Archive for the 'sculpture' Category

19
Mar
15

Exhibition: ‘Shatter Rupture Break’ at the Art Institute of Chicago

Exhibition dates: 15th February – 3rd May 2015

 

Again, I am drawn to these impressive avant-garde works of art. I’d have any of them residing in my flat, thank you very much. The Dalí, Delaunay and Léger in painting and drawing for me, and in photography, the muscular Ilse Bing, the divine Umbo and the mesmeric, disturbing can’t take your eyes off it, Witkiewicz self-portrait.

Marcus

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

 

 

“Everything had broken down in any case, and new things had to be made out of the fragments.”

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Kurt Schwitters, 1930

 

 

“A century ago, society and life were changing as rapidly and radically as they are in today’s digital age. Quicker communication, faster production, and wider circulation of people, goods, and ideas – in addition to the outbreak of World War I – produced a profoundly new understanding of the world, and artists in the early years of the 20th century responded to these issues with both exhilaration and anxiety. Freeing themselves from the restraints of tradition, modern artists developed groundbreaking pictorial strategies that reflect this new shift in perception.

Shatter Rupture Break, the first exhibition in The Modern Series, explores the manifold ways that ideas of fragmentation and rupture, which permeated both the United States and Europe, became central conceptual and visual themes in art of the modern age. Responding to the new forms and pace of the metropolis, artists such as Robert Delaunay and Gino Severini disrupted traditional conventions of depth and illusionism, presenting vision as something fractured. Kurt Schwitters and George Grosz explored collage, using trash and bits and pieces of printed material in compositions to reflect social and political upheaval and produce something whole out of fragments. In the wake of new theories of the mind as well as the literal tearing apart of bodies in war, artists such as Hans Bellmer, Salvador Dalí, and Stanisław Witkiewicz produced photographs and objects revealing the fractured self or erotic dismemberment. The theme of fragmentation was ubiquitous as inspiration for both the formal and conceptual revolutions in art making in the modern age.

Shatter Rupture Break unites diverse objects from across the entire holdings of the Art Institute – paintings, sculpture, works on paper, photographs, decorative arts and designed objects, textiles, books, and films – to present a rich cacophony that exemplifies the radical and generative ruptures of modern art.

The Modern Series

A quintessentially modern city, Chicago has been known as a place for modern art for over a century, and the Art Institute of Chicago has been central to this history. The Modern Series exhibitions are designed to bring together the museum’s acclaimed holdings of modern art across all media, display them in fresh and innovative ways within new intellectual contexts, and demonstrate the continued vitality and relevance of modern art for today.

Text from the Art Institute of Chicago website

 

 

Ivan Albright. 'Medical Sketchbook' 1918

 

Ivan Albright (American, 1897-1983)
Medical Sketchbook
1918
The Art Institute of Chicago
Gift of Philip V. Festoso
© The Art Institute of Chicago

 

Salvador Dalí. 'City of Drawers' 1936

 

Salvador Dalí (Spanish, 1904-1989)
City of Drawers
1936
The Art Institute of Chicago
Gift of Frank B. Hubachek
© Salvador Dalí, Fundació Gala-Salvador Dalí / Artists Rights Society (ARS), New York, 2014

 

Ilse Bing. 'Eiffel Tower, Paris, 1931' 1931

 

Ilse Bing (German, 1899-1998)
Eiffel Tower, Paris, 1931
1931
Julien Levy Collection, Gift of Jean and Julien Levy
© Estate of Ilse Bing

 

 

Luis Buñuel (Spanish, 1900-1983)
Un Chien Andalou
1929

 

 

Fernand Léger
Ballet Mécanique
1924

 

Ballet Mécanique (1923-4) is a Dadaist post-Cubist art film conceived, written, and co-directed by the artist Fernand Léger in collaboration with the filmmaker Dudley Murphy (with cinematographic input from Man Ray). It has a musical score by the American composer George Antheil. However, the film premiered in silent version on 24 September 1924 at the Internationale Ausstellung neuer Theatertechnik (International Exposition for New Theater Technique) in Vienna presented by Frederick Kiesler. It is considered one of the masterpieces of early experimental filmmaking

 

Claude Cahun. 'Object' 1936

 

Claude Cahun (French, 1894-1954)
Object
1936
The Art Institute of Chciago
Through prior gift of Mrs. Gilbert W. Chapman

 

 

“The Art Institute of Chicago is introducing an innovative new series of exhibitions that presents works from the museum’s acclaimed collection of modern art in reimagined ways that demonstrate the continued vitality and significance these works have today.

