Archive for the 'portrait' Category

24
Jul
14

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

Exhibition dates: 21st May – 31st July 2014

 

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

 

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

 

 

B46371_WEB

 

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

 

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

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

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

 

B4638-WEB

 

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

 

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

 

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

 

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

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

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

South Australian Register April 1875, p. 5.

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

 

Photographer unknown. 'Henry Ayers' c. 1848

 

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

 

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

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

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

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

 

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

 

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

 

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

 

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

 

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

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

 

 

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

 

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

 

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

 

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

 

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

 

Unknown photographer. 'Tom Thumb' c. 1880

 

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

 

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

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

Michael Pynn died  in Sydney on 22 June 1929.

 

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

 

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

 

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

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

 

 

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

Opening hours

State Library of South Australia website

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23
Jul
14

Catalogue essay: ‘Being (t)here: Gay liberation photography in Australia 1971-73′ from the exhibition ‘Out of the closets, onto the streets’

Exhibition dates: Tuesday 22nd July – Saturday 26th July, 2014

Artists represented: Philip Potter, John Storey, John Englart, Barbara Creed, Ponch Hawkes, Rennie Ellis
Curated by Dr Marcus Bunyan and Nicholas Henderson

 

This is my catalogue essay that accompanies the exhibition Out of the closets, into the streets: gay liberation photography 1971-73 at Edmund Pearce Gallery, Melbourne. It’s a bit of a read (3,000 words) but stick with it. I hope you like the insights into the background of the images and the people in the exhibition.

Marcus

 

Many thankx to all the artists for allowing me to publish the photographs in the posting. Please click on the photographs for a larger version of the image. Download the Being (t)here catalogue essay (2.2Mb pdf)

 

 

Being (t)here: Gay liberation photography in Australia 1971-73

.
“For the colour and the soundtrack to be part of the politics, even a central part of the politics… meant something new by way of embodiment. Much of the political action was about being there, about putting one’s body on the line. A demonstration, sit-in or blockade is centrally about occupying space. A nonviolent movement tried to occupy space with bodies, not bullets.

It was a key feature of the new left that this embodied politics couldn’t stop in the streets: that is, the public arena as conventionally understood. ‘Being there’ politically also applied to households, classrooms, sexual relations, workplaces and the natural environment.”1

 

I came out as a gay man in 1975, six years after Stonewall and only a few short years after the photographs in this exhibition were taken. The first open acknowledgement of my nascent sexuality was to walk into a newsagent in Notting Hill Gate, London, head down, red as a beetroot and pick up a copy of Gay Times. I literally flung the money at the person behind the counter and ran out. I was so embarrassed. I was seventeen.

From the gay rag I found the name of the local convenor of the Campaign for Homosexual Equality (CHE) and went to meet him at his home. John was the very first openly gay man that I had ever met. We became lifelong friends. He used to hold coffee evenings a couple of times a week in his flat so that the local gay men had somewhere safe and secure to meet – to chat and laugh, to talk about love and life. Once a month there was a pub that we all went to in the country for a bit of a dance night, but that was it unless you went up to London to a nightclub.

None of us were very active politically, although we kept an eye on the papers and we all understood the discrimination and persecution we faced. But by the very act of being openly gay, as most of us were, we were making a political statement. I was openly gay at college in London and stopped “passing” as something I was not (a straight man) by coming out to my family and friends. I placed my being – there, there and there, in different contexts, so that my family, friends and the community could not ignore my sexuality. I never lived in fear but there was a great deal of self-loathing going on behind the scenes. In those days you were always thought of as “abnormal” and defective if you were a poofter. And there was the guilt of that association. As James Nichols observes, “To be gay or lesbian meant belonging to a genealogy of suffering, to have a dramatic, if not a tragic, destiny. Despite the many battles and certain victories that ensued, the homosexual remained a victim in the collective consciousness; a hidden man.”2  William Leonard continues the theme: “If concealment is a psychic wounding that divides each gay man against himself, it is also a collective division that precludes the forms of public association and political affiliation on which gay liberation depends. As gay men confront their own internalised feelings of self-recrimination, if not disgust, they begin to rattle the closet door and seek out, in public, others of their own kind.”3 And rattle the closet door I did. I flaunted my hi-vis identity for all to see. If the liberation movement meant putting your body on the line – not so much by consciously protesting on the streets but by being visible in whatever setting as a gay man – then I certainly did that.

 

Photography documented this Gay Liberation thing, the emergence in public and private of gay people. It not only documented this visibility but also represented it in very aesthetic and artistic ways that up until now have not really been recognised as such. This is where the photographs in this exhibition make their presence known. As gay people found their voice in the early 1970s artists, often at the very beginning of their careers, were there to capture meetings in lounge rooms, consciousness raising groups and street protests. The photographer as artist was not just a witness to these events but actively participated in these actions, which they envisioned in a subjective way. Unlike earlier images of protest marches where there is an observational distance between the photographer/event which allowed for the depiction of environment and numbers (for example in the 8 hour day marches, see figures 1-4) – from the mid-1960s onwards there is a seismic shift in how photographs represent social change and observed history. Now the photographer marches with the inmates and becomes an intimate participant in the proceedings (see figures 5-6).

In this revolutionary era, the artist evidences an empathy with the events being photographed, an up close and personal point of view. Whatever meeting or protest they were there to record was important to them, be it anti-Vietnam war, anti-Apartheid, pro abortion, nuclear disarmament, Gay Liberation, Women’s Liberation, Aboriginal rights, anti-fascist marches and student protests from around the world. And it didn’t matter whether the photographers were gay, straight or whatever. People appropriated public and private space as a form of collective activism, using social movement cultures to re-make the world. The ways of imagining life and transformation, of imaging life and transformation were enabled by the photographer actively participating in these events. The photographer’s “second sight” did not consist in “seeing” but in being there.

As Professor Barbara Creed states of her interest in artistically documenting these actions, “I was very keen on the slogan – ‘The personal is political’. I was in favour of political action of all kinds – direct action, demonstrations, marches, meetings, consciousness raising groups, media publicity, television appearances, coming out at work, talks to schools etc. I was also very interested in the possibility of using artistic practices (film, photography, poetry, fiction, art) to build solidarity among gay people and to help change public opinion.”4

 

Photographer unknown. 'The original eight hour day banner' 1856

 

Figure 1
Photographer unknown
The original eight hour day banner
1856

 

John F. Shale. 'Mounted police assembled in the square during the General Strike, Brisbane' 1912

 

Figure 2
John F. Shale
Mounted police assembled in the square during the General Strike, Brisbane
1912

 

 

While “the early demonstrations illustrated in this exhibition did often include sympathetic “straights” – a term that seems to have disappeared from the language – for whom gay liberation was part of a wider set of cultural issues,”5 for gay men pictured in the photographs these meetings and marches could be seen as a form of “coming out”, or a place to find solidarity, friendship or sex.6 Gay Pride Week in 1973, for example, was seen as a chance to target, “all the institutions of our oppression: the police courts, job discrimination, the bigoted churchmen and politicians, the media, the psychiatrists, the aversion therapists, the military, the schools, the universities, the work-places … It will also seek to change the mind of the prejudiced, the fearful, the conditioned, the sexually repressed, all those who in oppressing us, oppress themselves.”7 It was also intended to say to gay and straight alike, “gay is good, gay is proud, gay is aggressively fighting for liberation. It will say to gays: come out and stand up. Only you can win your own liberation. Come out of the ghettos, the bars and beats, from your closets in suburbia and in your own minds and join the struggle for your own liberation.”8

For photographers it was a chance to picture a changing world. As Sydney photographer Roger Scott has observed, “I knew I could make a point with my camera. It was exciting. The old conservative world was ending and a new Australia was beginning.”9 With the birth of a new Australia came the end of the White Australia policy when the Whitlam Government passed laws to ensure that race would be totally disregarded as a component for immigration to Australia in 1973; with it came the presence of gay people on the streets shouting ‘come out, come out, wherever you are’ – but certainly not in the newspapers or on television for there was, essentially, the suppression of any reference to, or reportage of ‘homosexuals’ in the mainstream press in Australia.10 If they were pictured, gay people still usually turned away from the camera or had their faces blacked out for fear of discrimination and abuse. As artist John Storey notes, “Conservatism flooded the media, government and all the rest. Homophobia was everywhere but was not a term used in public.”11

As for what prompted artists to document organizations and events, Professor Creed remarks, “I loved to film life around me. I had access to good equipment. I thought it was important to have a visual record of the emergence of Gay Liberation. I believed that films and photos would help to create a sense of community for everyone involved in Gay Liberation. Many members of Gay Lib had been ‘closeted’ all of their lives and so it was a new experience for them to join what is best described as an alternative family. In those days, the Gay Lib group was relatively small – perhaps 30-40 members, so we all knew each other. We held regular meetings, joined CR groups, took part in demonstrations, went away for weekend group events, held dances etc. I also wanted to capture the way we looked, couples together, friends, what we wore, our fashions and styles. Some of the guys had a fantastic sense of style – much more than many of the women who were in revolt against ‘feminine’ fashion. I hoped my films and photos would give support to the gay community and to our emerging sense of forming a new identity.”12

By their very embodiment, the art and politics of these photographs awakens what Roland Barthes calls the “intractable reality” of the image 13 - that prick of consciousness (the punctum), that madness that documents activism and freedom from persecution as both aesthetic and ethical, performative and political. Here, the idea of “being there” – being fully present, in mind and body; being there at the marches; being in the images; being in front of the image looking at it; coupled with the physical presence of the photograph, manifests itself most strongly. Even today, the photographs shock the viewer with their intractable reality. You can just feel the passion of these people, the police presence, the fear, and the authenticity of the photographers’ voice – raw, in your face, people really standing up to be counted.

