Archive for the 'documentary photography' Category

27
Oct
14

Exhibition: ‘Bushido: Way of the Samurai’ at NGV International, Melbourne

Exhibition dates: 4th July – 4th November 2014

 

This is a most beautiful and refined exhibition. Despite the ferocity of the samurai, their armour is exquisite. The golden screens, the horse trappings, the swords and the pistols are all fabulously detailed. Walking into the darkened exhibition space is like entering another world. A must see exhibition before it closes!

Marcus

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

 

 

Japanese 'Saddle and stirrups with crane and turtle design' Edo period 1665 Japan

 

Japanese
Saddle and stirrups with crane and turtle design
Edo period 1665 Japan
Lacquer on wood (maki-e), gold foil, silver, pigment, plant fibre (cord), dyes, metal, leather, (other materials)
28.2 x 41.0 x 39.0 cm (saddle)
Acquired, 1889

 

Utagawa Yoshitsuya. 'The death of Kusunoki Masatsura' 19th century

 

Utagawa Yoshitsuya
The death of Kusunoki Masatsura
19th century
Colour woodblock (triptych)
(a-c) 35.9 x 74.0 cm (image) (overall) (a-c) 36.4 x 74.0 cm (sheet) (overall)
National Gallery of Victoria, Melbourne
Purchased, 1993

 

Utagawa Yoshitsuya. 'The death of Kusunoki Masatsura' (detail) 19th century

 

Utagawa Yoshitsuya
The death of Kusunoki Masatsura (detail)
19th century
Colour woodblock (triptych)
(a-c) 35.9 x 74.0 cm (image) (overall) (a-c) 36.4 x 74.0 cm (sheet) (overall)
National Gallery of Victoria, Melbourne
Purchased, 1993

 

Felice Beato (attributed to) 'No title (Samurai warrior)' 1860s-1870s

 

Felice Beato (attributed to)
No title (Samurai warrior)
1860s-1870s
Albumen silver photograph, colour dyes
24.2 x 19.6 cm (image and sheet)
National Gallery of Victoria, Melbourne
Presented through the NGV Foundation by Thomas Dixon, Member, 2001

 

Baron Raimund von Stillfried. 'No title (Samurai in armour)' c. 1875

 

Baron Raimund von Stillfried
No title (Samurai in armour)
c. 1875; (c. 1877-1880) {printed}
Albumen silver photograph, colour dyes
24.4 x 19.6 cm (image and sheet)
National Gallery of Victoria, Melbourne
Purchased through the NGV Foundation with the assistance of The Herald & Weekly Times Limited, Fellow, 2001

 

 

“Exquisite 300-year-old battle armour will bring the epic tales of Japanese history to life in a new exhibition at the National Gallery of Victoria, Bushido: Way of the Samurai, which explores the fascinating world of the samurai; the warriors, rulers and aristocratic elite of Japanese society for more than 800 years.

The exhibition brings together over 200 objects from the NGV and Australian collections including many rediscovered and rarely seen treasures that were acquired by the NGV in the 1880s and 1920s, such as beautifully crafted armour, helmets, lacquered saddles and a full set of horse trappings. An exquisite group of 16th Century matchlock guns – weaponry used on the battlefield which irrevocably changed warfare and the ethics of the samurai in battle – and an elaborate suit of armour that has no record of being exhibited since its acquisition in 1889 will take center stage in the exhibition.

Wayne Crothers, Curator, Asian Art, NGV said that Japanese armour, swords and guns are celebrated as refined artworks and are appreciated for their unsurpassed craftsmanship and beauty. “Such dramatic and visually foreboding attire worn by a fierce sword wielding warrior thundering into battle on horseback must have created an image of heart stopping ferocity embodying the spirit and the age of the samurai. It is extraordinary that we have these pieces from key historical periods in Japanese history to share today,” Mr Crothers said.

Bushido: Way of the Samurai also includes three golden screens that would adorn the villas and castles of the samurai elite, one of which is a magnificent seven metre panoramic view of the twelfth century battle of Ichinotani, and a group of dramatic woodblock prints depicting stories of legendary samurai and their super human feats of bravery.

The art and culture of the samurai encompasses over 800 years of Japan’s history and creative past. From the twelfth century through to the modernisation of Japan in 1868, the Shogun, or the military elite, ruled the country and lived to a rigorous code of ethics. This military aristocracy aspired to a life of spiritual harmony that not only perfected the art of war, but also embodied an appreciation of the fine arts that established their life as an art form itself. The refined cultural pursuits of the samurai are exhibited in the form of exquisite Noh theatre costumes and dramatic Noh masks, tea ceremony utensils, lacquered personal items, formal clothing and studio photographs from the 1860s-70s that capture these noble warriors during the closing years of feudal Japan.

“Samurai virtues of honesty, courage, benevolence, respect, self-sacrifice, self-control, duty, and loyalty combined with a cultivated lifestyle established social stability and a legacy of art and culture in Japanese society that continues to this day,” Mr Crothers said.”

Press release from the NGV

 

Utagawa Yoshiiku (Japanese 1833-1904) 'Fukushima Masanori, from the Heroic stories of the Taiheiki' Edo period 1867

 

Utagawa Yoshiiku (Japanese 1833-1904)
Fukushima Masanori, from the Heroic stories of the Taiheiki
Edo period 1867 Japan
Colour woodblock
25.5 x 19.0 cm (image and sheet)
Purchased, NGV Supporters of Asian Art, 2014

 

Utagawa Yoshiiku (Japanese 1833-1904) 'Gamō Ujisato from the Heroic stories of the Taiheiki' Edo period 1867 Japan

 

Utagawa Yoshiiku (Japanese 1833-1904)
Gamō Ujisato, from the Heroic stories of the Taiheiki
Edo period 1867 Japan
Colour woodblock
25.5 x 19.0 cm (image and sheet)
Purchased, NGV Supporters of Asian Art, 2014

 

Japanese 'Ceremonial helmet with octopus and Genji cart wheel crest' 19th century

 

Japanese
Ceremonial helmet with octopus and Genji cart wheel crest
19th century
Edo period 1600-15-1868 Japan
Lacquer on (leather) (maki-e), wood, gold, pigment, glass, metal (nails), silk and cotton (thread), (other materials)
28.0 x 35.5 x 38.0 cm
Felton Bequest, 1927

 

Japanese Armour 18th century

 

Japanese
Armour
18th century
Metal, wood, pigment, lacquer, gold paint, silk, cotton, leather, metal thread
(a-k) 136.0 x 56.0 x 45.0 cm (overall) (installation)
National Gallery of Victoria, Melbourne
Gift of Mrs Henry Darlot, 1888

 

Japanese Armour Edo period

 

Japanese
Armour
Edo period 1600-15-1868 Japan
Lacquer, leather, metal, silk, cotton, hemp, gold pigment, coloured dyes
144.0 x 71.0 x 53.0 cm (overall) (installation)
National Gallery of Victoria, Melbourne
Acquired, 1889

 

Japanese Armour Edo period (detail)

 

Japanese
Armour
Edo period 1600-15-1868 Japan
Lacquer, leather, metal, silk, cotton, hemp, gold pigment, coloured dyes
144.0 x 71.0 x 53.0 cm (overall) (installation)
National Gallery of Victoria, Melbourne
Acquired, 1889

 

 

NGV International
180 St Kilda Road

Opening hours
10am – 5pm. Closed Tuesdays.

National Gallery of Victoria website

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25
Oct
14

Exhibition: ‘The World c. 1914. Colour Photography Before the Great War’ at Martin-Gropius-Bau Berlin

Exhibition dates: 1st August – 2nd November 2014

Albert Kahn, Sergej M. Prokudin-Gorskii, Adolf Miethe

 

One of the most beautiful postings that I have ever done on the blog. The colours, the people, the faces, the places: magnificent.

This was Sarajevo two years before Archduke Franz Ferdinand of Austria was assassinated there, catalyst that sparked the beginning of The Great War. Bread and dirty clothes, rough hands and mud-stained shoes.

I could find nothing about either of the two photographers (Stéphane Passet and Auguste Leon) online, which is a pity because I would have liked to have known more about them. Can you imagine the journey of Stéphane Passet in those days with plate cameras:

Turkey: September 1912
Morocco: December 1912 / January 1913
China: May 1913
Mongolia: July 1913
India: December 1913 – January 1914
France: June 1914

Marcus

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Many thankx to Martin-Gropius-Bau Berlin for allowing me to publish the photographs in the posting. Please click on the photographs for a larger version of the image.

 

The Archives of the Planet (French: Les Archives de la Planète) was photographical endeavour to document buildings and cultures.

In 1909, Kahn travelled with his chauffeur and photographer, Alfred Dutertre to Japan on business and returned with many photographs of the journey. On his return to Europe, he decided to go back, this time with the professional photographer Augustus Leon, for a second two-month trip to South America in 1909 where he visited Uruguay, Argentina, and Brazil. All materials became the first of the “Archives of the Planet” based in Paris: a collection of color photographs (process autochrome plates, invented by the Lumiere brothers) and movies.

This prompted him to begin a project collecting a photographic record of the entire Earth. He appointed Jean Brunhes as the project director, and sent photographers to every continent to record images of the planet using the first colour photography, autochrome plates, and early cinematography.

Professional operators were recruited and sent around the world and in France to photograph (color) and film (the movement) as evidence “aspects, practices and modes of human activity, including the fatal disappearance is only a matter of time.” Among them, the photographer Stéphane Passet conducted between 1912 and 1914, several trips to China, Mongolia and in the British Raj (India and Pakistan), yielding several thousand Autochromes and movies on the people and customs of these country. At the same time Kahn sent his operators, including Augustus Leon, to Scandinavia and more than twenty European countries on the eve of the Great War. Kahn’s photographers began documenting France in 1914, just days before the outbreak of World War I, and by liaising with the military managed to record both the devastation of war, and the struggle to continue everyday life and agricultural work. Other parts of France are not forgotten either, Kahn sending Brittany operators to take monochromes from 1909 – 1931. In 1926 and 1927, it was to Japan that he sends an operator, Roger Dumas.

