Archive for the 'landscape' Category

28
Jul
14

Exhibition: ‘Jeff Wall: Tableaux, Pictures, Photographs, 1996-2013′ at Stedelijk Museum Amsterdam

Exhibition dates: 1st March – 3rd August 2014

 

What an absolutely beautiful space to show your work. Can you just imagine what you would create if you had the chance!

Marcus

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

 

 

Installation view of 'Jeff Wall: Tableaux, Pictures, Photographs, 1996-2013' at Stedelijk Museum Amsterdam

Installation view of 'Jeff Wall: Tableaux, Pictures, Photographs, 1996-2013' at Stedelijk Museum Amsterdam

Installation view of 'Jeff Wall: Tableaux, Pictures, Photographs, 1996-2013' at Stedelijk Museum Amsterdam

Installation view of 'Jeff Wall: Tableaux, Pictures, Photographs, 1996-2013' at Stedelijk Museum Amsterdam

 

Installation views of Jeff Wall: Tableaux, Pictures, Photographs, 1996-2013 at Stedelijk Museum Amsterdam
Photos: Gert Jan van Rooij

 

Jeff Wall. 'Volunteer' 1996

 

Jeff Wall
Volunteer
1996
Gelatine silverprint
221.5 x 313 x 5cm
Courtesy of the artist

 

Jeff Wall. 'The Flooded Grave' 1998-2000

 

Jeff Wall
The Flooded Grave
1998-2000
Transparency in lightbox
225.5 x 282 x 25 cm
Courtesy of the artist

 

Jeff Wall. 'Invisible man by Ralp Ellison, The Prologue' 1999-2000

 

Jeff Wall
Invisible man by Ralp Ellison, The Prologue
1999-2000
Transparency in lightbox
174 x 250 x 25cm
Courtesy of the artist

 

 

“Jeff Wall: Tableaux, Pictures, Photographs, 1996-2013 presents recent work in color and black and white, and features the new, previously unseen diptych Summer Afternoons (2013). It is the first major photography exhibition to be presented at the Stedelijk following its reopening in 2012.

Since the 1980s, Wall has produced critically acclaimed work in the form of color transparencies backlit by fluorescent light strips and presented in lightboxes. He was one of the first artists to make photographs on a large scale. The standard lightbox was created for the primary purpose of outdoor advertising. In Wall’s work, this medium became a platform for his figurative tableaux, street scenes and interiors, landscapes and cityscapes. Wall explores themes such as the relationships between men and women and the boundary between metropolis and nature. He offers social commentary on violence and cultural miscommunication, and conjures seductive nightmarish fantasies and personal memories. These scenes provide the basis for photographic reconstructions of Wall’s experience. They derive their inherent suspense from a combination of extreme realism and sometimes elaborate artifice.

The exhibition hinges on the year 1996, which marked a turning point in Wall’s production: It was the first year that he produced black-and-white prints on paper. More immediately than the lightboxes, the black-and-white photographs suggest new relations of his work to documentary themes and aesthetics. But Wall also orchestrates the content of these images, employing tools borrowed from filmmaking. Wall sees photographs as autonomous, independent images and, strictly speaking, all his works are created using photographic means. At the same time, he analyzes and expands the visual language of photography by adding elements from painting, cinema, theater. In choosing his themes, Wall deconstructs common ideas and assumptions, including those relating to his own work. He has, for instance, also shot many “unstaged” images.

Curator Hripsimé Visser said: “Jeff Wall is first and foremost an ‘artist’s artist,’ he is well- known and much loved by other artists, as well as critics. With this exhibition, the Stedelijk hopes to create broader public awareness of Jeff Wall as one of the artists who uniquely and enduringly defined photography as a fine art medium. Wall’s work is classic, yet entirely contemporary at the same time. His themes are both commonplace and tension-filled. What at first seems straightforward and intelligible is also complex and enigmatic. Wall carefully selects his mode of display to be produced with an incredible eye for detail. The large scale of the images is a natural, integral feature of the work.”

Jeff Wall himself chose the title of this exhibition. It is a reference to the layers that can be found in his work. He says, “‘Tableau’ refers to the free-standing, autonomous object we look at from a distance, often when it is hanging on the wall in front of us. ‘Picture’ relates to that special and isolated image within the entire spectrum of image production available in a culture. And ‘photograph’ identifies it in the technical sense, and as medium, distinct from other ways of making tableaux or pictures.” Wall aims to present each photo as an independent, unique image, intended to be seen hanging on a wall, not as reproductions in a book. As such, Wall arranged this presentation to give each individual artwork the space it needs. The monumental scale of the work encourages viewers to experience the space that is evoked in the images. At the same time, the themes and formal and stylistic qualities of the different images prompt viewers to draw comparisons between them.

The exhibition will fan out across the Stedelijk’s former Hall of Honor, two adjacent gallery spaces in the historic building, and the Van den Ende Foundation Gallery in the new wing of the museum. Jeff Wall: Tableaux Pictures Photographs 1996-2013 was curated by Hripsimé Visser, in close collaboration with the artist and in collaboration with Kunsthaus Bregenz, Austria, and the Louisiana Museum of Modern Art, Humlebaeck, Denmark. The exhibition will travel to both museums.

Jeff Wall grew up in Vancouver and studied at the University of British Columbia and at the Courtauld Institute of Art in London. Since the late 1970s, he has been considered one of the art world’s most innovative contemporary photographers. His work has been the subject of recent solo exhibitions at the Pinakothek der Moderne, Munich (2013), the Museum of Modern Art, New York (2007), and Tate Modern, London (2005), among others. The Stedelijk Museum first presented Wall’s work in 1985.”

Press release from the Stedelijk Museum Amsterdam website

 

Jeff Wall. 'Overpass' 2001

 

Jeff Wall
Overpass
2001
Transparency in lightbox
214 x 273.5 x 25cm
Courtesy of the artist

 

Jeff Wall. 'In Front of a Nightclub' 2006

 

Jeff Wall
In Front of a Nightclub
2006
Transparency in lightbox
226 x 360 x 30 cm
Courtesy of the artist

 

Jeff Wall. 'Knife Throw' 2008

 

Jeff Wall
Knife Throw
2008
Ink-jet-print
195 x 267 x 5cm
Courtesy of the artist

 

Jeff Wall. 'Boy Falls From Tree' 2010

 

Jeff Wall
Boy Falls From Tree
2010
Colour photograph
234.3 x 313.7 x 5.1 cm
Courtesy of the artist

 

Jeff Wall. 'Boxing' 2011

 

Jeff Wall
Boxing
2011
Colour photograph
222.9 x 303.5 x 5.1 cm
Courtesy of the artist

 

 

 

Stedelijk Museum Amsterdam
Museumplein 10

Opening hours:
Daily 10 am – 6 pm
Thursday 10 am – 10 pm

Stedelijk Museum Amsterdam website

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26
Jul
14

Exhibition: ‘Knud Lonberg-Holm: The Invisible Architect’ at Ubu Gallery, New York Part 1

Exhibition dates: 6th May – 30th September 2014

 

I am so excited by this monster two-part posting about the work of architect Knud Lonberg-Holm. Not only are his drawings and models incredible but his photographs of industry and skyscrapers, taken mainly between 1924-26, are a revelation. The textures and inky blackness of his Dazzlescapes and the New Photography images of skyscrapers (both in Part 2) mark these images as the greatest collection of photographs of skyscrapers that I have ever seen. More comment tomorrow but for now just look at the dark Gotham-esque photograph The New – The Coming, Detroit, Streetcars (1924, below). The streetcar reminds me of the armoured trains so popular during the inter-war years and during World War II. And what a title: The New – The Coming…

Marcus

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

 

 

“Lonberg-Holm was the first architect in my knowledge ever to talk about the ultimately invisible architecture. In 1929, when I first met him, he said the greatest architect in history would be the one who finally developed the capability to give humanity completely effective environmental control without any visible structure and machinery.”

.
Buckminster Fuller

 

 

Knud Lonberg-Holm. 'The New - The Coming, Detroit, Streetcars' 1924

 

Knud Lonberg-Holm
The New – The Coming, Detroit, Streetcars
1924
Reproduced in Erich Mendelsohn’s Amerika, p. 73
Vintage gelatin silver print
3 1/4 x 4 1/4 inches (8.3 x 10.8 cm)
The Knud Lonberg-Holm Archive from the Marc Dessauce Collection; Courtesy Ubu Gallery, New York

 

Knud Lonberg-Holm. 'View from the roof' Detroit, 1924

 

Knud Lonberg-Holm
View from the roof
Detroit, 1924
Vintage gelatin silver print
2 3/4 x 4 1/2 inches (7 x 11.4 cm) approx.
The Knud Lonberg-Holm Archive from the Marc Dessauce Collection; Courtesy Ubu Gallery, New York

 

Knud Lonberg-Holm. 'Detroit' 1924

 

Knud Lonberg-Holm
Detroit
1924
reproduced in Erich Mendelsohn’s Amerika, p. 71 (top)
Vintage gelatin silver print
3 3/8 x 4 3/8 inches (8.6 x 11.1 cm)
The Knud Lonberg-Holm Archive from the Marc Dessauce Collection; Courtesy Ubu Gallery, New York

 

Knud Lonberg-Holm. 'Detroit, A New Street' 1924

 

Knud Lonberg-Holm
Detroit, A New Street
1924
reproduced in Erich Mendelsohn’s Amerika, p. 71 (bottom)
Vintage gelatin silver print
3 3/8 x 4 3/8 inches (8.6 x 11.1 cm)
The Knud Lonberg-Holm Archive from the Marc Dessauce Collection; Courtesy Ubu Gallery, New York

 

 

“Ubu Gallery is pleased to present Knud Lonberg-Holm: The Invisible Architect, a debut exhibition devoted to this overlooked, yet highly influential, 20th Century modernist. Never-before-seen photographs, architectural drawings, letters, graphic design, and ephemera from Lonberg-Holm’s remarkably diverse career will be on view through August 1, 2014. The exhibition, which consists of selections from the extensive archive assembled by architectural historian Marc Dessauce, will solidify the importance of this emblematic figure in early 20th Century cultural and architectural history. Metropolis Magazine, the national publication of architecture and design, will publish an article on Knud Lonberg-Holm to coincide with this groundbreaking exhibition.