 

Photographer unknown. 'Eight Hour Day parade in Brisbane' 1912

 

Figure 3
Photographer unknown
Eight Hour Day parade in Brisbane
1912

 

Photographer unknown. 'Women evening students' float on Park Street in the 1940s' Photo, Mitchell Library, State Library of NSW

 

Figure 4
Photographer unknown
Women evening students’ float on Park Street in the 1940s
Photo, Mitchell Library, State Library of NSW

 

 

There is also another side to these photographs – the documentation of the more private moments (meetings, consciousness raising groups, friends in the car etc) and the portrayal of gays one on one, close up and personal with the camera in mugshots used in a grid for the cover of CAMP Ink magazine in 1972. Only today can we truly appreciate the intimacy and beauty of these photographs: the photographs of two young gay men in the back of a VW Kombi van that exists only as a 35mm contact print, now scanned and rescued from oblivion; or the presence of gays posing for the camera against a neutral backdrop, every pore of their skin able to be seen (a precursor to the large colour portraits of Thomas Ruff). As Professor Creed states of her desire to capture these intimate moments, “In the 70s film, media and television rarely if ever depicted us at all – let alone our public or private lives. I have always been drawn to the aesthetic power of film and photography to represent the inner world and inner lives of people. The visual image is a great leveller – it reveals the commonality of living things, the need for affection, companionship, community. Contrary to popular myths of the time, gays and lesbians also have a need for intimacy, as does everyone else. When I made my documentary, Homosexuality A Film For Discussion, I included a segment of intimate moments between couples before the commencement of the documentary street interviews, to link the two (private and public together) and to show that many of the negative comments from the general public about loneliness did not match the actual lives of gay people.”14

So where did the photographs that were taken by these artists end up? Often they were collectively passed from hand to hand and used in newsletters, pamphlets and magazines such as CAMP Ink. As Jill Matthews, who compiled the album of Adelaide photographs observes, “The groups and events were very collective enterprises. In those days anyone who had a camera took photos. If people took photos of you, you asked for copies or they gave you prints. There were many prints made and various people had copies. At the time the use of the photos was personal and collective. The newsletters were collective enterprises with everyone chipping in, using whatever was to hand. There was no editor, although some efforts were made to achieve a sense of continuity. Making the newsletters were always fun group events, with a lot of different things you could do, they were basically parties really.”15

Eventually the photographs settled in personal archives and were largely forgotten or were donated to institutions such as the Australian Lesbian and Gay Archives. And then they all but disappeared from view.

 

A second (but different) “coming out”

With this exhibition these eclectic photographs re-emerge in a kind of second “coming out.” Having been put away for so many years they appear in the clear light of day, in the clear light of new thinking about their artistic merit and how they act as memory aids to feelings and relationships, events and politics.

While analogue photographic images carry Roland Barthes imprint ‘this has been’ – in other words, a photograph is a depiction of something that has already happened, that is already dead – images do not have fixed or settled meanings. As Scott McQuire insightfully observes, meaning in images “is always transactive: it is the result of complex and dynamic processes of interpretation, contestation and translation. Evidence and testimony is always to be actively produced in the complex present… the photograph’s combination of unprecedented visual detail, which seems to anchor the image in a particular time and place, [is] coupled to the endless capacity for images to travel into new times and places.”16 He goes on to say that photographic history is littered with images that have their meaning altered by entry into a new setting. The images in this exhibition are a case in point for I am examining them as artworks as much as they can be seen as documentary evidence of things that have been.

We should not be afraid of this new interpretation for, as McQuire notes, “Too often when we talk about ‘context’ in relation to a photograph, it is as if there is a finite set of connections that might be fully reproduced, if only we had the time or resources. In other words, the polysemy of the image is given a cursory and limited acknowledgement, in the hope that it can be thereby tamed. Rather than this partial, rather defensive acknowledgement of the fragility of meaning, I am arguing that we need to begin with acceptance of the irreducible openness of technological images. This quality is integrally related to the capacity of any image to circulate and appear in new situations.”17 In other words there is no definitive context for any image and we should not be afraid to approach new interpretations of the work or the coexistence of many possible meanings within that work. This process can be seen as analogous in a contextual sense to the construction of what the French philosopher Henri Bergson (1859-1941) called the ‘composite’ in the physical sense, which he defined as, “construction/model where things different in kind are reconciled through our experience over time. Differences are reconciled not unified. The composite embraces ideas of complexity and multiplicity, allowing different conventions, materials and contents to coexist in an artwork. It therefore permits complexities and relationships of readings to coexist. The viewer becomes aware of new and shifting layers of content revealed over the time of viewing, and of our role in constructing, interpreting and experiencing content(s). This is not just theoretical, it is the way we experience and negotiate the world everyday, as complexity in the continuum of time and space.”18 The viewer thus creates a composite view of these images in the here and now.

The images importance, then, lies in the interplay between the historical and the contemporary, between self-representation and imposed representation, and the relationship between subject and photographer. Their residence in the Australian Lesbian and Gay Archives (ALGA) archive, which undoubtedly preserves them, marks this institutional passage, this transition of marginalised histories from private to public, “which does not always mean from the secret to the non-secret.” Under the privileged topology of ALGA they are classified and ordered and made available for study and research, but we must also acknowledge that archives give shape to and regulate cultural memory. They influence our perception of the past and present. As Jacques Derrida writes in Archive Fever: “”There is no political power without control of the archive, if not of memory.” He indicates that the stakes are high over the memorialisation and excavation of sites and people’s histories.”19 This does not mean that ALGA does not promote an active engagement with the works it holds in safe keeping, far from it. They encourage the use of the archive by artists and the recontextualisation and renarrativisation of the images in this exhibition, from documentary objects to visual art works and back again, could not have occurred without their forthright help. But as Mathias Danbolt notes in his excellent article Not Not Now: Archival Engagements in Queer Feminist Art, archives will always be sites of contestation: “The conversations on archives in queer and feminist contexts tend to center on ways to break with the strictures and structures of archival logics, in order to give room for alternative forms of historical (and herstorical) transmissions. But even though archival logics tend to be a continual object of critique in feminist and queer work, the desire for archives is still present… If the process of archivization is fundamentally about conferring historical status upon material, how to avoid that the status as archival disconnect the queer feminist “past” from the “present” – the “then” from the “now”?”20 Danbolt goes on to suggest that this process is a balancing act, “between the desire for having a history, and the anxiety for being historicized, in the sense of being cut off – metaphorically, practically, systemically – from the present.”21

For me, then, this exhibition is as much about freeing these images from the guardianship of the archive, if ever so briefly, to let them live again in the real world, to let them speak for themselves, as those first gay protesters did all those years ago. To free them of the shackles of being seen as “historical” documentary photographs, the official history of gay liberation in Australia and for them to be seen works of art in their own right. It is about the representation of queer identity through the evidence of photography – from that place, in that time, now breathing in a different era, these people fighting for their liberty. It is about these images and the people in them being (t)here.

In contemporary society, where we are flooded with a maelstrom of images, I believe it is important to contemplate these images for more than just a few seconds in order to understand their history and importance not just for the past, but also for the present and the future. Today, we compose our stories and our histories out of fragments and alterations of spaces. We gather together our sources (in archives, for example) and try and make sense of the past in the present for the future. This process of understanding is about an acknowledgement of the past in the present for the future. Again I say, it is about being (t)here.

In an era of ubiquitous media images, the photographs in this exhibition deserve our attention and contemplation for they are survivors – images that perceptively visualise the initial stages of Gay Liberation in Australia, images that are still alive in the present. Their contemporary re-emergence may lead the community to finally have some iconographic images of the early stages of gay resistance and visibility – intimate representations of protests, meetings and events that ultimately changed the lives of many GLBTI people. They may also have some damn good art upon which to feast their eyes.

.
Dr Marcus Bunyan
July 2014

Word count: 3,423

 

Ponch Hawkes. 'Poofters!' 1973, printed 2014

 

Figure 5
Ponch Hawkes
Poofters!
1973, printed 2014
Digital C type print on Kodak Endura Matte
© Ponch Hawkes

 

John Englart. 'Gay Pride Week poster, Gay Pride march outside the Town Hall Hotel, Sydney Town Hall' Sydney, 1973

 

Figure 6
John Englart
Gay Pride Week poster, Gay Pride march outside the Town Hall Hotel, Sydney Town Hall
Sydney, 1973
Digital C type print on Kodak Endura Matte
© John Englart

 

 

Endnotes

1. Connell, Raewyn. “Ours is in colour: the new left of the 1960s,” in Carolyn D’Cruz and Mark Pendleton (eds.,). After Homosexual: The Legacies of Gay Liberation. Perth: UWA Publishing, 2013, p. 43.

2. Nichols, James. “Sébastien Lifshitz Releasing ‘The Invisibles: Vintage Portraits of Love and Pride’,” on The Huffington Post website 05/01/2014 [Online] cited 02/05/2014.

3. Leonard, William. “Altman on Halperin: politics versus aesthetics in the constitution of the male homosexual,” in Carolyn D’Cruz and Mark Pendleton (eds.,). After Homosexual: The Legacies of Gay Liberation. Perth: UWA Publishing, 2013, p. 197.

4. Email text in response to the question ‘What were your politics during your involvement with Gay Liberation/events (Gay Pride Week etc)’ to co-curator Nicholas Henderson 01/06/2014.

5. Altman, Dennis. “Out of the closets, into the streets.” Catalogue essay. Melbourne, 2014, p. 2.

6. Ibid.,

7. Anon. “Gay Pride Week,” in Melbourne Gay Liberation Newsletter, 1973 quoted in Ritale, Jo and Willett, Graham. “Rennie Ellis at Gay Pride Week, September 1973,” in The La Trobe Journal No. 87, May 2011, pp. 87-88 [Online] Cited 11/07/2014.

8. Ibid., p. 88.

9. Scott, Roger quoted in Scott, Roger; McFarlane, Robert and Hock, Peter. Roger Scott: from the street. Neutral Bay, N.S.W.: Chapter & Verse, 2001, p. 13.

10. Email text from co-curator Nicholas Henderson 12/03/2014.

11. Email text from John Storey to co-curator Nicholas Henderson 17/05/2014.

12. Email text in response to the question ‘What prompted you to document the organisations/events?’ to co-curator Nicholas Henderson 01/06/2014.

13. Barthes, Roland. Camera lucida: Reflections on photography. Hill and Wang, 1st American edition, 1981.

14. Email text in response to the question ‘One of the aspects of your photographs that I am quite intrigued by is the documentation of the more private moments (meetings, consciousness raising groups, friends in the car etc), what brought you to photograph these subjects?’ to co-curator Nicholas Henderson 01/06/2014.

15. Jill Matthews notes from telephone conversation to Nicholas Henderson, Tuesday 22 April 2014.

16. McQuire, Scott. “Photography’s afterlife: Documentary images and the operational archive,” in Journal of Material Culture 18(3) 2013, p. 227.

17. Ibid.,

18. Thomas, David. “Composite Realities Amid Time and Space: Recent Art and Photograph,” on the Centre for Contemporary Photography website [Online] Cited 12/07/2014.