Between 1909 and 1931 they collected 72,000 colour photographs and 183,000 meters of film. These form a unique historical record of 50 countries, known as The Archives of the Planet. Between 1909 and 1931, it is thus some 72,000 autochrome (first global fund of early color photography), 4000 black-and-white, and a hundred hours of footage that will be reported from fifty country. These images are the iconographic side of a large documentation project that will take other forms (publications, documentation centers, etc.) and whose goal is a better understanding of other nations for a better deal in order to prevent conflicts. The images are also projected for this purpose to the guests, often prestigious people from around the world, as well as in higher education structures.

Translated from the French Wikipedia

 

 

Stephane Passet. 'Morocco, Benguerir' December 1912 / January 1913

 

Albert Kahn, Les Archives de la planète

Stéphane Passet
Morocco, Benguerir
December 1912 / January 1913
Autochrome
© Musée Albert-Kahn, Departement des Hauts-de-Seine

 

Stephane Passet. 'Turkey, Istanbul September' 1912

 

Albert Kahn, Les Archives de la planète

Stéphane Passet
Turkey, Istanbul
September 1912
Autochrome
© Musée Albert-Kahn, Departement des Hauts-de-Seine

 

Auguste Leon. 'Bosnia-Herzegovina, Sarajevo' 15 October 1912

 

Albert Kahn, Les Archives de la planète

Auguste Leon
Bosnia-Herzegovina, Sarajevo
15 October 1912
Autochrome
© Musée Albert-Kahn, Departement des Hauts-de-Seine

 

Auguste Leon. 'Bosnia-Herzegovina, Sarajevo' (detail) 15 October 1912

Auguste Leon. 'Bosnia-Herzegovina, Sarajevo' (detail) 15 October 1912

 

Albert Kahn, Les Archives de la planète

Auguste Leon
Bosnia-Herzegovina, Sarajevo (details)
15 October 1912
Autochrome
© Musée Albert-Kahn, Departement des Hauts-de-Seine

 

Stephane Passet. 'Mongolia, near Ulaanbaatar' 17 July 1913

 

Albert Kahn, Les Archives de la planète

Stéphane Passet
Mongolia, near Ulaanbaatar
17 July 1913
Autochrome
© Musée Albert-Kahn, Departement des Hauts-de-Seine

 

Auguste Leon. 'Egypt, Giza' 6 January 1914

 

Albert Kahn, Les Archives de la planète

Auguste Leon
Egypt, Giza
6 January 1914
Autochrome
© Musée Albert-Kahn, Departement des Hauts-de-Seine

 

Stephane Passet. 'India, Uttar Pradesh' 19 - 21 January 1914

 

Albert Kahn, Les Archives de la planète

Stéphane Passet
India, Uttar Pradesh
19 – 21 January 1914
Autochrome
© Musée Albert-Kahn, Departement des Hauts-de-Seine

 

Auguste Leon. 'Bosnia-Herzegovina, Mostar' 29 April 1913

 

Albert Kahn, Les Archives de la planète

Auguste Leon
Bosnia-Herzegovina, Mostar
29 April 1913
Autochrome
© Musée Albert-Kahn, Departement des Hauts-de-Seine

 

Stephane Passet. 'Mongolia, Ulaanbaatar' 25 July 1913

 

Albert Kahn, Les Archives de la planète

Stéphane Passet
Mongolia, Ulaanbaatar
25 July 1913
Autochrome
© Musée Albert-Kahn, Departement des Hauts-de-Seine

 

Stephane Passet. 'India, Bombay' 17 December 1913

 

Albert Kahn, Les Archives de la planète

Stéphane Passet
India, Bombay
17 December 1913
Autochrome
© Musée Albert-Kahn, Departement des Hauts-de-Seine

 

Stephane Passet. 'France, Paris' 24 June 1914

 

Albert Kahn, Les Archives de la planète

Stéphane Passet
France, Paris (Family in the Rue du Pot-de-Fer)
24 June 1914
Autochrome
© Musée Albert-Kahn, Departement des Hauts-de-Seine

 

Auguste Leon. 'Serbia, Krusevac' 29 April 1913

 

Albert Kahn, Les Archives de la planète

Auguste Leon
Serbia, Krusevac
29 April 1913
Autochrome
© Musée Albert-Kahn, Departement des Hauts-de-Seine

 

Auguste Leon. 'Serbia, Krusevac' (detail) 29 April 1913

 

Albert Kahn, Les Archives de la planète

Auguste Leon
Serbia, Krusevac (detail)
29 April 1913
Autochrome
© Musée Albert-Kahn, Departement des Hauts-de-Seine

 

 

“In commemoration of the outbreak of the First World War, the Martin-Gropius-Bau is presenting an exhibition entitled The World c. 1914 – Colour Photography Before the Great War, which features nearly forgotten colour photographs and films commissioned by the French banker Albert Kahn (1860-1940) before the First World War. As the nations of Europe were already arming themselves for battle, Kahn, who was excited by the Lumière Brothers’ colour photography process, dispatched photographers out into the world to develop a unique photo archive. Over 70,000 colour photos have survived in this collection. They represent an immense ethnographic treasure and were also intended to perform a mission of peace: Bringing the outside world closer to home. Kahn’s activities were intended to help secure the fragile peace. The exhibition brings this treasure trove of images from a long forgotten world to light.

For Albert Kahn, knowledge of peoples, buildings, landscapes and lifestyles was directly related to his desire for global peace: People who know and respect one another, and who encounter one another face to face, do not need to wage war. In 1908/09, excited by the new autochrome process of the brothers August and Louis Lumière, Kahn commissioned his photographers to document the world with the goal of assembling an archive of colour photographs from Europe, Asia and Africa. They photographed local scenes and people in typical clothing as well as monuments of cultural history. From this global treasure trove, more than 160 images have been selected for this exhibition. The autochromes from the Kahn archive form the centrepiece. The exhibition also displays images and projections by Adolf Miethe (1862 – 1927) and Sergei M. Prokudin-Gorskii (1863 – 1944).

Adolf Miethe, the inventor of a panchromatic film-coating process and thus the creator of three-colour printing, played a significant role in the development of colour photography. His presentation before the Kaiser led to a commission to create a colour documentation of German landscapes for the St. Louis World’s Fair. His work also enjoyed great popularity as collectible pictures sold with chocolate bars. This resulted in the “Stollwerck Album” – Germany’s first coloured photographic album.

Moreover, the Miethe Process inspired the Russian photographer Sergei Mikhailovich Prokudin-Gorskii. His work is present in the form of approximately twenty-five colour prints and fifty projected photos. A special item is on loan from the German Museum in Munich: The original projector with which Sergei Prokudin-Gorskii exhibited his work to Nicholas II, the last tsar. In 1909, as a result of this presentation, Prokudin-Gorskii received a commission to record the Russian Empire in 10,000 photos. Between 1909 and 1915, Gorskii made several thousand photographs of great brilliance. He documented the cultural diversity of the tsarist empire from the Crimean Peninsula to Siberia.”

Text from the Martin-Gropius-Bau website

 

Auguste Leon. 'Egypt, Assuan' 20 January 1914

 

Albert Kahn, Les Archives de la planète

Auguste Leon
Egypt, Assuan
20 January 1914
Autochrome
© Musée Albert-Kahn, Departement des Hauts-de-Seine

 

Stephane Passet. 'Morocco, Fes' January 1913

 

Albert Kahn, Les Archives de la planète

Stéphane Passet
Morocco, Fes
January 1913
Autochrome
© Musée Albert-Kahn, Departement des Hauts-de-Seine

 

Stephane Passet. 'China, Beijing' 26 May 1913

 

Albert Kahn, Les Archives de la planète

Stéphane Passet
China, Beijing
26 May 1913
Autochrome
© Musée Albert-Kahn, Departement des Hauts-de-Seine

 

Stephane Passet. 'Turkey, Istanbul, Pera' (today: Beyoğlu) September 1912

 

Albert Kahn, Les Archives de la planète

Stéphane Passet
Turkey, Istanbul, Pera (today: Beyoğlu)
September 1912
Autochrome
© Musée Albert-Kahn, Departement des Hauts-de-Seine

 

Stephane Passet. 'Le Moulin Rouge, Boulevard de Clichy (18°) Paris' 24 June 1914

 

Albert Kahn, Les Archives de la planète

Stéphane Passet
Le Moulin Rouge, Boulevard de Clichy (18°), Paris
24th June 1914
Autochrome
© Musée Albert-Kahn, Departement des Hauts-de-Seine

 

 

Martin-Gropius-Bau Berlin
Niederkirchnerstraße 7
Corner Stresemannstr. 110
10963 Berlin
T: +49 (0)30 254 86-0

Opening Hours:
Wednesday to Monday 10 – 20 hrs
Tuesday closed

Martin-Gropius-Bau website

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23
Oct
14

Vale René Burri

 

Another strong, passionate photographer has gone. One of his best images and one of my favourites is Men on a rooftop (1960, below). For more images see my earlier posting René Burri: A Retrospective at Flo Peters Gallery, Hamburg, November 2009 – January 2010.

Marcus

 

“When Burri left Zurich in the 1950s, he set out to discover the world and some sense of man’s smallness within it. Switzerland was landlocked, bordered by mountains; a camera was a way out. Even then, he worried about what he could do that was new – “when shutters rattle from morning to night in every corner of the world … when every continent is lit with the flash of cameras.” His job, he believes, has been to “trace the enormous social changes taking place in our age, conveying my thoughts and images of them.” And, more poetically, “to put the intensity that you yourself have experienced into the picture – otherwise it is just a document.” He retired from reporting once that intensity, that sense of the bigness of the world, was gone.”