Born in Denmark, Knud Lonberg-Holm (January 15, 1895 – January 2, 1972), was an architect, photographer, author, designer, researcher, and teacher. Lonberg-Holm’s early work in Denmark and Germany initially associated him with the Berlin Constructivist and Dutch De Stijl groups. An émigré to America in 1923, Lonberg-Holm was a fundamental correspondent with prominent European architects and their modernist counterparts in the U.S. The exhibition will feature a selection of letters to Lonberg-Holm from a pantheon of the European avant-garde including László Moholy-Nagy, Walter Gropius, Theo Van Doesburg, Buckminster Fuller, Hannes Meyer, J.J.P. Oud, El Lissitzky, and Richard Neutra.

From 1924–1925, Lonberg-Holm was a colleague of Eliel Saarinen at the University of Michigan at Ann Arbor, where he taught a course in basic design modeled on the famed Bauhaus Vorkurs, the first-ever introduced in U.S. design schools. An agent of inter-continental communication, his reports on the state of American architecture appeared abroad. Lonberg-Holm’s 1928 article, Amerika: Reflections, featured buildings on the University of Michigan campus and appeared in the Dutch avant-garde publication i10, which employed Moholy-Nagy as its photo editor. The article not only contributed to international discourse on the building industry, but also touched on the “time-space convention,” a subject Lonberg-Holm would explore throughout his career. This publication, among others, will be on display.

Lonberg-Holm’s interest in American industry is best viewed in his collection of photographs taken between 1924-1926. These works document his pioneering views of industry and technology in burgeoning, jazz-age New York, Detroit, and Chicago; they would appear later, un-credited, in Erich Mendelsohn’s seminal 1926 publication Amerika, the first book on the ‘International Style’ in American architecture. Thirteen vintage photographs reproduced in Amerika will be on exhibit, as well as additional early photographs depicting technological advancements, such as cable cars and radio antennae, American culture in mass crowds and billboards, and the commercial architecture of skyscrapers and factories. Backside-views of buildings and fire escapes, rather than historicist ornamental facades, are presented in their “unselfconscious beauty” in opposition to traditional, pictorialist architectural photography. The content of the works coupled with progressive view points, like worm’s eye perspectives and extreme close-ups, align them squarely within the then emerging ‘New Photography.’ El Lissitzky wrote that the dynamic photos “grip us like a dramatic film.”1 Mendelsohn’s publication, featuring Lonberg-Holm’s dynamic photography, received immediate acclaim, domestically and abroad.

While still in Germany, Lonberg-Holm created a submission for the Chicago Tribune Tower competition of 1922. Although never officially submitted, the project was published widely in magazines and newspapers, alongside other prominent architects’ designs. From his office in the historically designed Donner Schloss in Altona, Germany, Lonberg-Holm envisioned a modern construction for Chicago that incorporated references to American mass culture, specifically the automobile. The West elevations on view show the Chicago Tribune sign, which includes circular signage reminiscent of headlights. The Side elevation exhibited clearly demonstrates how the printing plant function of the ground floors of the building, rendered in black, are visually distinct from the offices of the higher floors, rendered in white with black accents for visual continuity throughout the building. Lonberg- Holm’s proposed construction, whose outward visual design distinguished its internal functions, was reproduced in L’Architecture vivante, La Cite, Le Courbusier’s Almanach d’architecture in France and Walter Gropius’ Internationale Architektur in Munich; the Berliner Illustrirte Zeitung displayed his building next to that of Mies van der Rohe and a full spread devoted to the skyscraper, featuring Lonberg-Holm’s Chicago design adjacent to plans by Walter Gropius, Saarinen and van der Rohe, appeared in H. Th. Wijdeveld’s November/December 1923 issue of the innovative publication Wendingen.

The drawings Lonberg-Holm created during this first decade as an émigré are striking for their early use of European modernist, particularly Neo-plastic, influences. He was close with the DeStijl movement in Holland, and corresponded with both Theo van Doesburg and J.J.P. Oud, with whom he would continue to work within CIAM, the Congrès Internationaux d’Architecture Modern. Early renderings done by Lonberg-Holm in the U.S. demonstrate an affinity for DeStijl principles. His plans for the 1926 MacBride residence in Ann Arbor are dynamic and asymmetrical, with intersecting planes in simple primary colors. Surely the first American allusion to Gerrit Rietvel’s iconic 1924 Schröder House in Utrecht, Holland, the MacBride residence is one of the first ‘International Style’ modernist houses designed in the Western hemisphere.

Lonberg-Holm’s importance to and knowledge of European architectural trends resulted in an invitation by Jane Heap to participate in the 1927 landmark New York exhibition, Machine Age, which was heralded as “the first international exposition of architecture held in America.” This exhibition, held at the New York Scientific American Building, May 16-28, stressed the new mechanical world and its key player, the Engineer. Lonberg-Holm’s 1925 Detroit project, Radio Broadcasting Station, was featured. The New York’s review of the exhibition explicitly referenced Lonberg-Holm’s project, noting its “delicacy and exquisite technique of execution.”

Lonberg-Holm worked with the F.W. Dodge corporation for 30 years, first in the division responsible for The Architectural Record (1930-1932), and then as head of the research department of Sweet’s Catalog Service (1932-1960.) At The Architectural Record, Lonberg-Holm acted as research editor and wrote technical news, a precursor to his lifelong interest in data-driven analytics. During his New York based employment, Lonberg-Holm’s involvement with international architectural trends did not diminish. In addition to prolonged correspondence with the various directors of the Bauhaus, including Hannes Meyer, he and his wife Ethel would visit the Bauhaus at Dessau in 1931. In 1946, Lonberg-Holm was also ultimately a candidate to replace Moholy-Nagy as director of the Institute of Design in Chicago.

At the same time, Lonberg-Holm was involved in domestic architecture and building theory. Richard Neutra would reach out to Lonberg-Holm in 1928 for illustrations and photographs to include in his account of the modern architecture movement in the US; he would approach him again in 1932 to lecture on the West Coast. Lonberg-Holm and Neutra were the “American” representatives to CIAM. It was Lonberg-Holm who nominated Buckminster Fuller and Theodore Larson for membership into CIAM in 1932.

What little scholarship exists about Knud Lonberg-Holm briefly examines his nearly twenty-year relationship with the Czech pioneering graphic designer Ladislav Sutnar, with whom Lonberg-Holm worked at Sweet’s Catalog Service. From 1942 through 1960 at the research department of Sweet’s, the bible for all the building trades, Lonberg-Holm and Sutnar revolutionized the catalog by standardizing information techniques. They presented systemized communication through a simple, modern, and intelligible visual language that influenced all areas of architectural and graphic design. Together, Lonberg-Holm and Sutnar co-authored Catalog Design (1944), Designing Information (1947), and Catalog Design Progress (1950).

The vital roles and communication between city planning, architecture, and civil productivity where important to Lonberg-Holm and would be explored throughout his career. In A. Lawerence Kocher’s letter to Lonberg-Holm, the article “Architecture-or organized space” is referenced. This 1929 essay, published in Detroit, addressed the “building problem” in the US – the “an-organic structure of its cities” – and proposed “a new conception of city-planning based on a clearer understanding of the organic functions of a community.” Lonberg-Holm would be an important participant in the city planning survey of Detroit, one of CIAM’s analytical initiatives in 1932-1933. Field Patterns and Fields of Activity, a visual diagram further illustrating the interconnectivity of intelligence, welfare, production, and control in a community, graphically illustrates these early principles.

Collaboration was critical to Lonberg-Holm, who would work with Theodore Larson to improve information indexing and the production cycle. Field Patterns, as well as the visuals for Planning for Productivity (1940), were components of Lonberg-Holm’s collaboration with Theodore Larson. Lonberg-Holm sought to apply some of the theories set forth in Development Index. This collaborative project with Larson was published by the University of Michigan in 1953 and focused on the relationship between community, industry, and education, analytical theories that were proposed by Lonberg-Holm during the formation of the University’s Laboratory of Architectural Research. Lonberg-Holm’s 1949 visual diagram of the relationship between the university, the building industry, and the community, is on view, as well as the Sutnar-designed steps of Planning for Productivity. Lonberg-Holm had returned to the University as a guest lecturer and professor in the late 1940s and early 1950s. At the suggestion of Lonberg-Holm, Theordore Larson was among the new faculty hired at the University in 1948, along with Walter Sanders and William Muschenheim, whom Lonberg-Holm had worked with in the Detroit survey.

In 1949, Lonberg-Holm was issued a Dymaxion License and became a trustee to the Fuller Institute/Research Foundation; among the trustees are his contemporaries George Nelson and Charles Eames. Initially meeting Buckminster Fuller in c. 1929, he and Fuller would correspond throughout Lonberg-Holm’s life. Lonberg-Holm was a member of the Structural Studies Associates (SSA), a short-lived group of architects in the 1930s surrounding Fuller and his briefly published architectural magazine Shelter. A number of Shelter issues are on view, many of which have contributions by Lonberg-Holm; the cover of the May 1932 issue was designed by Lonberg-Holm. Planning for Productivity and Development Index were later data-driven projects that furthered the SSA’s and Fuller’s principles – that the evolution of science and technology would influence social progress and could be beneficial to the community only through research, analysis and macroapplication.