19. Derrida, Jacques. Archive Fever. Chicago: University of Chicago Press, 1996, 4, note 1 quoted in Eckersall, Peter. “The Site is a Stage/The Stage is a Site,” on the Archaeology and Narration blog, Saturday, April 9, 2011 [Online] Cited 05/07/2014.

20. Danbolt, Mathias. “Not Not Now: Archival Engagements in Queer Feminist Art,” in Imhoff, Aliocha and Quiros, Kantuta (eds.,). Make an effort to remember. Or, failing that, invent. Bétonsalon No. 14, 2013, p. 4. ISSN: 2114-155X.

21. Ibid., p. 5.

 

 

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20
Jul
14

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

Exhibition dates: 14th May - 27th July 2014

 

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

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

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

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

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

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

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

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

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

Dr Marcus Bunyan for the Art Blart blog

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

 

 

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

 

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

.
Emmet Gowin

 

 

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

 

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

 

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

 

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

 

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

 

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

 

 

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

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

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

 

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

 

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

 

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

 

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

 

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

 

 

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

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

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

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

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

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

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

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

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

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

Press release from the Fondation Henri Cartier-Bresson website

 

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

 

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

 

 

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

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

 

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

 

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

 

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

 

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

 

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

 

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

 

 

Every Time less than the pulsation of the artery

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

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

                 Great

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

                Period

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

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

              blood

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

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

            opens

Into Eternity of which this vegetable Earth is but a

           shadow.

.
William Blake. From “Milton”

 

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

 

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

 

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

 

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

 

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

 

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

 

Emmet Gowin. 'Edith and Moth Flight' 2002

 

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

 

 

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

 

 

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

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

Fondation Henri Cartier-Bresson website

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18
Jul
14

Exhibition: ‘Posing Beauty in African American Culture’ at the Virginia Museum of Fine Arts, Richmond, Virginia

Exhibition dates: 26th April – 27th July 2014

 

An exhibition that questions the ways in which our contemporary understanding of beauty has been constructed and framed through the body and invites a deeper reading of beauty, its impact on mass culture and individuals and how the display of beauty affects the ways in which we see and interpret the world and ourselves. According to author and historian Barbara Summers: “Beauty is power. And the struggle to have the entire range of Black beauty recognized and respected is a serious one.”

If beauty is only skin deep, and colour deep, why the need to differentiate? Surely it doesn’t matter what colour your skin, beauty just is. You know it when you see it, regardless of colour. Not everything is about power; not everything is a site of contestation… to me, recognising true beauty is an acknowledgement of the light that shines from within, not something that is imposed from without. When you see true beauty, you know it instinctively. Intuitively. Enough of this posing - are you image or essence?

Marcus

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

 

“That there are so few images of African-American women circulating in popular culture or in fine art is disturbing; the pathology behind it is dangerous … We got a sistah in the White House, and yet mediated culture excludes us, denies us, erases us. But in the face of refusal, I insist on making work that includes us as part of the greater whole,” said Carrie Mae Weems in a 2009 interview conducted by Dawoud Bey for BOMB Magazine.

 

 

Bruce Davidson. 'Body Builder on Venice Beach, California' 1964

 

Bruce Davidson
Body Builder on Venice Beach, California
1964
Gelatin silver print
8 1/4 x 12 1/4 in.
Courtesy of Howard Greenberg Gallery, New York

 

Leonard Freed. 'Harlem Fashion Show, Harlem' 1963

 

Leonard Freed
Harlem Fashion Show, Harlem
1963
Gelatin silver print
17 x 21 ¼ inches
Magnum Photos

 

Theodore Fonville Winans (American, 1911-1992) 'Dixie Belles, Central Louisiana' 1938

 

Theodore Fonville Winans (American, 1911-1992)
Dixie Belles, Central Louisiana
1938
Courtesy of the Ogden Museum of Southern Art and Bob Winans

 

Dave Heath. 'Washington Square, New York City' 1960

 

Dave Heath
Washington Square, New York City
1960
Silver gelatin print

 

Malick Sidibé. 'Regardez-moi!' 1962

 

Malick Sidibé
Regardez-moi!
1962
Gelatin silver print
50 x 60 cm – 19,5 x 23,5 inches
© Malick Sidibé

 

Anthony Barboza. 'Pat Evans' c. 1970s

 

Anthony Barboza
Pat Evans
c. 1970s
Digital print
24½ x 24 inches
Courtesy of the photographer

 

 

“Exploring contemporary understandings of beauty, Posing Beauty in African American Culture frames the notion of aesthetics, race, class, and gender within art, popular culture, and political contexts. The exhibition – and its companion, Identity Shifts - will be on view April 26 – July 27, 2014.

Posing Beauty in African American Culture examines the contested ways in which African and African American beauty has been represented in historical and contemporary contexts through a diverse range of media including photography, film, video, fashion, advertising, and other forms of popular culture such as music and the Internet. The exhibition explores contemporary understandings of beauty by framing the notion of aesthetics, race, class, and gender within art, popular culture, and political contexts. The exhibition is organized by the Department of Photography & Imaging at New York University, Tisch School of the Arts, traveled by Curatorial Assistance Traveling Exhibitions, and curated by Dr. Deborah Willis. The touring exhibition is made possible in part by the JP Morgan Chase Foundation. Additional support has been provided by grants from the Tisch School of the Arts Office of the Dean’s Faculty Development Fund, Visual Arts Initiative Award from the NYU Coordinating Council for Visual Arts, and NYU’s Advanced Media Studio. Drawn from public and private collections, Posing Beauty features approximately 85 works by artists such as Carrie Mae Weems, Charles “Teenie” Harris, Eve Arnold, Gary Winogrand, Sheila Pree Bright, Leonard Freed, Renee Cox, Anthony Barboza, Bruce Davidson, Mickalene Thomas, and Jeanne Moutoussamy-Ashe.

Posing Beauty is divided into three thematic sections. The first theme, Constructing a Pose, considers the interplay between the historical and the contemporary, between self-representation and imposed representation, and the relationship between subject and photographer. The second theme, Body and Image, questions the ways in which our contemporary understanding of beauty has been constructed and framed through the body. The last section, Modeling Beauty and Beauty Contests, invites a deeper reading of beauty, its impact on mass culture and individuals and how the display of beauty affects the ways in which we see and interpret the world and ourselves.

According to author and historian Barbara Summers: “Beauty is power. And the struggle to have the entire range of Black beauty recognized and respected is a serious one.””

Press release from the Virginia Museum of Fine Arts website

 

Renee Cox. 'Baby Back', from the series 'American Family' 2001

 

Renee Cox
Baby Back,
from the series American Family
2001
Archival digital print
30 x 40 in.
Courtesy of the artist

 

Lauren Kelley. 'Pickin'' 2007

 

Lauren Kelley
Pickin’
2007
Color-coupler print
23 x 23⅛ inches
Courtesy of the photographer

 

Anthony Barboza. ''Marvelous' Marvin Hagler, boxer' 1981

 

Anthony Barboza
‘Marvelous’ Marvin Hagler, boxer
1981
Gelatin silver print

 

Jeffrey Henson Scales. 'Denzel Washington, Los Angeles' 1990s

 

Jeffrey Henson Scales
Denzel Washington, Los Angeles
1990s

 

Ken Ramsay. 'Susan Taylor, as Model' c. 1970s

 

Ken Ramsay
Susan Taylor, as Model
c. 1970s
Gelatin silver print
26.5 x 20 inches
Courtesy of the photographer

 

John W. Mosley. 'Atlantic City, Four Women' c. 1960s

 

John W. Mosley
Atlantic City, Four Women
c. 1960s
Gelatin silver print
20 x 16 inches
Charles L. Blockson Afro-American Collection, Temple University

 

Edward Curtis. 'A Desert Queen' 1898 (printed 2009)

 

Edward Curtis
A Desert Queen
1898 (printed 2009)
Modern digital print
20 x 16 inches,
Special Collections, University of Washington Libraries

 

Huey-P-Newton-WEB

 

Stephen Shames
Huey P Newton holds a Bob Dylan album at home after he was released from jail
c. 1967
Photograph
© Stephen Shames

 

Huey Percy Newton (February 17, 1942 – August 22, 1989) was an African-American political and urban activist who, along with Bobby Seale, co-founded the Black Panther Party in 1966. Newton had a long series of confrontations with law enforcement, including several convictions, while he participated in political activism. He continued to pursue an education, eventually earning a Ph.D. in Social Science. Newton spent time in prison for manslaughter and was involved in a shooting that killed a police officer, for which he was later acquitted. In 1989 he was shot and killed in Oakland, California by Tyrone “Double R” Robinson, a member of the Black Guerrilla Family. (Text from Wikipedia website)

 

Charles "Teenie" Harris. 'Mary Louise Harris on Mulford Street, Homewood, Pittsburgh, Pennsylvania' c. 1930-1939

 

Charles “Teenie” Harris
Mary Louise Harris on Mulford Street, Homewood, Pittsburgh, Pennsylvania
c. 1930-1939
Gelatin silver print
20 x 16 cm
© 2004 Carnegie Museum of Art, Charles “Teenie” Harris Archive

 

Jeffrey Henson Scales. 'Young Man in Plaid, New York City' 1992

 

Jeffrey Henson Scales
Young Man in Plaid, New York City
1992
Digital print
44.5 x 44 inches
Courtesy of the photographer

 

 

Virginia Museum of Fine Arts
200 N. Boulevard
Richmond, Virginia USA

Opening hours:
Sat – Wed: 10 am – 5 pm
Thu + Fri: 10 am – 9 pm

Virginia Museum of Fine Arts website

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17
Jul
14

Exhibition: ‘Francis Bacon & Henry Moore: Terror and Beauty’ at the Art Gallery of Ontario (AGO), Toronto

Exhibition dates: 5th April – 20th July 2014

 

Like the my earlier posting on the exhibition ‘Caravaggio – Bacon’ at Gallery Borghese, Rome, what an inspired curatorial decision this is. I would have never have thought to have brought Bacon and Moore together, but the synergy between the two artists work is undeniable.

Personally, I don’t think that Moore is as immobile and measurable as Radoslaw Kudlinski states in the quotation below: while rooted in anthropological concerns his anthropomorphic “nightmares” have a heft and gravitas that move you, not physically, but in the pit of your stomach. Look at the open mouth of Reclining Figure (1951, below) and tell me you are not drawn down into the bowls of the soul through the pointed tit of mother earth. Tactile, yes. Immobile and measurable, NO!