Saturday February 7, 2004
The Guardian

 

 

Rene Burri. 'Men On A Rooftop, Sao Paulo', 1960

 

René Burri
Men On A Rooftop, Sao Paulo
1960
© Rene Burri/Magnum Photos

 

René Burri. 'Ernesto Guevara (Che) Havana' 1963

 

René Burri
Ernesto Guevara (Che) Havana
1963
© Rene Burri/Magnum Photos

 

Rene Burri. 'Brazil, Rio de Janeiro' 1960

 

René Burri
Brazil, Rio de Janeiro
1960
© Rene Burri/Magnum Photos

 

 

“It is with great sadness that the Musée de l’Elysée has learned of the death of René Burri, on Monday October 20 in Zurich, at the age of 81. In his later years, René Burri wished to create a foundation for the preservation of his work. The Musée de l’Elysée in Lausanne hosts the Fondation René Burri established in June 2013.

The members of the Fondation de l’Elysée as well as the Musée de l’Elysée team extend their deepest sympathies to the family. A member of Magnum, René Burri was without a doubt one of the most talented photographers of his generation. He was present wherever history was being made and an acute witness of the major events of his time.

On the occasion of his 80th year, René Burri wished to create a foundation for the conservation and promotion of his work in museums and among the public, both in Switzerland and around the world. The Musée de l’Elysée hosts the Fondation René Burri and has been working closely with the artist and his family since June 2013 toward this goal.

Thanks to the work being undertaken by the Musée de l’Elysée, we feel confident that René Burri’s legacy, which is of universal importance, will be passed on to future generations in the best possible conditions,” says the family.

This major Swiss patrimony has been bestowed to the Musée de l’Elysée on a 20-year loan, with the possibility for renewal. The René Burri photographic archives consist of approximately 30,000 images (vintage and modern prints, contact sheets and slides), in black and white and in color. One third of this collection has already been received by the museum and an open-air exhibition will be organized in Lausanne as early as next year.”

Press release from the Musée de l’Elysée

 

 

René Burri. 'United Arab Emirates, Das Island' 1976

 

René Burri
United Arab Emirates, Das Island
1976
© Rene Burri/Magnum Photos

 

Rene Burri. 'Pekin' 1989

 

René Burri
Pekin
1989
© Rene Burri/Magnum Photos

 

 

René Burri
Nuit des images
2013
Musee de l’Elysee
© Reto Duriet

 

 

Musée de l’Elysée
18, avenue de l’Elysée CH
1014 Lausanne
T: + 41 21 316 99 11

Opening hours
Tuesday – Sunday, 11am – 6pm
Closed Monday, except for Bank holidays

Musée de l’Elysée website

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21
Oct
14

Review: ‘Crossing Paths with Vivian Maier’ at the Centre for Contemporary Photography (CCP), Fitzroy, Melbourne

Exhibition dates: 3rd October – 26th October 2014

Artists: Cherine Fahd, Vivian Maier, Gabriella Mangano and Silvana Mangano, Debra Phillips, Patrick Pound, Clare Rae, Simone Slee, David Wadelton And Kellie Wells and Vivian Maier.

Curators: Naomi Cass, Louise Neri and Karra Rees

 

Over rated and over here…

Apologies to the wonderful and hard working Director of the CCP Naomi Cass for what I am about to say, but this is one of the most disappointing photographic exhibitions in Melbourne this year.

Let’s start with the Australian work. There is nothing at all wrong with any of the Australian work. Some of it is very strong, such as the found images of Patrick Pound and the social documentary work of David Wadelton. The problem comes with the lack of connection to the photographs of Vivian Maier. For work that is supposed to be “crossing paths” conceptually with the images of Maier many of the connections are so esoteric as to be almost indistinguishable, so obtuse (as Tim Robbins would say in the Shawshank Redemption) as to be almost unintelligible to the uninitiated. Where the work is conceptualised around the performative context of identity and the occupation of space(s), such as in Claire Rae’s digital colour lightbox images of people jumping in the air stopped in suspended animation or the beautiful reinscription of the body in the almost dance like video work of Gabriella Mangano and Silvana Mangano, then the juxtaposition simply does not work. The ties that bind one to another simply are not strong enough to sustain the inquiry of the viewer. More interesting would have been the investigation of the concept of an artist taking photographs in her own time, hidden, secretive, and then being discovered later after she had died – which brings up issues of visibility (the cameras and her gendered own), celebrity, posthumous recreation of identity, the fame of the artist after death, and how the self-portraits fit into this theme etc…

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The photographs by Vivian Maier printed by ? are far more disappointing.

Touted as the NEXT BIG THING by curators who are always looking for the next big thing and people out to make a healthy buck or two, VM is a person who has been “posthumously invented” and her work, which was largely unprinted during her lifetime, has been brought to market in a commercial process. As Abigail Solomon-Godeau notes at the end of her excellent essay “Inventing Vivian Maier” on the Jeu de Paume website:

“Here one can see how the terms of an “aesthetic” discourse within the world of contemporary photography, turning on the individual author and her work, and the far less lofty realities of market and marketing, property relations, public relations, media relations and all the other apparatuses, illuminate one another, or even collide. “Her big project,” remarks Michael Williams, “was her life,” but perhaps the even larger project is her posthumous invention.”

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With this invention in mind (and the product that you want to sell being paramount), you would have thought that the people who now control her archive would have got a damn good black and white printer to print the work. But no. Some of the prints are appalling, so flat that there is little if any true black in them at all. As for the content of the images, they look better in reproduction than they do in real life. Maier, as I have said elsewhere, is a competent photographer – but she will never be a great photographer. Periodically (and I use the word my female friend supplied) she is very good, but too often she lapses into cliche. There are lots of low depth of field photographs but the construction of the images is cold and stilted, there is little engagement it would seem but for the snap of the shutter as she wanders around city after city, keeping the resulting negatives securely hidden.

There is also little mystery in her photographs which is probably why they don’t rise to that next level: look at the photograph of the two men staring at a length of hose on the ground on a rainy street in NY. The hose just sits there, the men are caught mid-gesture… and that’s it. Lots of her photographs are like this. And there also seem to be some anger towards the world as well. If you compare the photograph of the two boys, Undated, Canada (below) with that of the twins by Diane Arbus, there seems to be a darkness and maelevolence to VM’s photograph that contrasts with the mystery and joy in that of Arbus – not so much in the subject matter but in the feeling that the photographer projects towards what she is photographing.

There is a coldness when you see the prints in the flesh (like the wind whistling off Lake Michigan onto the Chicago streets), an ice chill, a lack of humour, something that is a little creepy and screwy (if you will pardon the colloquialism) about the work. She wants us to know she is there in the photograph, even when she is not physically present, as in the image September 18, 1962 (below) where the viewer understands that the photographer is down on one knee to get the shot. There is also a healthy dose of narcissism in the photographs: the self-portraits with this serious woman peering back at us, one who’s eyes hardly ever smile (you can tell a lot from a person’s eyes!) are not psychological investigations like the self-portraits of Rembrandt as he ages throughout the years – portraits in which Rembrandt explores what it is to be him – they are something more obsessive which VM then hides under a bushel. The use of fragmentation and shadows in the two self-portraits that I have put together (New York City, September 10, 1955 and Self-Portrait; October 18, 1953, New York, NY, below) speak of a schism inside the person, one who exposes herself through photography and then possesses but disclaims the results.

People have been flocking to see the film with sold out sessions all over the city, and they were flocking into the CCP to see the exhibition last Saturday when we were there. People love the back story as it has been sold to them by “marketing, property relations, public relations, media relations and all the other apparatuses” and there has been a veritable feeding frenzy about this work: THE DISCOVERY OF KING TUT’S TOMB WITH 100,000 NEGATIVES AND ASSORTED ARTEFACTS!

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Kudos to the CCP for getting these images to Australia and exhibiting them and its great to see so many people in the gallery but please, let’s understand the hype and then really look at the work. The ART in FACT is that these are not well printed images, and most of them are pretty prosaic in composition and feeling. There are maybe four really good images, but that is about it. As always, go and see for yourself and keep my words in mind.

Dr Marcus Bunyan for the Art Blart blog

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

 

 

“I don’t believe in reincarnation but in a previous life I did!”

