keita Award at the ninth Rencontres de Bamako African Photography Biennial, Mali, in 2011, and was short-listed for the 2012 Deutsche Börse Photography Prize.

Press release from the Fondation Henri Cartier-Bresson

 

 

Pieter Hugo. 'Inside the Bester’s home, Vermaaklikheid' 2013

 

Pieter Hugo
Inside the Bester’s home, Vermaaklikheid
2013
© Pieter Hugo
Courtesy Stevenson Gallery, Capetown/Johannesburg and Yossi Milo, New York

 

Pieter Hugo. 'At a Traffic Intersection, Johannesburg' 2011

 

Pieter Hugo
At a Traffic Intersection, Johannesburg
2011
© Pieter Hugo
Courtesy Stevenson Gallery, Capetown/Johannesburg and Yossi Milo, New York

Used under fair use conditions for the purposes of academic comment and criticism

 

 

 

Pieter Hugo. 'Daniel Richards, Milnerton' 2013

 

Pieter Hugo
Daniel Richards, Milnerton
2013
© Pieter Hugo
Courtesy Stevenson Gallery, Capetown/Johannesburg and Yossi Milo, New York

 

Pieter Hugo. 'Daniela Beukman, Milnerton' 2013

 

Pieter Hugo
Daniela Beukman, Milnerton
2013
© Pieter Hugo
Courtesy Stevenson Gallery, Capetown/Johannesburg and Yossi Milo, New York

 

Pieter Hugo. 'Ann Sallies, who worked for my parents and helped raise their children, Douglas' 2013

 

Pieter Hugo
Ann Sallies, who worked for my parents and helped raise their children, Douglas
2013
© Pieter Hugo
Courtesy Stevenson Gallery, Capetown/Johannesburg and Yossi Milo, New York

 

 

Fondation Henri Cartier-Bresson
2, impasse Lebouis, 75014 Paris

Opening hours:
Tuesday – Sunday 1pm – 6.30 pm
Saturday 11am – 6.45 pm
Late night Wednesdays until 8.30 pm
Closed on Mondays and between the exhibitions

Fondation Henri Cartier-Bresson website

LIKE ART BLART ON FACEBOOK

Back to top

25
Feb
15

Exhibition: ‘The Social Medium’ at the deCordova Sculpture Park and Museum, Lincoln, MA

Exhibition dates: 31st October 2014 – 19th April 2015

 

Another fun posting to add to the archive!

Marcus

.
Many thankx to the deCordova Sculpture Park and Museum for allowing me to publish some of the photographs in the posting. Please click on the photographs for a larger version of the image.

 

 

Charles "Teenie" Harris (1908-1998) 'Three men and three women, seated as couples in banquette in bar or restaurant advertising "Fried Shrimp Plate $.85" and "1/4 Fried Chicken $.70"' c. 1959; printed 2001

 

Charles “Teenie” Harris (1908-1998)
Three men and three women, seated as couples in banquette in bar or restaurant advertising “Fried Shrimp Plate $.85″ and “1/4 Fried Chicken $.70″
c. 1959; printed 2001
Silver gelatin print
Gift of Arlette and Gus Kayafas

 

Charles "Teenie" Harris (1908-1998) 'Photographer taking picture of Muhammad Ali (Cassius Clay) possibly in Carlton House Hotel, Downtown' 1963; printed 2001

 

Charles “Teenie” Harris (1908-1998)
Photographer taking picture of Muhammad Ali (Cassius Clay) possibly in Carlton House Hotel, Downtown
1963; printed 2001
Silver gelatin print
Gift of Arlette and Gus Kayafas

 

Charles “Teenie” Harris photographed the African-American community of his hometown of Pittsburgh, primarily for the Pittsburgh Courier, the preeminent national African-American newspaper (c. 1930-1960). Photographing community members, visiting political figures, athletes, and entertainers, Harris set out to bala nce negative views of African-Americans and their communities. Nicknamed “One-Shot,” Harris photographed confidently and with ease, rarely asking his subjects to pose more than once. The resulting 80,000 negatives make up one of the largest collections of photographs of a black urban community in the United States. Harris’ artistic output helps define photography as a tool for preserving the past, his photographs serving as invaluable documentation of the spirit of a par ticular time, place, and people.

Prefiguring the paparazzi images of celebrities that pervade contemporary media, Harris’ photographs of singer/actress Lena Horne and boxer Cassius Clay (Muhammad Ali) capture his famous subjects in relaxed settings that humanize them. Furthermore, Harris’ photograph of Clay shows the boxer having his portrait taken by another photographer, giving Harris’ image of a photograph-in-process an even greater behind-the-scenes feel.