Moore moves you from within. His roots are from an ancient and emotional landscape, one of decay, time and change. His works are like embryonic sacs, pushing out at you from different points. The holes in his work are like looking into a black hole. The spaces he creates with his sculptures DENY a perfect formal economy, for they are really awkward images that impinge on a space. Never stationary, his sculptures move you from within in the most powerful way. A perfect counterbalance to the external, cinematic rambunctiousness of Bacon.

Dr Marcus Bunyan

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

 

 

“While Moore’s figures are sustaining themselves entirely from within, Bacon’s are disengaged fugitives from history. Bacon is already “after” when Moore is still “before.”

And while Moore’s nightmares are still rooted in anthropological concerns – corporeal and measurable – Bacon’s subject is a phantom without a name, without a past, because a collectivized subject is only and always an abstract fragment of a person.

But we need Moore’s confrontation with Bacon. Moore is a guardian of our sanity. His forms are stationary – despite the refined movement of all their structural lines, and their impeccable pronunciation of architectural tempo, as well as their perfect formal economy, they are going nowhere.

And because of Moore’s immobility, tactility and measurability, I welcome his presence with relief. He defends us from Bacon’s radical, cinematic mobility, forever escaping our grasp.

Bacon’s state of convulsive stasis is an illusion, because looking at his canvas you have an impression that between the two or three takes, there are more frames, as in a movie, trapped in the same space. There is also a sense that this trapping of multiplicity is not a conscious choice, but the consequence of there being nowhere else to go.

Bacon is the scandal of the flesh, the existential strip-tease – even a post-flesh, post-body concept of a person. He is a fugitive, and his natural state is motion, appearance and disappearance. He belongs to non-materiality, to cyberspace – and this is his paradox, because together with the sensuality of his pictorial matter, the materiality of subject is gone. That’s why Bacon is so relevant today.”

Radoslaw Kudlinski. “Serious Scary: Francis Bacon and Henry Moore in Toronto,” on the Canadian Art website, May 7, 2014 [Online] Cited 05/07/2014

 

 

Francis Bacon. 'Second Version of Triptych 1944' 1988

 

Francis Bacon 
Second Version of Triptych 1944
1988
Oil and alkyds on canvas
Each panel 198 x 147.5 cm (each panel)
Tate Modern, London
© Estate of Francis Bacon / SODRAC (2013)

 

Francis Bacon. 'Second Version of Triptych 1944' (detail) 1988

 

Francis Bacon 
Second Version of Triptych 1944 (detail)
1988
Oil and alkyds on canvas
Each panel 198 x 147.5 cm (each panel)
Tate Modern, London
© Estate of Francis Bacon / SODRAC (2013)

 

Francis Bacon. 'Second Version of Triptych 1944' (detail) 1988

 

Francis Bacon 
Second Version of Triptych 1944 (detail)
1988
Oil and alkyds on canvas
Each panel 198 x 147.5 cm (each panel)
Tate Modern, London
© Estate of Francis Bacon / SODRAC (2013)

 

Francis Bacon. 'Lying Figure in a Mirror' 1971

 

Francis Bacon
Lying Figure in a Mirror
1971
Oil on canvas
198.5 x 147.5 cm
Museo de Bellas Artes Bilbao
© Estate of Francis Bacon / SODRAC (2013)

 

Francis Bacon. 'Unitled ( Kneeling Figure)' 1982

 

Francis Bacon 
Unitled ( Kneeling Figure)
1982
Oil on canvas
212 x 161 cm
The Estate of Francis Bacon
© Estate of Francis Bacon / SODRAC (2013)

 

Francis Bacon. 'Study for Portrait on Folding Bed' 1963

 

Francis Bacon 
Study for Portrait on Folding Bed
1963
Oil on canvas
198.1 x 147.3 cm
Tate Britian, London
© Estate of Francis Bacon / SODRAC (2013)

 

Francis Bacon. 'Three Figures and a Portrait, 1975' 1975

 

Francis Bacon 
Three Figures and a Portrait, 1975
1975
Oil and acrylic on canvas
198.1 x 147.3 cm
Tate Britian, London
© Estate of Francis Bacon / SODRAC (2013)

 

Francis Bacon. 'Two Figures in a Room' 1959

 

Francis Bacon 
Two Figures in a Room 
1959
Oil on canvas
198 x 140.5 cm
Robert & Lisa Sainsbury Collection, Sainsbury Centre for Visual Arts, University of East Anglia, UK.
© Estate of Francis Bacon / SODRAC (2013)

 

Bill Brandt. 'Francis Bacon' Nd

 

Bill Brandt 
Francis Bacon
Nd
Gelatin Silver Print
20.9 x 18.7 cm
© The Bill Brandt Archive, London / Courtesy Edwynn Houk Gallery, New York / Zürich

 

Francis Bacon. 'Study for Portrait II (After the life mask of William Blake)' 1955

 

Francis Bacon
Study for Portrait II (After the life mask of William Blake)
1955
Oil on canvas
61 x 51 cm
Tate Modern, London © Estate of Francis Bacon / SODRAC (2013)

 

Francis Bacon. 'Portrait of Isabel Rawsthorne' 1966

 

Francis Bacon
Portrait of Isabel Rawsthorne
1966
Oil on canvas
81 x 69 cm
Tate Modern, London
© Estate of Francis Bacon / SODRAC (2013)

 

Francis Bacon. 'Study for Portrait VI' 1953

 

Francis Bacon 
Study for Portrait VI
1953 
Oil on canvas
152 x 117 cm
The Minneapolis Institute of Arts,
The Miscellaneous Works of Art Purchase Fund © Estate of Francis Bacon / SODRAC (2013)

 

 

“The tortured British painter Francis Bacon, whose triptych recently set a new record for the most expensive artwork ever sold at auction, makes his Canadian debut this spring at the Art Gallery of Ontario (AGO) alongside rarely-seen works by the British sculptor Henry Moore in the exhibition Francis Bacon & Henry Moore: Terror and Beauty. Featuring more than 130 artworks, including paintings, sculptures, drawings, photographs and archival materials, the exhibition explores the two artists’ shared fascination with the human form in relation to the violence of the Second World War and other key events of the 20th century.

Although they were neither friends nor collaborators, Bacon (b. 1909) and Moore (b. 1898) were contemporaries who shared an obsession with expressing themes of violence, trauma and conflict, both social and personal. Drawing on the artists’ personal experiences during the London Blitz and other conflicts, the exhibition examines how confinement and angst fostered their extraordinary creativity and unique visions. Bacon, whose dark depictions of human torment have inspired several characters in popular culture, including the appearance of Heath Ledger’s Joker in The Dark Knight, was a sado-masochist who sought to process the trials of humanity through his canvases. Moore, a British war artist, was one of the most renowned sculptors of his time. His works evoke endurance and stability, but when considered in light of his wartime experience, they read as an effort to rebuild and redeem the fragile human psyche and body.

Curated for the AGO by Dan Adler, associate professor of art history at York University, Francis Bacon and Henry Moore: Terror and Beauty is the first Canadian exhibition of Bacon’s work and includes rarely seen Moore pieces, from both the AGO collection and elsewhere. Moore’s works are a cornerstone of the AGO collection, and pairing them with those by Francis Bacon sets them in a new light. The exhibition also presents more than 30 archival photographs by acclaimed German-born British photographer Bill Brandt. Loans for the exhibition have also been secured from several institutions, including MoMA, Tate Britain and the Museum of Contemporary Art, Chicago.”

Press release from the AGO website

 

Henry Moore. 'Mother and Child' 1953

 

Henry Moore 
Mother and Child
1953
Plaster
Art Gallery of Ontario, Toronto
© The Henry Moore Foundation. All Rights Reserved, DACS / SODRAC (2013)

 

Henry Moore. 'Helmet Head and Shoulders' 1952

 

Henry Moore 
Helmet Head and Shoulders
1952 
Bronze
19 x 20.5 x 15 cm
Tate Modern, London
© The Henry Moore Foundation. All Rights Reserved, DACS / SODRAC (2013)

 

Bill Brandt. 'Henry Moore in his Studio at Much Hadham, Hertfordshire' 1940

 

Bill Brandt 
Henry Moore in his Studio at Much Hadham, Hertfordshire
1940
Gelatin Silver Print
22.8 x 19.6 cm
© The Bill Brandt Archive, London / Courtesy Edwynn Houk Gallery, New York / Zürich

 

Henry Moore. 'Falling Warrior' 1956-57

 

Henry Moore 
Falling Warrior
1956-57
Bronze
65 x 154 x 85 cm
Tate Modern, London
© The Henry Moore Foundation. All Rights Reserved, DACS / SODRAC (2013)

 

Henry Moore. 'Reclining Figure' 1951

 

Henry Moore 
Reclining Figure
1951
Plaster cast
L: 228.5 cm
Art Gallery of Ontario, Toronto
Courtesy Craig Boyko, AGO
© The Henry Moore Foundation. All Rights Reserved, DACS / SODRAC (2013)

 

Henry Moore. 'Three Fates' 1941

 

Henry Moore 
Three Fates
1941
Watercolour
29.7 x 19.9 cm
Royal Pavillion and Museums, Brighton & Hove
© The Henry Moore Foundation. All Rights Reserved, DACS / SODRAC (2013)

 

Henry Moore. 'Maquette for Strapwork Head' 1950

 

Henry Moore 
Maquette for Strapwork Head
1950
Bronze edition of 9
10 cm high (excluding base)
The Henry Moore Foundation
© The Henry Moore Foundation. All Rights Reserved, DACS / SODRAC (2013)

 

Henry Moore. 'Spanish Prisoner' 1939

 

Henry Moore
Spanish Prisoner
1939
Lithograph on paper
36.5 x 30.5 cm
Art Gallery of Ontario, Toronto
© The Henry Moore Foundation. All Rights Reserved, DACS / SODRAC (2013)

 

Henry Moore. 'Sleeping Positions' 1940-41

 

Henry Moore 
Sleeping Positions
1940-41
Mixed media on wove paper
20.4 x 16.5 cm
The Henry Moore Foundation
© The Henry Moore Foundation. All Rights Reserved, DACS / SODRAC (2013)

 

 

Art Gallery of Ontario
Musée des beaux-arts de l’Ontario

317 Dundas Street West
Toronto Ontario Canada M5T 1G4

Opening hours:
Tue – Sunday 10.30am – 5.30pm
Closed Mondays

Art Gallery of Ontario website

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16
Jul
14

Exhibition: ‘Out of the closets, into the streets: gay liberation photography 1971-73′ at Edmund Pearce Gallery, Melbourne

Exhibition dates: Tuesday 22nd July – Saturday 26th July, 2014

Opening: Tuesday 22nd July 6-8pm

Nite Art: Wednesday 23rd July until 11pm
Artists represented: Philip Potter, John Storey, John Englart, Barbara Creed, Ponch Hawkes, Rennie Ellis

Curated by Dr Marcus Bunyan and Nicholas Henderson
Catalogue essay by Professor Dennis Altman (below)

 

 

Five days, that’s all you’ve got! Just five days to see this fabulous exhibition. COME ALONG TO THE OPENING (Tuesday 22nd July 6-8pm) or NITE ART, the following night!