Arriving to the US a decade before his European contemporaries, Lonberg-Holm occupied a unique position as a cultural bridge, communicating between the US and Europe in a period when the state of art and architecture was radically changing. He exposed his students and colleagues to European protagonists of avant-garde architecture theory while enthusiastically exploring American industry and building. Exclusively through collaboration, Lonberg-Holm worked to modernize both architecture and design. Integral to Lonberg-Holm’s principles was that technology alone could not suffice as the sole perpetuator of architecture – advancements in building and new designs needed to promote human culture in an ever-evolving manner where new information was continuously integrated into design theory. Throughout his career, Lonberg-Holm embodied the antithesis of the stereotype architect, egocentric and insulated from the community in which his designs were to exist. From his beginnings at The Architectural Record to his final project, Plan for Europe 2000: Role of the Mass Media in Information and Communication, Lonberg-Holm held to the belief that a collective approach, with applied research, could form a generative knowledge base that could be cultivated for altruistic means.”

Text from the Ubu Gallery website

1. Beaumont Newhall, The History of Photography from 1839 to the Present, London, Seeker & Warburg, 1982, p. 1.

 

'Portrait of Knud Lonberg-Holm' New York, 1950s (prior to 1960)

 

Portrait of Knud Lonberg-Holm
New York, 1950s (prior to 1960)
Vintage gelatin silver print
6 7/8 x 10 inches (17.5 x 25.4 cm)
The Knud Lonberg-Holm Archive from the Marc Dessauce Collection; Courtesy Ubu Gallery, New York

 

'Portrait of Knud Lonberg-Holm' New York, 1950s (prior to 1960)

 

Portrait of Knud Lonberg-Holm
New York, 1950s (prior to 1960)
Vintage gelatin silver print
7 7/8 x 9 1/2 inches (20 x 24.1 cm)
The Knud Lonberg-Holm Archive from the Marc Dessauce Collection; Courtesy Ubu Gallery, New York

 

Knud Lonberg-Holm. 'Le Corbusier at CIAM Conference' c. 1954-1964

 

Knud Lonberg-Holm
Le Corbusier at CIAM Conference
c. 1954-1964
Vintage gelatin silver print
5 5/8 x 8 3/8 inches (14.3 x 21.3 cm)
The Knud Lonberg-Holm Archive from the Marc Dessauce Collection; Courtesy Ubu Gallery, New York

 

Knud Lonberg-Holm. 'Buckminster Fuller, Lonberg-Holm and other' Bayside, New York Nd

 

Knud Lonberg-Holm
Buckminster Fuller, Lonberg-Holm and other
Bayside, New York
Nd
Vintage gelatin silver print
3 x 4 1/4 inches (7.6 x 10.8 cm)
The Knud Lonberg-Holm Archive from the Marc Dessauce Collection; Courtesy Ubu Gallery, New York

 

Knud Lonberg-Holm. 'Photograph of the Dymaxion Car' Bridgeport, Connecticut, July 21, 1933

 

Knud Lonberg-Holm
Photograph of the Dymaxion Car
Bridgeport, Connecticut, July 21, 1933
Vintage gelatin silver print
7 5/8 x 9 3/4 inches (19.4 x 24.8 cm)
Stamped on verso
The Knud Lonberg-Holm Archive from the Marc Dessauce Collection; Courtesy Ubu Gallery, New York

 

In July of 1933, the Dymaxion car was introduced in Bridgeport, Connecticut, where it caused a great stir. Lonberg-Holm can be seen holding the car door open while the artist Diego Rivera (who was in attendance with his wife and artist Frida Kahlo) looks on, coat on his arm.
Knud Lonberg-Holm. 'Diego Rivera and Frida Kahlo' Bridgeport, Connecticut, July 21, 1933

 

Knud Lonberg-Holm
Diego Rivera and Frida Kahlo
Bridgeport, Connecticut, July 21, 1933
Vintage gelatin silver print
The Knud Lonberg-Holm Archive from the Marc Dessauce Collection; Courtesy Ubu Gallery, New York

 

Knud Lonberg-Holm. 'Radio Broadcasting Station' Photograph of Model Detroit, 1925

 

Knud Lonberg-Holm
Radio Broadcasting Station
Photograph of Model
Detroit, 1925
Vintage gelatin silver print
4 7/8 x 6 7/8 inches (12.4 x 17.5 cm)
The Knud Lonberg-Holm Archive from the Marc Dessauce Collection; Courtesy Ubu Gallery, New York

 

Knud Lonberg-Holm. 'Radio Broadcasting Station' Photograph of Model Detroit, 1925

 

Knud Lonberg-Holm
Radio Broadcasting Station

Photograph of Model
Detroit, 1925
Vintage gelatin silver print
5 3/8 x 7 1/2 inches (13.7 x 19.1 cm)
The Knud Lonberg-Holm Archive from the Marc Dessauce Collection; Courtesy Ubu Gallery, New York

 

Knud Lonberg-Holm. 'Photograph of Chicago's new skyline North of Randolph Street All new since 1926 except Wrigley and Tribune buildings' May 1929

 

Knud Lonberg-Holm
Photograph of Chicago’s new skyline
North of Randolph Street
All new since 1926 except Wrigley and Tribune buildings
May 1929
Vintage gelatin silver print
2 1/4 x 4 1/2 inches (5.7 x 11.4 cm)
Titled on verso
The Knud Lonberg-Holm Archive from the Marc Dessauce Collection; Courtesy Ubu Gallery, New York

 

 

Ubu Gallery
416 East 59th Street
New York 10022
Tel: 212 753 4444

Opening hour:
Monday – Friday 11 am - 6 pm

Ubu Gallery website

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24
Jul
14

Exhibition: ‘Moriendo renascor: 19th century photography’ at the State Library of South Australia, Adelaide

Exhibition dates: 21st May – 31st July 2014

 

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

 

South Australian photography in the 19th century – daguerreotypes, ambrotypes, tintypes, glass plates and photographic equipment. A fascinating look at our visual past. Moriendo renascor is a latin phrase meaning In death I am reborn. The exhibition runs at the State Library of South Australia till the end of July.

 

 

B46371_WEB

 

G.B. Goodman
Daguerreotype of a group of actors
c. 1850
Daguerreotype of a group of men, possibly actors associated with the Adelaide stage
135 mm x 185 mm (image); 23 cm x 18 cm x 2.5 cm (case)
B 46371

 

In January 1846, travelling daguerreotype photographer, G.B. Goodman took up a 40 day residency at the rear of Adelaide auctioneer, Emanuel Solomon’s home. Here he created 50 daguerreotype images for Adelaide patrons (Register 21 January 1846). At this time, it had become increasingly common to set up temporary studios at the rear of a building.

According to Jane Messenger in A century in focus: South Australian photography, 1840s-1940s, this daguerreotype differs from others of the period due to its informal nature and the way it flaunts contemporary social and pictorial conventions. Portraits of multiple figues were unusual at the time and usually reserved for family groups. This was due to technical complications related to focal distance, plate sizes and exposure times. Messenger suggests that this image is largely experimental in its composition, and is designed to reveal the phototographer’s sophisticated image creation skills (p.30). It is also suggested that the man second from right is George Selth Coppin – the father of Australian theatre who lived in Adelaide from 1846 to the end of 1851.

Developed in 1839 by Louis-Jacques-Mande Daguerre and given to the world by the French government, the Daguerreotype was the first photographic method of capturing a scene or a likeness. Despite the difficulty and expense of the Daguerreotype, the process spread rapidly around the world, being first demonstrated in Sydney in 1842 and Adelaide in 1845.

 

B4638-WEB

 

Captain Samuel White Sweet, photographer
Planting the first pole of the Overland telegraph at Darwin on the 15th September, 1870
1870
From glass plate negative
B 4638

 

John W. Butler (publisher) 'Advertisement for Townsend Duryea's studios' Photographic Gallery of Townsend Duryea, south-east corner of Grenfell Street and King William Street National directory of South Australia for 1867-68 1867

 

John W. Butler (publisher)
Advertisement for Townsend Duryea’s studios
Photographic Gallery of Townsend Duryea, south-east corner of Grenfell Street and King William Street National directory of South Australia for 1867-68
1867
Created in Melbourne
Object Source: The national directory of South Australia for 1867-68 : including a squatters’ directory also a new and correct map of the Colony

 

In 1867 Townsend Duryea had his photographic gallery on the south-east corner of Grenfell Street and King William Street.

Born in 1823, New Yorker, Townsend Duryea, arrived in South Australia in 1855 and set up a studio on the corner of Grenfell Street and King William Street. He and his brother Sanford were the first photographers known to have worked outside of Adelaide. In a disaster for both the photographer and South Australia his studio caught fire in the early hours of 18 April 1875. Duryea’s entire collection of 60,000 negatives was destroyed.

The Register, reporting on the investigation into the cause of the fire wrote:
Mr. J. M. Solomon, J.P., on Monday, April 19, held an investigation into the cause of the fire. As the Coroner remarked in summing up, the matter is involved in mystery, and it is just possible that the fire might have resulted from the spontaneous combustion of chemicals used by Mr. Duryea in the prosecution of his business. During the course of the proceedings the Coroner several times checked spectators eager to put questions to witnesses, and stated his view of their position. The Jury returned the following verdict:- “That the premises of Townsend Duryea were destroyed by fire, but that there is not sufficient evidence to show what was its origin.”

South Australian Register April 1875, p. 5.

After the fire he moved to New South Wales where he died in 1888.

 

Photographer unknown. 'Henry Ayers' c. 1848

 

Photographer unknown
Henry Ayers
c. 1848
Daguerreotype
PRG 67/48

 

The oldest known photograph in the State Library’s collection.

This example shows former South Australian Premier Henry Ayers, approximately ten years before he entered parliament. Born in England in 1821, he arrived in South Australia in 1840. He was elected to the first Legislative Council in 1857 and held several positions including chief secretary, premier, and president of the council during his 36 years as a member of parliament. Ayers died on 11 June 1897. Sir Henry Ayers was Premier of South Australia five times between the years 1863 and 1873.