.
Frederick White

 

 

Vivian Maier. 'East 108th Street. September 28, 1959, New York, NY'

 

Vivian Maier
East 108th Street. September 28, 1959, New York, NY
1959
Gelatin silver print
30.5 x 30.5 cm
Vivian Maier/Maloof Collection, courtesy of Howard Greenberg Gallery

 

Vivian Maier. 'August 1960. Chicago, IL' 1960

 

Vivian Maier
August 1960. Chicago, IL
1960
Gelatin silver print
30.5 x 30.5 cm
Vivian Maier/Maloof Collection, courtesy of Howard Greenberg Gallery

 

Vivian Maier. 'Undated, Canada'

 

Vivian Maier
Undated, Canada
Nd
Gelatin silver print
30.5 x 30.5 cm
Vivian Maier/Maloof Collection, courtesy of Howard Greenberg Gallery

 

Diane Arbus. 'Identical twins, Roselle, N.J. 1967' 1967

 

Diane Arbus
Identical twins, Roselle, N.J. 1967
1967
© The Estate of Diane Arbus

 

Vivian Maier. 'Self-Portrait, 1950ies'

 

Vivian Maier
Self-Portrait, 1950ies
c. 1950s
Gelatin silver print
30.5 x 30.5 cm
Vivian Maier/Maloof Collection, courtesy of Howard Greenberg Gallery

 

Vivian Maier. 'Armenian woman fighting on East 86th Street, September, 1956, New York, NY'

 

Vivian Maier
Armenian woman fighting on East 86th Street, September, 1956, New York, NY
1956
Gelatin silver print
30.5 x 30.5 cm
Vivian Maier/Maloof Collection, courtesy of Howard Greenberg Gallery

 

Vivian Maier. 'April 7, 1960. Florida'

 

Vivian Maier
April 7, 1960. Florida
1960
Gelatin silver print
30.5 x 30.5 cm
Vivian Maier/Maloof Collection, courtesy of Howard Greenberg Gallery

 

Vivian Maier. 'January 1956'

 

Vivian Maier
January 1956
1956
Gelatin silver print
30.5 x 30.5 cm
Vivian Maier/Maloof Collection, courtesy of Howard Greenberg Gallery

 

Vivian Maier. 'January, 1953, New York, NY'

 

Vivian Maier
January, 1953, New York, NY
1953
Gelatin silver print
30.5 x 30.5 cm
Vivian Maier/Maloof Collection, courtesy of Howard Greenberg Gallery

 

Vivian Maier. 'Self-Portrait, 1953'

 

Vivian Maier
Self-Portrait, 1953
1953
Gelatin silver print
30.5 x 30.5 cm
Vivian Maier/Maloof Collection, courtesy of Howard Greenberg Gallery

 

Vivian Maier. 'Self-Portrait, 1953'

 

Vivian Maier
Self-Portrait, 1953
1953
Gelatin silver print
30.5 x 30.5 cm
Vivian Maier/Maloof Collection, courtesy of Howard Greenberg Gallery

 

Vivian Maier. 'Undated, Canada'

 

Vivian Maier
Undated, Canada
Nd
Gelatin silver print
30.5 x 30.5 cm
Vivian Maier/Maloof Collection, courtesy of Howard Greenberg Gallery

 

Vivian Maier. 'July 1957. Chicago Suburb, IL'

 

Vivian Maier
July 1957. Chicago Suburb, I
1957
Gelatin silver print
30.5 x 30.5 cm
Vivian Maier/Maloof Collection, courtesy of Howard Greenberg Gallery

 

Vivian Maier. 'January 9, 1957, Florida'

 

Vivian Maier
January 9, 1957, Florida
1957
Gelatin silver print
30.5 x 30.5 cm
Vivian Maier/Maloof Collection, courtesy of Howard Greenberg Gallery

 

Vivian Maier. 'Self-Portrait, New York, February 3, 1955'

 

Vivian Maier
Self-Portrait, New York, February 3, 1955
1955
Gelatin silver print
30.5 x 30.5 cm
Vivian Maier/Maloof Collection, courtesy of Howard Greenberg Gallery

 

Vivian Maier. 'March 1954, New York, NY'

 

Vivian Maier
March 1954, New York, NY
1954
Gelatin silver print
30.5 x 30.5 cm
Vivian Maier/Maloof Collection, courtesy of Howard Greenberg Gallery

 

Vivian Maier. 'May 16, 1957. Chicago, IL'

 

Vivian Maier
May 16, 1957. Chicago, IL
1957
Gelatin silver print
30.5 x 30.5 cm
Vivian Maier/Maloof Collection, courtesy of Howard Greenberg Gallery

 

Vivian Maier. 'June 1963. Chicago, IL'

 

Vivian Maier
June 1963. Chicago, IL
1963
Gelatin silver print
30.5 x 30.5 cm
Vivian Maier/Maloof Collection, courtesy of Howard Greenberg Gallery

 

 

“During her lifetime, Vivian Maier (1926-2009) produced more than 100,000 photographic images, which remained largely undiscovered until after her death. CCP celebrates this reluctant artist’s timely relevance, juxtaposing her work with contemporary Australian photography, performance and video.

Maier’s prolific body of work recording both herself and the world around her – predominately with a distinctive medium format Rolleiflex twin-lens reflex camera – is a precursor to our age of compulsive photographic documentation via smart phones and digital media. The posthumous construction of her identity is almost as compelling as her images and her ability to determine and frame a gripping moment with poignancy and beauty. Time has been Maier’s collaborator, where nostalgia plays a significant role in the popularity of her archive.

In Crossing Paths with Vivian Maier, Maier’s photography – printed well after her death – is presented with contemporary Australian artists working in still, moving and found photography and who also document the street and themselves in an equally obsessive manner.

Against the gritty street life captured by her probing lens, Patrick Pound responds with second-hand images gleaned from junk shops and the Internet, while Debra Phillips and David Wadelton make an inventory of the city and its quirky features. Maier’s self-portraits reverberate with Australian women artists who turn the camera on themselves in performative ways, in the work of Cherine Fahd, Gabriella Mangano and Silvana Mangano, Clare Rae, Simone Slee and Kellie Wells.”

Text from the CCP website

 

Vivian Maier. 'May 27, 1970. Chicago, IL'

 

Vivian Maier
May 27, 1970. Chicago, IL
1970
Gelatin silver print
30.5 x 30.5 cm
Vivian Maier/Maloof Collection, courtesy of Howard Greenberg Gallery

 

Vivian Maier. 'May 28, 1954, New York, NY'

 

Vivian Maier
May 28, 1954, New York, NY
1954
Gelatin silver print
30.5 x 30.5 cm
Vivian Maier/Maloof Collection, courtesy of Howard Greenberg Gallery

 

Vivian Maier. 'New York City, September 10, 1955'

 

Vivian Maier
New York City, September 10, 1955
1955
Gelatin silver print
30.5 x 30.5 cm
Vivian Maier/Maloof Collection, courtesy of Howard Greenberg Gallery

 

Vivian Maier. 'Self-Portrait; October 18, 1953, New York, NY'

 

Vivian Maier
Self-Portrait; October 18, 1953, New York, NY
1953
Gelatin silver print
30.5 x 30.5 cm
Vivian Maier/Maloof Collection, courtesy of Howard Greenberg Gallery

 

Vivian Maier. 'Undated, New York, NY'

 

Vivian Maier
Undated, New York, NY
Nd
Gelatin silver print
30.5 x 30.5 cm
Vivian Maier/Maloof Collection, courtesy of Howard Greenberg Gallery

 

Vivian Maier. 'Undated, New York, NY'

 

Vivian Maier
Undated, New York, NY
Nd
Gelatin silver print
30.5 x 30.5 cm
Vivian Maier/Maloof Collection, courtesy of Howard Greenberg Gallery

 

Vivian Maier. 'Undated, New York, NY'

 

Vivian Maier
Undated, New York, NY
Nd
Gelatin silver print
30.5 x 30.5 cm
Vivian Maier/Maloof Collection, courtesy of Howard Greenberg Gallery

 

Vivian Maier. 'Undated, New York, NY'

 

Vivian Maier
Undated, New York, NY
Nd
Gelatin silver print
30.5 x 30.5 cm
Vivian Maier/Maloof Collection, courtesy of Howard Greenberg Gallery

 

Vivian Maier. 'Undated, New York, NY'

 

Vivian Maier
Undated, New York, NY
Nd
Gelatin silver print
30.5 x 30.5 cm
Vivian Maier/Maloof Collection, courtesy of Howard Greenberg Gallery

 

Vivian Maier. 'New York, NY' 1954

 

Vivian Maier
New York, NY
1954
Gelatin silver print
30.5 x 30.5 cm
Vivian Maier/Maloof Collection, courtesy of Howard Greenberg Gallery

 

Vivian Maier. 'Self-Portrait, 1959'

 

Vivian Maier
Self-Portrait, 1959
1959
Gelatin silver print
30.5 x 30.5 cm
Vivian Maier/Maloof Collection, courtesy of Howard Greenberg Gallery

 

Vivian Maier. 'Undated, New York, NY'

 

Vivian Maier
Undated, New York, NY
Nd
Gelatin silver print
30.5 x 30.5 cm
Vivian Maier/Maloof Collection, courtesy of Howard Greenberg Gallery

 

Vivian Maier. 'October 31, 1954. New York, NY'

 

Vivian Maier
October 31, 1954. New York, NY
1954
Gelatin silver print
30.5 x 30.5 cm
Vivian Maier/Maloof Collection, courtesy of Howard Greenberg Gallery

 

Vivian Maier. 'July 27, 1954. New York, NY' 1954

 

Vivian Maier
July 27, 1954. New York, NY
1954
Gelatin silver print
30.5 x 30.5 cm
Vivian Maier/Maloof Collection, courtesy of Howard Greenberg Gallery

 

Vivian Maier. 'September 18, 1962'

 

Vivian Maier
September 18, 1962
1962
Gelatin silver print
30.5 x 30.5 cm
Vivian Maier/Maloof Collection, courtesy of Howard Greenberg Gallery

 

Vivian Maier. 'September 1956, New York, NY'

 

Vivian Maier
September 1956, New York, NY
1956
Gelatin silver print
30.5 x 30.5 cm
Vivian Maier/Maloof Collection, courtesy of Howard Greenberg Gallery

 

Vivian Maier. 'Untitled, Undated'

 

Vivian Maier
Untitled, Undated
Nd
Gelatin silver print
30.5 x 30.5 cm
Vivian Maier/Maloof Collection, courtesy of Howard Greenberg Gallery

 

Vivian Maier. 'Untitled, Undated'

 

Vivian Maier
Untitled, Undated
Nd
Gelatin silver print
30.5 x 30.5 cm
Vivian Maier/Maloof Collection, courtesy of Howard Greenberg Gallery

 

Vivian Maier. 'Untitled, Undated'

 

Vivian Maier
Untitled, Undated
Nd
Gelatin silver print
30.5 x 30.5 cm
Vivian Maier/Maloof Collection, courtesy of Howard Greenberg Gallery

 

Vivian Maier. 'Undated, Vancouver, Canada'

 

Vivian Maier
Undated, Vancouver, Canada
Nd
Gelatin silver print
30.5 x 30.5 cm
Vivian Maier/Maloof Collection, courtesy of Howard Greenberg Gallery

 

Vivian Maier. 'Untitled, Undated'

 

Vivian Maier
Untitled, Undated
Nd
Gelatin silver print
30.5 x 30.5 cm
Vivian Maier/Maloof Collection, courtesy of Howard Greenberg Gallery

 

Vivian Maier. 'Untitled, Undated'

 

Vivian Maier
Untitled, Undated
Nd
Gelatin silver print
30.5 x 30.5 cm
Vivian Maier/Maloof Collection, courtesy of Howard Greenberg Gallery

 

 

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

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

Centre for Contemporary Photography website

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13
Oct
14

Exhibition: ‘Paul-Martial’s World Of Ordinary Things’ at Kunstmuseum Basel Museum für Gegenwartskunst

Exhibition dates: 5th July – 19th October 2014

 

My god, how can a dryer hood become so sensual?