The Modern Series debuts with Shatter Rupture Break, opening Sunday, February 15, in Galleries 182 and 184 of the museum’s Modern Wing. The exhibition unites such diverse objects as paintings, sculpture, works on paper, photographs, decorative arts and designed objects, textiles, books, and films.

“We wanted to explore how the idea of rupture permeated modern life in Europe and the Americas,” said Elizabeth Siegel, Associate Curator of Photography, who, with Sarah Kelly Oehler, the Gilda and Henry Buchbinder Associate Curator of American Art, took the lead in organizing the first exhibition. “It served as an inspiration for revolutionary formal and conceptual developments in art making that remain relevant today.”

A century ago, society was changing as rapidly and radically as it is in today’s digital age. Quicker communication, faster production, and wider circulation of people, goods, and ideas – in addition to the outbreak of World War I – produced a profoundly new understanding of the world, and artists responded with both anxiety and exhilaration. Freeing themselves from the restraints of tradition, modern artists developed groundbreaking pictorial strategies that reflected this new shift in perception.

Responding to the new forms and pace of cities, artists such as Robert Delaunay (French, 1885-1941) and Gino Severini (Italian, 1883-1966) disrupted traditional conventions of depth and illusionism, presenting vision as something fractured. Delaunay’s Champs de Mars: The Red Tower fragments the iconic form of the Eiffel Tower, exemplifying how modern life – particularly in an accelerated urban environment – encouraged new and often fractured ways of seeing. Picturesque vistas no longer adequately conveyed the fast pace of the modern metropolis.

The human body as well could no longer be seen as intact and whole. A devastating and mechanized world war had returned men from the front with unimaginable wounds, and the fragmented body became emblematic of a new way of understanding a fractured world. Surrealists such as Hans Bellmer (German, 1902-1975), Claude Cahun (French, 1894-1954) and Salvador Dalí (Spanish, 1904-1989) fetishized body parts in images, separating out eyes, hands, and legs in suggestive renderings. A more literal representation of the shattered body comes from Chicago’s own Ivan Albright, who was a medical draftsman in World War I. In his rarely shown Medical Sketchbook, he created fascinatingly gruesome watercolors that documented injured soldiers and the x-rays of their wounds.

Just as with the body, the mind in the modern era also came to be seen as fragmented. Stanislaw Witkiewicz (Polish, 1885-1939) produced a series of self-portraits as an act of psychological exploration. His work culminated in one stunning photograph made by shattering a glass negative, which he then reassembled and printed, thus conveying an evocative sense of a shattered psyche. The artistic expression of dreams and mental imagery perhaps reached a pinnacle not in a painting or a sculpture, but in a film. Luis Buñuel and Salvador Dalí’s film Un chien andalou (An Andalusian Dog) mystified viewers with its dreamlike narrative, dissolves from human to animal forms, dismembered body parts, and shockingly violent acts in an attempt to translate the unconscious mind onto a celluloid strip.

Kurt Schwitters (German, 1887-1948) and George Grosz (German, 1893-1959) explored collage, which took on new importance for avant-garde artists thanks to the aesthetic appeal and widespread availability of mass-produced media. Schwitters used the ephemera of German society to create what he called Merz, an invented term signifying an artistic practice that included collage, assemblage, painting, poems, and performance. The Art Institute owns a significant group of these collages by Schwitters, and six will appear in the exhibition. The use of thrown-away, ripped up, and scissored-out pieces of paper, divorced from their original meaning and reassembled with nails and glue into new objects, was an act that exposed the social and political disruptions of a German society that seemed broken and on the edge of collapse in the aftermath of World War I.

Shatter Rupture Break is unusual in that it unites objects from across the entire museum – from seven curatorial departments as well as the library. This multiplicity is significant because modern artists did not confine themselves to one medium, but explored different visual effects across a variety of media. As well, the show prominently features the voices of artists, writers, scientists, and other intellectuals of the period. The goal is to create a dynamic space that evokes the electrifying, disruptive, and cacophonous nature of modern art at the time.