This portrait was accompanied by a note signed by Ayers. It explained that the photo was taken a few years after his appointment as Secretary of the Burra Burra mines in 1845: This was taken by a travelling Artist at the Burra sometime in 1847 or 1848 when I was 26 or 27 years old. It was greatly esteemed by my Dear Wife as a capital likeness of H.A.

The daguerreotype is part of a collection of papers of Sir Henry Ayers, former Premier of South Australia, and of his granddaughter, Lucy Lockett Ayers.

 

Hammer and Co. 'Bust of a young woman' Rundle Street, c. 1895

 

Hammer and Co.
Bust of a young woman
Rundle Street, c. 1895
Albumen photograph, cabinet card
B58331/26

 

Saul Solomon, photographer. 'Man dressed as Robinson Crusoe' 1888

 

Saul Solomon, photographer
Published by the Adelaide School of Photography
Man dressed as Robinson Crusoe
1888
Albumen photograph, cabinet card
99 mm x 146 mm
B 32878

 

On Monday 30 July 1888 a carnival was held at the Columbia Roller Skating Rink in the Jubilee Exhibition Building, North Terrace, Adelaide. The South Australia Weekly Chronicle, 4 August 1888, reported that over 2,000 persons attended and the floor was reserved for ladies and gentlemen in fancy costume or evening dress and that among the most successful gentlemen’s costumes was a “Robinson Crusoe with a gun and umbrella”.

Cabinet cards were a popular form of family photograph. They often featured the photographer’s details on the front and further description of their services on the reverse.

 

 

Photographer unknown. 'Leslie Quinn and W. Dunk' c. 1890

 

Photographer unknown
Leslie Quinn and W. Dunk
c. 1890
Tintype
B 47091

 

I just love how the jacket of the lad on the right is about two sizes too small for him. As though he is growing so fast into adulthood, his arms elongating so quickly, that he has outrun the life of his jacket.

 

Photographer unknown. 'Leslie Quinn and W. Dunk' (detail) c. 1890

 

Photographer unknown
Leslie Quinn and W. Dunk (detail)
c. 1890
Tintype
B 47091

 

Unknown photographer. 'Tom Thumb' c. 1880

 

Unknown photographer
Tom Thumb
c. 1880
From a glass plate negative

 

Michael Pynn was born at Baker’s Flat in 1860. In his obituary, the Kapunda Herald (July 5 1929, p. 2), reported that Mickey was known from the late 1870s as the Australian Tom Thumb.

It was toward the late seventies that General Tom Thumb, of England, visited Australia, and the tour of his little company included Kapunda. It was this circumstance that brought Micky Pynn into prominence, and later into almost world-wide notoriety. He made a career as a circus clown and travelled the world.

Michael Pynn died  in Sydney on 22 June 1929.

 

Frederick Charles Krichauff, 1861-1954, photographer. 'From the Adelaide Town Hall' c. 1880

 

Frederick Charles Krichauff, 1861-1954, photographer
From the Adelaide Town Hall
c. 1880
Photograph

 

View of the General Post Office (GPO) from the Albert Tower of the Adelaide Town Hall, showing Victoria Square with horse drawn cabs, and the GPO clock showing 1.23 pm.

The State Library holds many thousands of glass plate negatives including a number by amateur photographer Frederick Krichauff (1861-1954). We also hold three of his photograph albums and these may be viewed online via the Library’s catalogue. Krichauff was an architect and a keen member of the Royal Philatelic Society. He lived at Portrush Road, Toorak Gardens.

 

 

State Library of South Australia
Kintore Ave, Adelaide SA 5000
Tel: (08) 8207 7250

Opening hours

State Library of South Australia website

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20
Jul
14

Exhibition: ‘Emmet Gowin’ at the Fondation Henri Cartier-Bresson, Paris

Exhibition dates: 14th May - 27th July 2014

 

Emmet Gowin is a superlative photographic artist. His images possess a unique sensuality that no other artist, save Frederick Sommer, dare approach.

His own family was his early significant subject matter, one to which only he had ready access. “I was wondering about in the world looking for an interesting place to be, when I realized that where I was was already interesting.”1 I feel that the photographs of his family are his strongest work for they image an intimate story, and Gowin is nothing if not a magnificent storyteller. Look at the beauty of images such as Nancy, Danville (Virginia) (1969, below) or Ruth, Danville (Virginia) (1968, below) and understand what awareness it takes to first of all visualise, the capture on the negative, then print these almost mystical moments of time.

As Gowin observed in his senior thesis, which was predicated upon the necessary co-ingredients of art and spirituality, “Art is the presence of something mysterious that transports you to a place where life takes on a clearness that it ordinarily lacks, a transparency, a vividness, a completeness.”2 He complemented this understanding of art and spirituality with an interest in science. He was in harmony with the physicists and the scientists, finding them to be the most poetic people of the age.3 Inspired by Sommer, Gowin perfected his printing technique through a respect for the medium, respect for the materials and conviction as to what the materials were capable of doing.4

“Sommer freely shared with Gowin his knowledge of photographic equipment, materials, chemicals and printing techniques and Gowin often repeats Sommer’s admonition to him: “Don’t let anyone talk you out of physical splendour.” Over the years Gowin developed methods of printing born from patient experimentation and a love of craft. His background in painting and drawing taught him that there are many solution to making a finished work of art… which he often builds to achieve the most satisfying integration of elements: “The mystery of a beautiful photograph really is revealed when nothing is obscured. We recognize that nothing has been withheld from us, so that we must complete its meaning. We are returned, it seems directly, to the sense and smell of its origin… A complete print is simply a fixed set of relationships, which accommodates its parts as well as our feelings. Clusters of stars in the sky are formed by us into constellations. Perhaps I feel that this constellation has enough stars, and doesn’t need any more. This grouping is complete. It feels right. Feeling, alone, tells us when a print is complete.””5

His later more universal work, such as the landscapes and aerial photographs, are no less emphatic than the earlier personal work but they are a second string to the main bow. The initial impetus of this work can be seen in the book Emmet Gowin Photographs as a development from still life photographs such as Geography Pages, 1974 (p. 62). This second theme took Gowin longer to develop but his photographs are no less powerful for it. His photographs of Petra possess the most amazing serenity of any taken at this famous site; his photographs of Mount St Helens after the volcanic eruption and the aerial photographs of nuclear sites and aeration ponds are among the strongest aerial photographs that I have ever seen. Gowin’s experimentation with the development of the negative, using different times and developers; his experimentation with the development of the print, sometimes using multiple developers and monotones or strong/subtle split toning (as can be seen in the photographs below) is outstanding. His poetic ability rouses the senses and is munificent but for me these photographs do not possess the “personality” or significance of his earlier family photographs. But only just, and we are talking fractions here!

“These photographs of the tracings of human beings reveal mankind not as a nurturer but as a blind and godlike power. Even his latest aerial agricultural landscapes made on route to nuclear sites have a magnificent indifference to human scale. For Gowin, confrontation of man’s part in the creation of ecological problems would seem to require the most transcendental point of view, and as his subjects have become more difficult and frightening, he has created his lushest and most seductive prints.”6

Gowin is an artist centered in a space of sensibility. An understanding of the interrelationships between people and the earth is evidenced through aware and clearly seen images. Gowin digs down into the essence of the earth in order to understand our habituation of it. How we fail to change the course we are on even as we recognise what it is that we are doing to the world. When the stimulus is constantly repeated there is a reduction of psychological or behavioral response and this is what Gowin pokes a big stick at. As he observes,

“We are products of nature. We are nature’s consciousness and awareness, the custodians of this planet… We begin as the intimate person that clings to our mother’s breast, and our conception of the world is that interrelationship. Out safety depends on that mother. And now I’m beginning to see that there’s a mother larger than the human mother and it’s the earth; if we don’t take care of that we will have lost everything.”7

I was luck enough to meet Emmet Gowin when he visited Australia in 1995. He had an exhibition in the small gallery in Building 2 in Bowens Lane at RMIT University, presented a public lecture and held a workshop with about 20 students. I remember I was bowled over by his intensity and star power and I admit, I asked a stupid question and fawned over him like a little lost puppy dog. The impetuousness of youth with stars in their eyes certainly got the better of me. Now when I look at the work again I am still in awe of the works sincerity, spirituality, sensuality and respect for subject matter. No matter what he is photographing.

Dr Marcus Bunyan for the Art Blart blog

.
Only two of the images are from the Fondation Henri Cartier-Bresson – the rest I sourced from the internet. Please click on the photographs for a larger version of the image.

 

 

“For me, pictures provide a means of holding, intensely, a moment of communication between one human and another.”

 

“There is a profound silence that whines in the ear, a breathless quiet, as if the light or something unheard was breathing. I hold my breath to make certain it’s not me. It must be the earth itself breathing.

.
Emmet Gowin

 

 

Emmet Gowin. 'Nancy, Danville (Virginia)' 1969

 

Emmet Gowin
Nancy, Danville (Virginia)
1969
Gelatin silver print
© Emmet Gowin, cortesy Pace/MacGill Gallery, New York

 

Emmet Gowin. 'Edith and Ruth, Danville (Virginia)' 1966

 

Emmet Gowin
Edith and Ruth, Danville (Virginia)
1966
Gelatin silver print
© Emmet Gowin, cortesy Pace/MacGill Gallery, New York

 

Emmet Gowin. 'Barry, Dwayne and Turkeys, Danville, Virginia' 1970

 

Emmet Gowin
Barry, Dwayne and Turkeys, Danville, Virginia 
1970
Gelatin silver print
© Emmet Gowin, cortesy Pace/MacGill Gallery, New York

 

 

Emmet Gowin, the catalog accompanying a retrospective now touring in Spain, is a great introduction to the artist’s works and a great keepsake for a fan. The writings by Keith Davis, Carlos Gollonet and Gowin himself identify the photographer’s humanist and spiritual roots and detail his journey from 1960′s-era people pictures focused on his wife, Edith and family in Danville, VA, to aerial photographs of ravaged landscapes, like the nuclear test grounds in Nevada, and his most recent project  archiving tropical, nocturnal-moths.

