Archive for the 'photojournalism' Category

25
Feb
15

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

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

 

Another fun posting to add to the archive!

Marcus

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

 

 

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

 

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

 

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

 

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

 

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

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

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

 

 

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

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

Text from the deCordova Sculpture Park and Museum

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

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

 

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

 

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

 

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

 

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

 

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

Examples of Polaroids in book. 20 total.

 

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

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

 

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

 

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

 

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

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

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

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

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

 

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

Opening hours:
Summer
Every day
10 am – 5 pm

deCordova Sculpture Park and Museum website

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22
Feb
15

Exhibition: ‘Freedom Journey 1965: Photographs of the Selma to Montgomery March by Stephen Somerstein’ at the New-York Historical Society Museum and Library, New York

Exhibition dates: 16th January – 19th April 2015

 

And still it goes on… whether it be so called Chelsea football “fans” singing racist songs and abusing a black man on the Paris Metro, the Australian government’s “intervention” in Aboriginal communities, or Channel Seven’s adverts for Australia: The Story of Us which states, “This is the story of how a bunch of convicts transformed Australia from a barren, frontier prison into one of the richest countries in the world.”

The use of the word “barren” insidiously supports the hidden tenants of racism, surreptitiously reaffirming the idea that Australia was a terra nullius when it was invaded. And for one of the richest countries in the world, the Aboriginal and refugee population is sure not seeing the benefits, both in terms of freedom (refugee children and Indigenous people from incarceration), health, education and life span.

When will the human race ever grow up? We have been fighting this stuff since time immemorial, or perhaps that should be time ‘in memoriam’ – in honour of those who have passed – and in honour of those that continue to suffer. In the end it all comes down to the intersectionality of power, race, religion, money, gender and place, a moveable and fluid feast of fear and loathing, possession and patriarchy. I don’t believe that it will ever change, unless something truly momentous happens to this world…. the earth self regulates and rids itself of this disease, this human ‘race’. But we can and we will still fight the good fight, against bigotry, war, corporations and government surveilllance, everywhere.

Dr Marcus Bunyan

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Many thankx to the New York Historical Society Museum and Library for allowing me to publish the photographs in the posting. Please click on the photographs for a larger version of the image.

 

 

“All through the march I was thinking, ‘This is history in the making. Can I capture it? Can I give a sense to other people of what I am experiencing myself?’ That was the thread that always wove through the back of my mind. Am I up for the task?… I turned my camera most consciously to the people watching the march. It was meant to free them. The march was meant to give them voting rights. The march was meant to change their lives… I wanted the pictures to be a window for people to look back in time and see what it was like then. I needed to capture a sense of their vision.”

.
Stephen Somerstein

 

 

Stephen Somerstein. 'Dr. Martin Luther King, Jr. speaking to 25,000 civil rights marchers in Montgomery' 1965

 

Stephen Somerstein
Dr. Martin Luther King, Jr. speaking to 25,000 civil rights marchers in Montgomery 
1965
Courtesy of the photographer

 

Stephen Somerstein. '"Things Go Better With Coke" sign and multi-generational family watching marchers' 1965

 

Stephen Somerstein
“Things Go Better With Coke” sign and multi-generational family watching marchers
1965
Courtesy of the photographer

 

This is among Somerstein’s favourite shots from the march. “Only in this instant are they looking mostly in the same direction,” he said, recalling that a second shot he took just after lacked the “unity” of this composition.

 

Stephen Somerstein. 'Marchers on the way to Montgomery as families watch from their porches' 1965

 

Stephen Somerstein
Marchers on the way to Montgomery as families watch from their porches
1965
Courtesy of the photographer

 

Stephen Somerstein. 'Nuns, priests, and civil rights leaders at the head of the march' 1965

 

Stephen Somerstein
Nuns, priests, and civil rights leaders at the head of the march
1965
Courtesy of the photographer

 

Stephen Somerstein. 'Two mothers with children watching marchers' 1965

 

Stephen Somerstein
Two mothers with children watching marchers
1965
Courtesy of the photographer

 

Stephen Somerstein. 'Dr. Martin Luther King, Jr. Looks out at crowd in Montgomery' 1965

 

Stephen Somerstein
Dr. Martin Luther King, Jr. Looks out at crowd in Montgomery
1965
Courtesy of the photographer

 

“I had to be totally cool about it,” Somerstein said of getting this shot, taken from the platform where Martin Luther King was speaking. “You don’t ask people, you don’t discuss it, you just do it… I had 30 seconds to take the photograph.” This image inspired the poster for the current film Selma.

“Somehow, the photographer managed to position himself directly behind Dr. King as he delivered the sonorous “How Long? Not Long” speech: “Somebody’s asking, ‘How long will prejudice blind the visions of men, darken their understanding, and drive bright-eyed wisdom from her sacred throne?’ ” it began, ending, “Not long, because the arc of the moral universe is long, but it bends toward justice.” (Holland Cotter)

 

 

Iconic Photographs by Stephen Somerstein Capture the Spirit of the Civil Rights Movement

The New-York Historical Society showcases a powerful selection of photographs by Stephen Somerstein that chronicle the 1965 Selma-to-Montgomery Civil Rights March, honoring the 50th anniversary of the protest that changed the course of civil rights in America. On view from January 16 through April 19, 2015, the exhibition Freedom Journey 1965: Photographs of the Selma to Montgomery March by Stephen Somerstein will feature the work of the 24-year-old City College student, who felt he had to document “what was going to be a historic event.” He accompanied the marchers, gaining unfettered access to Dr. Martin Luther King, Jr., Coretta Scott King, Rosa Parks, James Baldwin, Joan Baez, and Bayard Rustin.

Through 55 black and white and color photographs, Freedom Journey 1965 will document the quest for equality and social justice over the five-day march. Then the managing editor and picture editor of the City College newspaper, Stephen Somerstein recalls “When Dr. King called on Americans to join him in a massive protest march to Montgomery, I knew that important, nation-changing history was unfolding and I wanted to capture its power and meaning with my camera.”

The Selma-to-Montgomery March marked a peak of the American civil rights movement. From March 21 to March 25, 1965, hundreds of people marched from Selma to the State Capitol Building in Montgomery, Alabama to protest against the resistance that the Student Nonviolent Coordinating Committee (SNCC) and other groups had encountered in their mission to register black voters. By March 25, the group had grown to 25,000 people, which Dr. King addressed from the steps of the Montgomery State Capitol. Three months later, President Lyndon Johnson signed the Voting Rights Act of 1965.

Somerstein took approximately 400 photographs over the five-day, 54 mile march. Exhibition highlights include images of Dr. Martin Luther King, Jr. addressing the crowd of 25,000 civil rights marchers in Montgomery; folk singer Joan Baez, standing before a line of state troopers blocking the entrance to the State Capitol; white hecklers yelling and gesturing at marchers; families watching the march from their porches; and images of young and old alike participating in the demonstration.

Somerstein pursued a career in physics, building space satellites at the Harvard Smithsonian Astrophysical Observatory and Lockheed Martin Co. Upon retiring, Somerstein revisited the Selma photographs. Though he had sold a few of them, the majority were not showcased until he participated in a civil rights exhibition at the San Francisco Art Exchange in 2010. “I realized that I had numerous iconic and historic photographs that I wanted to share with the public,” says Somerstein.

This exhibit features the stunning and historic photographs of Stephen Somerstein, documenting the Selma-to-Montgomery Civil Rights March in January 1965. Somerstein was a student in City College of New York’s night school and Picture Editor of his student newspaper when he traveled to Alabama to document the March.

He joined the marchers and gained unfettered access to everyone from Martin Luther King Jr. to Rosa Parks, James Baldwin, and Bayard Rustin. “I had five cameras slung around my neck,” he recalled. Over the five-day, 54-mile march, Somerstein took about four hundred photographs including poignant images of hopeful blacks lining the rural roads as they cheered on the marchers walking past their front porches and whites crowded on city sidewalks, some looking on silently-others jeering as the activists walked to the Alabama capital. Somerstein sold a few photographs to the New York Times Magazine, Public Television and photography collectors, but none were exhibited until 2010, when he participated in a civil rights exhibition at the San Francisco Art Exchange.

Rather than choosing photography as a career, Somerstein became a physicist and worked at the Harvard-Smithsonian Astrophysical Observatory and at Lockhead Martin Company. It was only after his retirement in 2008 that he returned to his photography remarking that he wanted “to have exhibitions of my work and that I realized that I had numerous iconic as well as historic photographs.” Among those photographs were his moving photographs of that memorable march to Montgomery in 1965.”

Press release from the New-York Historical Society Museum and Library

 

 

Selma – Montgomery March, 1965

 

A powerful and recently rediscovered film made during the 1965 Selma to Montgomery march for voting rights. Stefan Sharff’s intimate documentary reflects his youthful work in the montage style under the great Russian filmmaker Sergei Eisenstein. The film features moving spirituals. Marchers include Rev. Dr. Martin Luther King Jr. and his wife Coretta Scott King. (NJ state film festival)

Director: Stefan Sharff

Cameramen:
Stefan Sharff
Christopher Harris
Julian Krainin
Alan Jacobs
Norris Eisenbrey

 

Stephen Somerstein. 'Coretta Scott King and husband civil rights leader Dr. Martin Luther King, Jr., on platform at end of 1965 Selma to Montgomery, Alabama Civil Rights March - March 25, 1965' 1965

 

Stephen F. Somerstein
Coretta Scott King and husband civil rights leader Dr. Martin Luther King, Jr., on platform at end of 1965 Selma to Montgomery, Alabama Civil Rights March – March 25, 1965
1965
Courtesy of the photographer

 

It had taken them 54 miles on the march and their entire lives to reach their goal of voting rights for blacks. Somerstein, who took that photo as a CCNY student, says it’s one of his favorite images from that time.

 

Stephen Somerstein. 'Folk singer Joan Baez in Montgomery' 1965

 

Stephen Somerstein
Folk singer Joan Baez in Montgomery
1965
Courtesy of the photographer

 

Stephen Somerstein. 'Hecklers yelling and gesturing at marchers' 1965

 

Stephen Somerstein
Hecklers yelling and gesturing at marchers
1965
Courtesy of the photographer

 

Stephen Somerstein. 'Young civil rights marchers with American flags march in Montgomery' 1965

 

Stephen Somerstein
Young civil rights marchers with American flags march in Montgomery
1965
Courtesy of the photographer

 

 

“For all involved, danger was ever-present. The march, which covered 54 miles and took five days, from March 21 to 25, had been preceded by two traumatic aborted versions. On March 7, 600 people trying to walk across the Edmund Pettus Bridge over the Alabama River leading out of Selma to Montgomery were accused by local law officials of gathering illegally and were savagely assaulted by state troopers. Two days later, a second group, this one led by Dr. King, approached the bridge, knelt to pray and turned back. If the retreat was intended as a symbolic rebuke to violence, it did no good. That night, a Unitarian minister from Boston named James J. Reeb, in town for the event, was beaten on the street by a group of Selma racists and died.

By the time of the third march, certain protective measures were in place. The force of public opinion was one. Pictures of the attack at the bridge had been widely seen in print and on national television: All eyes were on Selma now. An Alabama judge had finally granted legal permission for a march to proceed. Finally, President Lyndon B. Johnson, enraged at Gov. George C. Wallace’s refusal to shield the marchers, ordered federal troops to guard them…

Scads of photographers were on the job that day and, inevitably, certain subjects – political leaders, visiting celebrities – were the focus of many cameras, including Mr. Somerstein’s. Yet most of the people in his pictures are not stars; they’re rank-and-file participants. It’s from their perspective that we see the march. In one shot, we’re in the middle of it, surrounded by fellow walkers. In others, we’re looking out at bystanders who line the way: white office workers; hecklers; multiracial shoppers; African-American children on porches; women, dressed in Sunday best, on the steps of black churches.