The exhibition Out of the closets, into the streets: gay liberation photography 1971-73 pictures the very beginning of the gay liberation movement in Australia through the work of Philip Potter, John Storey, John Englart, Barbara Creed, Ponch Hawkes and Rennie Ellis. The exhibition examines for the first time images from the period as works of art as much as social documents. The title of the exhibition is a slogan from the period.

As gay people found their voice in the early 1970s artists, often at the very beginning of their careers, were there to capture meetings in lounge rooms, consciousness raising groups and street protests. The liberation movement meant ‘being there’, putting your body on the line. “It was a key feature of the new left that this embodied politics couldn’t stop in the streets: that is, the public arena as conventionally understood. ‘Being there’ politically also applied to households, classrooms, sexual relations, workplaces and the natural environment.”1

Curated by Dr Marcus Bunyan and Nicholas Henderson and with a catalogue essay by Professor Dennis Altman (see below), the show is a stimulating experience for those who want to be inspired by the history and art of the early gay liberation movement in Australia.

The exhibition coincides with AIDS 2014: 20th International AIDS Conference (20-25 July 2014) and Nite Art which occurs on the Wednesday night (23rd July 2014). The exhibition will travel to Sydney to coincide with the 14th Australia’s Homosexual Histories Conference in November at a venue yet to be confirmed.

Dr Marcus Bunyan

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

 

 

Barbara Creed. 'Julian Desaily and Peter McEwan in the back of a VW Combi van, Melbourne' Melbourne, c. 1971-73

 

Barbara Creed
Julian Desaily and Peter McEwan in the back of a VW Combi van, Melbourne
Melbourne, c. 1971-73
Digital C type print on Kodak Endura Matte
© Barbara Creed

 

Ponch Hawkes. 'Gay Liberation march, Russell Street, Melbourne' Melbourne, 1973

 

Ponch Hawkes
Gay Liberation march, Russell Street, Melbourne
Melbourne, 1973
Digital C type print on Kodak Endura Matte
© Ponch Hawkes

 

John-Englart-Gay-Pride-Week-Sydney-1973-c

 

John Englart
Gay Pride Week poster, outside the Town Hall Hotel, Sydney Town Hall
Sydney, 1973
Digital C type print on Kodak Endura Matte
© John Englart

 

 

Out of the closets, onto the streets

Professor Dennis Altman

.
This exhibition chronicles a very specific time in several Australian cities, the period when lesbians and gay men first started demonstrating publicly in a demand to be accorded the basic rights of recognition and citizenship. Forty years ago to be homosexual was almost invariably to lead a double life; the great achievement of gay liberation was that a generation – although only a tiny proportion of us were ever Gay Liberationists – discovered that was no longer necessary.

The Archives have collected an extraordinary range of materials illustrating the richness of earlier lesbian and gay life in Australia, but this does not deny the reality that most people regarded homosexuality as an illness, a perversion, or a sin, and one for which people should be either punished or cured. It is revealing to read the first avowedly gay Australian novel, Neville Jackson’s No End to the Way [published in 1965 - in Britain - and under a pseudonym] to be reminded of how much has changed in the past half century.

Gay Liberation had both local and imported roots; the Stonewall riots in New York City, which sparked off a new phase of radical gay politics – when ‘gay’ was a term understood to embrace women, men and possibly transgender – took place in June 1969. They were barely noticed at the time in Australia, where a few people in the civil liberties world, most of them not homosexual, had started discussing the need to repeal anti-sodomy laws.

Small law reform and lesbian groups had already existed, but the real foundation of an Australian gay movement came in September 1970 when Christabel Pol and John Ware announced publicly the formation of CAMP, an acronym that stood for the Campaign Against Moral Persecution but also picked up on the most used Australian term for ‘homosexual’. Within two years there were both CAMP branches in most Australian capital cities, as well as small gay liberation groups that organised most of the demonstrations illustrated in this exhibition.

The differences between gay liberation and CAMP were in practice small, but those of us in Gay Liberation prided ourselves on our radical critique, and our commitment to radical social change. CAMP, with its rather daggy social events and its stress on law reform – at a time in history when homosexual conduct between men was illegal across the country – seemed to us too bourgeois, though ironically it was CAMP which organised the first open gay political protest in Australia [immediately identified by the balloons in the Exhibition photos].

It is now a cliché to say “the sixties” came to Australia in the early 1970s, but a number of forces came together in the few years between the federal election of 1969, when Gough Whitlam positioned the Labor Party as a serious contender for power, and 1972, the “It’s Time” election, when the ALP took office for the first time in 23 years. We cannot understand how a gay movement developed in Australia without understanding the larger social and cultural changes of the time, which saw fundamental shifts in the nature of Australian society and politics.

The decision of the Menzies government in 1965 to commit Australian troops to the long, and ultimately futile war in Vietnam, led to the emergence of a large anti-war movement, capable of mobilising several hundred thousand people to demonstrate by the end of the decade. Already under the last few years of Liberal government the traditional White Australia Policy was beginning to crumble, as it became increasingly indefensible, and awareness of the brutal realities of dispossession and discrimination against indigenous Australians was developing. Perhaps most significant for a movement based on sexuality, the second wave feminist movement, already active in the United States and Britain, began challenging the deeply entrenched sexist structures of society.

To quote myself, this at least reduces charges of plagiarism: “Anyone over fifty in Australia has lived through extraordinary changes in how we imagine the basic rules of sex and gender. We remember the first time we saw women bank tellers, heard a woman’s voice announce that she was our pilot for a flight, watched the first woman read the news on television. Women are now a majority of the paid workforce; in 1966 they made up twenty-nine per cent. When I was growing up in Hobart it was vaguely shocking to hear of an unmarried heterosexual couple living together and women in hats and gloves rode in the back of the trams (now long since disappeared). As I look back, it seems to me that some of the unmarried female teachers at my school were almost certainly lesbians, although even they would have been shocked had the word been uttered.”

In Australia Germaine Greer’s book The Female Eunuch became a major best seller, and Germaine appeared [together with Liz Fell, Gillian Leahy and myself] at the initial Gay Liberation forum at Sydney University in early 1972; looking back it is ironic that a woman who has been somewhat ambivalent in her attitudes to homosexuality was part of the public establishment of the gay movement.

But the early demonstrations illustrated in this exhibition did often include sympathetic “straights” – a term that seems to have disappeared from the language – for whom gay liberation was part of a wider set of cultural issues. It is essential to recognise that while political demonstrations may seem to assert certain claims they play widely different roles for those who participate. For some of us a public protest is a form of “coming out”; indeed many people had never been public about their sexuality before they attended their first demonstration. For others a demonstration is primarily a place to find solidarity, friendship, and, if lucky, sex.

For the gay movement more than any other just to declare oneself as gay was to take an enormous step, a step that some found remarkably easy while others had to wait until late in life to discover that actually almost everyone knew anyway. I remember the now dead Sydney playwright, Nick Enright, who was one of the first people to be open about his homosexuality, and was so without any sense of difficulty; at the same time there are still people who go to great lengths to hide their sexuality even while acknowledging they would face little risk of discrimination were they not to do so

Maybe there is a parallel for people who now declare their lost Aboriginal heritage, unsure how they will be regarded but aware that this is crucial to their sense of self. Every generation has its own version of coming out stories, this exhibition hones in on that time in our national history when everything seemed in flux, and gay liberation seemed a small part of creating a brave new world in which old hierarchies and restraints would disappear.

Looking back at the photos creates a certain nostalgia – we all look so young, so sure that we were changing the world, though in reality most of us were putting on a brave front. The oddest thing is that in some ways we did change the world. Forty years ago we looked at the police as threatening, symbolised in the photograph from Melbourne Gay Pride 1973 where the policeman is clearly telling people to move on. Today openly lesbian and gay cops march with us in the streets, and the very idea that homosexuality could be criminalised, as it still is in many parts of the world, has largely disappeared from historical memory. Indeed to many people attending this exhibition that may be the first time they confront the reality that being gay in Australia in the early 1970s was to live in a world of silence, evasion and fear.

.
Professor Dennis Altman
July 2014

© Dennis Altman
Reproduced with permission

 

Anonymous. 'I am a Lesbian, Gay Pride Week' Adelaide, 1973

 

Anonymous
I am a Lesbian, Gay Pride Week
Adelaide, 1973
Digital C type print on Kodak Endura Matte
© Australian Lesbian and Gay Archives

 

Anonymous. 'Man in black hat and red shirt, Gay Pride Week' Adelaide, 1973

 

Anonymous
Man in black hat and red shirt, Gay Pride Week
Adelaide, 1973
Digital C type print on Kodak Endura Matte
© Australian Lesbian and Gay Archives

 

 

Sponsored by

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

 

Art Blart logo.
Dr Marcus Bunyan and the best photography blog in Australia sponsor this event artblart.com

 

ALGA logo.
The Archives actively collects and preserves lesbian and gay material from across Australia alga.org.au

 

Supported by

Edmund Peace logo.
EP is a contemporary Melbourne art space dedicated to the appreciation of photography (03) 9023 5775 edmundpearce.com.au

 

Rennie Ellis logo.
Rennie Ellis is an award winning photographer and writer (03) 9525 3862 www.rennieellis.com.au

 

 

1. Connell, Raewyn. “Ours is in colour: the new left of the 1960s,” in Carolyn D’Cruz and Mark Pendleton (eds.,). After Homosexual: The Legacies of Gay Liberation. Perth: UWA Publishing, 2013, p.43.