While his disparate bodies of work may look like geologic shifts in subject matter, Gowin talks in the book about the spiritual quest he’s on, and his realization that humankind inhabits the land, and that the land is a vital part of who we are. To my eye, what holds all the works together is Gowin’s never-ceasing focus on non-conventional beauty. His way of photographing both people and the wasted landscapes plays up the dark sublime. These are not traditional pretty pictures, but they are exquisitely beautiful. All Gowin photos smolder with emotion and feel like they were snapped with a breath held, bated with desire.

Roberta Fallon. “Emmett Gowin – From family of man to mariposas nocturnas at Swarthmore’s List Gallery,” on The Artblog website, March 22, 2012 [Online] Cited 05/07/2014

 

Emmet Gowin. 'Edith, Noël, Danville (Virginia)' 1971

 

Emmet Gowin
Edith, Noël, Danville (Virginia)
1971
Gelatin silver print
© Emmet Gowin, Courtesy Pace/MacGill Gallery, New York

 

Emmet Gowin. 'Edith, Danville (Virginia)' 1971

 

Emmet Gowin
Edith, Danville (Virginia)
1971
Gelatin silver print
7 3/4 x 9 7/8″ (19.7 x 25.1 cm)
Gift of Judith Joy Ross
© Emmet Gowin, Courtesy Pace/MacGill Gallery, New York

 

Emmet Gowin. 'Edith, Danville (Virginia)' 1970

 

Emmet Gowin
Edith, Danville (Virginia)
1970
Gelatin silver print
© Emmet Gowin, Courtesy Pace/MacGill Gallery, New York

 

Emmet Gowin. 'Edith, Newtown (Pennsylvania)' 1974

 

 

Emmet Gowin
Edith, Newtown (Pennsylvania)
1974
Gelatin silver print
© Emmet Gowin, cortesy Pace/MacGill Gallery, New York

 

Emmet Gowin. 'Ruth, Danville (Virginia)' 1968

 

Emmet Gowin
Ruth, Danville (Virginia)
1968
Gelatin silver print
© Emmet Gowin, cortesy Pace/MacGill Gallery, New York

 

Emmet Gowin. 'Edith, Chincoteague Island (Virginia)' 1967

 

Emmet Gowin
Edith, Chincoteague Island (Virginia)
1967
Gelatin silver print
© Emmet Gowin, Courtesy Pace/MacGill Gallery, New York

 

 

From May 14th to July 27th 2014, Fondation Henri Cartier-Bresson will hold an exhibition of the American photographer Emmet Gowin. This important retrospective is showing 130 prints of one of the most original and influential photographer of these last forty years. This exhibition shows on two floors his entire career: his most famous series from the end of the sixties, the moths’ flights and the aerial photographs. The exhibition organized by Fundación MAPFRE in collaboration with Fondation HCB is accompanied by a catalogue published by Xavier Barral edition.

Born in Danville (Virginia) in 1941, Emmet Gowin grows up in Chincoteague Island, in a religious family. His father, a Methodist minister gives him a righteous discipline and a strict education, while his mother, musician, was a gentle, nurturing presence. During his spare time, Emmet encounters the surrounding landscape and begins drawing.

He completes his high school education and enrolls in a local business school in 1951 and works at the same time at the design department of Sears, the multinational department store chain. In 1961, Gowin enters in the Commercial Art Department at Richmond Professional Institute, where he studies drawing, painting, graphic design, and history of Art. After a few months, he realizes that photography is the best mean of expression and gives him the possibility to seize the Fate and the Unexpected.

Gowin’s early photographic influences came in the form of books and catalogues such as Images à la Sauvette by Henri Cartier-Bresson, History of Photography by Beaumont Newhall or Walker Evans’s American Photographs. Emmet Gowin acquires his first Leica 35mm in 1962 and after two years spent observing the Masters of photography, he finally feels ready to affirm his own photographic style. In 1963, he goes for the first time in New York and meets Robert Franck who encouraged him.

The first Gowin’s portfolios realized in 1965, is technically simple in approach. While the subjects vary considerably, all are drawn from everyday life: kids playing outdoors, Edith’s family, adults in the streets or squares, cars and early pictures of Edith. They get married in 1964. Edith Morris and Emmet Gowin are born in the same city but they grew up in totally different families. Edith’s one, was more exuberant and emotionally close than Emmet’s. As we can discover in the first floor of the exhibition, Edith and her family are the heart of the photograph’s creative universe. As mentioned by Carlos Gollonet, curator of the exhibition, Gowin’s work, seen cumulatively, is a portrait of the artist.

In 1965, they move to Providence, and Emmet begins his studies with Harry Callahan at Rhode Island School of Design. He begins to consistently use a 4 x 5 inch view camera from this time on. This bigger negative produced prints with beautiful transparent details and correspondingly finer and smoother tonal scale.

Just before his first son’s birth, Elijah, in 1967, Emmet and Edith moved to Ohio, where he begins teaching at the Dayton Art Institute. This marks the start of a teaching career that spans more than four decades. He concentrates his work on Edith and let us going through his private life and proposes a very personal artistic vision of this work: I do not feel that I can make picture impersonally, but that I am affected by and involved with the situations which lead to, or beyond, the making of the pictures. In these years, he met Ralph Eugene Meatyard and Frederik Sommer, who would become his close friend and mentor.

At the end of the 1960′s, Gowin begins making circular images of Edith, her family, and their own household, both indoors and out. The Gowin’s second son, Isaac, born in 1974, was the subject – both before and after birth – of many of these circular 8×10 inch photographs, which give the impression of looking through a keyhole. At the beginning of the 1970′s, the exhibitions at the Light Gallery and MoMA mark a significant step toward his American success. In 1973, he’s appointed Lecturer at Princeton University. He is later appointed Full Professor, a position he will hold until his retirement in 2009. He inspired a new generation of photographers such as Fazal Sheikh, David Maisel or Andrew Moore.

From 1973, Gowin goes back to sources, nature and landscape and introduces the idea of Working Landscapes in which the contributions of many generations, overtime, shape the use and care of the land. He travels in Europe, Ireland and Italy, where he discovered the ancient Etruscan city of Matera. His first monograph, Emmet Gowin: photographs, is published in 1976. In 1982, the Queen Noor of Jordan, one of Gowin’s students at Princeton, invites him to photograph the archeological site of Petra. Some of these photos are exhibited on the second floor of the foundation. Later, he continues making views of nature and traveled overseas, reverting to a traditional rectangular format. His interest in gardens and the historical balance between nature and human culture stimulates a dedication to a larger landscape, recorded first from the ground and then from the air. He photographs the incredible destruction of the Mount St. Helens volcano, Washington, and spent years recording the inhabited – and often scarred – face of the American West. Gowin is not an environmental activist. Nonetheless, once he comes to know and experience these landscapes his acute moral and intellectual sense is also conveyed in his images. He wants to show the conflict that exists in our relationship with nature. “It is not a call for an action … It’s a call for reflection, meditation and consideration to be on a more intimate basis with the world.”

Over the past few years, Gowin has constantly photographed nocturnal moths. His scientific interest has led him to catalog thousands of species working alongside with biologists in tropical jungles. By chance, he traveled with a cutout silhouette of Edith in his wallet or luggage and produced a series of photographs in which Edith is once again the principal subject, in this case through her silhouette. They recall the instrument known as the physionotrace, a forerunner of the earliest photographs which was used to male silhouette reproducing the images of loved ones. Those images, printed on handmade paper with the silver image gold toned confirm that Emmet Gowin is one of the finest photographers of any period.”

Press release from the Fondation Henri Cartier-Bresson website

 

Emmet Gowin. 'Old Handford City Site and the Columbia River, Handford Nuclear Reservation, near Richland (Washington)' 1986

 

Emmet Gowin
Old Handford City Site and the Columbia River, Handford Nuclear Reservation, near Richland (Washington)
1986
Gelatin silver print
© Emmet Gowin, Courtesy Pace/MacGill Gallery, New York

 

 

The aerial photos, taken while flying over bomb test sites and waste water cachement basins and other scenes of industrial/military destruction are almost abstract to the eye. They are also very beautiful. Getting nose to nose with these works and reading the title card, however, allows the slowly-dawning realization that you are looking at a full blown horror. This suite of works dates from 1980 when Gowin took to the air to view the aftermath of the Mt. St. Helens volcanic eruption in Washington state and was taken with the way things not visible from “human” space below revealed themselves from above. In 1986 he started exploring man-made industrial inroads into the land from the air, flying over Hanford Reservation, for one, where nuclear reactors and chemical separation plants made scars on the land like nothing nature had done. These are truly devastating pictures, and what makes them more so is the thought that this is the tip of the iceberg and that many other sites on earth bear the scars of man-made intrusion.

Roberta Fallon. “Emmett Gowin – From family of man to mariposas nocturnas at Swarthmore’s List Gallery,” on The Artblog website, March 22, 2012 [Online] Cited 05/07/2014

 

Emmet Gowin. 'Aeration Pond, Toxic Water Treatment Facility, Pine Bluff, AK (Arkansas)' 1989

 

Emmet Gowin
Aeration Pond, Toxic Water Treatment Facility, Pine Bluff, AK (Arkansas)
1989
Toned gelatin silver print
© Emmet Gowin, Courtesy Pace/MacGill Gallery, New York

 

Emmet Gowin. 'Golf Course under Construction (Arizona)' 1993

 

Emmet Gowin
Golf Course under Construction (Arizona)
1993
Gelatin silver print
© Emmet Gowin, Courtesy Pace/MacGill Gallery, New York

 

Emmet Gowin. 'Aerial view: Mt. St. Helens rim, crater and lava dome' 1982

 

Emmet Gowin
Aerial view: Mt. St. Helens rim, crater and lava dome
1982
Gelatin silver print
© Emmet Gowin, Courtesy Pace/MacGill Gallery, New York

 

 

Every Time less than the pulsation of the artery

Is equal in its period & value to Six Thousand Years.