This viewpoint subtly alters a standard account of the event, one perpetuated in Selma, which suggests that a small, elite band of high-level organizers were the heroes of the day. They were indeed heroes, but they were borne on the shoulders of the countless grass-roots organizers who paved the way for the march and the anonymous marchers, many of them women, who risked everything to walk the walk…

… in the film, the image [of the back of Dr King’s head] seems to be about the man and his drama; in Mr. Somerstein’s photograph, it seems to be about the crowd. For an account of this and other civil rights era events that balance symbols and facts, I look back to the documentary series Eyes on the Prize that ran on public television between 1987 and 1990. Its use of archival images and contemporary interviews with people involved in the Selma-to-Montgomery march gave equal time to personalities and larger realities. And its news clips of the bloody attack on citizens by the police on the bridge in Selma, despite being choppy and grainy, are to me far more wrenching in a you-are-there way than a Hollywood re-enactment, however spectacular. Mr. Somerstein’s quiet photographs are moving in a similar way.”

Extracts from Holland Cotter. “A Long March Into History: Stephen Somerstein Photos in ‘Freedom Journey 1965′,” on the New York Times website [Online] Cited 19/02/2015

 

Stephen Somerstein. 'Family watching march' 1965

 

Stephen Somerstein
Family watching march
1965
Courtesy of the photographer

 

Stephen Somerstein. 'Man with American flag and marchers walking past federal troops guarding crossroads' 1965

 

Stephen Somerstein
Man with American flag and marchers walking past federal troops guarding crossroads
1965
Courtesy of the photographer

 

 

Martin Luther King Jr. (MLK) delivers his famous “How Long, Not Long” speech on the steps of the state capitol building in Montgomery, Alabama, 1965

 

 

Eyes on the Prize (VI) – Bridge to Freedom, 1965

 

Stephen Somerstein talks about a photo he took during the famous 1965 Selma to Montgomery, Ala., march at the New-York Historical Society

 

Stephen Somerstein talks about a photo he took during the famous 1965 Selma to Montgomery, Ala., march at the New-York Historical Society on Wednesday. Somerstein was a 24-year-old college student when he photographed Dr. Martin Luther King Jr. and the march from Selma to Montgomery that changed the course of civil rights in the U.S. REUTERS

 

 

New-York Historical Society Museum and Library
170 Central Park West
at Richard Gilder Way (77th Street)
New York, NY 10024
Tel: (212) 873-3400

Opening hours:
Tuesday – Thursday, Saturday – 10am – 6pm
Friday – 10am – 8pm
Sunday – 11am – 5pm
Monday – CLOSED

New-York Historical Society Museum and Library website

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14
Feb
15

Exhibition: ‘Witness at a Crossroads: Photographer Marc Riboud in Asia’ at The Rubin Museum of Art, New York

Exhibition dates: 16th October 2014 – 23rd March 2015

 

I am not convinced by these. There are a couple of brilliant images in the posting, such as Forbidden City (Beijing, 1957) and Photography Fair 150 Kilometers from Tokyo (Japan, 1958) but the rest vary between plain (Between Konark and Puri, Orissa, India, 1956), kitsch or is it cheesy (Road to Khyber Pass, Afghanistan, 1956) to downright obvious (Cave Dwelling, between Urgup and Uchisar, Cappadocia, Turkey, 1955).

Marcus

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Many thankx to The Rubin 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.

 

 

Marc Riboud (French, b. 1923) 'Road to Khyber Pass' Afghanistan, 1956

 

Marc Riboud (French, b. 1923)
Road to Khyber Pass
Afghanistan, 1956
60 x 94 cm

 

Marc Riboud (French, b. 1923) 'Photography Fair 150 Kilometers from Tokyo' Japan, 1958

 

Marc Riboud (French, b. 1923)
Photography Fair 150 Kilometers from Tokyo
Japan, 1958
40 x 50 cm

 

Marc Riboud (French, b. 1923) 'Darjeeling' Darjeeling, India, 1956

 

Marc Riboud (French, b. 1923)
Darjeeling
Darjeeling, India, 1956
30 x 40 cm

 

Marc Riboud (French, b. 1923) 'Forbidden City' Beijing, 1957

 

Marc Riboud (French, b. 1923)
Forbidden City
Beijing, 1957
40 x 50 cm

 

Marc Riboud (French, b. 1923) 'Between Konark and Puri' Orissa, India, 1956

 

Marc Riboud (French, b. 1923)
Between Konark and Puri
Orissa, India, 1956
Vintage print
18 x 27.2 cm

 

Marc Riboud (French, b. 1923) 'Camel Market' Nagaur, Rajasthan, India, 1956

 

Marc Riboud (French, b. 1923)
Camel Market
Nagaur, Rajasthan, India, 1956
Vintage print
33.5 x 49.5 cm

 

 

Marc Riboud’s first New York exhibition in over 25 Years chronicles the artist’s expeditions across Asia

Photography exhibition at Rubin Museum of Art offers rare glimpse into life at critical time in trans-regional Asian history

“This October, the Rubin Museum of Art will open Witness at a Crossroads: Photographer Marc Riboud in Asia, a photography exhibition that chronicles the French artist’s journeys across Asia, with particular focus on his travels from 1955 through 1958. The first New York museum exhibition of Riboud’s work in over 25 years, Witness at a Crossroads will illustrate the artist’s perspective on the confluence of tradition and modern culture in mid-century Asia. On view from October 16, 2014 through March 23, 2015, Witness at a Crossroads will feature approximately 100 black-and-white photographs from the mid-to-late 1950s, as well as images from Riboud’s pioneering visit to China in the 1960s. The exhibition will also present ephemeral objects including press cards, contact sheets, and international magazines where photographs of Riboud’s travels were published.

Organized in thematic clusters – regionally and chronologically – the exhibition will examine Riboud’s travels across Turkey, Iran, Afghanistan, Pakistan, India, Nepal, China, and Japan. Riboud’s photographs provide an honest and accessible window into the daily lives of the diverse people of the region and illuminate the tension created by cultural shifts during this period. These early images provide important context for Riboud’s later works and illuminate the influence of his experience in Asia on his career.

“Marc Riboud captured a period of significant cultural transformation and postwar modernization through the lives of everyday individuals, creating an important living document. The exhibition provides a broad lens through which to look at trans-regional Asian dynamics and history in these critical years,” said Beth Citron, Assistant Curator at the Rubin Museum of Art. “Witness at a Crossroads is the latest exhibition at the Rubin Museum of Art to illuminate the profound impact of cultures across Asia on the work of modern and contemporary artists from across the globe. Our latest exhibition affirms the institution’s commitment to providing a comprehensive view of artistic activity coming out of – and impacted by – these diverse cultures.”

Riboud left for Asia shortly after beginning his career at the photo agency Magnum. The photographer’s explorations were shaped in part by his correspondence with his mentor Henri Cartier-Bresson, the father of photojournalism, who provided insight to his protégé on engaging with new cultures. The exhibition highlights common themes in Riboud’s work and underscores the artist’s use of photography to investigate culture and his ability to capture intimate glimpses of everyday life. One of the first foreign photographers allowed into China after the country’s Cultural Revolution of 1949, Riboud was a pioneer in documenting the region, as demonstrated in images such as Forbidden City (1957), where a silhouette of a figure is framed by the angular rooftops, fences, and walls. A strong sense of composition is also apparent in images like On the Backs of Ganges (1956), where bathers relaxing after a swim are divided by a draping sheet in the center of the photograph. Works like Darjeeling (1956), a look at the Indian city on a rainy day, demonstrate Riboud’s ability to create poetic and atmospheric images of the countries he explored.

 

About Marc Riboud 

Before beginning his career as a photographer, Marc Riboud worked as a factory engineer until 1951. After a week on holiday, during which he covered the cultural festival of Lyon, Riboud dropped his engineering job for photography and moved to Paris in 1952. He was invited by Henri Cartier-Bresson and Robert Capa to join Magnum as an associate that same year.

In 1957, Riboud made his first trip to China. He returned multiple times, including a 1965 trio with writer K.S. Karol. In 1968, 1972, and 1976, Riboud made several reportages on North Vietnam in addition to continuing his travels all over the world, mostly in Asia, Africa, the U.S., and Japan. He is best known for his extensive reports on the East: The Three Banners of China (1966), Face of North Vietnam (1970), Visions of China (1981) and In China (1966). He has received many awards including two by the Overseas Press Clun, the Time-Life Achievement, the Lucie Award and the ICP Infinity Award.”

Press release from The Rubin Museum of Art website

 

Marc Riboud (French, b. 1923) 'Cave Dwelling, between Urgup and Uchisar' Cappadocia, Turkey, 1955

 

Marc Riboud (French, b. 1923)
Cave Dwelling, between Urgup and Uchisar
Cappadocia, Turkey, 1955
24 x 30 cm

 

Marc Riboud (French, b. 1923) 'Istanbul' Istanbul, Turkey, 1955

 

Marc Riboud (French, b. 1923)
Istanbul
Istanbul, Turkey, 1955
30 x 40 cm

 

Marc Riboud (French, b. 1923) 'Jaipur' Jaipur, India, 1956

 

Marc Riboud (French, b. 1923)
Jaipur
Jaipur, India, 1956
23.2 x 33 cm

 

Marc Riboud (French, b. 1923) 'On a Train from Hong Kong to Guangzhou' China, January 1, 1957

 

Marc Riboud (French, b. 1923)
On a Train from Hong Kong to Guangzhou
China, January 1, 1957
20.2 x 30 cm

 

Marc Riboud (French, b. 1923) 'Preparing Kites on a Sunday Morning' Ankara, Turkey, 1955

 

Marc Riboud (French, b. 1923)
Preparing Kites on a Sunday Morning
Ankara, Turkey, 1955
Vintage print
17 x 25.3 cm

 

Marc Riboud (French, b. 1923) 'Untitled' Afghanistan, 1955

 

Marc Riboud (French, b. 1923)
Untitled
Afghanistan, 1955
Vintage print
16.2 x 23.7 cm

 

Marc Riboud (French, b. 1923) 'Street Show' Beijing, China, 1957

 

Marc Riboud (French, b. 1923)
Street Show
Beijing, China, 1957
Vintage print
20.4 x 29.9 cm

 

 

The Rubin Museum of Art
150 West 17th Street
New York City

Opening hours:
Monday 11.00 am – 5.00 pm
Tuesday Closed
Wednesday 11.00 am – 9.00 pm
Thursday 11.00 am – 5.00 pm
Friday 11.00 am – 10.00 pm
Saturday 11.00 am – 6.00 pm
Sunday 11.00 am – 6.00 pm
The museum is closed on Christmas, Thanksgiving, and New Year’s Day

The Rubin Museum of Art website

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11
Feb
15

Exhibition: ‘Conflict, Time, Photography’ at Tate Modern, London

Exhibition dates: 26th November 2014 – 15th March 2015

The Eyal Ofer Galleries

Artists: Jules Andrieu, Pierre Antony-Thouret, Nobuyoshi Araki, George Barnard, Adam Broomberg and Oliver Chanarin, Luc Delahaye, Ken Domon, Roger Fenton, Ernst Friedrich, Jim Goldberg, Toshio Fukada, Kenji Ishiguro, Kikuji Kawada, An-My Lê, Jerzy Lewczyński, Emeric Lhuisset, Agata Madejska, Diana Matar, Eiichi Matsumoto, Chloe Dewe Mathews, Don McCullin, Susan Meiselas, Kenzo Nakajima, Simon Norfolk, João Penalva, Richard Peter, Walid Raad, Jo Ratcliffe, Sophie Ristelhueber, Julian Rosefeldt, Hrair Sarkissian, Michael Schmidt, Ursula Schulz-Dornburg, Indre Šerpytyte, Stephen Shore, Harry Shunk and János Kender, Taryn Simon, Shomei Tomatsu, Hiromi Tsuchida, Marc Vaux, Paul Virilio, Nick Waplington, Jane and Louise Wilson, and Sasaki Yuichiro.

Curators: Simon Baker, Curator Photography and International Art, Shoair Mavlian, Assistant Curator, and Professor David Alan Mellor, University of Sussex

 

 

Another fascinating exhibition. The concept, that of vanishing time, a vanquishing of time – inspired by Kurt Vonnegut’s 1969 novel Slaughterhouse-Five and the Japanese photographer Kikuji Kawada’s 1965 photobook The Map – is simply inspired. Although the images are not war photography per se, they are about the lasting psychological effects of war imaged on a variable time scale.