 

Jules Aarons (1921-2008) 'Untitled (Bronx)', from the portfolio 'In The Jewish Neighborhoods 1946-76' c. 1970; printed 2003

 

Jules Aarons (1921-2008)
Untitled (Bronx), from the portfolio In The Jewish Neighborhoods 1946-76
c. 1970; printed 2003
Silver gelatin print, printer’s proof II
Gift of Arlette and Gus Kayafas

 

Jules Aarons was one of the most respected and prolific American social documentary photographers in the twentieth century. His street photography captured personal moments in the public eye within the urban neighborhoods in which he lived: the Bronx, where he was born and raised, and Boston, where he spent the majority of his adult life. Shot with his twin lens Rolleiflex camera held at waist-level, Aarons’ images are casual, intimate, and lively. Although the artist did not personally know his subjects, his work does not exhibit the detachment found in earlier forms of social documentary photography. His deep associations with the places and people he photographed imbue his images with a warmth and familiarity.

 

Greg Schmigel (b.1969) 'Subway Triptych' 2011

 

Greg Schmigel (b.1969)
Subway Triptych
2011
Digital photographic prints
Courtesy of the artist

 

Greg Schmigel (b.1969) 'An Afternoon in the Sun' 2012

 

Greg Schmigel (b.1969)
An Afternoon in the Sun
2012
Digital photographic prints
Courtesy of the artist

 

Greg Schmigel (b.1969) 'Ideal Hosiery' 2013

 

Greg Schmigel (b.1969)
Ideal Hosiery
2013
Digital photographic prints
Courtesy of the artist

 

Greg Schmigel (b.1969) 'Late Day On Broadway' 2012

 

Greg Schmigel (b.1969)
Late Day On Broadway
2012
Digital photographic prints
Courtesy of the artist

 

Greg Schmigel (b.1969) 'This Isn't Fucking Paris' 2012

 

Greg Schmigel (b.1969)
This Isn’t Fucking Paris
2012
Digital photographic prints
Courtesy of the artist

 

Greg Schmigel works in the vernacular of mid-twentieth century black and white street photography, capturing candid glimpses of everyday moments. While inspired by pioneering artists such as Jules Aarons, whose work is also on view in this gallery, Schmigel creates photographs with a decidedly twenty-first century quality. A mobile photographer since 2007, his device of choice is the most itinerant and convenient camera available: his iPhone. In his work, Schmigel emphasizes that the production of a good photograph is due mainly to the eye of the photographer, and not necessarily dependent on the equipment he uses.

By producing black and white prints from his digital images, the artist casts a timeless aura over contemporary scenes. In photographs such as Ideal Hosiery, the faded signs of a New York City street corner provide an uncanny setting that could easily be found in a photograph taken many decades ago. In other images, however, the omnipresence of smartphones in the hands of pedestrians instantly signals the twenty-first century. In these photographs, Schmigel aptly captures the ironic isolation caused by the very technology created to increase interpersonal communication.

 

 

“Presented at a time when the compulsion to digitally document and share human activity has increased exponentially, this exhibition features works from deCordova’s permanent collection that prefigure and inform current trends in social photography, as well as recent work by contemporary artists who utilize smartphones and social media to record the world around them. The Social Medium features work spanning from the mid-twentieth century to the present, and includes multiple photographic genres such as social documentary, street, society/celebrity, and portrait photography.

The Social Medium was largely inspired by a recent gift of one of Andy Warhol’s Little Red Books, which contains a set of color Polaroids. With his camera, Warhol documented the events of his life – from glamorous celebrity parties to mundane occurrences. The arrival of these photographs, which record Warhol’s artistic and social m ilieu (or environment), created an opportunity to examine the work of other artists who also photograph social experience. Together, the images in this exhibition speak to the continued relevance of the photographic medium’s singular power to capture and preserve personal and societal histories, and provide a selective history of the camera’s role as an extension of memory and a tool that is at once a witness to and participant in human social activity.”

Text from the deCordova Sculpture Park and Museum

 

Eugene Richards (b.1944) 'First Communion, Dorchester' 1976

 

Eugene Richards (b.1944)
First Communion, Dorchester
1976
Silver gelatin print
Gift of the artist

 

Eugene Richards captures a specific, local community in which he was embedded, to offer us uncanny views of small-town America. In the 1970s, Richards returned to his native Boston neighborhood and produced photographs such as First Communion, which would later comprise his seminal book, Dorchester Days (1978). Richards documented a small section of urban Boston at a time when racial tensions and economic decline were defining Dorchester along with swaths of American cities and towns in similar states of transition and decline. First Communion captures a moment that nods towards social frictions at large, where religious traditions and street life converge in ambiguously innocent tension.