.
For in this Period the Poet’s Work is Done, and all the

                 Great

Events of Time start forth & are conceiv’d in such a

                Period

Within an Moment, a Pulsation of the Artery . . . . 

.
For every Space larger than a red Globule of Man’s

              blood

Is visionary, and is created by the Hammer of Los :

And every Space smaller than a red Globule of Man’s blood

            opens

Into Eternity of which this vegetable Earth is but a

           shadow.

.
William Blake. From “Milton”

 

Emmet Gowin. 'The Khazneh from the Sîq, Petra (Jordan)' 1985

 

Emmet Gowin
The Khazneh from the Sîq, Petra (Jordan)
1985
Gelatin silver print
© Emmet Gowin, Courtesy Pace/MacGill Gallery, New York

 

Emmet Gowin. 'Edith, Newtown (Pennsylvania)' 1994

 

Emmet Gowin
Edith, Newtown (Pennsylvania)
1994
Gelatin silver print
© Emmet Gowin, Courtesy Pace/MacGill Gallery, New York

 

Emmet Gowin. 'Edith, Danville (Virginia)' 1963

 

Emmet Gowin
Edith, Danville (Virginia)
1963
Gelatin silver print
© Emmet Gowin, Courtesy Pace/MacGill Gallery, New York

 

Emmet Gowin. 'Edith and Moth Flight' 2002

 

Emmet Gowin
Edith and Moth Flight
2002
Digital ink jet print 19 x 19 cm (7 1/2 x 7 1/2 in.)
National Gallery of Art, Washington, Charina Endowment Fund
© Emmet and Edith Gowin, Courtesy Pace/MacGill Gallery, New York

 

 

1. Gowin, Emmet quoted in Chahroudi, Martha. “Introduction,” in Emmet Gowin Photographs. Philadelphia Museum of Art, 1990, p. 10.
2. Ibid., p. 9.
3. Ibid., p. 11.
4. Ibid., p. 11.
5. Gowin quoted in Kelly, Jain (ed.,). Darkroom 2. New York, 1978, p. 43 quoted in Chahroudi, Martha. “Introduction,” in Emmet Gowin Photographs. Philadelphia Museum of Art, 1990, p. 11.
6. Chahroudi, Op. cit., p. 15.
7. Ibid., p. 15.

 

 

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

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15
Jul
14

Exhibition: ‘In the Looking Glass: Recent Daguerreotype Acquistions’ at the Nelson-Atkins Museum of Art, Kansas City

Exhibition dates: 25th January – 20th July 2014

 

OMG some of these images are SO beautiful and others SO bizarre. Please enlarge the detailed shots of Lady in Costume (c. 1850, below) and Traveling Minstrels – banjo and bones (c. 1850, below) – my two favourites – so you can see the costumes and the people. The clothes of the bones player are incredible… I wonder what they did with their lives, where they went and how they lived. How old do you think they are? And what is that on the front of his hat, a watch?

Dr Marcus Bunyan for the Art Blart blog

.
Many thankx to The Nelson-Atkins 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.

 

Attributed to: Tsukamoto, Japanese. 'Portrait of a man in samurai armor' mid 1870s

 

Attributed to:
Tsukamoto, Japanese
Portrait of a man in samurai armor
mid 1870s
Ambrotype
5 x 3 ½ inches
Gift of the Hall Family Foundation
© Nelson Gallery Foundation

 

Unknown maker, American. 'Woman telegrapher' c. 1850

 

Unknown maker, American
Woman telegrapher
c. 1850
Daguerreotype, quarter plate
image size: 4 1/4 x 3 1/4 inches
Gift of the Hall Family Foundation
© Nelson Gallery Foundation

 

Augustus Washington, American (1820-1875) 'John Brown' c. 1846-1847

 

Augustus Washington, American (1820-1875)
John Brown
c. 1846-1847
Quarter plate daguerreotype
4 x 3-3/16 inches
Gift of the Hall Family Foundation
© Nelson Gallery Foundation

 

John Brown (May 9, 1800 – December 2, 1859) was a white American abolitionist who believed armed insurrection was the only way to overthrow the institution of slavery in the United States. During the 1856 conflict in Kansas, Brown commanded forces at the Battle of Black Jack and the Battle of Osawatomie. Brown’s followers also killed five slavery supporters at Pottawatomie. In 1859, Brown led an unsuccessful raid on the federal armory at Harpers Ferry that ended with his capture. Brown’s trial resulted in his conviction and a sentence of death by hanging.

Brown’s attempt in 1859 to start a liberation movement among enslaved African Americans in Harpers Ferry, Virginia, electrified the nation. He was tried for treason against the Commonwealth of Virginia, the murder of five men and inciting a slave insurrection. He was found guilty on all counts and was hanged. Southerners alleged that his rebellion was the tip of the abolitionist iceberg and represented the wishes of the Republican Party to end slavery. Historians agree that the Harpers Ferry raid in 1859 escalated tensions that, a year later, led to secession and the American Civil War. (Text from Wikipedia)

 

 

(Pierre) Victor Plumier, French, active 1840s-1850s.  'Lady in Costume' c. 1850

 

(Pierre) Victor Plumier, French, active 1840s-1850s
Lady in Costume
c. 1850
Daguerreotype, half-plate
Plate: 5 1/2 x 4 1/2 inches (13.97 x 11.43 cm)
Mount (open): 8 1/8 x 6 5/8 inches (20.64 x 16.83 cm)
Gift of the Hall Family Foundation
© Nelson Gallery Foundation

 

2007-17-28_Plumier-LadyInCostume-DETAIL

 

(Pierre) Victor Plumier, French, active 1840s-1850s
Lady in Costume (detail)
c. 1850
Daguerreotype, half-plate
Plate: 5 1/2 x 4 1/2 inches (13.97 x 11.43 cm)
Mount (open): 8 1/8 x 6 5/8 inches (20.64 x 16.83 cm)
Gift of the Hall Family Foundation
© Nelson Gallery Foundation

 

Unknown. 'Traveling Minstrels - banjo and bones' c. 1850

 

Unknown
Traveling Minstrels – banjo and bones
c. 1850
Daguerreotype, sixth plate
Plate: 3 1/4 x 2 3/4 inches (8.26 x 6.99 cm)
Case: 3 3/4 x 3 3/8 x 5/8 inches (9.53 x 8.59 x 1.6 cm)
Gift of the Hall Family Foundation
© Nelson Gallery Foundation

 

The bones are a musical instrument (more specifically, a folk instrument) which, at the simplest, consists of a pair of animal bones, or pieces of wood or a similar material. Sections of large rib bones and lower leg bones are the most commonly used true bones, although wooden sticks shaped like the earlier true bones are now more often used…

They have contributed to many music genres, including 19th century minstrel shows, traditional Irish music, the blues, bluegrass, zydeco, French-Canadian music, and music from Cape Breton in Nova Scotia…

They are typically about 5″ to 7″ in length, but can be much longer, and they are often curved, roughly resembling miniature barrel staves. Bones can also be flat, for example by the cutting of a yardstick. They are played by holding them between one’s fingers, convex surfaces facing one another, and moving one’s wrist in such a way that they knock against each other…

While North American players are typically two-handed, the Irish tradition finds the vast majority of bones players using only one hand, a distinction in method that has a strong impact on musical articulation. The comparison of the function of banjo rolls with that of bones within an ensemble suggests that stereotypically a subdivided accompaniment pattern is played on the bones. (Text from Wikipedia)

 

2008-41-22_Unknown-TravelingMinstrelsBanjoBones_DETAIL

 

Unknown
Traveling Minstrels – banjo and bones (detail)
c. 1850
Daguerreotype, sixth plate
Plate: 3 1/4 x 2 3/4 inches (8.26 x 6.99 cm)
Case: 3 3/4 x 3 3/8 x 5/8 inches (9.53 x 8.59 x 1.6 cm)
Gift of the Hall Family Foundation
© Nelson Gallery Foundation

 

David C. Collins, American, 1825-1909 
Thomas P. Collins, American, 1823-1873. 'Portrait of Frances Amelia Collins Mitchell' c. 1850

 

David C. Collins, American, 1825-1909

Thomas P. Collins, American, 1823-1873
Portrait of Frances Amelia Collins Mitchell
c. 1850
Daguerreotype, half plate
Plate: 5 1/2 x 4 1/2 inches (13.97 x 11.43 cm)
Case: 6 x 4 7/8 x 3/4 inches (15.24 x 12.37 x 1.91 cm)
Gift of the Hall Family Foundation
© Nelson Gallery Foundation

 

David C. Collins, American, 1825-1909 
Thomas P. Collins, American, 1823-1873. 'Portrait of Frances Amelia Collins Mitchell' (detail) c. 1850

 

David C. Collins, American, 1825-1909

Thomas P. Collins, American, 1823-1873
Portrait of Frances Amelia Collins Mitchell (detail)
c. 1850
Daguerreotype, half plate
Plate: 5 1/2 x 4 1/2 inches (13.97 x 11.43 cm)
Case: 6 x 4 7/8 x 3/4 inches (15.24 x 12.37 x 1.91 cm)
Gift of the Hall Family Foundation
© Nelson Gallery Foundation

 

Unknown. 'Portrait of Three Girls' c. 1850s

 

Unknown 
Portrait of Three Girls
c. 1850s
Daguerreotype, half plate
Plate: 5 1/2 x 4 1/2 inches (13.97 x 11.43 cm)
Gift of the Hall Family Foundation
© Nelson Gallery Foundation

 

 

“An exhibition featuring more than 50 daguerreotypes acquired by The Nelson-Atkins Museum of Art since 2007 opened on Jan. 24. In the Looking Glass: Recent Daguerreotype Acquisitions is a fascinating look at an early photographic process that was introduced in 1839. “In the 19th century, daguerreotypes seemed to be magical bits of reality,” says Jane Aspinwall, associate curator of Photography. “Now, more than a century later, they still hold that kind of wonder and appeal.”