It should have been Paul-Martial’s World of Extra-Ordinary Things!

Marcus

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

Download the exhibition brochure (in German) (570kb pdf) with contributions by Anne-Céline Callens, Anita Haldemann, and Peter Herzog.

 

 

Éditions Paul Martial, Paris. 'Sliced ​​mattress' c. 1928-29

 

Éditions Paul Martial, Paris
Sliced ​​mattress
c. 1928-29
Gelatin silver print
17.9 x 23.9 cm
Kunstmuseum Basel, Prints and Drawings
Donation by Ruth and Peter Herzog, Basel
© Kunstmuseum Basel

 

Éditions Paul Martial, Paris. 'Front view of a Citroën automobile' c. 1927-28

 

Éditions Paul Martial, Paris
Front view of a Citroën automobile
c. 1927-28
Gelatin silver print
17.8 x 23.7 cm
Kunstmuseum Basel, Prints and Drawings
Donation by Ruth and Peter Herzog, Basel
© Kunstmuseum Basel

 

Éditions Paul Martial, Paris. 'Pine cone' c. 1931-32

 

Éditions Paul Martial, Paris
Pine cone
c. 1931-32
Gelatin silver print
17.6 x 23.8 cm
Kunstmuseum Basel, Prints and Drawings
Purchase from the Herzog Collection, Basel
© Kunstmuseum Basel

 

Éditions Paul Martial, Paris. 'Young woman with leather handbag and gloves posing; Set with leather handbag and gloves' August 1935

 

Éditions Paul Martial, Paris
Young woman with leather handbag and gloves posing; Set with leather handbag and gloves
August 1935
Gelatin silver print
17.9 x 23.9 cm
Kunstmuseum Basel, Prints and Drawings
Purchase from the Herzog Collection, Basel
© Kunstmuseum Basel

 

Éditions Paul Martial, Paris. 'Eiffel tower, tank and rail bridge' c. 1930-31

 

Éditions Paul Martial, Paris
Eiffel tower, tank and rail bridge
c. 1930-31
Gelatin silver print
17.9 x 23.9 cm
Kunstmuseum Basel, Prints and Drawings
Donation by Ruth and Peter Herzog, Basel
© Kunstmuseum Basel

 

 

“On July 5, 2014, the Kunstmuseum Basel opens a new exhibition presenting a selection of one hundred photographs from the archives of the Paris-based advertising agency Éditions Paul-Martial. The black-and-white pictures formed the basis for posters, newspaper advertisements, and brochures and show ordinary things: buildings, cars, typewriters, radiators, mannequins. What was unusual and novel, however, were the composition, lighting, and exposure of the pictures. In today’s perspective, the collection reflects the multifaceted evolution of photography from the 1920s onward. At the same time, it is an invaluable source for historians, documenting early forms of the carefully designed presentation of commodities and strategies designed to lure the consumer. The photographs are part of a collection newly acquired from the Herzog Collection and have never been on public display.

Cans make it possible to preserve food for the long term; zippers allow bags and pockets to be securely closed; rubber soles protect the walker from slipping; car jacks make it easier to change a tire: the advertising photographs produced by Éditions Paul-Martial tell stories about everyday life and how products like radiators, boilers, and cooking stoves help make it more pleasant. This renders the collection an extraordinarily valuable resource for historians: it illustrates the early history of the staging of consumer goods and the strategies employed to seduce the viewer. Beyond consumer products, the agency’s photographers also captured the new worlds of work in factories and offices and the rise of modern travel and communication technologies. For the time being, most of the photographs’ creators remained anonymous; in the business perspective, individual authorship was obviously a secondary concern, especially since the majority of the pictures were a sort of intermediate product to be used by graphic artists in the design of brochures and posters.

New Objectivity and Neues Sehen

The historic photographs also reflect the multifaceted evolution of photography as an art in its own right from the 1920s onward. Pictures of buildings, machines, and selected products hew to the sober aesthetic of the New Objectivity, which took hold after the Great War. Photographs of transformer stations and bridges point to the Neues Sehen (New Vision) of the Bauhaus photographers and the works of the Russian avant-garde, which emphasized diagonal lines to heighten the dynamic quality of the picture – this influence is also evident in techniques such as photomontage and double exposures. In isolated objects and enigmatic motifs such as a pinecone, the surreal, mysterious, and sometimes also absurd infiltrate the world of ordinary things.

The photographers’ love of experimentation is palpable throughout: they often created small series in which they tried different lighting effects and unusual angles of view. The selection of a hundred photographs is drawn from a larger collection the museum acquired from the collection of Peter and Ruth Herzog, Basel, in 2012 through a combined purchase-and-donation agreement. The exhibition was designed in close collaboration between the curator, Anita Haldemann, and the photography collector and expert Peter Herzog.

The Fonds Paul-Martial – considerable parts of its inventory have also gone to the Musée d’Art Moderne de Saint-Étienne Métropole, the department of prints and photography at the Bibliothèque nationale de France, and the collection of Marc Pagneux, France – is still widely unknown, and the work of exploring this exceptionally rich archive, which promises important insights into the history of photography and especially of contemporary art, has only just begun.”

Press release from the Kunstmuseum Basel website

 

Éditions Paul Martial, Paris. 'Working with metal working parts in the factory Fillod in Florange (Moselle)' August 1931

 

Éditions Paul Martial, Paris
Working with metal working parts in the factory Fillod in Florange (Moselle)
August 1931
Gelatin silver print
23.8 x 17.8 cm
Kunstmuseum Basel, Prints and Drawings
Purchase from the Herzog Collection, Basel
© Kunstmuseum Basel

 

Éditions Paul Martial, Paris. 'Car Headlights "Marchal"' c. 1929-30

 

Éditions Paul Martial, Paris
Car Headlights “Marchal”
c. 1929-30
Gelatin silver print
23.7 x 17.8 cm
Kunstmuseum Basel, Prints and Drawings
Purchase from the Herzog Collection, Basel
© Kunstmuseum Basel

 

Éditions Paul Martial, Paris. 'Cocktail "Gratte-Ciel" Cointreau, advertising design' June 1931

 

Éditions Paul Martial, Paris
Cocktail “Gratte-Ciel” Cointreau, advertising design
June 1931
Gelatin silver print
23.8 x 17.9 cm
Kunstmuseum Basel, Prints and Drawings
Donation by Ruth and Peter Herzog, Basel
© Kunstmuseum Basel

 

Éditions Paul Martial, Paris. 'Typewriter "Hermes 2000"' November 1933

 

Éditions Paul Martial, Paris
Typewriter “Hermes 2000″
November 1933
Gelatin silver print
23.8 x 17.9 cm
Kunstmuseum Basel, Prints and Drawings
Donation by Ruth and Peter Herzog, Basel
© Kunstmuseum Basel

 

Éditions Paul Martial, Paris. 'Dryer hood "Hollywood"' June 1937

 

Éditions Paul Martial, Paris
Dryer hood “Hollywood”
June 1937
Gelatin silver print
23.8 x 17.9 cm
Kunstmuseum Basel, Prints and Drawings
Purchase from the Herzog Collection, Basel
© Kunstmuseum Basel

 

Éditions Paul Martial, Paris. 'Welding women in factory hall' c. 1940-45

 

Éditions Paul Martial, Paris
Welding women in factory hall
c. 1940-45
Gelatin silver print
23 x 17.2 cm
Kunstmuseum Basel, Prints and Drawings
Purchase from the Herzog Collection, Basel
© Kunstmuseum Basel

 

Éditions Paul Martial, Paris. 'Woman posing next to radiator, advertising photography for "Gaz et Eaux"' April 1936

 

Éditions Paul Martial, Paris
Woman posing next to radiator, advertising photography for “Gaz et Eaux”
April 1936
Gelatin silver print
23.9 x 17.9 cm
Kunstmuseum Basel, Prints and Drawings
Purchase from the Herzog Collection, Basel
© Kunstmuseum Basel

 

Éditions Paul Martial, Paris. 'Standing young woman in corset, advertising photography for PMH' September 1932

 

Éditions Paul Martial, Paris
Standing young woman in corset, advertising photography for PMH
September 1932
Gelatin silver print
23.8 x 18 cm
Kunstmuseum Basel, Prints and Drawings
Purchase from the Herzog Collection, Basel
© Kunstmuseum Basel

 

 

 

Kunstmuseum Basel
St. Alban-Graben 16
CH-4010 Basel
Tel: +41 61 206 62 62

Opening hours:
Tuesday – Sunday 11am – 6pm
Closed on Monday

Kunstmuseum Basel website

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09
Oct
14

Exhibition: ‘Sharp, Clear Pictures: Edward Steichen’s World War 1 and Condé Nast Years’ at The Art Institute of Chicago

Exhibition dates: 24th June – 13th October 2014

 

Brave man, hanging over the side of a rickety biplane at 15,000 feet taking aerial photographs during World War One but just look at the images he brought back, especially the hellish Untitled (Vaux) (1918-19, below). I’m still not that convinced by his portraiture. The technical proficiency is magnificent (lighting, set, costume) but they are just too styled for me – the cat in the top left corner of Noel Coward (1932, below), the bowler hat of Charles Chaplin (1931, below) and the double shadow of Fred Astaire in Funny Face (1927, below) coupled with bands of light/dark and tons of “atmosphere” (certainly not sharp and clear!) which echo the mannerisms of Pictorialism. I see little modernist aesthetics and advertising tactics in these photographs. They are beautiful but they leave me unengaged. I much prefer the advertising photography in the next posting, much more angular and modern. You will have to wait and see what it is!