 

AIDS 2014: 20th International AIDS Conference
20 July – 25 July 2014
Melbourne, Australia

AIDS 2014 website

Edmund Pearce Gallery
Level 2, Nicholas Building
37 Swanston Street (corner Flinders Lane)
Melbourne Victoria 3000
T: (03) 9023 5775

Opening hours:
Tues – Sat 11 am – 5 pm

Edmund Pearce Gallery website

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15
Jul
14

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

Exhibition dates: 25th January – 20th July 2014

 

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

Dr Marcus Bunyan for the Art Blart blog

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

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

 

 

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

 

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

 

2007-17-28_Plumier-LadyInCostume-DETAIL

 

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

 

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

 

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

 

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

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

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

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

 

2008-41-22_Unknown-TravelingMinstrelsBanjoBones_DETAIL

 

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

 

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

 

David C. Collins, American, 1825-1909

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

 

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

 

David C. Collins, American, 1825-1909

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

 

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

 

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

 

 

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

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

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

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

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

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

Press release from the  Nelson-Atkins Museum of Art website

 

Unknown. 'St. Anthony Falls' c. 1852

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

 

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

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

The Nelson-Atkins Museum of Art website

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12
Jul
14

Exhibition: ‘Fútbol: The Beautiful Game’ at the Los Angeles County Museum of Art (LACMA)

Exhibition dates: 2nd February – 20th July 2014

 

In honour of the World Cup final and a wonderful tournament, here is a glorious posting to celebrate The Beautiful Game!

PS. So much of this work is conceptual graphic design, doesn’t anybody make art anymore?

Marcus

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

 

On the eve of the World Cup – which, like the Olympics, takes place every four years – this exhibition celebrates football, the world’s game, and its richness as a field for metaphorical inquiry. Just as the World Cup brings together athletes and fans from around the globe, Fútbol: The Beautiful Game explores some of the ties that bind us as humans. Focusing on a simple game allows for a direct conversation about the communication and (more often) miscommunication that characterize our collective life, while celebrating one thing that most of the planet holds its breath for: the quadrennial event held to crown a nation as world champion of football. The sport has often been cited as a metaphor for nations, for cultures, and even for life, as is suggested by a statement attributed to the writer Albert Camus: “After many years in which the world has afforded me many experiences, what I know most surely about morality and obligations, I owe to football.” Camus believed that the simple rules governing the game often had more to teach us about life than did politicians and philosophers.

Fútbol: The Beautiful Game presents the work of more than 30 artists who address the game through its imagery, signs, symbols, and sounds while also touching on larger issues well apart from the field of play. These themes include masculinity and the construction of heroes; ritual and worship; marketing and power; and current political, social, and cultural phenomena.

 

 

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Dario Escobar. 'Obverse & Reverse XIV' 2013

 

Dario Escobar
Obverse & Reverse XIV
2013
Latex, leather, string and steel
11 1/2 × 6 9/16 × 6 9/16 ft. (349.89 × 199.94 × 199.94 cm)
Dario Escobar
Courtesy of the artist and Josée Bienvenu Gallery, New York

 

Nelson Leirner. 'Maracana' 2003
Nelson Leirner. 'Maracana' 2003 and Andreas Gursky 'Amsterdam, EM Arena I' 2000

 

In the background: Andreas Gursky
Amsterdam, EM Arena I
2000
Chromogenic print
108 1/4 × 80 11/16 × 2 7/16 in. (275 × 205 × 6.2 cm)
Gagosian Gallery
Andreas Gursky, Courtesy Gagosian Gallery

 

Nelson Leirner. 'Maracana' 2003

Nelson Leirner. 'Maracana' 2003

 

Nelson Leirner
Maracana
2003
Plaster, plastic, ceramic, wood
120 x 130 3/4 x 9.5 in.
Brooklyn Museum

 

EX7941-20140130-VW011-WEB

EX7941-20140130-VW013-WEB

Satch Hoyt 'Kick That' 2006 (in case) and George Afedzi Hughes 'Parallel' 2009-11

 

In case: Satch Hoyt
Kick That
2006
Mixed media with sound
Satch Hoyt
Courtesy of the artist

In the background: George Afedzi Hughes
Parallel
2009-11
Acrylic, oil, enamel on canvas
72 x 120 in. (182.88 x 304.8 cm)
Skoto Gallery
Collection of the artist, Courtesy Skoto Gallery

 

Stephen Dean. 'Volta' 2002-2003

 

Stephen Dean
Volta
2002-2003
Single-channel color DVD installation (9′) with audio and fabric enclosure
Collection of Ruth and William True

 

Mary Ellen Carroll. 'FREE THROW' 1984

 

Right on floor: Mary Ellen Carroll
FREE THROW
1984
Mannequin bottom and basketball with rubberized paint
4 x 3 x 1 ft. (121.91 x 91.44 x 30.48 cm)
Mary Ellen Carroll
Courtesy of the artist, 3rd Streaming-NYC, Galerie Hubert Winter-Vienna, Austria

 

EX7941-20140130-VW017-WEB

Wendy White. 'Clavado' 2013

 

Centre: Wendy White
Clavado
2013
Acrylic on canvas, wood, enamel
74 1/2 × 74 1/2 in. (189.23 × 189.23 cm)
Andrew Rafacz Gallery
Courtesy of the artist and Andrew Rafacz

 

Kehinde Wiley. 'Samuel Eto'o' 2010

 

Kehinde Wiley
Samuel Eto’o
2010
Oil on Canvas
76 x 60 in.
Roberts & Tilton Gallery
© Kehinde Wiley
Image courtesy of the artist, and Roberts & Tilton, Culver City

 

EX7941-20140130-VW020-WEB

Nery Gabriel Lemus. 'Thank You for the Game' 2013

 

Right: Nery Gabriel Lemus
Thank You for the Game
2013
Serigraph
36 x 50 in. (91.44 x 127 cm)
Self Help Graphics & Art, Professional Printmaking Program, 2013. On loan from the Self Help
Graphics & Art Collection
© Nery Gabriel Lemus

 

Dewey Tafoya. 'Olmeca1370 BCE' 2013

 

Right: Dewey Tafoya
Olmeca 1370 BCE
2013
Serigraph
36 × 50 in. (91.44 × 127 cm)
Self-Help Graphics
Self Help Graphics & Art, Professional Printmaking Program, 2013. On loan from the Self Help
Graphics & Art Collection

 

EX7941-20140130-VW023-WEB

 

Installation views of the exhibition Fútbol: The Beautiful Game at The Los Angeles County Museum of Art (LACMA)

 

 

“The Los Angeles County Museum of Art (LACMA) presents Fútbol: The Beautiful Game, an exhibition examining the sport of fútbol, or soccer, as it is known in the United States. Featuring approximately 50 works by nearly 30 artists on the subject of fútbol - often referred to as “the beautiful game” – the exhibition looks at issues of nationalism, identity, globalism, and mass spectacle as well as the shared human experience between spectators from a multitude of cultures. In anticipation of the 2014 World Cup that takes place in Brazil this summer, LACMA’s exhibition considers the sport through video, photography, painting, sculpture, and large-scale installation.

“A globally beloved sport celebrated in the context of a museum: what a great opportunity to explore the international scope of soccer through the lens of art,” said Michael Govan, CEO and Wallis Annenberg Director of LACMA. “Fútbol should excite all, especially as it coincides with the World Cup in Brazil in summer 2014.”

“When people watch a game, they feel inspired by the spirit of the team, the fans, and the sense of community,” remarked Franklin Sirmans, Terri and Michael Smooke Curator and department head of contemporary art at LACMA, “We, the fans, create the spirit of the team via our rituals. Witnessing a game is one of the few occasions during which a collective sense of enthusiasm is still possible. This exhibition explores that energy.”

.
Exhibition overview 

Two room-sized video installations anchor Fútbol: The Beautiful Game. The first, Zidane: A 21st Century Portrait by the artists Philippe Parreno and Douglas Gordon, provides an intimate portrait of Zinedine Zidane – one of the greatest soccer players in the history of the sport – during the course of a single match. Meanwhile, Stephen Dean’s Volta, set to samba music, directs its gaze at stadium crowds and draws attention to both the pandemonium and organized ritual of mass audiences.

Other works by artists including Robin Rhode, Kehinde Wiley, Petra Cortright, Andy Warhol, Mark Bradford, Mary Ellen Carroll, Hassan Hajjaj, and Andreas Gursky, among others, provide a sense of the possibilities of the sport as a universal conversation piece. With artists hailing from as far afield as Morocco, Germany, Mexico, and South Africa – in addition to several Los Angeles–based artists – the geographic range represented in Fútbol: The Beautiful Game reflects the global reach of the sport.

Gustavo Artigas’s The Rules of the Game examines the ways in which communities that play different sports (basketball, soccer, and football) perceive one another, while Miguel Calderón’s video Mexico vs. Brasil dramatically unfolds during an unlikely victory for Mexico. Chris Beas harkens back to classical modes of presentation in his paintings: his athletic figures are depicted in a celebratory, almost mythic light. Meanwhile, the athletes featured in Generic Art Solutions’ works are almost caricatures caught in moments of extreme dramatization.

In collaboration with LACMA, a new edition of prints has been commissioned by Self Help Graphics under the direction of executive director, Evonne Gallardo. The new prints by Carolyn Castano, Nery Gabriel Lemus, Ana Serrano, Dewey Tafoya, Ami Motevelli and Mario Ybarra, Jr. address varied aspects of the game – from a commemoration for the Colombian soccer player Andres Escobar who was shot and killed shortly after the 1994 World Cup, seemingly for his mistaken own goal, to references to the Olmec culture of the first major civilization in Mexico.

As a nod to the imminent World Cup, the exhibition’s design alludes to the Brazilian flag with graphic symbolism as it evokes the environs of the sport – sun, sky, and grass – through a vibrant yellow, blue, and green.”