A precursor of printed photography, the daguerreotype image is formed on a highly polished silver surface that is exposed to iodine fumes. The fumes produce a light sensitive coating. The plate is then covered with a protective dark slide and placed into a camera. An image is projected through the lens and onto the plate; the image is then developed using heated mercury. The distinguishing visual characteristics of a daguerreotype are that the image is on a bright, mirror-like surface of metallic silver and it appears either positive or negative depending on the lighting conditions and whether a light or dark background is being reflected in the metal.

Important additions to the Nelson-Atkins American collection include portraits by major makers, including possibly the earliest of only six known daguerreotypes of noted abolitionist John Brown. In the French holding, lively portraits, cityscapes, and archaeological images are highlighted. A 170-year-old daguerreotype from Egypt transports viewers to the shimmering banks of the Nile River, a place few would have been able to travel to at the time. British pieces are distinguished by elaborate hand-coloring.

Small, intimate American daguerreotypes, most housed in jewel-like velvet or silk-lined cases, were made to be held close and scrutinized. Because they are reflective, the Nelson-Atkins designed more than two dozen cases with special lighting features to provide optimal viewing conditions, bringing each detailed image to life. A daguerreotype of a young girl clutching a shawl around her bare shoulders seems to float; another sharply detailed, rare Gold Rush image [second image, below] depicts a small group of men standing in front of their grocery store located in a California frontier town.

“It’s an amazing experience to view these precious, one-of-a-kind daguerreotypes,” said Aspinwall. “Once you see one, you never forget it. It takes you back in time to share a mid-19­th century moment with the sitter.”

The Nelson-Atkins is recognized as having one of the top five American daguerreotype collections in the U.S. and loaned more than 80 to the Taft Museum in Cincinnati for the 2013 exhibition Photographic Wonders. Daguerreotypes are an internationally significant cornerstone of the museum’s photography holdings.”

Press release from the  Nelson-Atkins Museum of Art website

 

Unknown. 'St. Anthony Falls' c. 1852

 

Unknown
St. Anthony Falls
c. 1852
Daguerreotype, half plate
Plate: 5 1/2 x 4 1/2 inches (13.97 x 11.43 cm)
Case: 6 x 4 3/4 x 1/2 inches (15.24 x 12.07 x 1.27 cm)
Gift of the Hall Family Foundation
© Nelson Gallery Foundation

 

Unknown maker, American. 'Bond & Mollyneaux Groceries and Provisions' c. 1850

 

Unknown maker, American
Bond & Mollyneaux Groceries and Provisions
c. 1850
Daguerreotype, whole plate
Image size: 8 ½ x 6 ½ inches
© Nelson Gallery Foundation

 

Unknown. 'Three carpenters in their workshop' c. 1848-1850

 

Unknown
Three carpenters in their workshop
c. 1848-1850
Daguerreotype, quarter plate
Plate: 4 1/4 x 3 1/4 inches (10.8 x 8.26 cm)
Case (open): 4 3/4 x 7 1/2 inches (12.07 x 19.05 cm)
Gift of the Hall Family Foundation
© Nelson Gallery Foundation

 

David C. Collins, American, 1825-1909 Thomas P. Collins, American, 1823-1873. 'Portrait of Annie M. Collins' c. 1847

 

David C. Collins, American, 1825-1909
Thomas P. Collins, American, 1823-1873
Portrait of Annie M. Collins
c. 1847
Daguerreotype, quarter plate
Plate: 4 1/4 x 3 1/4 inches (10.8 x 8.26 cm)
Case: 4 5/8 x 3 3/4 inches (11.76 x 9.53 cm)
Gift of the Hall Family Foundation
© Nelson Gallery Foundation

 

Unknown. 'Genushe (animal post-mortem)' c. 1845-1846

 

Unknown
Genushe (animal post-mortem)
c. 1845-1846
Daguerreotype, sixth plate
Plate: 3 1/4 x 2 3/4 inches (8.26 x 6.99 cm)
Case: 3 3/4 x 3 1/4 x 1/4 inches (9.53 x 8.26 x 0.64 cm)
Gift of the Hall Family Foundation
© Nelson Gallery Foundation

 

Unknown. 'Untitled (eagle facing left)' c. 1850

 

Unknown
Untitled (eagle facing left)
c. 1850
Daguerreotype, sixth plate
Case: 3 3/4 x 3 3/4 x 3/4 inches (9.53 x 9.53 x 1.91 cm)
Gift of the Hall Family Foundation
© Nelson Gallery Foundation

 

 

The Nelson-Atkins Museum of Art
4525 Oak Street
Kansas City, MO 64111

Opening hours:
Wed, 10 am – 4 pm
Thurs, Fri, 10 am – 9 pm
Sat, 10 am – 5 pm
Sun, Noon – 5 pm

The Nelson-Atkins Museum of Art website

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14
Jul
14

Exhibition: ‘View from the Window’ at Edmund Pearce Gallery, Melbourne

Exhibition dates: 2nd – 19th July 2014

Artists include: Sean Barrett, Danica Chappell, Kim Demuth, Jackson Eaton, Mike Gray, Megan Jenkinson, Benjamin Lichtenstein, Phuong Ngo, Izabela Pluta, Kate Robertson, Jo Scicluna, Vivian Cooper Smith, Melanie Jayne Taylor and Justine Varga.

Curated by: Vivian Cooper Smith and Jason McQuoid.

 

 

Photography can be anything your heart desires (or so they say)…

Another stimulating exhibition at Edmund Pearce Gallery, Melbourne.

My personal favourites are the works of Jo Scicluna and the two large “sculptural” photographs by Kim Demuth, but every artist in the exhibition had something interesting to offer.

Marcus

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

 

 

Installation view of the exhibition 'View from the Window' at Edmund Pearce Gallery, Melbourne, July 2014

 

 

Installation view of the exhibition View from the Window at Edmund Pearce Gallery, Melbourne, July 2014

 

Justine Varga. 'Morning' from the series 'Sounding Silence' 2014

 

Justine Varga
Morning from the series Sounding Silence
2014
Type C print
77 x 61 cm
Edition of 6 + 1AP
Images courtesy of the artist, Stills Gallery, Sydney and Hugo Michell Gallery, Adelaide

 

Justine Varga. 'Evening' from the series 'Sounding Silence' 2014

 

Justine Varga
Evening
from the series Sounding Silence
2014
Type C print
47 x 38.5 cm
Edition of 6 + 1AP
Images courtesy of the artist, Stills Gallery, Sydney and Hugo Michell Gallery, Adelaide

 

Izabela Pluta. Study for a sham ruin #7 and #8 2012

 

Izabela Pluta
Left: Study for a sham ruin #7, pigment print, 50 x 50cm, 2012 (installation view)
Right: Study for a sham ruin #8, acrylic on pigment print, 50 x 50cm, 2012 (installation view)
Images courtesy of the artist, Dianne Tanzer Gallery + Projects, Melbourne and Galerie pompom, Sydney

 

Izabela Pluta. Study for a sham ruin #7 and #8 2012

 

Izabela Pluta
Left: Study for a sham ruin #7, pigment print, 50 x 50cm, 2012
Right: Study for a sham ruin #8, acrylic on pigment print, 50 x 50cm, 2012
Images courtesy of the artist, Dianne Tanzer Gallery + Projects, Melbourne and Galerie pompom, Sydney

 

Megan Jenkinson. 'Promise - Morrell’s Islands' 2009

 

Megan Jenkinson
Promise – Morrell’s Islands
2009
Type lenticular
22.6 x 38cm
Edition of 5
Image courtesy the artist and Stills Gallery, Sydney

 

Megan Jenkinson. 'Solace - Morrell's Islands' 2009

 

Megan Jenkinson
Solace – Morrell’s Islands
2009
Type lenticular
21.7 x 38cm
Edition of 5
Image courtesy the artist and Stills Gallery, Sydney

 

 

“View from the Window presents current thinking around photography (if we can even talk of something called photography any more).

The exhibition adapts its name from the oldest existing camera photograph, View from the Window at Le Gras by Nicéphore Niépce. Created with a cumbersome process using Bitumen of Judeah, it remains a trace of a day nearly two hundred years ago and a fragile, enigmatic object today. Since that time, photography has undergone continual seismic shifts in its short history. Given its technological foundations it was inevitable that as new processes and techniques were discovered they would influence current photographic practice. From daguerreotypes, cyanotypes through to Kodachrome, C-41, digital negatives and Photoshop just about everything has changed how we engage with the medium.

With the ubiquity of the modern photographic image View from the Window attempts to highlight the need for considered reflection upon the place and value of current photographic practices. The artists respond to this by considering what ‘photography’ is, and in doing so re-shape, re-imagine, expand and break it down. They explore new thinking with traditional techniques and invent new methods of image making. The work is digital and analogue, flat and sculptural, conceptual and experiential, whole and fragmented. Despite all this, the photographic ‘idea’ remains – reshaping the way we see the world.”