 

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

 

Larry Fink (b. 1941)
N.Y.C. Club Cornich, from the portfolio 82 Photographs 1974 to 1982
1977; printed 1983
Silver gelatin print, 28/30
Gift of Diane and Eric Pearlman

 

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

 

Larry Fink (b. 1941)
N.Y.C. Club Cornich, from the portfolio 82 Photographs 1974 to 1982
1977; printed 1983
Silver gelatin print, 28/30
Gift of Diane and Eric Pearlman

 

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

 

Larry Fink (b. 1941)
Peter Beard’s, East Hampton, from the portfolio 82 Photographs 1974 to 1982
1982; printed 1983
Silver gelatin print, 28/30
Gift of Diane and Eric Pearlman

 

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

 

Tod Papageorge (b.1940) 'Studio 54' 1977

 

Tod Papageorge (b.1940)
Studio 54
1977
Silver gelatin print
Gift of Pete and Constance Kayafas

 

In this photograph, Tod Papageorge captures revelers in gritty black and white, employing straightforward photog raphy to show significant, poetic moments from everyday life. Highlighted by the timeless quality of a silver gelatin print, his photograph of partygoers at the infamous New York City nightclub, Studio 54, captures such a scene. Dramatic without arranging its subjects, Papageorge’s photograph freezes the precise moment just before the woman’s upstretched hand makes contact with balloon floating wistfully above her head.

 

Phillip Maisel (b. 1981) 'Wall Photos', from the series 'A More Open Place' 2010

 

Phillip Maisel (b. 1981)
Wall Photos, from the series A More Open Place
2010
Archival inkjet print
Courtesy of the artist

 

Phillip Maisel (b. 1981) 'Profile Pictures (4702)', from the series 'A More Open Face' 2011

 

Phillip Maisel (b. 1981)
Profile Pictures (4702), from the series A More Open Face
2011
Archival inkjet print
Courtesy of the artist

 

Phillip Maisel’s photographs are layered, ethereal images that evoke the fleeting nature of memories. Though nostalgic in tone, these images derive from a very contemporary source. Setting long exposures on his camera, the artist captures the images appearing on his computer screen as he clicked through his friends’ Facebook albums. The resulting picture-of-pictures is twice removed from its source, emphasizing the swollen state of image culture and the manner in which digital images are created, uploaded, and discarded at an ever increasing rate.

The title of these series derives from Facebook founder Mark Zuckerberg, who noted that, through the social media platform, he was trying “to make the world a more open place.” Facebook and other sites have certainly achieved that; however, this extreme openness, the compulsion to over-share personal images and information, creates a paradox given the subsequent lack of privacy inherent in these activities. Maisel’s work comments on this contemporary phenomenon in which individuals willingly share images of their private memories in public venues. Furthermore, by reducing a collection of images to a single photograph, the artist manifests the compression of time and space in the internet age. This layering of images is also a form of erasure; each new image obscures the last, consistently degrading the significance of each individual picture and memory.

 

Neal Slavin (b. 1941) 'Capitol Wrestling Corporation, Washington, D.C .,' from the portfolio 'Groups in America' 1979

 

Neal Slavin (b. 1941)
Capitol Wrestling Corporation, Washington, D.C ., from the portfolio Groups in America
1979
Color coupler print, 60/75
Gift of Stephen L. Singer and Linda G. Singer

 

Neal Slavin is acclaimed for his group portraits, which range from corporate associates to recreational cohorts to families. The photographs on display offer astute yet humorous studies of groups with specific shared interests that lay at the edges of societal norms. In Slavin’s images, no single member of the group pulls focus from the others and the ultimate personality of the portrait hinges upon the collective aura.

 

Andy Warhol (1928-1987) 'The Little Red Book 128' 1972

 

Andy Warhol (1928-1987)
The Little Red Book 128
1972
Twenty Polacolor Type 108 Polaroid prints
Gift of The Andy Warhol Foundation for the Visual Arts, Inc. 2014

Examples of Polaroids in book. 20 total.

 

During the 1970s and early 1980s, Andy Warhol used the Polaroid color film camera. A then-novel technology which developed photographs in a matter of seconds, he employed it to document the events of his life – from the most glamorous celebrity parties to the most mundane and inconsequential occurrences. Warhol catalogued many of these photographs into small red Holston Polaroid albums, consequently known as Little Red Books. DeCordova’s Little Red Book 128, recently donated to the museum by The Warhol Foundation, features twenty photographs from a day in 1972 that Warhol shared with acclaimed writer Truman Capote, socialite Lee Radziwill and her family, and his business associates Vincent Fremont, Fred Hughes, and Jed Johnson. Consisting of both staged portraits and casual snapshots, the book is part paparazzi portfolio and part quaint family album.