While the images allow increasing passages of time between events and the photographs that reflect on them – “made moments after the events they depict, then those made days after, then months, years and so on” – there settles in the pit of the stomach some unremitting melancholy, some unholy dread as to the brutal facticity and inhumanness of war. The work which “pictures” the memory of the events that took place, like a visual ode of remembrance, are made all the more powerful for their transcendence –  of time, of death and the immediate detritus of war.

Marcus

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

 

 

“From the seconds after a bomb is detonated to a former scene of battle years after a war has ended, this moving exhibition focuses on the passing of time, tracing a diverse and poignant journey through over 150 years of conflict around the world, since the invention of photography.

In an innovative move, the works are ordered according to how long after the event they were created from moments, days and weeks to decades later. Photographs taken seven months after the fire bombing of Dresden are shown alongside those taken seven months after the end of the First Gulf War. Images made in Vietnam 25 years after the fall of Saigon are shown alongside those made in Nakasaki 25 years after the atomic bomb. The result is the chance to make never-before-made connections while viewing the legacy of war as artists and photographers have captured it in retrospect…

The exhibition is staged to coincide with the 2014 centenary and concludes with new and recent projects by British, German, Polish and Syrian photographers which reflect on the First World War a century after it began.”

Text from the Tate Modern website

 

“The original idea for the Tate Modern exhibition Conflict, Time, Photography came from a coincidence between two books that have captivated and inspired me for many years: Kurt Vonnegut‘s classic 1969 novel Slaughterhouse-Five and the Japanese photographer Kikuji Kawada’s 1965 photobook The Map. Both look back to hugely significant and controversial incidents from the Second World War from similar distances.

Vonnegut was a prisoner of war in Dresden when what he called ‘possibly the world’s most beautiful city’ was destroyed by incendiary bombs, and struggled to write his war book for almost 25 years. Kawada was a young photographer working in post-war Hiroshima when he began to take the strange photographs of the scarred, stained ceiling of the A-bomb Dome – the only building to survive the explosion – that he would eventually publish on August 6 1965, 20 years to the day since the atomic bomb was dropped on the city.

It may seem odd that these great works of art and literature took so long to emerge from the aftermath of the events they concern. But many of the most complex and considered accounts of conflict have taken their time. To Vonnegut’s painfully slow response to the war, for example, we might add Joseph Heller’s brilliantly satirical Catch-22, published in 1961, and, even more significantly, JG Ballard’s memorial masterpiece Empire of the Sun, which did not see the light of day until 1984.

And today, in 2014, 100 years since the start of the First World War, it seems more important than ever not only to understand the nature and long-term effects of conflict, but also the process of looking back at the past…

CONTINUE READING THIS EXCELLENT ARTICLE BY CURATOR SIMON BAKER: “War photography: what happens after the conflict?” on The Telegraph website, 7th November 2014 [Online] Cited 09/02/2015

 

 

“… taking its cue from Vonnegut, ‘Conflict, Time, Photography’ is arranged differently, following instead the increasing passages of time between events and the photographs that reflect on them. There are groups of works made moments after the events they depict, then those made days after, then months, years and so on – 10, 20, 50, right up to 100 years later.”

.
Simon Baker

 

 

Roger Fenton. 'The Valley of the Shadow of Death' 1855

 

Roger Fenton
The Valley of the Shadow of Death
1855

 

Shomei Tomatsu 'Atomic Bomb Damage - Wristwatch Stopped at 11-02, August 9. 1945' (1961)

 

Shomei Tomatsu
Atomic Bomb Damage – Wristwatch Stopped at 11.02, August 9, 1945, Nagasaki, 1961
1961
Gelatin silver print on paper
253 x 251 mm
Tokyo Metropolitan Museum of Photography, Tokyo

 

Shomei Tomatsu. 'Steel Helmet with Skull Bone Fused by Atomic Bomb, Nagasaki, 1963'

 

Shomei Tomatsu
Steel Helmet with Skull Bone Fused by Atomic Bomb, Nagasaki, 1963
1963
Gelatin silver print on paper
226 x 303 mm
Tokyo Metropolitan Museum of Photography, Tokyo

 

Shomei Tomatsu. 'Melted bottle' Nagasaki, 1961

 

Shomei Tomatsu
Melted bottle
Nagasaki, 1961
from the series Nagasaki 11:02
Silver Gelatin print
20 x 21 cm
© Shomei Tomatsu

 

An-My Lê. 'Untitled, Hanoi' (1994-98)

 

An-My Lê
Untitled, Hanoi
1994-98
Gelatin silver print on paper
508 x 609 mm
Courtesy the artist and Murray Guy, New York

 

Jane Wilson (born 1967) Louise Wilson (born 1967) 'Urville' 2006

 

Jane Wilson (born 1967)
Louise Wilson (born 1967)
Urville
2006
Gelatin silver print, mounted onto aluminium
1800 x 1800 mm
Tate
Purchased 2011

 

Jane Wilson and Louise Wilson 'Azeville' 2006

 

Jane Wilson (born 1967)
Louise Wilson (born 1967)
Azeville
2006
Gelatin silver print, mounted onto aluminium
1800 x 2900 mm
Tate
Purchased 2011

 

Jo Ractliffe. 'As Terras do fim do Mundo' Nd

 

Jo Ractliffe
As Terras do fim do Mundo (The Lands of the End of the World)
2009-2010
Courtesy Mark McCain collection

 

 

“At first glance, Jo Ractliffe’s black-and-white shots of sun-baked African landscapes look random and bland: rocks, dirt, scrubby trees; some handwritten signs but no people. Only when reading the titles – “Mass Grave at Cassinga,” “Minefield Near Mupa” – do you learn where the people are, or once were, and the pictures snap into expressive focus.

Ms. Ractliffe, who lives in Johannesburg, took the photographs in 2009 and 2010 in Angola on visits to now-deserted places that were important to that country’s protracted civil war and to the intertwined struggle of neighboring Namibia to gain independence from South Africa’s apartheid rule. South Africa played an active role in both conflicts, giving military support to insurgents who resisted Angola’s leftist government, and hunting down Namibian rebels who sought safety within Angola’s borders.

It’s through this historical lens that Ms. Ractliffe views landscape: as morally neutral terrain rendered uninhabitable by terrible facts from the past – the grave of hundreds of Namibia refugees, most of them children, killed in an air raid; the unknown numbers of landmines buried in Angola’s soil. Some are now decades old but can still detonate, so the killing goes on.”

Text from The New York Times website

 

Kikuji Kawada. 'Hinomaru, Japanese National Flag' from the series 'The Map' 1965

 

Kikuji Kawada
Hinomaru, Japanese National Flag from the series The Map
1965
Gelatin silver print
279 x 355 mm
© Kikuji Kawada, courtesy the artist and Photo Gallery International, Tokyo

 

Kikuji Kawada. 'Lucky Strike' 1962

 

Kikuji Kawada
Lucky Strike
1962
From the series The Map
© Kikuji Kawada, courtesy the artist and Photo Gallery International, Tokyo

 

Kikuji Kawada. 'The A-Bomb Memorial Dome and Ohta River'

 

Kikuji Kawada
The A-Bomb Memorial Dome and Ohta River from the series The Map
Hiroshima 1960-65
Gelatin silver print
© Kikuji Kawada

 

 

Points of memory: Kikuji Kawada

My first published photo book, The Map, took me five years to complete, beginning in 1960. In late 1961 a solo show with work from the series was held at Fuji Photo Salon in Tokyo, organised in three parts.

The first featured a ruined castle that was blown up intentionally by the Japanese army during the Second World War. The second comprised photographs taken a decade after the atomic bomb exploded in Hiroshima. They showed the stains and flaking ceilings of the Atomic Bomb Dome, the only structure left standing at the heart of the detonation zone. The third part concerned Tokyo during the period of economic recovery: images of advertising, scrap iron, the trampled national flag and emblems of the American Forces such as Lucky Strike and Coca-Cola, all twisted together, their order shuffled again and again. Some appeared as a montage to be presented as a metaphor. I dare not say the meaning of it.

These works led me to attempt to create this photographic book, using the notion of the map as a clue to the future and to question the whereabouts of my spirit. Discarded memorial photographs, a farewell note, kamikaze pilots – the illusions of various maps that emerge are to me like a discussion with the devil. The stains are situated as a key image of the series by drawing a future stratum and sealing the history, the nationality, the fear and anxiety of destruction and prosperity. It was almost a metaphor for the growth and the fall.

On the back of the black cover box are written rhyming words that are almost impossible to read. The front cover shows that the words are about to burn out. Inside, the pages are laid out as hinged double fold-out spreads. The repetition of the act of opening and closing makes the images appear and disappear. I wanted to have a book design as a new object and something that goes beyond the contents. With the rich and chaotic nature of monochrome, it might be that I tried to find my early style within the illusion of reality by abstracting the phenomenon. As an observer, I would like to keep forcing myself into the future, never losing the sense of danger which emerges in the conflicts of daily life. I wish to harmonise my old distorted maps with the heartbeat of this exhibition at Tate Modern, twisting across the bridges of the centuries through conflicting space and time.

Kikuji Kawada is a photographer based in Tokyo.

Text from the Tate Modern website

 

Richard Peter. 'Dresden After Allied Raids Germany' 1945

 

Richard Peter
Dresden After Allied Raids Germany
1945
© SLUB Dresden / Deutsche Fotothek / Richard Peter, sen.

 

Toshio Fukada. 'The Mushroom Cloud - Less than twenty minutes after the explosion (4)' 1945

 

Toshio Fukada 
The Mushroom Cloud – Less than twenty minutes after the explosion (4)
1945
Tokyo Metropolitan Museum of Photography
© The estate of Toshio Fukada, courtesy Hiroshima Peace Memorial Museum

 

Jerzy Lewczyński. 'Wolf's Lair / Adolf Hitler's War Headquarters' 1960

 

Jerzy Lewczyński
Wolf’s Lair / Adolf Hitler’s War Headquarters
1960
© Jerzy Lewczyński

 

Don McCullin. 'Shell Shocked US Marine, Vietnam, The Battle of Hue' 1968

 

Don McCullin
Shell Shocked US Marine, Vietnam, The Battle of Hue
1968, printed 2013
© Don McCullin

 

Ursula Schulz-Dornburg. 'Kurchatov - Architecture of a Nuclear Test Site Kazakhstan. Opytnoe Pole' 2012

 

Ursula Schulz-Dornburg
Kurchatov – Architecture of a Nuclear Test Site Kazakhstan. Opytnoe Pole
2012
Courtesy of the artist’s studio
© Ursula Schultz-Domburg

 

 

Conflict, Time, Photography brings together photographers who have looked back at moments of conflict, from the seconds after a bomb is detonated to 100 years after a war has ended. Staged to coincide with the centenary of the First World War, this major group exhibition offers an alternative to familiar notions of war reportage and photojournalism, instead focusing on the passing of time and the unique ways that artists have used the camera to reflect on past events.

Conflicts from around the world and across the modern era are depicted, revealing the impact of war days, weeks, months and years after the fact. The works are ordered according to how long after the event they were created: images taken weeks after the end of the American Civil War are hung alongside those taken weeks after the atomic bombs fell on Japan in 1945. Photographs from Nicaragua taken 25 years after the revolution are grouped with those taken in Vietnam 25 years after the fall of Saigon. The exhibition concludes with new and recent projects by British, German, Polish and Syrian photographers which reflect on the First World War a century after it began.

The broad range of work reflects the many different ways in which conflict impacts on people’s lives. The immediate trauma of war can be seen in the eyes of Don McCullin’s Shell-shocked US Marine 1968, while the destruction of buildings and landscapes is documented by Pierre Antony-Thouret’s Reims After the War (published in 1927) and Simon Norfolk’s Afghanistan: Chronotopia 2001-2002. Other photographers explore the human cost of conflict, from Stephen Shore’s account of displaced Jewish survivors of the Second World War in the Ukraine, to Taryn Simon’s meticulously researched portraits of those descended from victims of the Srebrenica massacre.