Marcus

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

 

“At the start of World War I in 1914, Edward Steichen was a pioneering champion of art photography – catapulting to fame as a leading member of the Photo Secessionists and as cofounder of the trailblazing magazine Camera Work. Yet by the early 1920s, Steichen had rejected the soft focus, dreamy landscapes and portraits of his early years in favor of realist photographs made for informational purposes or popular consumption. This turning point was first marked by his role in World War I as chief of the Photographic Section of the American Expeditionary Forces from 1917 to 1919; and was fully realized in his subsequent work as lead photographer at Condé Nast publications from 1923 to 1937.

While on military duty, Steichen helped adapt aerial photography for intelligence purposes, implementing surveillance programs that had a lasting impact on modern warfare. He later reflected: “The wartime problem of making sharp, clear pictures from a vibrating, speeding airplane ten to twenty thousand feet in the air had brought me a new kind of technical interest in photography… Now I wanted to know all that could be expected from photography.” Steichen began to value photography’s capacity to transmit and encode information, and he soon proved his savvy as a collaborator and producer rather than a solitary auteur – new skills that enabled his subsequent groundbreaking career in magazines. Upon his return to New York in 1923, Steichen joined Condé Nast publications, creating iconic fashion photographs and celebrity portraits for Vogue and Vanity Fair. Over a period of nearly 15 years he created images that redefined the field through their clever use of modernist aesthetics and advertising tactics, becoming an influential impresario who promoted photography as a mass-media tool.

Focusing on rarely seen Steichen photographs drawn from the Art Institute’s collection, this exhibition includes a unique album of over 80 World War I aerial photographs assembled and annotated by Steichen himself as well as a group of iconic glamour portraits and fashion photographs done for Condé Nast, featuring notable figures such as Greta Garbo, Fred Astaire, and Gloria Swanson.”

Text from The Art Institute of Chicago website

 

 

Photographic Section, U.S. Air Service, American Expeditionary Forces (AEF) and Major Edward J. Steichen, A.S.A. 'Bomb Dropped From Airplane' 1918

 

Photographic Section, U.S. Air Service, American Expeditionary Forces (AEF) and Major Edward J. Steichen, A.S.A.
Bomb Dropped From Airplane
1918
Gelatin silver print, from loose-leaf album of aerial photographs from the Photographic Section, Air Service, American Expeditionary Forces, World War I
The Art Institute of Chicago, gift of William Kistler
© 2014 The Estate of Edward Steichen/Artists Rights Society (ARS), New York.

 

Photographic Section, U.S. Air Service, American Expeditionary Forces (AEF) and Major Edward J. Steichen, A.S.A. 'In Chateau Thierry Sector showing service bridges destroyed by retreating enemy forces' September 7, 1918

 

Photographic Section, U.S. Air Service, American Expeditionary Forces (AEF) and Major Edward J. Steichen, A.S.A.
In Chateau Thierry Sector showing service bridges destroyed by retreating enemy forces
September 7, 1918
Gelatin silver print, from loose-leaf album of aerial photographs from the Photographic Section, Air Service, American Expeditionary Forces, World War I
The Art Institute of Chicago, gift of William Kistler
© 2014 The Estate of Edward Steichen/Artists Rights Society (ARS), New York

 

Photographic Section, U.S. Air Service, American Expeditionary Forces (AEF) and Major Edward J. Steichen, A.S.A. 'In Chateau Thierry Sector showing service bridges destroyed by retreating enemy forces' (detail) September 7, 1918

 

Photographic Section, U.S. Air Service, American Expeditionary Forces (AEF) and Major Edward J. Steichen, A.S.A.
In Chateau Thierry Sector showing service bridges destroyed by retreating enemy forces (detail)
September 7, 1918
Gelatin silver print, from loose-leaf album of aerial photographs from the Photographic Section, Air Service, American Expeditionary Forces, World War I
The Art Institute of Chicago, gift of William Kistler
© 2014 The Estate of Edward Steichen/Artists Rights Society (ARS), New York

 

Photographic Section, U.S. Air Service, American Expeditionary Forces (AEF) and Major Edward J. Steichen, A.S.A. 'Concrete landing platform for airplanes at Puxieux (each strip about 50 ft. wide by 250 ft long), crescent shape mass was formed by the pile of broken concrete when the platform was removed, altitude 15,000 ft.,' August 23, 1918

 

Photographic Section, U.S. Air Service, American Expeditionary Forces (AEF) and Major Edward J. Steichen, A.S.A.
Concrete landing platform for airplanes at Puxieux (each strip about 50 ft. wide by 250 ft long), crescent shape mass was formed by the pile of broken concrete when the platform was removed, altitude 15,000 ft.,
August 23, 1918
Gelatin silver print, from loose-leaf album of aerial photographs from the Photographic Section, Air Service, American Expeditionary Forces, World War I
The Art Institute of Chicago, gift of William Kistler
© 2014 The Estate of Edward Steichen/Artists Rights Society (ARS), New York

 

Photographic Section, U.S. Air Service, American Expeditionary Forces (AEF) and Major Edward J. Steichen, A.S.A. 'Concrete landing platform for airplanes at Puxieux (each strip about 50 ft. wide by 250 ft long), crescent shape mass was formed by the pile of broken concrete when the platform was removed, altitude 15,000 ft.,' (detail) August 23, 1918

 

Photographic Section, U.S. Air Service, American Expeditionary Forces (AEF) and Major Edward J. Steichen, A.S.A.
Concrete landing platform for airplanes at Puxieux (each strip about 50 ft. wide by 250 ft long), crescent shape mass was formed by the pile of broken concrete when the platform was removed, altitude 15,000 ft., (detail)
August 23, 1918
Gelatin silver print, from loose-leaf album of aerial photographs from the Photographic Section, Air Service, American Expeditionary Forces, World War I
The Art Institute of Chicago, gift of William Kistler
© 2014 The Estate of Edward Steichen/Artists Rights Society (ARS), New York

 

Photographic Section, U.S. Air Service, American Expeditionary Forces (AEF) and Major Edward J. Steichen, A.S.A. 'Untitled (Vaux)' 1918/19

 

Photographic Section, U.S. Air Service, American Expeditionary Forces (AEF) and Major Edward J. Steichen, A.S.A.
Untitled (Vaux)
1918-19
Gelatin silver print, from loose-leaf album of aerial photographs from the Photographic Section, Air Service, American Expeditionary Forces, World War I
The Art Institute of Chicago, gift of William Kistler
© 2014 The Estate of Edward Steichen/Artists Rights Society (ARS), New York

 

Edward Steichen. 'Mary Duncan in "Lilly,"' 1931

 

Edward Steichen
Mary Duncan in “Lilly”
1931
The Art Institute of Chicago, bequest of Edward Steichen by direction of Joanna T. Steichen and George Eastman House
© 2014 The Estate of Edward Steichen/Artists Rights Society (ARS), New York

 

 

“Throughout his extensive career, famed photographer Edward Steichen (1879-1973) championed photography’s multiple roles – from his earliest efforts to promote American photography as an equal among the modern fine arts, to his groundbreaking work for the magazine industry. A new exhibition at the Art Institute of Chicago, Sharp, Clear Pictures: Edward Steichen’s World War I and Condé Nast Years, on view from June 28 – September 28, 2014, in Galleries 1-4, examines a crucial period in Steichen’s career, when he rejected the painterly Pictorialist aesthetic of his early years in favor of a straight, information-based approach. This turning point was first signaled by Steichen’s role in World War I, as chief of the Photographic Section of the American Expeditionary Forces from 1917 to 1919, and was fully realized in his work as lead photographer at Condé Nast Publications from 1923 to 1937.

Focusing on rarely seen Steichen photographs drawn from the Art Institute’s collection, this exhibition includes a unique album of over 80 World War I aerial photographs assembled and annotated by Steichen himself as well as a group of iconic glamour portraits and fashion photographs done for Condé Nast, featuring such early Hollywood royalty as Mary Pickford, Greta Garbo, Fred Astaire, Charlie Chaplin and Gloria Swanson, as well as key historical figures like Winston Churchill.

Prior to WWI, Edward Steichen was a pioneering champion of art photography – he had a leading reputation in the Photo Secession movement in New York, and, along with his mentor Alfred  Stieglitz, had cofounded its trail-blazing fine-art journal Camera Work. Together, they opened the Little Galleries of the Photo-Secession, later 291, which first presented Picasso, Bråncusi, and a range of progressive photographers to the American public. In 1906, seeking a change, Steichen moved to Voulangis, France, with his family, where he immersed himself in European modern art. They remained there until the outbreak of the war in 1914, when, under the threat of advancing German troops, they fled home to the United States.