“We hope to excite interest in the modern period as a crucial precursor to the changes of our own time, to show how what might seem old now was shockingly fresh then,” said Oehler.

Considered one of the finest and most comprehensive in the world, the Art Institute’s collection of modern art includes nearly 1,000 works by artists from Europe and the Americas. The museum was an early champion of modern artists, from its presentation of the Armory Show in 1913 to its early history of acquiring major masterpieces. This show highlights some recent acquisitions of modern art, but also includes some long-held works that have formed the core of the modern collection for decades. Shatter Rupture Break celebrates this history by bringing together works that visitors may know well, but have never seen in this context or with this diverse array of objects.”

Press release from the Art Institute of Chicago

 

Robert Delaunay. 'Champs de Mars: The Red Tower' 1911/23

 

Robert Delaunay (French, 1885-1941)
Champs de Mars: The Red Tower
1911/23
The Art Institute of Chicago
Joseph Winterbotham Collection

 

Fernand Léger. 'Composition in Blue' 1921-27

 

Fernand Léger (French, 1881-1955)
Composition in Blue
1921-27
The Art Institute of Chicago
Charles H. and Mary F. S. Worcester Collection
© 2014 Artists Rights Society (ARS), New York / ADAGP, Paris

 

Stuart Davis. 'Ready-to-Wear' 1955

 

Stuart Davis (American, 1892-1964)
Ready-to-Wear
1955
The Art Institute of Chicago
Restricted gift of Mr. and Mrs. Sigmund W. Kunstadter; Goodman Endowment

 

Designed by Ruben Haley, Made by Consolidated Lamp and Glass Company. "Ruba Rombic" Vase, 1928/32

 

Designed by Ruben Haley
Made by Consolidated Lamp and Glass Company
“Ruba Rombic” Vase
1928/32
Art Institute of Chicago
Raymond W. Garbe Fund in honor of Carl A. Erikson; Shirley and Anthony Sallas Fund

 

Kurt Schwitters. 'Mz 13 Call' 1919

 

Kurt Schwitters (German, 1887-1948)
Mz 13 Call
1919
The Art Institute of Chicago
Gift of Mr. and Mrs. Maurice E. Culberg
© 2014 Artists Rights Society (ARS), New York / VG Bild-Kunst, Bonn

 

Diego Rivera. 'Portrait of Marevna' c. 1915

 

Diego Rivera (Mexican, 1886-1957)
Portrait of Marevna
c. 1915
The Art Institute of Chicago
Alfred Stieglitz Collection, gift of Georgia O’Keeffe
© 2014 Banco de México Diego Rivera Frida Kahlo Museums Trust, Mexico, D.F. / Artists Rights Society (ARS), New York

 

Hans Bellmer. 'The Doll (La Poupée)' 1935

 

Hans Bellmer (German, born Poland, 1902-1975)
The Doll (La Poupée)
1935
Gelatin silver print overpainted with white gouache
65.6 x 64 cm
Anonymous restricted gift; Special Photography Acquisition Fund; through prior gifts of Boardroom, Inc., David C. and Sarajean Ruttenberg, Sherry and Alan Koppel, the Sandor Family Collection, Robert Wayne, Simon Levin, Michael and Allison Delman, Charles Levin, and Peter and Suzann Matthews; restricted gift of Lynn Hauser and Neil Ross
© 2015 Artists Rights Society (ARS), New York / ADAGP, Paris

 

Umbo (Otto Umber). 'Untitled' 1928

 

Umbo (Otto Umber) (German, 1902-1980)
Untitled
1928
Julien Levy Collection, Gift of Jean and Julien Levy
© 2014 Phyllis Umbehr/Galerie Kicken Berlin/ Artists Rights Society (ARS), New York

 

Stanisław Ignacy Witkiewicz. 'Self-Portrait, Zakopane [Broken Glass]' 1910

 

Stanisław Ignacy Witkiewicz (Polish, 1885-1939)
Self-Portrait, Zakopane [Broken Glass]
1910
Promised Gift of a Private Collection

 

 

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

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

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15
Mar
15

Exhibition: ‘Florence Henri. Mirror of the avant-garde 1927-1940′ at Jeu de Paume, Paris

Exhibition dates: 24th February – 17th May 2015

Curator: Cristina Zelich

 

 

Objects in and of space, the two the same

Florence Henri is rapidly becoming one of my favourite photographers, an artist who emerged during one of the golden periods of photography, the avant-garde of the 1920s-30s. While we have seen some of these photographs before in a previous posting, there are some new and delightful images to enjoy here.