Different conflicts also reappear from multiple points in time throughout the exhibition, whether as rarely-seen historical images or recent photographic installations. The Second World War for example is addressed in Jerzy Lewczyński’s 1960 photographs of the Wolf’s Lair / Adolf Hitler’s War Headquarters, Shomei Tomatsu’s images of objects found in Nagasaki, Kikuji Kawada’s epic project The Map made in Hiroshima in the 1960s, Michael Schmidt’s Berlin streetscapes from 1980, and Nick Waplington’s 1993 close-ups of cell walls from a Prisoner of War camp in Wales.

As part of Conflict, Time, Photography, a special room within the exhibition has been guest-curated by the Archive of Modern Conflict. Drawing on their unique and fascinating private collection, the Archive presents a range of photographs, documents and other material to provide an alternative view of war and memory.

Conflict, Time, Photography is curated at Tate Modern by Simon Baker, Curator of Photography and International Art, with Shoair Mavlian, Assistant Curator, and Professor David Mellor, University of Sussex. It is organised by Tate Modern in association with the Museum Folkwang, Essen and the Staatliche Kunstsammlungen, Dresden, where it will tour in spring and summer 2015 respectively. The exhibition is also accompanied by a fully-illustrated catalogue from Tate Publishing and a programme of talks, events and film screenings at Tate Modern.”

Press release from the Tate Modern website

 

Simon Norfolk. 'Bullet-scarred apartment building' 2003

 

Simon Norfolk

Bullet-scarred apartment building and shops in the Karte Char district of Kabul. This area saw fighting between Hikmetyar and Rabbani and then between Rabbani and the Hazaras
2003
© Simon Norfolk

 

Susan Meiselas. 'Managua, July 2004' from the series 'Reframing History'

 

Susan Meiselas
Managua, July 2004
from the series Reframing History

 

“Cuesto del Plomo,” hillside outside Managua, a well-known site of many assasinations carried out by the National Guard. People searched here daily for missing persons. July 1978, from the series, “Reframing History,” Managua, July 2004

In July 2004, for the 25th anniversary of the overthrow of Somoza, Susan returned to Nicaragua with nineteen mural-sized images of her photographs from 1978-1979, collaborating with local communities to create sites for collective memory. The project, “Reframing History,” placed murals on public walls and in open spaces in the towns, at the sites where the photographs were originally made.

 

 

Nick Waplington. 'Untitled' from the series 'We Live as We Dream, Alone' 1993

 

Nick Waplington
Untitled from the series We Live as We Dream, Alone
1993

 

Nick Waplington. 'Untitled' from the series 'We Live as We Dream, Alone' 1993

 

Nick Waplington
Untitled from the series We Live as We Dream, Alone
1993

 

 

Nick Waplington’s deeply moving and once controversial photographs of the cells of Barry Island prison, where Nazi SS Officers were held prisoner before the Nuremburg trials, were taken in 1993, almost 50 years after the prisoners had embellished the cell walls with Germanic slogans and drawings of pin-up girls and Bavarian landscapes will be displayed. The half-century that elapsed between the photographs and the creation of their subject is grim testament to the enduring legacy of conflict…

“In 1992 I was commissioned to make work by the Neue galerie in Graz, Austria and the theme was war or “krieg” as it is in German. Graz is on the border with Yugoslavia and there was war in Yugoslavia at the time. I think they were hoping that I would make something to do with the war that was taking place between Croatia and Serbia and Bosnia. I did go to the war; you went to Zagreb and got a UN pass and went in to the warzone. It was very interesting to be taken into the warzone but ultimately I got back to England and I decided – to the annoyance of the gallery – that I was thinking about Austria instead. At the time, the president of Austria, Kurt Waldheim, had been exposed as a member of the SS and had been informing Yugoslavia during the war [World War Two] and the Austrians were very unconcerned about this. I thought I’d much prefer to make work that had the Austrians confronting their Nazi past rather than about the current conflict. I knew about the prison in Barry Island in South Wales where the SS were held before they were sent to Nuremburg for the trial and I started taking a series of photographs in the prison. It was lucky that I did because it was demolished the following year by the MOD. It’s gone now. When I got there, I saw the prisoners had been drawing on the walls. They’re mossy and crumbling but you can see Germanic lettering and Bavarian landscapes and women with 1940s haircuts. They are evocative and powerful given the emotive history. ”

Extract from Elliot Watson. “Nick Waplington: Conflict, Rim, Photography,” on the Hunger TV website, 26th November 2014 [Online] Cited 09/02/2015

 

Sophie Ristelhueber. 'Fait #25' 1992

 

Sophie Ristelhueber (born 1949)
Fait #25
1992
71 photographs, gelatin silver prints mounted on aluminium
Object, each: 1000 x 1240 x 50 mm
National Gallery of Canada, Ottawa. Purchased 2013

 

Sophie Ristelhueber. 'Fait #44' 1992

 

Sophie Ristelhueber (born 1949)
Fait #44
1992
71 photographs, gelatin silver prints mounted on aluminium
Object, each: 1000 x 1240 x 50 mm
National Gallery of Canada, Ottawa. Purchased 2013

 

Sophie Ristelhueber. 'Fait #46' 1992

 

Sophie Ristelhueber (born 1949)
Fait #46
1992
71 photographs, gelatin silver prints mounted on aluminium
Object, each: 1000 x 1240 x 50 mm
National Gallery of Canada, Ottawa. Purchased 2013

 

Luc Delahaye. 'US Bombing on Taliban Positions' 2001

 

Luc Delahaye
US Bombing on Taliban Positions
2001
C-print
238.6 x 112.2 cm
Courtesy Luc Delahaye and Galerie Nathalie Obadia, Paris/Bruxelles

 

Chloe Dewe Mathews. 'Vebranden-Molen, West-Vlaanderen' 2013

 

Chloe Dewe Mathews
Vebranden-Molen, West-Vlaanderen
2013
Soldat Ahmed ben Mohammed el Yadjizy
Soldat Ali ben Ahmed ben Frej ben Khelil
Soldat Hassen ben Ali ben Guerra el Amolani
Soldat Mohammed Ould Mohammed ben Ahmed
17:00 / 15.12.1914
From the series Shot at Dawn
© Chloe Dewe Mathews

 

Chloe Dewe Mathews. 'Former Abattoir, Mazingarbe, Nord-Pas-de-Calais' 2013

 

Chloe Dewe Mathews
Former Abattoir, Mazingarbe, Nord-Pas-de-Calais
2013
Eleven British soldiers were executed here between 1915-18
From the series Shot at Dawn
© Chloe Dewe Mathews

 

 

Seeing what can’t be seen

“This is a challenge still faced by photographers today. Two years ago, the British documentary photographer Chloe Dewe Mathews set about creating a series of her own responding to the World War One. Called Shot at Dawn, it expresses her shock upon discovering that during the conflict around a thousand British, French and Belgian troops were condemned for cowardice or desertion before being executed the following morning by firing squads consisting of comrades from their own battalions. “I never knew this happened,” she tells me. “Until quite recently, no one really talked about it, because the subject was so contentious and taboo.”

Researching her series, Dewe Mathews worked closely with academics to locate the forgotten places along the western front where these unfortunate combatants had been shot. She then travelled to each spot and set up her camera there at dawn, recording whatever could be seen a century after the executions had taken place.

The results are eerie and elegiac – otherwise unremarkable, empty landscapes infused with a powerful sense of mourning, outrage and loss.”

Extract from Alastair Sooke. “Beyond boots and guns: A new look at the horrors of war,” on BBC Culture website, 11 November 2014 [Online] Cited 09/02/2015

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For more information please see the excellent article by Sean O’Hagan. “Chloe Dewe Mathews’s Shot at Dawn: a moving photographic memorial” on the Guardian website [Online] Cited 09/02/2015

 

Chloe Dewe Mathews. 'Six Farm, Loker, West-Vlaanderen' 2013

 

Chloe Dewe Mathews
Six Farm, Loker, West-Vlaanderen
2013
Private Joseph Byers
Private Andrew Evans
Time unknown / 6.2.1915
Private George E. Collins
07:30 / 15.2.1915
© Chloe Dewe Mathews

 

Stephen Shore. 'Tzylia Bederman, Bucha, Ukraine, July 18, 2012'

 

Stephen Shore
Tzylia Bederman, Bucha, Ukraine, July 18, 2012
2012
Courtesy of Stephen Shore

 

Pierre Anthony-Thouret. 'Plate I' 1927 from 'Reims after the war'

 

Pierre Anthony-Thouret
Plate I
1927
from Reims after the war. The mutilated cathedral. The devastated city.
Private collection, London

 

 

The limits of realism

“So how can photographers respond to conflict if not by employing strategies commonly found in photojournalism about war? One alternative approach is to focus less on documenting the heat of battle and more on remembrance – something that feels relevant this year, which marks the centenary of the start of the World War One.

Some of the most moving evocations of the Great War were captured by commercial photographers who arrived in northeast France in the wake of the conflict, when people began travelling to the region in order to see for themselves the extent of the devastation of local villages, towns, and cities. There was enormous appetite for images recording the destruction, available in the form of cheap guidebooks and postcards.

“This is one of the first episodes of mass tourism in the history of the world,” explains [curator Simon] Baker. “There were 300 million postcards sent from the western front, for instance by people visiting the places where their relatives had died. And the photographers had to make these incredible compromises: making photographs of places that weren’t there anymore.”

In the case of Craonne, which was entirely obliterated by artillery, the village had to be rebuilt on a nearby site, while the ruins of the original settlement were abandoned to nature. As a result, the only way for photographers to identify Craonne was by providing a caption.

“The idea of photographing absence became really important,” says Baker. “War is about destruction, removing things, disappearance. A really interesting photographic language about disappearance in conflict emerged and it is extremely powerful. How does one record something that is gone?””

Extract from Alastair Sooke. “Beyond boots and guns: A new look at the horrors of war,” on BBC Culture website, 11 November 2014 [Online] Cited 09/02/2015

 

Pierre Anthony-Thouret. 'Plate XXXVIII' 1927

 

Pierre Anthony-Thouret
Plate XXXVIII
1927
from Reims after the war. The mutilated cathedral. The devastated city.
Private collection, London

 

 

Tate Modern
Bankside
London SE1 9TG
United Kingdom

Opening hours:
Sunday – Thursday 10.00 – 18.00
Friday – Saturday 10.00 – 22.00

Tate Modern website

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06
Jan
15

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

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

Curator: Hans-Michael Koetzle

 

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

Marcus

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

 

 

Oskar Barnack. 'Wetzlar Eisenmarkt' 1913

 

Oskar Barnack
Wetzlar Eisenmarkt
1913
© Leica Camera AG

 

Ernst Leitz. 'New York II' 1914

 

Ernst Leitz
New York II
1914
© Leica Camera AG

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

 

Oskar Barnack. 'Flood in Wetzlar' 1920

 

Oskar Barnack
Flood in Wetzlar
1920
© Leica Camera AG

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

 

'Ur-Leica' 1914

 

Ur-Leica
1914
© Leica Camera AG

 

Oskar Barnack invents the Ur-Leica

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

 

Ilse Bing. 'Self-portrait in Spiegeln' 1931

 

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

 

Anton Stankowski. 'Greeting, Zurich, Rüdenplatz' 1932

 

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

 

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

 

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

 

Alexander Rodchenko. 'Girl with Leica' 1934

 

Alexander Rodchenko
Girl with Leica
1934

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

 

Heinrich Heidersberger. 'Laederstraede, Copenhagen' 1935

 

Heinrich Heidersberger
Laederstraede, Copenhagen
1935
© Institut Heidersberger

 

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

 

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

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

 

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

 

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

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

 

Jewgeni Chaldej. 'The Flag of Victory' 1945

 

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

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

 

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

 

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

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

 

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

 

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

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

 

Inge Morath. 'London' 1950

 

Inge Morath
London
1950

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

 

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

 

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

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

 

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

 

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

 

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

 

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

 

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

 

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

 

 

 

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

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

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

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

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

Press release from the Deichtorhallen Hamburg website

 

 

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

 

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

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

 

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

 

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

 

Ulrich Mack. 'Wild horses in Kenya' 1964

 

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

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

 

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

 

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

 

Fred Herzog. 'Man with Bandage' 1968

 

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

 

Lee Friedlander. 'Mount Rushmore, South Dakota' 1969

 

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

 

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

 

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

 

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

 

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

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

 

René Burri. 'San-Cristobál' 1976

 

René Burri
San-Cristobál
1976

 

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

 

Martine Franck
Swimming pool designed by Alain Capeilières
1976

 

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

 

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

 

Rudi Meisel. 'Leningrad' 1987

 

Rudi Meisel
Leningrad
1987

 

Jeff Mermelstein. 'Sidewalk' 1995

 

Jeff Mermelstein
Sidewalk
1995
© Jeff Mermelstein

 

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

 

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

 

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

 

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

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

 

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

 

François Fontaine
Vertigo from the Silenzio! series
2012

 

Julia Baier. From the series "Geschwebe," 2014

 

Julia Baier
From the series Geschwebe
2014
© Julia Baier

 

 

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

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

Deichtorhallen Hamburg website

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01
Jan
15

Exhibition: ‘Robert Frank in America’ at the Cantor Arts Center, Stanford University Part 2

Exhibition dates: 10th September 2014 – 5th January 2015

Curator: Peter Galassi

 

The lunatic sublime of America

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

 

“This desire of Frank’s to hold the shape of his feelings in what he made is an ambition found in all Romantic art, one that his style brilliantly encompasses and describes. There is a wonderful illusion of speed trapped in his photographs, a sense of rapidity usually created not by the movement of Frank’s subjects, but by the gesture that he made as he framed his pictures. To photographers who have followed Frank, this autographic gesture incorporates a mystery, one that is distorted, and certainly not explained, by saying that he “shot on the run” or “from the hip.” For the beauty of this gesture is that, caught by such speed, his subjects remain clear, fully recognized, as if the photographer had only glanced at what he wanted to show, but was able to seize it at the moment it unhesitantly revealed itself.”