Press release from the LACMA website

 

Lyle Ashton Harris. 'Verona #2' 2001-2004

 

Lyle Ashton Harris
Verona #2
2001-2004
Silver gelatin print
16 x 20 in.
The Robert E. Holmes Collection
© Lyle Ashton Harris

 

George Afedzi Hughes. 'Parallel' 2009-11

 

George Afedzi Hughes
Parallel
2009-11
Acrylic, oil, enamel on canvas
72 x 120 in. (182.88 x 304.8 cm)
Skoto Gallery
Collection of the artist, Courtesy Skoto Gallery

 

Stephen Dean. 'VOLTA' 2002-2003 (still)

 

Stephen Dean
VOLTA (still)
2002-2003
Single-channel color DVD installation (9′) with audio and fabric enclosure
Collection of William and Ruth True, Seattle
Courtesy of the artist and Baldwin Gallery, Aspen
© Stephen Dean

 

Miguel Calderón. 'Mexico vs Brasil' (video still) 2004

 

Miguel Calderón
Mexico vs Brasil (video still)
2004
Video transferred to DVD
Duration: 1 hrs. 30 minutes
Courtesy of the artist and kurimanzutto, Mexico City
© Miguel Calderón

 

Antoni Muntadas. 'Celebracions' 2009

 

Antoni Muntadas
Celebracions
2009
DVD
Blake Byrne
Collection of Blake Byrne, Los Angeles

 

Chris Beas. 'Sir Bobby' 2007

 

 

Chris Beas
Sir Bobby
2007
Acrylic on Canvas
24 x 25 3/8 in.
Courtesy of the artist and Martha Otero Gallery
© Chris Beas

 

Ana Serrano. 'Narco Soccer' 2013

 

Ana Serrano
Narco Soccer
2013
Serigraph
50 × 36 in. (127 × 91.44 cm)
Self-Help Graphics
Self Help Graphics & Art, Professional Printmaking Program, 2013. On loan from the Self Help
Graphics & Art Collection

 

Generic Art Solutions. 'Pieta' 2008

 

Generic Art Solutions
Pieta
2008
Photograph
36 x 36 in.
Courtesy of Jonathan Ferrara Gallery, New Orleans
© Generic Art Solutions

 

Andy Warhol. 'Pele' 1978

 

Andy Warhol
Pele
1978
Silkscreen
40 x 40 in.
University of Maryland Art Gallery, College Park, MD
© Andy Warhol Foundation/Artists Rights Society (ARS), New York

 

Kehinde Wiley. 'Samuel Eto'o' 2010

 

Kehinde Wiley
Samuel Eto’o
2010
Oil on Canvas
76 x 60 in.
Roberts & Tilton Gallery
© Kehinde Wiley
Image courtesy of the artist, and Roberts & Tilton, Culver City

 

Nery Gabriel Lemus. 'Thank You for the Game' 2013

 

Nery Gabriel Lemus
Thank You for the Game
2013
Serigraph
36 x 50 in. (91.44 x 127 cm)
Self Help Graphics & Art, Professional Printmaking Program, 2013. On loan from the Self Help
Graphics & Art Collection
© Nery Gabriel Lemus

 

Philippe Parreno and Douglas. 'Gordon Zidane: A 21st Century Portrait' 2006

 

Philippe Parreno and Douglas Gordon
Zidane: A 21st Century Portrait
2006
© Philippe Parreno and Douglas Gordon

 

Philippe Parreno and Douglas. 'Gordon Zidane: A 21st Century Portrait' 2006

 

Philippe Parreno and Douglas Gordon
Zidane: A 21st Century Portrait
2006
© Philippe Parreno and Douglas Gordon

 

Philippe Parreno and Douglas. 'Gordon Zidane: A 21st Century Portrait' 2006

 

Philippe Parreno and Douglas Gordon
Zidane: A 21st Century Portrait
2006
© Philippe Parreno and Douglas Gordon

 

 

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

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

LACMA website

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09
Jul
14

Exhibition: ‘Transmissions: Archiving HIV/AIDS – Melbourne 1979 – 2014′ at George Paton Gallery, The University of Melbourne

Exhibition dates: 14th July – 25th July 214

Artists include: Marcus Bunyan, Juan Davila, Andrew Foster, Brent Harris, Mathew Jones, Peter Lyssiotis, Lex Middleton, Andi Nellssun, Marcus O’Donnell, Scott Redford, and Ross T Smith

Opening: Wednesday 16 July 5.30 pm – 7.30 pm

 

Another important exhibition to coincide with the 20th International AIDS Conference to be held in Melbourne this July. The exhibition – which focuses on the seminal exhibition Don’t Leave Me This Way: Art In The Age Of AIDS, curated by Ted Gott at the National Gallery of Australia in Canberra in 1994 – is supported by an extensive program of public events (see below) some of which I hope to get to. The community lost so many good people.

I just want to say ‘good on ya, Andi’, hope your smiling up there somewhere!

Marcus

.
Many thankx to Michael Graf and The George Paton Gallery for allowing me to publish the art work in the posting. Please click on the photographs for a larger version of the image. The exhibition will be open until 9pm on Wednesday 23 July as part of the Nite Art Walk.

 

 

Unknown photographer. 'ACT UP D-Day on the steps of Flinders St. Station, 6 June 1991' 1991

 

Unknown photographer
ACT UP D-Day on the steps of Flinders St. Station, 6 June 1991
1991
Image courtesy of the Australian Lesbian and Gay Archives

 

 

To coincide with the 20th International AIDS Conference to be held in Melbourne in July, TRANSMISSIONS | Archiving HIV/AIDS | Melbourne 1979-2014 is an exhibition of artworks, manuscripts, and other material from private collections and public archives. It will focus on the partnership between government, health professionals, and Melbourne’s gay community, and on relations between activism, art and design.

Australia is recognised for having implemented one the world’s most successful HIV/AIDS prevention campaigns. The exhibition and conference, however, coincide with a twenty-year high in infection rates. To be able to reach a younger generation,current health promotion campaigns have become increasingly sophisticated. TRANSMISSIONS will investigate several of these campaigns in relation to others from the past thirty years.

TRANSMISSIONS will feature artworks by Marcus Bunyan, Juan Davila, Andrew Foster, Brent Harris, Mathew Jones, Peter Lyssiotis, Lex Middleton, Andi Nellsün, Marcus O’Donnell, Scott Redford, and Ross T Smith.

A publication and a comprehensive public program will accompany this two-week exhibition.

Exhibition curated by Michael Graf and Russell Walsh.

 

Andi Nellsün. 'Matr'x' 1993

 

Andi Nellsün
Matr’x
1993

 

Andi-Nellsun-Synergy-WEB

 

Andi Nellsün
Synergy
1993

 

 

Free Public program

Wednesday 16 July 5.30 pm – 7.30 pm – Exhibition Launch
(all welcome but please RSVP to transmissions-rsvp@unimelb.edu.au)

Thursday 17 July, 5.30 pm – 6.30 pm – Introduction to the archives
Nick Henderson (Australian Lesbian & Gay Archives) and Katie Wood (The University of Melbourne Archives) in conversation with Russell Walsh.

Friday 18 July, 5.30 pm – 6.30 pm – Activism, archives and history
Graham Willett (Australian Lesbian & Gay Archives) in conversation with Russell Walsh.

Saturday 19 July, 3 pm – 4 pm – Curator floor-talk with Michael Graf and Russell Walsh

Wednesday 23 July – exhibition open till 9pm for Nite Art Walk

Wednesday 23 July 7.00 pm – 8.00 pm – Hares and Hyenas Word is Out presents: Charles Roberts, Infected Queer - 20 years on
Melbourne writer Javant Biarujia will read from the polemical AIDS diary that he helped edit and publish in 1994.

Thursday 24 July, 5.30 pm – 6.30 pm – Don’t Leave Me This Way: Art In The Age Of AIDS: 20 years on
Ted Gott, Curator of the seminal exhibition at the National Gallery of Australia in 1994, in conversation with Michael Graf, with several of the exhibition’s artists present for comment.

Friday 25 July, 5.30 pm – 6.30 pm – The Face of HIV/AIDS: Photographic Portraiture and HIV/AIDS 1984-1994
Susannah Seaholm-Rolan reflecting on why many of the artists featured in Don’t Leave Me This Way: Art In The Age Of AIDS worked in the medium of photographic portraiture and self-portraiture (includes exhibition closing drinks).

Please note: all events will commence sharply at advertised times owing to the early closure of the Student Union Building

 

Lex Middleton. 'Gay Beauty Myth' 1992

 

Lex Middleton
Gay Beauty Myth
1992
Gelatin silver photographs

 

Juan Davila. 'LOVE' 1988

 

Juan Davila
LOVE
1988
Oil on canvas
© Juan Davila, Courtesy Kalli Rolfe Contemporary Art

 

 

“The central theme of the exhibition is the response from Melbourne’s LGBT community to the HIV/AIDS epidemic. It will contain artworks from this period as well as activist, government and other cultural responses – some of the works have never been exhibited before.

Michael Graf is co-curator of Transmissions, along with Russell Walsh. Both Graf and Walsh have spent the past seven months trawling through the Australian Lesbian and Gay Archives (ALGA) and the University of Melbourne Archives, where they have discovered some of the most moving and unique stories in Melbourne’s LGBT history.

“We wanted to focus on some of the cultural responses to the crisis,” Graf says. “The main part of that has been Ted Gott’s exhibition at the National Gallery of Australia in 1994: Don’t leave me this way: art in the age of AIDS. That exhibition became an incredibly important event for a lot of people. The NGA actually thought they would get 10,000 people through the space in four or five months – they got 140,000 people.

“It became a kind of pilgrimage for people from Melbourne and Sydney and other places around Australia. They went to Canberra specifically to see that exhibition. It was the first time a national gallery anywhere in the world put on an exhibition about HIV/AIDS.”

Transmissions includes copies of the visitors books from Don’t leave me this way: art in the age of AIDS. As the exhibition became a place where people remembered those they had lost, they poured their emotions and their experiences of the exhibition into the visitors books.

“There are some extraordinary accounts,” Graf says. “They had this experience in a national gallery to actually grieve.”

Graf and Walsh also tracked down artists from this exhibition. While many concede thatDon’t leave me this way has been long forgotten, the milieu surrounding Transmissions is that it is time for this work to be considered again.

“They [the artists] have also said this is the perfect time to remember it,” Graf says. “Sometimes these things have to wait until they have receded enough back into history before they can be looked at again.” …

Graf hopes people visiting Transmissions will take away the richness of these collections. He also hopes they attract a younger audience as well as those who will remember what life was like in the gay community at the height of the HIV/AIDS epidemic.

“We’re hoping people might be inspired to access places such as the Australia Lesbian and Gay Archives and for a younger generation of people in Melbourne to be exposed to this incredible important history.”