Press release from the Edmund Pearce Gallery website

 

Installation view of the exhibition 'View from the Window' at Edmund Pearce Gallery, Melbourne, July 2014

 

Installation view of the exhibition View from the Window at Edmund Pearce Gallery, Melbourne, July 2014

 

Jo Scicluna. 'Where A Circle Meets A Line (#4)' 2014

 

Jo Scicluna
Where A Circle Meets A Line (#4)
2014
Archival pigment ink on cotton rag, victorian ash timber, tinted acrylic
37.5 x 37.5 cm
Edition of 5
Image courtesy of the artist

 

Jo Scicluna. 'Where I Have Always Been (An Island)' (detail) 2014

 

 

Jo Scicluna
Where I Have Always Been (An Island) (detail)
2014
Archival pigment ink on cotton rag, Victorian Ash timber, acrylic
45 x 45 cm
Edition of 5
Image courtesy of the artist

 

 

Extracts from the catalogue essay View from the Window

“Over 180 years ago, the French inventor Nicéphore Niépce produced View from the Window at Le Gras. Depicting the view over a series of buildings and the countryside surrounding a French estate, this fragile work was produced in a camera obscura by focusing light onto a pewter plate coated with Bitumen of Judea. Its archaic form and production seem far removed from the digitally-augmented, large-scale work of many contemporary artists, yet it still haunts photography. As well as recalling the origins of photography, it indicates a number of enduring polarities: analogue and digital; image and object; physical darkroom practices and digital post-production; personal and institutional or collective experiences; and duration and snapshot…

As these artists’ works demonstrate, the field of contemporary photography is fundamentally multifarious, constantly eluding attempts to delimit and define it. Despite the diversity of these practices, they share a sense of critical inquiry. Whether working with analogue photographs in darkrooms or digital images in post-production, building physical objects or emphasising the immaterial, these artists all foreground the capacity for photography to interrogate our understanding of the world. Consequently these practices recall art historian Bernd Stiegler’s vision of photography as a ‘reflective medium’.5 By this term Stiegler refers to the inextricable link between photography and realism, but importantly not a form of realism understood as naïve mimesis. Rather, for Stiegler, photography reflects upon the structures and assumptions through which we perceive the world, it ‘plumbs the conditions and limits of our understanding of reality’.6 More than a veridical document or hollow simulacrum, photography thus exists as image, object and process, potentially all simultaneously.

The complexity of these works signals a second common element: the investment of time. All these artists expend considerable time and effort in producing their work, as do any dedicated artists. However, the relevance of this observation is that this temporal investment differentiates such work from the overwhelming glut of photographic images that circulate through the electronic networks of globalised society. Although it would be disingenuous and insensitive to claim that tourist snaps of well-travelled monuments are only meaningless ephemera or signs of globalised homogeneity,7 the near ubiquity of photographic images highlights the need for considered reflection upon the place and value of photographic practices. Committed to extended periods of observation and experimentation, these artists display the patience and persistence to interrogate the problems and possibilities of photography. At their gentle request we repay this dedication through our own extended viewing, for without the time to look we might lose the time to think.

Christopher Williams-Wynn
2014

Christopher Williams-Wynn is an art history honours graduate of The University of Melbourne, and co-founder and co-editor of Dissect Journal.

 

5. Bernd Stiegler, ‘Photography as the Medium of Reflection’ in Robin Kelsey and Blake Stimson (eds), The Meaning of Photography. Williamstown, MA: Sterling and Francine Clark Art Institute, 2008, pp. 194-197.
6. Ibid., p. 197.
7. John Urry and Jonas Larsen, The Tourist Gaze 3.0, London: SAGE Publications, 2011, pp. 155-187.

 

Kim Demuth. '12.16am 18.02.2009' 2012

 

Kim Demuth
12.16am 18.02.2009
2012
Sculptural photography
110 x 92 x 6.5 cm
Edition of 3
Image courtesy of the artist

 

Kim Demuth. '9.55am 11.06.2008' 2012

 

Kim Demuth
9.55am 11.06.2008
2012
Sculptural photography
110 x 88 x 6.5cm
Edition of 3
Image courtesy of the artist

 

Sean Barrett. 'Cool Aether' 2014

 

Sean Barrett
Cool Aether
2014
Duratrans on blackwood lightbox
80 x 60 cm
Edition of 3
Image courtesy of the artist

 

Sean Barrett. 'Bright Swarm' 2014

 

Sean Barrett
Bright Swarm
2014
Duratrans on blackwood lightbox
80 x 60 cm
Edition of 3
Image courtesy of the artist

 

Sean Barrett. 'Dual Aurora' 2014

 

Sean Barrett
Dual Aurora
2014
Duratrans on blackwood lightbox
80 x 60 cm
Edition of 3
Image courtesy of the artist

 

 

Edmund Pearce Gallery
Level 2, Nicholas Building
37 Swanston Street (corner Flinders Lane)
Melbourne Victoria 3000

Opening hours:
Wed – Sat 11 am – 5 pm

Edmund Pearce Gallery website

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03
Jul
14

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

Exhibition dates: 29th March - 6th July 2014

 

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

Marcus

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

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

 

 

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

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

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

.
Ana Mendieta

 

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

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

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

 

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

.
Raquelin
 Mendieta

 

 

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

 

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

 

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

 

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

 

Ana Mendieta. 'Rape' 1973

 

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

 

Ana Mendieta. 'Rape Scene' 1973

 

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

 

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

 

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

 

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

 

Ana Mendieta. 'Untitled (Body Tracks)' 1974

 

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

 

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

 

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

 

Ana Mendieta. 'Untitled' 1973

 

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

 

Ana Mendieta. 'Blood and Feathers #2' 1974

 

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

 

Ana Mendieta. 'Imagen de Yagul' 1973

 

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

 

 

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

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

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

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

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

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

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

Text from the Museum der Moderne Salzburg website

 

Ana Mendieta. 'Untitled (Silueta Series)' 1978

 

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

 

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

 

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

 

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

 

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

 

Ana Mendieta. 'Untitled (Cuilapán Niche)' 1973

 

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

 

 

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

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

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

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

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

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

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

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

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

 

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

 

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

 

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

 

Ana Mendieta. 'Tree of Life' 1976

 

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

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

 

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

 

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

 

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

 

Ana Mendieta. 'Untitled' 1982

 

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

 

Ana Mendieta with Untitled wood sculpture, 1984-85

 

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

 

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

 

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

 

 

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

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

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03
Jul
14

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

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

 

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

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

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

Dr Marcus Bunyan for the Art Blart blog

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

 

 

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

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

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

 

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

 

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

 

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

 

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

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

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

 

John Divola. 'Cone, 87CN09' 1987

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

 John Divola. 'Moon, 88MOA1' 1988

 

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

 

John Divola. 'Rabbit, 87RBA1' 1987

 

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

 

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

 

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

 

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

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

 

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

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

 

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

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

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

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

 

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

 

 

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

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

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

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

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

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

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

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

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

Press release from the LACMA website

 

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

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

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

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

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

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

 

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

 

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

 

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

 

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

 

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

 

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

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

 

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

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

LACMA website

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29
Jun
14

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

Exhibition dates: 3rd May – 5th July 2014

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

Curator: Geraldine Kirrihi Barlow

 

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

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

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

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

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

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

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

Dr Marcus Bunyan for the Art Blart blog

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

 

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

.
Geraldine Kirrihi Barlow

 

 

Igor Grubic. 'Monument' 2014

 

Igor Grubic
Monument
2014
Video still
Courtesy of the artist

 

Igor Grubic. 'Monument' 2014

 

Igor Grubic
Monument
2014
Video still
Courtesy of the artist

 

14-5_MUMA-Concrete_13-WEB

 

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

 

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

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

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

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

 

 

Extracts from Igor Grubic’s film Monument 2014

 

Jananne al-Ani. 'Shadow sites II' 2011

 

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

 

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

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

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

 

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

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

 

Kader Attia. 'Rochers carrés' 2008

 

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

 

14-5_MUMA-Concrete_20-WEB

 

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

 

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

 

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

 

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

 

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

 

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

 

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

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

 

Tom Nicholson. 'Comparative monument (Palestine)' 2012

 

Tom Nicholson. 'Comparative monument (Palestine)' 2012

 

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

 

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

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

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

 

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

 

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

 

Nicholas Mangan. 'Some kinds of duration' 2011

 

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

 

 

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

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

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

Director, Charlotte Day

Text from the MUMA press release

 

Carlos Irijalba. 'High Tides (drilling)' 2012

 

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

 

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

 

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

 

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

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

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

 

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

 

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

 

Laurence Aberhart. 'Auroa Taranaki' 1991

 

Laurence Aberhart
Auroa Taranaki
1991
Silver gelatin photograph

 

Laurence Aberhart. 'Matakana, North Auckland' 1994

 

Laurence Aberhart
Matakana, North Auckland
1994
Silver gelatin photograph

 

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

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

 

Saskia Doherty. 'Footfalls' 2013-14

 

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

 

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

 

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

 

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

 

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

 

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

 

 

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

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

Monash University Museum of Art (MUMA) website

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24
Jun
14

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

Exhibition dates: 21st February - 29th June 2014

Exhibition artists

Public Intimacy presents

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

 

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

Marcus

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

 

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

Text from the SFMOMA website

 

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

Zanele Muholi, born 1972

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

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

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

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

 

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

 

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

 

 

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

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

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

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

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

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

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

 

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

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

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

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

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

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

 

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

 

 

Exhibition highlights

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

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

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

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

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

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

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

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

Text from the SFMOMA website

 

Sabelo Mlangeni. 'Couple Bheki and Sipho' 2009

 

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

 

 

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

 

Anton Kannemeyer. 'D is for dancing ministers' 2006

 

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

 

Terry Kurgan. 'Hotel Yeoville' 2012

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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



 

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


Archival inkjet Print on Photorag Baryta
202 x 157 cm

 

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

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

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

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

Text from the Athi-Patra Ruga blog

 

Athi-Patra Ruga. 'Uzuko' 2013


 

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

 

 

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

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

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

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

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

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

Statement from WHATIFTHEWORLD.com on the Empty Kingdom website

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

 

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Dr Marcus Bunyan

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

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