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Tod Papageorge. “Walker Evans And Robert Frank: An Essay On Influence.”

 

 

Robert Frank. 'New York' City 1951

 

Robert Frank (U.S.A., b. Switzerland, 1924)
New York City
1951
Gelatin silver print Cantor Arts Center Collection, Gift of Raymond B. Gary

 

Robert Frank. 'Detroit' 1955

 

Robert Frank (U.S.A., b. Switzerland, 1924)
Detroit
1955
Gelatin silver print
Cantor Arts Center Collection, Gift of Bowen H. McCoy

 

Robert Frank. 'Miami' 1955

 

Robert Frank (U.S.A., b. Switzerland, 1924)
Miami
1955
Gelatin silver print
Cantor Arts Center Collection, Gift of Raymond B. Gary

 

Robert Frank. 'New York City' 1950-1951

 

Robert Frank (U.S.A., b. Switzerland, 1924)
New York City
1950-1951
Gelatin silver print
Cantor Arts Center Collection, Gift of Raymond B. Gary

 

Robert Frank. 'Hollywood' 1958

 

Robert Frank (U.S.A., b. Switzerland, 1924)
Hollywood
1958
Gelatin silver print
Cantor Arts Center Collection, Gift of Bowen H. McCoy

 

 

“Frank’s photos highlight everything from prosperity to poverty, multitudes to desolation, new life to finality of death, and happiness to sorrow which all occur during our lifetimes making his photos easy for the viewers to understand and relate…

Furthermore, Frank was able to emphasize some of the issues of his era, especially segregation, patriotism, and generational gaps. For example, the New Orleans photo on the cover shows a trolley car obviously segregated with white riders in the front and black riders in the back. However, Frank also shows blacks and whites working side by side in an assembly line photo taken in Detroit as well as a black nurse holding a white baby in Charleston, South Carolina with undertones of hope for equality further highlighted by the photo taken in Detroit bar of Presidents Lincoln and Washington bookending an American flag…

American patriotism seems to be a universal theme throughout Frank’s photos as well. Many of the photos in the book contain an American flag which shows the high level of patriotism felt by Americans in the era after defeating Germany and Japan in the Second World War and at the beginning of the Cold War with the rising Soviet Union as a communist superpower. Flags are hung on an apartment building during a parade in Hoboken, on the wall in a Navy Recruiting Station in Butte, Montana, hanging outdoors during a Fourth of July celebration in Jay, New York, on the wall in the Detroit bar, hanging from the building in a political rally in Chicago, and there are star lights in the background of a club car headed to Washington DC.

The most important theme within Frank’s photos is that of “Americans.” Frank photographed people from different cultures, including blacks, Hispanics, Jews, and whites; celebrating different religious and civil ceremonies from funerals to weddings. He included biker groups, prostitutes, celebrities, high-class socialites, rural farmlands, cowboys, soldiers, teenagers, politicians, families, senior citizens, children, gamblers, and travelers among others within the photos. This variety of people from different backgrounds living and socializing in different settings is truly American in that it is a blend of all different types of people living together as one nation.”

Cindy Coffey 2013

 

Robert Frank. 'Funeral - St. Helena, South Carolina' 1955

 

Robert Frank (U.S.A., b. Switzerland, 1924)
Funeral – St. Helena, South Carolina
1955
Gelatin silver print
Cantor Arts Center Collection, Collection of Bob and Randi Fisher, San Francisco

 

Robert Frank. 'Movie Premier - Hollywood' 1956

 

Robert Frank (U.S.A., b. Switzerland, 1924)
Movie Premier – Hollywood
1956
Gelatin silver print
Cantor Arts Center Collection, Gift of Raymond B. Gary

 

Robert Frank. 'New York City' 1951

 

Robert Frank (U.S.A., b. Switzerland, 1924)
New York City
1951
Gelatin silver print
Cantor Arts Center Collection, Gift of Raymond B. Gary

 

Robert Frank. 'New York City' 1955

 

Robert Frank (U.S.A., b. Switzerland, 1924)
New York City
1955
Gelatin silver print
Cantor Arts Center Collection, Gift of Raymond B. Gary

 

Robert Frank. 'Political Rally - Chicago' 1956

 

Robert Frank (U.S.A., b. Switzerland, 1924)
Political Rally – Chicago
1956
Gelatin silver print
Cantor Arts Center Collection, Gift of Bowen H. McCoy

 

Bill Brandt. 'Parlourmaid at the Window in Kensington' 1935

 

Bill Brandt
Parlourmaid at the Window, Kensington
1935 (printed later)
Silver gelatin print

 

 

“The first critics of The Americans condemned its content; recent critics have attacked it by attempting to describe Frank’s photographic style. Possibly reacting to the variations in cropping that appear in the later editions of the book, or, more probably, looking for the “snapshot aesthetic” under any available stone, they have assumed this style to be haphazard and contemptuously casual. One writer, for example, has said that Frank “produced pictures that look as if a kid had taken them while eating a Popsicle and then had them developed and printed at the corner drugstore.”

The things in Frank’s pictures which have bothered these critics – occasional blur, obvious grain, the use of available light, the cutting off of objects by the frame – are all, however, characteristic of picture journalism, and, arguably, of the entire history of hand-camera photography: Erich Salomon’s work, for example, done for the most part in the twenties, could be discussed in similar terms. The form of Frank’s work, then, is not radical in the true sense of the word: it does not strike to the root of the tradition it serves. The stylistic exaggerations which occur in his pictures serve only to retain that sense of resident wildness we recognize in great lyric poetry – they are present to call attention not to themselves, but to the emotional world of Frank’s subjects, and to his response to those subjects. When, in the statement he wrote shortly before The Americans was published, Frank said: “It is important to see what is invisible to others. Perhaps the look of hope or the look of sadness. Also it is always the instantaneous reaction to oneself that produces a photograph,” he was expressing his belief that both his perceptions (it is significant that he does not mention an intervening camera in these sentences) and the photographs which result from them are essentially unmediated and true.

This desire of Frank’s to hold the shape of his feelings in what he made is an ambition found in all Romantic art, one that his style brilliantly encompasses and describes. There is a wonderful illusion of speed trapped in his photographs, a sense of rapidity usually created not by the movement of Frank’s subjects, but by the gesture that he made as he framed his pictures. To photographers who have followed Frank, this autographic gesture incorporates a mystery, one that is distorted, and certainly not explained, by saying that he “shot on the run” or “from the hip.” For the beauty of this gesture is that, caught by such speed, his subjects remain clear, fully recognized, as if the photographer had only glanced at what he wanted to show, but was able to seize it at the moment it unhesitantly revealed itself.

Despite the grace of this notational style (or perhaps because of it), Frank seems to have felt that movement within the frames of his photographs would only disturb their sense, and, with a few exceptions, ignored the use of dramatic gesture and motion in The Americans (a fact which again suggests his feeling about Cartier-Bresson’s work). In two of his pictures of convention delegates, and in one of a woman in a gambling casino, he shows emphatic hand gestures. In another photograph, he looks down onto a man striding forward under a neon arrow, and, in yet another, describes two girls skipping away from his camera. Otherwise, his subjects move, if at all, toward, and, in a single memorable case, by him – studies in physiognomy, rather than disclosures of a gathering beauty.

The characteristic gestures in his pictures are the slight, telling motions of the head and upper body: a glance, a stare , a hand brought to the face, an arched neck, pursed lips. They suggest that Frank, like Evans, believed significance in a photograph might be consonant with the repose of the things it described. His pictures, of course, are not acts of contemplation – they virtually catalogue the guises of anxiety – but they are stilled, and their meanings found not in broad rhythms of gesture and form, but in the constellations traced by the figures or objects they show, and the short, charged distances between them.

One of the unacknowledged achievements of The Americans is the series of group portraits – odd assemblages of heads, usually seen in profile, that gather in quick, serried cadences and push at the cutting edges of their frames. In the soft muted light that illuminates them, these heads are drawn with the sculptural brevity of those found on worn coins. But, even in this diminishment, as they cluster and fill the shallow space of Frank’s pictures, they assume the unfurling, cursive shapes of great Romantic art.

As this book shows, these photographs beautifully elaborate Evans’ hand-camera pictures, pictures which are not as judgmental as Frank’s, but also not as formally complex and moving. Although Frank’s most literal recastings of American Photographs occur when he is remembering Evans’ viewcamera pictures – for example, a gas station, a parked car, a statue = these extravagant translations of the older photographer’s bluntest work eloquently reveal one aspect of Frank’s extraordinary gifts as a photographer.”

Tod Papageorge. “Walker Evans And Robert Frank: An Essay On Influence.”

Download the complete essay (100kb pdf)

 

Robert Frank. 'Bar - Gallup, New Mexico' 1955

 

Robert Frank (U.S.A., b. Switzerland, 1924)
Bar – Gallup, New Mexico
1955
Gelatin silver print
Cantor Arts Center Collection, The Museum of Fine Arts, Houston, The Target Collection of American Photography, gift of Target Stores

 

Robert Frank. 'Salt Lake City, Utah' 1956

 

Robert Frank (U.S.A., b. Switzerland, 1924)
Salt Lake City, Utah
1956
Gelatin silver print
Cantor Arts Center Collection, Gift of Raymond B. Gary

 

Robert Frank. 'San Francisco' 1956

 

Robert Frank (U.S.A., b. Switzerland, 1924)
San Francisco
1956
Gelatin silver print
Cantor Arts Center Collection, Collection of Bob and Randi Fisher, San Francisco

 

 

Cantor Arts Center at Stanford University
328 Lomita Drive at Museum Way
Stanford, CA 94305-5060
T: 650-723-4177

Opening hours:
Wednesday – Sunday 11 am – 5 pm
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27
Dec
14

Exhibition: ‘photobooks. Spain 1905-1977′ at the Museo Nacional Centro de Art Renia Sofia, Madrid

Exhibition dates: 27th May 2014 – 5th January 2015

Artists: Francesc Català-Roca, Colita (Isabel Steva Hernández), Joan Colom, Salvador Costa, Ramón Masats, Xavier Miserachs, Francisco Ontañón, José Ortiz Echagüe Puertas, Leopoldo Pomés, Alfonso Sánchez Portela

Curatorship: Horacio Fernández

 

 

This is one of those eclectic exhibitions that this site likes to promote. What a fascinating subject, something that I knew nothing about. The posting is especially for my colleague Professor Martinez Alfredo-Exposito, Head of the School of Languages and Linguistics at The University of Melbourne.