In July 1917, Steichen entered active duty with the goal of becoming “a photographic reporter, as Mathew Brady had been in the Civil War,” but he quickly abandoned this romantic notion to help implement the newest weapon of war – aerial photography. While on military duty, Steichen helped adapt aerial photography for intelligence purposes, implementing surveillance programs that had a lasting impact on modern warfare. He later reflected: “The wartime problem of making sharp, clear pictures from a vibrating, speeding airplane ten to twenty thousand feet in the air had brought me a new kind of technical interest in photography… Now I wanted to know all that could be expected from photography.” Steichen began to value photography’s capacity to transmit and encode information, and he soon proved his savvy as a collaborator and producer rather than a solitary auteur – new skills that enabled his subsequent groundbreaking career in magazines.

Following his military discharge in 1919, Steichen returned to Voulangis, where for a period of three years he created work that embraced clear focus, close cropping, and other techniques of modernist photography. Upon his return to New York in 1923, Steichen joined Condé Nast Publications, creating iconic fashion photographs and celebrity portraits for Vogue and Vanity Fair. In undertaking this challenging endeavor, the organizational and technical skills Steichen gained during his time in the military and in Voulangis proved invaluable.

Steichen championed the cultural and economic potential of celebrity, fashion, and advertising photography, creating images that became the foundation for contemporary magazine photography. Over a period of nearly 15 years he created images that redefined the field through their clever use of modernist aesthetics and advertising tactics, becoming an influential impresario who promoted photography as a mass-media tool.”

Press release from The Art Institute of Chicago website

 

Edward Steichen. 'Self-Portrait with Brush and Palette' 1902

 

Edward Steichen
Self-Portrait with Brush and Palette
1902
The Art Institute of Chicago, Alfred Stieglitz Collection
© 2014 The Estate of Edward Steichen/Artists Rights Society (ARS), New York

 

Edward Steichen. 'Mary Pickford' 1924

 

Edward Steichen
Mary Pickford
1924
The Art Institute of Chicago, Bequest of Edward Steichen by direction of Joanna T. Steichen and George Eastman House
© 2014 The Estate of Edward Steichen/Artists Rights Society (ARS), New York

 

Edward Steichen. 'Fred Astaire in Funny Face' 1927

 

Edward Steichen
Fred Astaire in Funny Face
1927
The Art Institute of Chicago, Bequest of Edward Steichen by direction of Joanna T. Steichen and George Eastman House
© 2014 The Estate of Edward Steichen/Artists Rights Society (ARS), New York

 

Edward Steichen. 'Noel Coward' 1932

 

Edward Steichen
Noel Coward
1932
The Art Institute of Chicago, bequest of Edward Steichen by direction of Joanna T. Steichen and George Eastman House
© 2014 The Estate of Edward Steichen/Artists Rights Society (ARS), New York

 

Edward Steichen. 'Charles Chaplin' 1931

 

Edward Steichen
Charles Chaplin
1931
The Art Institute of Chicago, Bequest of Edward Steichen by direction of Joanna T. Steichen and George Eastman House
© 2014 The Estate of Edward Steichen/Artists Rights Society (ARS), New York

 

Edward Steichen. 'Lily Pons' 1932

 

Edward Steichen
Lily Pons
1932
The Art Institute of Chicago, bequest of Edward Steichen by direction of Joanna T. Steichen and George Eastman House
© 2014 The Estate of Edward Steichen/Artists Rights Society (ARS), New York

 

Edward Steichen. 'Winston Churchill' 1932

 

Edward Steichen
Winston Churchill
1932
The Art Institute of Chicago, Bequest of Edward Steichen by direction of Joanna T. Steichen and George Eastman House
© 2014 The Estate of Edward Steichen/Artists Rights Society (ARS), New York

 

Edward Steichen. 'Greta Garbo and John Gilbert' 1928

 

Edward Steichen
Greta Garbo and John Gilbert
1928
The Art Institute of Chicago, bequest of Edward Steichen by direction of Joanna T. Steichen and George Eastman House
© 2014 The Estate of Edward Steichen/Artists Rights Society (ARS), New York

 

 

The Art Institute of Chicago
111 South Michigan Avenue
Chicago, Illinois 60603-6404
T: (312) 443-3600

Opening hours:
Monday – Wednesday, 10.30 – 5.00
Thursday, 10.30 – 8.00
Friday, 10.30 – 8.00
Saturday – Sunday, 10.00 – 5.00
The museum is closed Thanksgiving, Christmas, and New Year’s days.

The Art Institute of Chicago website

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03
Oct
14

Exhibition: ‘A World of Its Own: Photographic Practices in the Studio’ at the Museum of Modern Art (MoMA), New York Part 2

Exhibition dates: 8th February – 2nd November 2014

The Edward Steichen Photography Galleries, third floor

Curators: Organized by Quentin Bajac, The Joel and Anne Ehrenkranz Chief Curator, with Lucy Gallun, Assistant Curator, Department of Photography

 

Many thankx to MoMA for allowing me to publish four of the photographs in the posting. The rest of the images were sourced from the Internet in order to give the reader a more comprehensive understanding of what this exhibition is actually about – especially if you are thousands of miles away and have no hope of ever seeing it!

Please click on the photographs for a larger version of the image.

 

The exhibition is divided into 6 themes each with its own gallery space:

1. Surveying the Studio

2. The Studio as Stage

3. The Studio as Set

4. A Neutral Space

5. Virtual Spaces

6. The Studio, from Laboratory to Playground

 

 

A Neutral Space

Harry Callahan (American, 1912–1999) 'Eleanor' 1948

 

Harry Callahan (American, 1912–1999)
Eleanor
1948
Gelatin silver print
4 1/2 x 3 1/4″ (11.4 x 8.3 cm)
Gift of the artist

 

Imogen Cunningham (American, 1883-1976) 'Cala Leaves' 1932

 

Imogen Cunningham (American, 1883-1976)
Cala Leaves
1932
Gelatin silver print
9 9/16 x 7 9/16″ (24.3 x 19.2 cm)
Gift of Paul F. Walter

 

Richard Avedon (American, 1923-2004) 'Carl Hoefert, unemployed blackjack dealer, Reno, Nevada', from the series 'In the American West' August 30, 1983

 

Richard Avedon (American, 1923-2004)
Carl Hoefert, unemployed blackjack dealer, Reno, Nevada, from the series In the American West
August 30, 1983
Gelatin silver print, printed 1985
47 1/2 x 37 1/2″ (120.6 x 95.2 cm)
Gift of the artist

 

Peter Hujar (American, 1934-1987) 'David Wojnarowicz' 1981

 

Peter Hujar (American, 1934-1987)
David Wojnarowicz
1981
Gelatin silver print
14 x 14″ (35.6 x 35.6 cm)
The Fellows of Photography Fund

 

Peter Hujar (American, 1934-1987) 'Pascal (Paris)' 1980

 

Peter Hujar (American, 1934-1987)
Pascal (Paris)
1980
Gelatin silver print
14 5/8 x 14 11/16″ (37.1 x 37.3 cm)
Gift of David Wojnarowicz

 

Valérie Belin (French, born 1964) 'Untitled' from the series 'Mannequins' 2003

 

Valérie Belin (French, born 1964)
Untitled from the series Mannequins
2003
Gelatin silver print
61 x 49″ (154.9 x 124.5 cm)
Purchase

 

Laurie Simmons (American, born 1949) Allan McCollum (American, born 1944) 'Untitled' from the series 'Actual Photos' 1985

 

Laurie Simmons (American, born 1949)
Allan McCollum (American, born 1944)
Untitled from the series Actual Photos
1985
Silver dye bleach print
9 5/16 x 6 5/16″ (23.7 x 16.1 cm)
Joel and Anne Ehrenkranz Fund

 

Josephine Meckseper (German, born 1964) 'Blow-Up (Michelli, Knee-Highs)' 2006

 

Josephine Meckseper (German, born 1964)
Blow-Up (Michelli, Knee-Highs)
2006
Chromogenic color print
78 5/8 x 62 5/8″ (199.7 x 159.1 cm)
Fund for the Twenty-First Century

 

Virtual Spaces

Christian Marclay (American and Swiss, born 1955) 'Allover (Genesis, Travis Tritt, and Others)' 2008

 

Christian Marclay (American and Swiss, born 1955)
Allover (Genesis, Travis Tritt, and Others)
2008
Cyanotype
Composition and sheet: 51 1/2 x 97 3/4″ (130.8 x 248.3 cm)
Publisher and printer: Graphicstudio, University of South Florida, Tampa
Acquired through the generosity of Steven A. and Alexandra M. Cohen

 

Thomas Ruff (German, born 1958) 'phg.06' 2012

 

Thomas Ruff (German, born 1958)
phg.06
2012
Chromogenic color print
100 3/8 x 72 13/16″ (255 x 185 cm)
Courtesy David Zwirner, New York/ London

 

Man Ray (American, 1890-1976) 'Rayograph' 1923

 

Man Ray (American, 1890-1976)
Rayograph
1923
Gelatin silver print
9 7/16 x 7″ (23.9 x 17.8 cm)
Purchase

 

György Kepes (American, born Hungary. 1906-2001) 'Abstraction - Surface Tension #2' c. 1940

 

György Kepes (American, born Hungary. 1906-2001)
Abstraction – Surface Tension #2
c. 1940
Gelatin silver print
14 x 11 1/8″ (35.6 x 28.3 cm)
Gift of the artist

 

The Studio, from Laboratory to Playground

Barbara Morgan (American, 1900-1992) 'Pure Energy and Neurotic Man' 1941

 

Barbara Morgan (American, 1900-1992)
Pure Energy and Neurotic Man
1941
Gelatin silver print, printed 1971
19 1/8 x 15 1/2″ (48.6 x 39.3 cm)
Gift of the artist

 

Barbara Morgan (American, 1900-1992) 'Cadenza' 1940

 

Barbara Morgan (American, 1900-1992)
Cadenza
1940
Gelatin silver print, printed 1971
17 7/8 x 15″ (45.4 x 38.2 cm)
Gift of the artist

 