Throughout the height of his fame, Andy Warhol was rarely without a camera in hand. The enigmatic artist often preferred social situations to be passively mitigated by his camera lens, rather than experienced physically and emotionally. In many ways, Warhol’s detachment mirrors a contemporary reliance on electronic forms of communication that limit human contact. Warhol once said, “In the future, everyone will be world – famous for 15 minutes.” Unsurprisingly, in all his work and in this collection of Polaroids, the artist blurs the lines between public/private and commoner/celebrity in a manner which is eerily prophetic of current social media platforms, such as Facebook, Twitter, Instagram, YouTube, among others, which allow anyone and everyone to have their Warholian 15 minutes of fame, or perhaps even just 15 seconds of infamy.

 

Andy Warhol (1928-1987) 'Anthony Radziwill' 1972

 

Andy Warhol (1928-1987)
Anthony Radziwill
1972
Polacolor Type 108 Polaroid print

 

Prince Anthony Stanislaw Albert Radziwill (4 August 1959 – 10 August 1999) was an American television executive and filmmaker.

Born in Lausanne, Switzerland, Radziwill was the son of socialite/actress Caroline Lee Bouvier (younger sister of First Lady Jacqueline Lee Bouvier) and Polish Prince Stanisław Albrecht Radziwiłł. He married a former ABC colleague, Emmy Award-winning journalist Carole Ann DiFalco, on 27 August 1994 on Long Island, New York.

As a member of the Radziwills, one of Central Europe’s noble families, Anthony Radziwill was customarily accorded the title of Prince and styled His Serene Highness, although he never used it. He descended from King Frederick William I of Prussia, King George I of Great Britain, and King John III Sobieski of Poland. The family’s vast hereditary fortune was lost during World War II, and Anthony’s branch of the family emigrated to England, where they became British subjects.

Radziwill’s career began at NBC Sports, as an associate producer. During the 1988 Summer Olympics in Seoul, he contributed Emmy Award-winning work. In 1989, he joined ABC News as a television producer for Prime Time Live. In 1990, he won thePeabody Award for an investigation on the resurgence of Nazism in the United States. Posthumously, Cancer: Evolution to Revolution was awarded a Peabody. His work was nominated for two Emmys.

Around 1989 he was diagnosed with testicular cancer, undergoing treatment which left him sterile, but in apparent remission. However, shortly before his wedding, new tumors emerged. Radziwill battled metastasizing cancer throughout his five years of marriage, his wife serving as his primary caretaker through a succession of oncologists, hospitals, operations and experimental treatments. The couple lived in New York, and both Radziwill and his wife tried to maintain their careers as journalists between his bouts of hospitalization. During this period, Radziwill became especially close to his aunt Jacqueline Kennedy Onassis, who was also terminally ill with cancer. He died on 10 August 1999, and was survived by his sister, Anna Christina Radziwill. (Wikipedia)

 

Andy Warhol (1928-1987) 'Lee Radziwill' 1972

 

Andy Warhol (1928-1987)
Lee Radziwill
1972
Polacolor Type 108 Polaroid print

 

Andy Warhol (1928-1987) 'Jed Johnson' 1972

 

Andy Warhol (1928-1987)
Jed Johnson
1972
Polacolor Type 108 Polaroid print

 

Jed Johnson (December 30, 1948 – July 17, 1996) was an American interior designer and film director. Initially hired by Andy Warhol to sweep floors at Warhol’s Factory, he subsequently moved in with Warhol and became his lover. As a passenger in the First Class cabin, he was killed when TWA Flight 800 exploded shortly after takeoff in 1996.

 

Andy Warhol (1928-1987) 'Truman Capote' 1972

 

Andy Warhol (1928-1987)
Truman Capote
1972
Polacolor Type 108 Polaroid print

 

 

deCordova Sculpture Park and Museum
51 Sandy Pond Rd, Lincoln, MA
01773, United States
Tel: +1 781-259-8355

Opening hours:
Summer
Every day
10 am – 5 pm

deCordova Sculpture Park and Museum website

LIKE ART BLART ON FACEBOOK

Back to top




Join 1,404 other followers

Follow Art_Blart on Twitter
Art Blart on Pinterest

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

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

Lastest tweets

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.

August 2015
M T W T F S S
« Jul    
 12
3456789
10111213141516
17181920212223
24252627282930
31  

Archives

Categories


Follow

Get every new post delivered to your Inbox.

Join 1,404 other followers