Marcus

.
Many thankx to the Museo Nacional Centro de Art Renia Sofia for allowing me to publish the photographs in the posting. Please click on the photographs for a larger version of the image.

 

 

Installation photographs of the exhibition 'photobooks. Spain 1905-1977' at the Museo Nacional Centro de Art Renia Sofia

Installation photographs of the exhibition 'photobooks. Spain 1905-1977' at the Museo Nacional Centro de Art Renia Sofia

Installation photographs of the exhibition 'photobooks. Spain 1905-1977' at the Museo Nacional Centro de Art Renia Sofia

Installation photographs of the exhibition 'photobooks. Spain 1905-1977' at the Museo Nacional Centro de Art Renia Sofia

 

Installation photographs of the exhibition photobooks. Spain 1905-1977 at the Museo Nacional Centro de Art Renia Sofia

 

Álvaro Bartolomé, Joaquín del Palacio. Momentos. Madrid: edición del autor, 1944

 

Álvaro Bartolomé, Joaquín del Palacio
Momentos
Madrid: edición del autor
1944

 

Enrique Palazuelo. S/T. Nuevas escenas matritenses, ca. 1957 / copia póstuma, 2013. Copia de exposición

 

Enrique Palazuelo
Sans Titre. Nuevas escenas matritenses
c. 1957 / copia póstuma, 2013
Copia de exposición

 

Francesc Català-Roca. 'Llegada a Barcelona' (Arriving at Barcelona) 1950 (circa) / Posthumous print, 2003

 

Francesc Català-Roca (Valls, Tarragona, Spain, 1922 – Barcelona, Spain, 1998)
Llegada a Barcelona (Arriving at Barcelona)
1950 (circa) / Posthumous print, 2003
Selenium-toned gelatin silver print on paper
34.8 x 47.5 cm

 

Francesc Català-Roca. 'La Vía Layetana entre las calles Junqueras y Condal' 1950 / copia póstuma, 2003

 

Francesc Català-Roca (Valls, Tarragona, Spain, 1922 – Barcelona, Spain, 1998)
La Vía Layetana entre las calles Junqueras y Condal
1950 / copia póstuma, 2003
Selenium-toned gelatin silver print on paper
36.9 x 45.3 cm

 

Francesc Català-Roca. 'La Vía Layetana, Barcelona' (The Via Layetana, Barcelona), 1950

 

Francesc Català-Roca (Valls, Tarragona, Spain, 1922 – Barcelona, Spain, 1998)
La Vía Layetana, Barcelona (The Via Layetana, Barcelona)
1950 (circa) / Posthumous print, 2003
Selenium-toned gelatin silver print on paper

 

Francesc Català-Roca. 'Monumento a Colón' (Columbus Monument) 1949 / Posthumous print, 2003

 

Francesc Català-Roca (Valls, Tarragona, Spain, 1922 – Barcelona, Spain, 1998)
Monumento a Colón (Columbus Monument)
1949 / Posthumous print, 2003
Selenium-toned gelatin silver print on paper
With frame: 114 x 88 cm

 

Francesc Català-Roca. 'Calle Muntaner' (Muntaner Street) 1950 (circa) / Posthumous print, 2003

 

Francesc Català-Roca (Valls, Tarragona, Spain, 1922 – Barcelona, Spain, 1998)
Calle Muntaner (Muntaner Street)
1950 (circa) / Posthumous print, 2003
Selenium-toned gelatin silver print on paper
47.5 x 32.8 cm

 

Francesc Català-Roca. 'Las Ramblas con lluvia' (The Ramblas in the Rain) 1950 (circa) / Posthumous print, 2003

 

Francesc Català-Roca (Valls, Tarragona, Spain, 1922 – Barcelona, Spain, 1998)
Las Ramblas con lluvia (The Ramblas in the Rain)
1950 (circa) / Posthumous print, 2003
Selenium-toned gelatin silver print on paper
47.7 x 37.5 cm

 

Francesc Català-Roca. 'Vestíbulo de la tienda, Barcelona' (Shop Vestibule, Barcelona) 1950 (circa) / Posthumous print, 2003

 

Francesc Català-Roca (Valls, Tarragona, Spain, 1922 – Barcelona, Spain, 1998)
Vestíbulo de la tienda, Barcelona (Shop Vestibule, Barcelona)
1950 (circa) / Posthumous print, 2003

 

Francesc Català-Roca. 'El hombre del saco' (The Bogeyman) 1950 (circa) / Posthumous print, 2003

 

Francesc Català-Roca (Valls, Tarragona, Spain, 1922 – Barcelona, Spain, 1998)
El hombre del saco (The Bogeyman)
1950 (circa) / Posthumous print, 2003
Selenium-toned gelatin silver print on paper
47.8 x 35.7 cm

 

 

“The Exhibition photobooks. Spain 1905-1977 presents a journey through the history of the photobook in Spain, setting off at the beginning of the 20th century and ending in the mid seventies, via a selection from the Museo Reina Sofía Collection, contextualised and accompanied by an assortment of complementary material.

For a long time the aesthetic consideration of photography has been limited to individual images that are able to work in a similar way to paintings or etchings, a blueprint developed by historians and museum curators alike to assemble a canon of ‘masterpieces’ for studios or exhibitions. Yet this model is not the only one, and many photographers cannot synthesise their work in a single image, devising it instead in a series. Both models give rise to two coherent histories of photography: one comprised of photos to hang on walls, with a limited number of copies and on sale at art galleries; the other in book form, possibly with a reissue, available in bookstores. By and large, photographers prefer the last option: “pictures on walls and photos in books” (Cartier-Bresson).

A photobook is a publication made up of photographs ordered as a set of images, with plots and complex meanings, and the medium used by some of the most pre-eminent photographers to produce their greatest work; a tried-and-tested model to present, communicate and read photos. Photobooks are becoming more widely recognised as the best medium for presenting series of photographs.

As far as Spain is concerned, the history of photo books is determined by the avatars of its own national history, for instance the Civil War and the transition to democracy, the focus of some of the finest work produced. In addition to propaganda, changes to the image and social role of peasants and, above all, women, are also prominent issues that are explored. The relationship between literature and photography is another characteristic of Spanish photobooks, which also include works in closer proximity to the international history of the format, such as publications on urban matters.

The study of photobooks is leading to a reinterpretation of the history of photography in diverse countries, as well as in Spain. Along with well-known photographers (the likes of José Ortiz Echagüe, Alfonso, Francesc Català-Roca, Ramón Masats, Xavier Miserachs, Francisco Ontañón and Colita), the exhibition features a considerable number of practically unknown frontline artists who in their day actually published first-rate photography collections, as is the case with photographers like Antonio Cánovas, the collective work of Misiones Pedagógicas (Teaching Missions), José Compte, Enrique Palazuelo, Luis Acosta Moro and Salvador Costa.

Curated by Horacio Fernández, the exhibition photobooks. Spain 1905-1977 is in collaboration with Acción Cultural Española (AC/E) to present part of the line of investigation and acquisition carried out by the Museo Reina Sofía concerning photobooks. The exhibition, which coincides with the PHE2014 festival, is concluded with the publication of a catalogue raisonné, jointly published by the Museo Reina Sofía, AC/E and RM.”

Text from the Museo Reina Sofía website

 

Enrique Palazuelo (fotografías) y Camilo José Cela (texto). Nuevas escenas matritenses. Madrid, Alfaguara, 1965-66

 

Enrique Palazuelo (fotografías) y Camilo José Cela (texto)
Nuevas escenas matritenses
Madrid, Alfaguara
1965-66

 

Colita (fotografías) y Maria Aurèlia Capmany (texto). Antifémina. Madrid, Editorial Nacional, 1977

 

Colita (fotografías) y Maria Aurèlia Capmany (texto)
Antifémina
Madrid, Editorial Nacional
1977

 

Colita (Isabel Steva Hernández). 'Novios gitanos. Barcelona' (Gypsy Couple. Barcelona) 1962 / Later print, 2011

 

Colita (Isabel Steva Hernández)
Novios gitanos. Barcelona (Gypsy Couple. Barcelona)
1962 / Later print, 2011
Gold-toned chlorobromide print on paper
17.9 x 18 cm

 

Joan Colom. 'Raval' 1958 (circa) / Vintage print

 

Joan Colom
Raval
1958 (circa) / Vintage print
Gelatin silver print on paper
23.5 x 11 cm

 

Joan Colom published his series on Barcelona’s Chinatown in the magazine AFAL (1962) with an autobiography: “Age: 40. Profession: Accountant. Hobbies: Apart from photography, obviously, none.” Of his method, Colom said: “I have decided to only work with subjects that I have predetermined.” Oriol Maspons adds the technical details: “Everything was taken using a Leica M2, shot from the hip without framing or focusing. A real photographer’s work. More than a year on the same subject.” The series had been exhibited with some success (and controversy) at the Sala Aixelá in Barcelona the previous year, under the title El carrer (The Street). In 1964 it was finally published by Lumen in one of the finest photo-books in their Palabra e Imagen collection, “Izas, rabizas y colipoterras”, designed by Oscar Tusquets and Cristian Cirici. Camilo José Cela contributed a text based around Colom’s (surreptitious but captionless) photos that was full of broad, cruel humour, pitilessly mocking the women, photographed by Colom and judged by Cela. Somewhat ahead of her time, one of the women actually sued the photographer, the only result of which was the photo-book’s withdrawal from bookshops, and Colom’s retirement from photography for years. From the 1980s onwards public obscurity became public recognition, which has continued to grow.

Horacio Fernández

 

Joan Colom. 'No Title' 1958 / Vintage print

 

Joan Colom (Barcelona, Spain, 1921)
No Title
1958 / Vintage print
From the series El carrer (The Street)
Gelatin silver print on paper
27 x 21 cm

 

Joan Colom (Barcelona, Spain, 1921) 'No Title' 1958

 

Joan Colom (Barcelona, Spain, 1921)
No Title
1958 / Vintage print
From the series El carrer (The Street)
Gelatin silver print on paper
23.2 x 16.2 cm

 

Joan Colom (Barcelona, Spain, 1921) 'No Title' 1958

 

Joan Colom (Barcelona, Spain, 1921)
No Title
1958 / Vintage print
From the series El carrer (The Street)
Gelatin silver print on paper
23.2 x 16.2 cm

 

 

photobooks. Spain 1905-1977 is a history of Spanish photography through a selection of its best photobooks, many of them little known. The exhibition, organized by the Museo Nacional Centro de Arte Reina Sofía and Acción Cultural Española (AC/E), is the result of a line of acquisitions and research undertaken by the Museum’s Department of Collections with the collaboration of Horacio Fernández, curator of the exhibition.

This exhibition offers a new perspective on Spanish photography during its most important period through the work of photographers like Luis Acosta Moro, AlfonsoJalón Ángel, Antonio Cánovas, Robert Capa, Francesc Català-Roca, Colita, Joan Colom, José Compte, Salvador Costa, Ramón Masats, Xavier Miserachs, Misiones Pedagógicas, Fernando Nuño, Francisco Ontañón, José Ortiz Echagüe, Joaquín del Palacio, Enrique Palazuelo and Leopoldo Pomés.

photobooks. Spain 1905-1977 shows works published in Spain between 1905 and 1977 – in different styles, in limited or mass editions, printed using refined techniques or on inexpensive paper, for all audiences or for minorities. They are about people, things, behaviors, and ideas. photobooks were few and far between at the start of the twentieth century, increased in number during the war, and reached their height of development in the sixties. They subsequently grew scarce, only to make a triumphal comeback in the new century, represented in the Museum’s Library in the show Books that are Photos, Photos that are Books. Together they make up a specialized collection that is unique in its kind and embodies the Museo Reina Sofia’s commitment to all aspects of photographic images.