Berenice Abbott (American, 1898-1991) 'Focusing Water Waves, Massachusetts Institute of Technology' 1958-61

 

Berenice Abbott (American, 1898-1991)
Focusing Water Waves, Massachusetts Institute of Technology
1958-61
Gelatin silver print
6 9/16 x 7 15/16″ (16.7 x 20.1 cm)
Gift of Ronald A. Kurtz

 

Berenice Abbott (American, 1898-1991) 'Wave Pattern with Glass Plate, Massachusetts Institute of Technology' 1958-61

 

Berenice Abbott (American, 1898-1991)
Wave Pattern with Glass Plate, Massachusetts Institute of Technology
1958-61
Gelatin silver print
6 9/16 x 7 9/16″ (16.7 x 19.2 cm)
Gift of Ronald A. Kurtz

 

Heinz Hajek-Halke (German, 1898-1983) 'Embrace (Umarmung)' 1947-51

 

Heinz Hajek-Halke (German, 1898-1983)
Embrace (Umarmung)
1947-51
Gelatin silver print
15 5/8 x 11 3/8″ (39.7 x 29.0 cm)
Gift of the artist

 

Harold Edgerton (American, 1903-1990) 'Lead Falling in a Shot Tower' 1936

 

Harold Edgerton (American, 1903-1990)
Lead Falling in a Shot Tower
1936
Gelatin silver print
7 9/16 x 9 1/2″ (19.3 x 24.2 cm)
Gift of Gus and Arlette Kayafas

 

Harold Edgerton (American, 1903-1990) 'Bouncing Ball Bearing' 1962

 

Harold Edgerton (American, 1903-1990)
Bouncing Ball Bearing
1962
Gelatin silver print
9 9/16 x 7 11/16″ (24.3 x 19.5 cm)
Gift of Gus and Arlette Kayafas

 

Harold Edgerton (American, 1903-1990) 'This is Coffee' 1933

 

Harold Edgerton (American, 1903-1990)
This is Coffee
1933
Gelatin silver print
9 7/8 x 12 7/8″ (25.1 x 32.7 cm)
Gift of the artist

 

Roman Signer (Swiss, born 1938) 'Sand Curtain (Sandvorhang)' 1983

 

Roman Signer (Swiss, born 1938)
Sand Curtain (Sandvorhang)
1983
Super 8 film transferred to video (color, silent)
Approximately 2 min.
Committee on Media Funds

 

Roman Signer (Swiss, born 1938) 'Sand Stairs (Sandtreppe)' 1975

 

Roman Signer (Swiss, born 1938)
Sand Stairs (Sandtreppe)
1975
Super 8 film transferred to video (color, silent)
Approximately 2 min.
Committee on Media Funds

 

Roman Signer (Swiss, born 1938) 'Rubber Motor (Gummimotor)' 1983

 

Roman Signer (Swiss, born 1938)
Rubber Motor (Gummimotor)
1983
Super 8 film transferred to video (color, silent)
Approximately 2 min.
Committee on Media Funds

 

Roman Signer (Swiss, born 1938) 'Sand Cone (Sandkegel)' 1984

 

Roman Signer (Swiss, born 1938)
Sand Cone (Sandkegel)
1984
Super 8 film transferred to video (color, silent)
Approximately 2 min.
Committee on Media Funds

 

Roman Signer (Swiss, born 1938) 'Sand Pillar (Sandturm)' 1987

 

Roman Signer (Swiss, born 1938)
Sand Pillar (Sandturm)
1987
Super 8 film transferred to video (color, silent)
Approximately 2 min.
Committee on Media Funds

 

Roman Signer (Swiss, born 1938) 'Sand (Sand)' 1988

 

Roman Signer (Swiss, born 1938)
Sand (Sand)
1988
Super 8 film transferred to video (color, silent)
Approximately 2 min.
Committee on Media Funds

 

Roman Signer (Swiss, born 1938) 'Umbrella (Schirm)' 1989

 

Roman Signer (Swiss, born 1938)
Umbrella (Schirm)
1989
Super 8 film transferred to video (color, silent)
Approximately 2 min.
Committee on Media Funds

 

Roman Signer (Swiss, born 1938) 'Barrel (Fass)' 1985

 

Roman Signer (Swiss, born 1938)
Barrel (Fass)
1985
Super 8 film transferred to video (color, silent)
Approximately 2 min.
Committee on Media Funds

 

Roman Signer (Swiss, born 1938) 'Carriage (Wagen)' 1982

 

Roman Signer (Swiss, born 1938)
Carriage (Wagen)
1982
Super 8 film transferred to video (color, silent)
Approximately 2 min.
Committee on Media Funds

 

Roman Signer (Swiss, born 1938) 'Tube (Schlauch)' 1982

 

Roman Signer (Swiss, born 1938)
Tube (Schlauch)
1982
Super 8 film transferred to video (color, silent)
Approximately 2 min.
Committee on Media Funds

 

Roman Signer (b. 1938 in Appenzell, Switzerland) is principally a visual artist who works in sculpture, installations photography, and video. Signer’s work has grown out of, and has affinities with both land art and performance art, but they are not typically representative of either category.It is often being described as following the tradition of the Swiss engineer-artist, such as Jean Tinguely and Peter Fischli & David Weiss.

Signer’s “action sculptures” involve setting up, carrying out, and recording “experiments” or events that bear aesthetic results. Day-to-day objects such as umbrellas, tables, boots, containers, hats and bicycles are part of Signer’s working vocabulary. Following carefully planned and strictly executed and documented procedures, the artist enacts and records such acts as explosions, collisions, and the projection of objects through space. Signer advocates ‘controlled destruction, not destruction for its own sake’. Action Kurhaus Weissbad (1992) saw chairs catapulted out of a hotel’s windows; Table (1994) launched a table into the sea on four buckets; Kayak (2000) featured the artist being towed down a road in a canoe. In documenta 8 (1987), he catapulted thousands of sheets of paper into the air to create an ephemeral wall in the room for a brief, but all the more intense moment. As the Swiss representative at the Venice Biennale in 1999, he made 117 steel balls fall from the ceiling on to lumps of clay lying on the ground. Many of his happenings are not for public viewing, and are only documented in photos and film. Video works like Stiefel mit Rakete (Boot with Rocket) are integral to Signer’s performances, capturing the original setup of materials that self-destruct in the process of creating an emotionally and visually compelling event. (Text from Wikipedia website)

 

 

Kiki Smith (American, born Germany 1954) 'My Secret Business' 1993

 

Kiki Smith (American, born Germany 1954)
My Secret Business
1993
Lithograph
23 9/16 • 18 1/8″ (59.8 • 46 cm)
Gift of Howard B. Johnson

 

Adrian Piper (American, born 1948) 'Food for the Spirit #2' 1971, printed 1997

 

Adrian Piper (American, born 1948)
Food for the Spirit #2
1971, printed 1997
Gelatin silver print
14 9/16 x 15″ (37 x 38.1 cm)
The Family of Man Fund

 

Adrian Piper (American, born 1948) 'Food for the Spirit #8' 1971, printed 1997

 

Adrian Piper (American, born 1948)
Food for the Spirit #8
1971, printed 1997
Gelatin silver print
14 9/16 x 14 15/16″ (37 x 38 cm)
The Family of Man Fund

 

Adrian Piper (American, born 1948) 'Food for the Spirit #14' 1971, printed 1997

 

Adrian Piper (American, born 1948)
Food for the Spirit #14
1971, printed 1997
Gelatin silver print
14 9/16 x 15″ (37 x 38.1 cm)
The Family of Man Fund

 

Harold Edgerton (American, 1903-1990) 'Indian Club Demonstration' 1939

 

Harold Edgerton (American, 1903-1990)
Indian Club Demonstration
1939
Gelatin silver print
13 x 10″ (33.0 x 26.0 cm)
Gift of the artist

 

Harold Edgerton (American, 1903-1990) 'Bobby Jones with an Iron' 1938

 

Harold Edgerton (American, 1903-1990)
Bobby Jones with an Iron
1938
Gelatin silver print
9 5/8 x 11 1/2″ (24.4 x 29.2 cm)
Gift of the artist

 

John Divola (American, born 1949) 'Untitled' from the series 'Vandalism' 1974

 

John Divola (American, born 1949)
Untitled from the series Vandalism
1974
Gelatin silver print
7 1/16 x 7 1/16″ (18.0 x 18.0 cm)
Purchase

 

John Divola (American, born 1949) 'Untitled' from the series 'Vandalism' 1974

 

John Divola (American, born 1949)
Untitled from the series Vandalism
1974
Gelatin silver print
7 x 7″ (17.9 x 17.9 cm)
Purchase

 

Robert Frank (American, born Switzerland 1924) 'Boston' (detail) March 20, 1985

 

Robert Frank (American, born Switzerland 1924)
Boston (detail)
March 20, 1985
Color instant prints (Polaroids) with hand-applied paint and collage
each 27 3/4 x 22 1/4″ (70.3 x 56.4 cm)
Acquired through the generosity of Polaroid Corporation

 

Anna Blume (German, born 1937) Bernhard Blume (German, born 1937) 'Kitchen Frenzy (Küchenkoller)' (detail) 1986

 

Anna Blume (German, born 1937)
Bernhard Blume (German, born 1937)
Kitchen Frenzy (Küchenkoller) (detail)
1986
Gelatin silver prints
Each 66 15/16 x 42 1/2″ (170 x 108 cm)
Acquired through the generosity of the Contemporary Arts Council of The Museum of Modern Art

 

 

The Museum of Modern Art
11 West 53 Street
New York, NY 10019
T: (212) 708-9400

Opening hours:
Wednesday – Monday, 10.30 am – 5.30 pm
Friday, 10.30 am – 8.00 pm
Closed Tuesday

MOMA website

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Dr Marcus Bunyan

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

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