Rachel Cook. “Transmissions: Archiving HIV/AIDS – Melbourne 1979 – 2014,” on the Gay News Network website, 2nd July 2014 [Online] Cited 06/07/2014

 

Marcus Bunyan. 'How will it be when you have changed' 1994

 

Marcus Bunyan
How will it be when you have changed
1994
Silver gelatin photograph

 

Marcus Bunyan. 'Tell me your face before you were born' 1994

 

Marcus Bunyan
Tell me your face before you were born
1994
Silver gelatin photograph

 

 

George Paton Gallery
Level Two, Union House
The University of Melbourne 3010
Enquiries: +61 3 8344 5418
Email: gpg@union.unimelb.edu.au

Opening hours:
Monday – Friday 12 pm – 6 pm
Saturday 2 pm – 5 pm

George Paton Gallery website

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The University of Melbourne logo Australian Lesbian and Gay Archives website
Victorian AIDS Council website Nite Art Melbourne website
George Paton Gallery University of Melbourne Student Union
The Ian Potter Museum of Art

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08
Jul
14

Exhibition: ‘Robert Mapplethorpe’ at the Grand Palais, Paris

Exhibition dates: 26th March – 13th July 2014

Grand Palais
Galerie sud-est, entrée avenue Winston Churchill

 

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

 

 

“I have boundless admiration for the naked body. I worship it.”

“I was a Catholic boy, I went to church every Sunday. A church has a certain magic and mystery for a child. It still shows in how I arrange things. It’s always little altars.”

“I am looking for perfection in form. I do that with portraits. I do it with cocks. I do it with flowers.”

.
Robert Mapplethorpe

 

Installation view of the exhibition 'Robert Mapplethorpe' at the Grand Palais, Paris 2014

Installation view of the exhibition 'Robert Mapplethorpe' at the Grand Palais, Paris 2014

Installation view of the exhibition 'Robert Mapplethorpe' at the Grand Palais, Paris 2014

Installation view of the exhibition 'Robert Mapplethorpe' at the Grand Palais, Paris 2014

 

Installation views of the exhibition Robert Mapplethorpe at the Grand Palais, Paris 2014
© Didier Plowy pour la Réunion des musées nationaux-Grand Palais, Paris 2014

 

 

“The exhibition will present over 250 works making it one of the largest retrospective shows for this artist ever held in a museum. It will cover Mapplethorpe’s entire career as a photographer, from the Polaroids of the early 1970s to the portraits from the late 1980s, touching on his sculptural nudes and still lifes, and sadomasochism.

The focus on his two muses Patti Smith and Lisa Lyon explores the theme of women and femininity and reveals a less known aspect of the photographer’s work. The challenge of this exhibition is to show that Mapplethorpe is a great classical artist, who addressed issues in art using photography as he might have used sculpture. It also puts Mapplethorpe’s art into the context of the New York art scene in the 1970-1980s.

In his interview with Janet Kardon in 1987, Mapplethorpe explained that photography in the 1970s was the perfect medium for a fast-paced time. He did not really choose photography; in a way it was photography that chose him. Later in the same interview, he said “If I had been born one hundred or two hundred years ago, I might have been a sculptor, but photography is a very quick way to see, to make a sculpture. Lisa Lyon reminded me of Michelangelo’s subjects, because he did muscular women.”

Mapplethorpe positioned himself from the outset as an Artist, with a capital A. Unlike Helmut Newton, who as a teenager already wanted to be a fashion photographer, and imposed his vision of the world and photography, making it an art in its own right, Robert Mapplethorpe is a sculptor at heart, a plastic artist driven by the question of the body and its sexuality and obsessed by the search for perfect form.

Like Man Ray, Mapplethorpe wanted to be “a creator of images” rather than a photographer, “a poet” rather than a documentarist. In the catalogue for the Milan exhibition which compared the two artists, Bruno Cora recalls the parallels in their lives and works: “Before becoming masterly photographers, Man Ray and Mapplethorpe had both been painters and sculptors, creators of objects; they both lived in Brooklyn in New York; they both made portraits of the intellectuals of their time; and they were both incisive explorers of the nude form, its sculptural qualities and the energy emanating from it.”

Mapplethorpe was an artist before being a photographer. His images come from a pictorial culture in which we find Titian (The Flaying of Marsyas / Dominick and Elliot), David, Dali, and even the great artists of the Italian Renaissance, Michelangelo, Piero della Francesca, Bernini …

As in Huysmans’s novel, the exhibition is a countdown for this other dandy from the end of another world, Robert Mapplethorpe. It starts with his self-portrait with a skull-headed cane, the image of a young man already old, the tragedy of a life cut down in full flight by AIDS. But his almost royal final posture, as if beyond death, still (just) alive but already in the posterity of his oeuvre, seems to beckon us with a gesture of his pastoral cane to follow him into the world that he constructed in twenty years of photography. The exhibition continues with statuary, a dominant theme in Mapplethorpe’s last years, photos of statues of the gods in his personal pantheon: Eros, of course, and Hermes … The artist always said he used photography to make sculptures, and he ended his oeuvre with photographs of sculptures. His nudes were already photographic sculptures.

Works are not created just anywhere. To be fully appreciated, Mapplethorpe’s art must be put into the socio-cultural context of arty New York in the 1970s and 80s, and the underground gay culture there at that time. Two permeable and equally radical worlds. To take the measure of the libertarian explosion of the time, we need to watch Flesh, Warhol’s film with Joe Dalessandro, which narrates 24 hours in the life of a young New York male prostitute. To understand the violence and passion of gay sexuality for young New Yorkers fighting for freedom in a repressive period, we must read Edmund White’s The Beautiful Room is Empty, the story of a young gay in the years of riots and demonstrations and extreme emancipation; and Andrew Holleran’s Dancer from the Dance (1978), to plunge into the sexual experiments of Fire Island in the 1970s.

Mapplethorpe is hailed as one of the world’s greatest photographers and the exhibition aims to give a broad view of his work.”

Press release from the Grand Palais website

 

Robert Mapplethorpe. 'Milton Moore' 1981

 

Robert Mapplethorpe 
Milton Moore
1981
50.8 x 40.6 cm / 50.8 x 40.6 cm
Silver gelatin prints
New York, Fondation Robert Mapplethorpe
© Robert Mapplethorpe Foundation. Used by permission

 

Robert Mapplethorpe. 'Milton Moore' (detail) 1981

 

 

Robert Mapplethorpe 
Milton Moore (detail)
1981
50.8 x 40.6 cm
Silver gelatin print
New York, Fondation Robert Mapplethorpe
© Robert Mapplethorpe Foundation. Used by permission

 

 

Robert Mapplethorpe. 'Ken Moody' 1983

 

Robert Mapplethorpe
Ken Moody
1983
50.8 x 40.6 cm
Silver gelatin print
New York, Fondation Robert Mapplethorpe
© Robert Mapplethorpe Foundation. Used with permission

 

 

Introductory text

“Robert Mapplethorpe was an artist with an obsessive quest for aesthetic perfection.

A sculptor at heart, and in his imagination, he wanted “people to see [his] works first as art and second as photography.”1 An admirer of Michelangelo, Mapplethorpe championed the classical ideal – revised and reworked for the libertarian New York of the 1970s – and explored sophisticated printing techniques to create unique works and mixed compositions, which he framed in unusual ways.

Like the novel by Joris-Karl Huysmans, this exhibition has been organised “À rebours” [against the nap] and examines the work of another dandy, living at the end of another world. It opens with Mapplethorpe’s self-portrait with the skull-head cane: the image of a young man, already old, tragically cut down in the prime of life by AIDS, it also reveals how the master of the realm of shadows – photography – gave free rein to his imagination. Like a modern day Orpheus, beyond death, he seems alive – although only just – yet already in the afterlife of his work, beckoning us with his satanic cane to follow him into the underworld of his life, in search of his desire.

“Photography and sexuality have a lot in common,” explains Mapplethorpe. “Both are question marks, and that’s precisely what excites me most in life.”2 Exploring the photography of the body, he pushed it to the limits of pornography, perhaps like no other artist before him. The desire we see in these images – often the photographer’s own desire – also reflects life in New York, as lived by some, in the 1970s and 80s, at the height of the sexual liberation movement. “I’m trying to record the moment I’m living in and where I’m living, which happens to be in New York. I am trying to pick up on the madness and give it some order.”3

This retrospective of Mapplethorpe’s work – the first in France since he passed away – features some two hundred and fifty images exploring a range of themes. They cover every aspect of Mapplethorpe’s art – bronze bodies and flesh sculptures, geometric and choreographic, still lives and anatomical details, bodies as flowers and flowers as bodies, court portraiture, night photography, and eroticism, soft and hard – interspersed with self-portraiture in all its forms. The works from the photographer’s early career, which close the exhibition, reveal how the path taken by his art was already mapped out in his first Polaroids. The sign of a great artist.”

1 Inge Biondi, “The Yin and the Yang of Robert Mapplethorpe,” in The Print Collector’s Newsletter, New York, January 1979, p. 11
2 Mark Thompson, “Mapplethorpe,” in The Advocate, Atlanta, 24 July 1980
3 Sarah Kent, “Mapplethorpe,” in Time Out, London, 3-9 November 1983

 

Robert Mapplethorpe. 'Thomas' 1987

 

Robert Mapplethorpe
Thomas
1987
61 x 50.8 cm
Silver gelatin print
New York, Fondation Robert Mapplethorpe
© Robert Mapplethorpe Foundation. Used with permission

 

Robert Mapplethorpe. 'Calla Lily' 1986

 

Robert Mapplethorpe
Calla Lily
1986
92.7 x 92.7 cm
Silver gelatin print
© Robert Mapplethorpe Foundation. Used with permission

 

Robert Mapplethorpe. 'The Sluggard' (Le Paresseux) 1988

 

Robert Mapplethorpe
The Sluggard (Le Paresseux)
1988
61 x 50.8 cm
Silver gelatin print
New York, Fondation Robert Mapplethorpe
© Robert Mapplethorpe Foundation. Used with permission

 

Robert Mapplethorpe. 'Self-portrait (Autoportrait)' 1988

 

Robert Mapplethorpe
Self-portrait (Autoportrait)
1988
61 x 50.8 cm
Platinum print
© Robert Mapplethorpe Foundation. Used with permission

 

 

Grand Palais, Galeries Nationales
3, Avenue du Général Eisenhower
75008 Paris

Opening hours:
Wednesday - Saturday 10 am – 10 pm
Monday and Sunday 10 am - 8 pm
Closed every Tuesday

Grand Palais website

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

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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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