The works on display, most of which are little known, provide a fresh insight into Spanish photography. photobooks probes the broad and suggestive relationships between photography, publishing, design and literature, popular art and culture, history and politics, and public and private life. In the pages of these works is a plural history of the profound transformation of Spanish society. Thanks to the collective work of photographers, publishers, designers and writers, the themes presented in photobooks include the image of woman, seen from perspectives as different as the submission to patriarchal culture in the works of Cánovas and Compte and the militant feminism of Colita. Another major topic is the representation of the Spanish Civil War from both sides, with books like Madrid, which deals with the victims of the bombings during the siege of the capital, contrasting with Jalón Ángel’s portraits of soldiers on the side of the uprising. The war is followed by the sadness and harshness of the dictatorship, shown in photobooks by Joaquín del Palacio and Alfonso.

The relationship between photography and literature emerges throughout the exhibition, starting with the book by Cánovas mentioned above. From the period of the Civil War, special attention is merited by the photobooks of Antonio Machado, Miguel Hernández and Arturo Barea. In the sixties, the Lumen publishing house brought out the Palabra e Imagen (Word and Image) collection, designed by Oscar Tusquets, with extraordinary contributions by writers like Aldecoa, Cela, Delibes, Vargas Llosa and Caballero Bonald, and photographers like Masats, Maspons, Miserachs and Colita. One outstanding work in this section is Nuevas escenas matritenses (New Scenes of Madrid), with photos by Enrique Palazuelo.

Urban culture is also present in the photobooks of Alfonso, Català- Roca, Miserachs and Ontañón. Mention should be made too of the books on the end of the dictatorship by Nuño and the Diorama and Foto FAD teams, which show the gradual disappearance of the old identifying features of Spanish society under the influence of tourism and the global economy.

Apart from displaying some photographs autonomously, the show also features systems that allow visitors to view the plural content of each work exhibited, since it is in the work as a whole, as a coherent sequence of images, that the true entity of the photobook resides.

 

The first Spanish photobooks

“What a history painter would have painted I photographed,” wrote Antonio Cánovas of ¡Quién supiera escribir!… (If Only I Knew How to Write!…), his adaptation of a poem by Ramón de Campoamor about women’s dependence in a patriarchal world. Using actors and sets, Cánovas recreated a group of tableaux vivants or living pictures subtitled like films, which were as novel as photobooks in 1905. The photographic poem came out in two editions: one in postcards, which was a great commercial success; and a limited edition printed using the technique of the finest twentieth-century photobooks, photogravure.

José Ortiz Echagüe’s photobook Spanische Köpfe, later published as España, tipos y trajes (Spain: Types and Costumes), is the first instalment of an extensive photographic project to document folk culture by seeking out tradition. His aim was to preserve ways of life that were dying out; to show situations from the past: “In wandering through the little villages, I talk to the people, select models one by one, start the difficult task of dressing them in the typical garb.” The result was photographs that were chiefly aesthetic, close to the paintings of Sorolla or Zuloaga, but also political, as they visualized concepts (people, race, collective identity…) used by different ideologies.

With the Misiones Pedagógicas (Educational Missions), the Second Republic set out to bring urban life closer to the rural world through culture. The ‘missionaries’ were university students who took the theater, music, art, and the cinema to villages. Some of them, such as José Val del Omar and Guillermo Fernández, photographed the audiences, capturing shots that are devoid of local character. Instead of seeking references to the past, they hint at a better future represented by the people’s curious gazes: the photographs chosen for the photobook Patronato de Misiones Pedagógicas (Educational Missions Trust) are intended to disseminate democratic values and confidence in progress.

 

José Ortiz Echagüe Puertas. 'Sermón en la aldea' (Village Sermon) 1903

 

José Ortiz Echagüe Puertas (Guadalajara, Spain, 1886 – Madrid, Spain, 1980)
Sermón en la aldea (Village Sermon)
1903
Carbondir on laid paper
40.5 x 38.7 cm

 

One of José Ortiz Echagüe’s objectives is to achieve “the strange feeling of travelling to a different time.” He comes very close in one of his earliest photographs, Sermón en la aldea (Village Sermon), taken at the parish church of Viguera, a village in La Rioja, using a Photosphere 9 x 12 camera. With artistic photographs, what really matters is the quality of the copies, which in this case are numerous and have varying dates. Ortiz Echagüe made them himself in a laboratory using a personal variant on the technique known as direct carbon, developed under the name of “Carbondir”: a fine pigment print method which is complicated, slow and absolutely artisanal, that results in velvety blacks and clouds of pointillist faded half-colours. The specifics of the carbon direct method mean that Ortiz Echagüe’s prints approach the quality of chalcography, one of the aspirations of less imaginative artistic photography. However, these prints get further from photography the closer they get to engravings. As early as 1923 a review was criticising the disappearance of “what there originally may have been of photography” in his prints, and the artist’s excesses as he “scraped, eliminated, rubbed, smudged, lightened and darkened it.”

Horacio Fernández

 

José Ortiz Echagüe. 'Puertas Lagarteranas' (Women of Lagartera) 1920-1923 (circa)

 

José Ortiz Echagüe Puertas (Guadalajara, Spain, 1886 – Madrid, Spain, 1980)
Puertas Lagarteranas (Women of Lagartera)
1920-1923 (circa)
Carbondir on laid paper
49.8 x 33.1 cm

 

In 1929 José Ortiz Echagüe’s first photo-book came out in Berlin, Spanische Köpfe (Spanish Heads), published in Madrid in 1930 as Tipos y Trajes de España (Characters and Costumes of Spain), a title which, by 1971, would reach twelve editions. The photos needed to be set up, as the author wrote in 1925: “As I walk around the little villages, I talk to the people, I choose the models and then, one by one, I start the job of dressing them in traditional costumes. Having overcome the models’ objections to dressing up in their ancestors’ clothes, I get them together in a setting that I have chosen beforehand, which might be a typical square, the little church or a nearby hillside, from which one can see the village with its majestic castle which is included to create a wonderful backdrop. The sun has just come out, or is about to go down: its rays light the characters perfectly.” Ortiz Echagüe’s references are paintings by Ignacio Zuloaga and Joaquín Sorolla, particularly the Visión de España (Vision of Spain) series from New York’s Hispanic Society of America. Sorolla’s aim was to observe “without symbolisms or literature, the psychology of every region.” Ortiz Echagüe, on the other hand, is content to “perpetuate in graphic documents unalterable by time’s passage, all that Spanish attire has been and continues to be.” Lagartera, a village in the province of Toledo famous for its crafts, was one of his favourite places for photography, particularly with its unusual festival clothing, which the philosopher José Ortega y Gasset does not believe to be native. In the prologue to Tipos y trajes, he writes: “Lagartera attire is common to almost all Europe: with slight differences, it can be found across the whole of the central and Northern part of the continent.”

Horacio Fernández

 

José Ortiz Echagüe Puertas (Guadalajara, Spain, 1886 - Madrid, Spain, 1980) 'Lagarteranas en misa' (Women of Lagartera at Mass) 1920-1923 (circa)

 

José Ortiz Echagüe Puertas (Guadalajara, Spain, 1886 – Madrid, Spain, 1980)
Lagarteranas en misa (Women of Lagartera at Mass)
1920-1923 (circa)
Carbondir on laid paper
46.9 x 33.4 cm

 

 

Both sides of the Spanish Civil War

The Spanish Civil War was photogenic. Dozens of photographers engaged in documenting it. Media all over the world published images of the war, which were used by the both sides to convey their own virtues and the atrocities committed by their opponents.

The collective photobook Madrid is a visual account of the consequences of a siege: destruction, homeless people, the exodus of refugees. The effects of the bombings on the civilian population are captured in montages and photographs by Luis Lladó, Robert Capa, Hans Namuth, Chim, and Margaret Michaelis, among others. The faces of the child victims should be stressed – some appalling forensic photographs that were widely used in Republican propaganda and have been mentioned by Arturo Barea, Virginia Woolf, and Susan Sontag, among other writers.

A type of cultural propaganda characteristic of the Republican side was the publication of books combining words and pictures. Several came out during the war, among them Madrid baluarte de nuestra guerra de independencia (Madrid Bulwark of Our War of Independence), with texts by Antonio Machado; Miguel Hernández’s book of poems Viento del pueblo (Winds of the People); and Arturo Barea’s collection of stories titled Valor y miedo (Courage and Fear). All three feature photographs whose authorship is not credited, though we now know that they were taken by photographers such as Walter Reuter or designers such as Mauricio Amster.

The cult of personality was a salient feature of the Nationalist side’s propaganda. In 1939 the rebel military were presented as serious and efficient technicians in Jalón Ángel’s Forjadores de imperio (Empire Builders), a triumphal parade by no means epically portrayed and much less generous with the defeated. This collection of portraits of the men who had won a war was published in a luxury version designed to hang in public offices and in a popular version in postcard form for mass distribution.

The conservative values of the new fascist regime were conveyed in photographs. In Mujeres de la Falange (Women of the Falange, a collection of photographs by José Compte published in luxury magazines and as humble postcards) woman as mother, subordinate to man and an outsider to society and employment, was a compulsory role model, the only exception being that dictated by war itself, which required her to perform “heavy work with feminine grace for when the men return…”

 

The postwar years

The hardship of the postwar years is conveyed in a few photobooks that managed to slip past the censors. Literature with photos continued to be published in books such as Momentos (Moments), whose poems would be less sad without the ruins, deserted villages, and bare trees found in the photographs of Joaquín del Palacio (Kindel). Rincones del Viejo Madrid (Corners of Old Madrid), a collection of night shots by Alfonso, is an expressionist photobook printed in the opaque tones of the finest photogravure work. Alfonso portrays the capital as yet another victim – a frozen and sinister backdrop as dead as its missing inhabitants.

The book of poems titled Les fenêtres (The Windows) features many closed windows that also resemble abstract paintings in Leopoldo Pomés’s photos, which bring to mind a confined, stifling place. But in spite of everything, life carries on, as shown by the photos in Barcelona, the city of Francesc Català-Roca, who believed that “what words describe photography places on view”: images found in the street, as alive as the people in the photos, in a pleasant urban photobook.

 

Xavier Miserachs (Barcelona, Spain, 1937 - Badalona, Barcelona, Spain, 1998) 'No Title' 1964 (circa)

 

Xavier Miserachs (Barcelona, Spain, 1937 – Badalona, Barcelona, Spain, 1998)
No Title
1964 (circa) / Vintage print
From the series Costa Brava Show
Gelatin silver print on paper
21.4 x 30.3 cm

 

Costa Brava Show (1966) is a photo-book by the photographer Xavier Miserachs, also the author of Barcelona. Blanc i negre (1964), another urban photo-book that travels paths opened up by William Klein. Miserachs claims that in Costa Brava Show “the incorporation of Pop Art elements is obvious, because this is an aesthetic movement that absolutely fascinated me.” And it is true that the subject matter really could not be more perfect for Pop Art: firstly, there is what Manuel Vázquez Montalbán describes as “the paradise of leisure”, secondly “the party (that) is the most baroque display of that leisure time” and finally a “peculiar eroticism”, noted by Josep Pla, who wrote introduction and claims that the photographs are “the best ever taken of what is known as the Costa Brava.” Basically, this is mass tourism as experienced and presented by Miserachs with excellent humour in 155 colour and black and white photographs, covering all the clichés and presaging the globalisation awaiting us all.

Horacio Fernández

 

Xavier Miserachs (Barcelona, Spain, 1937 - Badalona, Barcelona, Spain, 1998) 'No Title' 1965 (circa)

 

Xavier Miserachs (Barcelona, Spain, 1937 – Badalona, Barcelona, Spain, 1998)
No Title
1965 (circa) / Vintage print
From the series Costa Brava Show
Gelatin silver print on paper

 

Xavier Miserachs (Barcelona, Spain, 1937 - Badalona, Barcelona, Spain, 1998) 'No Title' 1964 (circa)

 

Xavier Miserachs (Barcelona, Spain, 1937 – Badalona, Barcelona, Spain, 1998)
No Title
1964 (circa) / Vintage print
From the series Costa Brava Show
Gelatin silver print on paper
17.9 x 21.4 cm

 

Francisco Ontañón (Barcelona, Spain, 1930 - Madrid, Spain, 2008) 'La actual M-30 (Madrid)' (The M-30 Ring Road Today [Madrid]) 1963 (May) / Posthumous print, 2013

 

Francisco Ontañón (Barcelona, Spain, 1930 – Madrid, Spain, 2008)
La actual M-30 (Madrid) (The M-30 Ring Road Today [Madrid])
1963 (May) / Posthumous print, 2013
From the series Vivir en Madrid (Living in Madrid)
Selenium-toned chlorobromide print on fiber-based paper
24.7 x 37.1 cm

 

Francisco Ontañón (Barcelona, Spain, 1930 - Madrid, Spain, 2008) 'Sans Titre (Madrid)' (No Title [Madrid]) 1963 (May) / Posthumous print, 2013

 

Francisco Ontañón (Barcelona, Spain, 1930 – Madrid, Spain, 2008)
Sans Titre (Madrid) (No Title [Madrid])
1963 (May) / Posthumous print, 2013
Selenium-toned chlorobromide print on fiber-based paper
25.6 x 38.4 cm

 

Francisco Ontañón (Barcelona, Spain, 1930 - Madrid, Spain, 2008) 'Sans Titre (Madrid)' (No Title [Madrid]) 1964-65 / Posthumous print, 2013

 

Francisco Ontañón (Barcelona, Spain, 1930 – Madrid, Spain, 2008)
Sans Titre (Madrid) (No Title [Madrid])
1964-65 / Posthumous print, 2013
From the series Vivir en Madrid (Living in Madrid)
Selenium-toned chlorobromide print on fiber-based paper
25.4 x 38.2 cm

 

Francisco Ontañón (Barcelona, Spain, 1930 - Madrid, Spain, 2008) 'Sans Titre (Madrid)' (No Title [Madrid]) 1964-65 / Posthumous print, 2013

 

Francisco Ontañón (Barcelona, Spain, 1930 – Madrid, Spain, 2008)
Sans Titre (Madrid) (No Title [Madrid])
1964-65 / Posthumous print, 2013
From the series Vivir en Madrid (Living in Madrid)
Selenium-toned chlorobromide print on fiber-based paper
25.7 x 38.4 cm

 

Francisco Ontañón (Barcelona, Spain, 1930 - Madrid, Spain, 2008) 'Sans Titre (Madrid)' (No Title [Madrid]) 1964 / Posthumous print, 2013

 

Francisco Ontañón (Barcelona, Spain, 1930 – Madrid, Spain, 2008)
Sans Titre (Madrid) (No Title [Madrid])
1964 / Posthumous print, 2013
From the series Vivir en Madrid (Living in Madrid)
Selenium-toned chlorobromide print on fiber-based paper
25.6 x 38.5 cm

 

Francisco Ontañón (Barcelona, Spain, 1930 - Madrid, Spain, 2008) '600 en Casa de Campo con familia (Madrid)' (Outing to Casa de Campo in the 600, with Family [Madrid]) 1963 (May) / Posthumous print, 2013

 

Francisco Ontañón (Barcelona, Spain, 1930 – Madrid, Spain, 2008)
600 en Casa de Campo con familia (Madrid) (Outing to Casa de Campo in the 600, with Family [Madrid])
1964-65 / Posthumous print, 2013
From the series Vivir en Madrid (Living in Madrid)
Selenium-toned chlorobromide print on fiber-based paper
25.5 x 37.7 cm

 

Francisco Ontañón (Barcelona, Spain, 1930 - Madrid, Spain, 2008) 'Parque Sindical (Madrid)' (Parque Sindical Sports Area [Madrid]) 1964 / Posthumous print, 2013

 

Francisco Ontañón (Barcelona, Spain, 1930 – Madrid, Spain, 2008)
Parque Sindical (Madrid) (Parque Sindical Sports Area [Madrid])
1964 / Posthumous print, 2013
From the series Vivir en Madrid (Living in Madrid)
Selenium-toned chlorobromide print on fiber-based paper
25.5 x 38.1 cm

 

Francisco Ontañón (Barcelona, Spain, 1930 - Madrid, Spain, 2008) 'Entierro (Madrid)' (Burial [Madrid]) 1967 / Posthumous print, 2013

 

Francisco Ontañón (Barcelona, Spain, 1930 – Madrid, Spain, 2008)
Entierro (Madrid) (Burial [Madrid])
1967 / Posthumous print, 2013
From the series Vivir en Madrid (Living in Madrid)
Selenium-toned chlorobromide print on fiber-based paper
25.5 x 38.1 cm

 

 

The 60’s: the golden decade of Spanish photography

Palabra e Imagen (Word and Image) was the creation of publisher Esther Tusquets and designer Oscar Tusquets. It was advertised by the Lumen publishing house as “a collection that is different from everything that has been done so far.” Its books “are not art books, they are not photography books, they are not literary works,” but “a new concept.” They all have a theme “and the writers, the photographer and those who plan and produce the book work on it as a team.” The aim was to present “an idea” using different means: “not just words but also the photography, the composition, the type of lettering, and the color of the paper can be used to express it.”

Palabra e Imagen was Spain’s main contribution to the history of photobooks. For fifteen years it was a laboratory for experimenting with different ways of publishing a collective work produced by writers, designers, photographers, and editors that attached equal importance to visual and textual readings – word and image.

The photographs are by Jaime Buesa, F. Català-Roca, Colita, Joan Colom, Julio Cortázar, Dick Frisell, Antonio Gálvez, Paolo Gasparini, Sergio Larrain, César Malet, Ramón Masats, Oriol Maspons, Xavier Miserachs, Francisco Ontañón, and Julio Ubiña. Prominent among the graphic designers, in addition to the collection’s creator Oscar Tusquets, are Mariona Aguirre, José Bonet, Lluís Clotet, Toni Miserachs, and Enric Satué. Finally, the authors of the texts include writers such as Rafael Alberti, Ignacio Aldecoa, Carlos Barral, Juan Benet, José María Caballero Bonald, Alejo Carpentier, Cavafis, Camilo José Cela, Julio Cortázar, Miguel Delibes, Federico García Lorca, Alfonso Grosso, Ana María Matute, Pablo Neruda, Octavio Paz, Julián Ríos, and Mario Vargas Llosa.

Important photo-essays were published in the sixties, such as Los Sanfermines (The San Fermín Festivities) by Ramón Masats and Barcelona blanc i negre (Barcelona Black and White) by Xavier Miserachs, both of them masters of documentary photography. The first book was hailed as “the most personal photographic work that has been produced in Spain.” It is a “story told in pictures” that shows the expressive possibilities of the photobook and to what extent “a still photograph is not sufficient for a photographer who pursues a narration.” The second is a stroll through the streets of Barcelona in search of its inhabitants, and is more interested in life than in history. It is a “book to look at” that attempts a difficult combination of the subjective humanist photography of the previous decade and the new international urban photography based on the model established by William Klein, a “highly original way of hinting at cities” without succumbing to commonplaces or picturesqueness.

Also by Miserachs is Costa Brava Show, a photobook based on the mass phenomenon of tourism and featuring black-and-white photos on subjects such as young people enjoying themselves, sexual liberation, and the consequences of economic progress: chaotic town planning, corruption, and loss of authenticity. An equally critical intention underlies the photobook Vivir en Madrid (Living in Madrid), which is documentary in content and experimental in form – both the text and the pictures. Francisco Ontañón’s distant, stark photographs are kind to the common folk and critical of the privileged classes, but always humorous.

Nuevas escenas matritenses (New Scenes of Madrid) is a collection of 63 urban tales written by Camilo José Cela based on street photographs by Enrique Palazuelo that show an “incredible Madrid, where time stood still, oblivious and forgotten.” Published in several formats (from low to high culture: popular weekly and literary review; in normal and bibliophile editions), it tells stories invented from documentary photographs – a literary procedure that has been dubbed the ‘Celian picture-story.’ The photos make possible “hearing with new ears, seeing with different eyes what we believed to have been seen and heard forever.”

Luis Acosta Moro believed that the book of the future would be “a poem of short words and great pictures” of the kind embodied by his photobook Cabeza de muñeca (Doll’s Head), a symbolic work that alludes, among other themes, to the Civil War and the image of women. The publisher regarded it as a new type of book, a “film-novel-artistic essay.” The main subject is the model featured in all the pictures, sometimes dancing (or wrestling) with the photobook’s absolute author, who was responsible for everything: photographs, design, and text.

 

The 70’s: the last auteur photobooks

Los últimos días de Franco (The Last Days of Franco) is a photobook that is unique in both form and content: the funeral rites of the dictator. Live history is fleeting and the propaganda chiefs needed an official history capable of preserving “the living warmth of memories.” To achieve this, Fernando Nuño photographed videos. The result was a photobook consisting of television images that were second-hand but equally or more documentary than the original reports. “As they have been reproduced from video, [the photos] have the quality of a living document,” explains the book, a visual account that is completed with a second volume titled Los primeros días del Rey (The First Days of the King).

The second half of the seventies witnessed the transition to democracy, a highly politicized period in Spain. Two photobooks, Pintadas del referendum (Graffiti on the Referendum) and Pintades Pintadas (Graffiti), compile the propaganda of the day, in this case in the form of street graffiti – a subject also dealt with in French and Portuguese publications. The aim is to preserve the graffiti “as a necessary testament to and document of the vicissitudes of a people in pursuit of their future.” The authors are two short-lived groups of photographers, Equipo Diorama of Madrid and the Barcelona based Foto Fad.

The photobook Punk is pioneering in its portrayal of an international popular culture phenomenon. In Salvador Costa’s photographs taken from “close up and above the subject,” the scene is less important than the audience featured in the shots of ultramodern people, clothing, and rituals captured by the photographer, who was lucky enough to find a publisher capable of discovering more than just another short-lived fad in his photos.

Photographer Colita and writer Maria Aurèlia Capmany, collaborators on the Vindicación feminista magazine, are the authors of Antifémina (Antifemale), a photobook that set out to portray a type of woman “no one wants to look at” but who “is genuine and real, who is not twenty years old, who is not pretty.” To achieve this, Colita selected photos from her archives on themes such as old age, marriage, work, religion, prostitution, the body, marginalization, advertising, fashion, and the practice of making flirtatious remarks at women. Antifémina is a visual and political essay, a manifesto in favor of women but against ‘femininity,’ which is always “related to the passive role of women.”

 

CATALOGUE

A catalogue on this exhibition has been published by the Museo Reina Sofía, Acción Cultural Española (AC/E) and RM. This books includes a text written by the curator and Javier Ortiz-Echagüe, photographies of all the artworks shown and complete and individual information about each photobook by different specialized authors (Horacio Fernández, Javier Ortiz-Echagüe, Concha Calvo, Rocío Robles, Mafalda Rodríguez, Angélica Soleiman and Laura Terré).”

Press release from the Museo Nacional Centro de Art Renia Sofia website

 

VV.AA. Madrid. Barcelona, Industries Graphiques Seix i Barral, 1937

 

VV.AA.
Madrid
Barcelona, Industries Graphiques Seix i Barral
1937

 

Ramón Masats Tartera. 'Neutral corner' / Esquina neutral 1962 / copia de época

 

Ramón Masats Tartera
Neutral corner / Esquina neutral
1962 / copia de época

 

Mario Vargas Llosa, Xavier Miserachs. 'Los cachorros' Barcelona: Lumen, colección Palabra e Imagen 1967

 

Mario Vargas Llosa, Xavier Miserachs
Los cachorros
Barcelona: Lumen, colección Palabra e Imagen
1967

 

Salvador Costa i Valls. 'Sans Titre' (from the series 'Punk') 1977

 

Salvador Costa i Valls
Sans Titre (from the series Punk)
1977

 

Salvador Costa i Valls. 'Punk' Barcelona: Producciones Editoriales, colección Especial Star Book 1977

 

Salvador Costa i Valls
Punk
Barcelona: Producciones Editoriales, colección Especial Star Book
1977

 

 

Museo Nacional Centro de Art Renia Sofia
Calle Santa Isabel, 52
28012 Madrid

Opening hours:
Monday 10.00 am – 9.00 pm
Tuesday Closed, including holidays
Wednesday – Saturday 10.00 am – 9.00 pm
Sunday 10.00 am – 7.00 pm

Museo Nacional Centro de Art Renia Sofia website

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Dr Marcus Bunyan

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

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