If you believe the text by Priscilla Frank, “Meet Florence Henri, The Under-Acknowledged Queen Of Surrealist Photography,” on the Huffington Post website, you could be forgiven for thinking that her photography is based on Surrealist themes. Nothing could be farther from the truth. There is nothing about Henri’s photographs to suggest that they are based on the creative potential of the unconscious mind exemplified by the irrational juxtaposition of images. Henri’s photographs are quite logical and ordered, being an investigation into space, time and object using the “extension of the formal and structural aesthetics of Cubism, Purism and Constructivism.”

Her geometric abstractions “exploited the dialogue between realism and abstraction… and she explored spatial extension and fragmentation in her utter modern vocabulary. Her still life and abstract compositions achieved by balancing abstraction with a pure and essential subject were created in the spirit of the machine age. She viewed space as if it were elastic, distorting figure and ground and altering planes through the use of mirrors and lenses.”

Through attention and attentiveness to subject, Henri achieved her results by using created space to investigate the fragmentation and distortion of the world. Her art is not about the production of phenomena (the spectacle), but about the creation of volumes that are in an of space itself. As Donald Judd’s observes of his created volumes in 1981: “… familiar objects, objects as we habitually perceive them, assume physical neutrality because they and their environment are deactivated: “They are points in space, and space is an empty surround. Instead, what is needed is a created space, space made by someone, space that is formed as a solid, the two the same, with the space and the solid defining each other.” Objects in and of space, the two the same: this was the crux. Judd did more than set new solids into existing voids. He formed solids and their correlative spaces as an integrated operation, as if he were establishing an architecture from the ground up, creating the entire environment, intensifying it, saturating it with its own sensation.”1

In a photographic sense, Henri can be seen as a precursor to Judd’s volumes, creating her own worlds from the ground up, creating the entire environment where the space and the object are one and the same thing… only to then record and flatten that space into the essential nature of the photograph, its physicality. Her sensory affects “remain fixed in the concatenation of materials, structure and placement that generates it. They are the lived equivalent of those conditions, experienced as continuous in time – hence, timeless – remaining wholly the same until interrupted.”2 How appropriate for Henri’s photographs for they do indeed have a timeless “air”, a transcendence of the time and place they were taken, a transcendence of the space which her volumes inhabit. Objects in and of space, the two the same.

As Judd observes, “Time and space don’t exist [as idealized absractions]; they are made by events and positions. Time and space can be made and don’t have to be found like stars in the sky or rocks on a hillside.” Time and space are grounded in being human: they exist when someone experiences them.”3 Here is the nub of the matter, for it matters that we experience Henri’s photographs each in its definite time and space. Henri’s being is immersed in these volumes and they hold our interest because the created environments are saturated with her own sensations.

Dr Marcus Bunyan for the Art Blart blog

 

1. Donald Judd quoted in Richard Shiff. “Sensous Thoughts,” in Marianne Stockebrand (ed.,). Donald Judd. The Multicolored Works. Yale University Press, 2014, p. 106
2. Ibid.,
3. Ibid., p. 107.

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

 

 

“With photography, what I really want to do is compose the image, as I do in painting. The volumes, lines, shadows and light should submit to my will and say what I would like them to say. All of this under the strict control of the composition, because I do not claim to be able to explain the world or to explain my own thoughts.”

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Florence Henri in an interview with Attilio Colombo, “Specchio, essenzialità, geometría,” in Florence Henri (Milan: Gruppo Editoriale Fabbri, 1983)

 

“Henri soon recognised the medium’s capacity as a pictorial language and outlet for creative expression. Upon returning to France [from the Bauhaus], Henri began to develop a large body of photographic work based upon her Bauhaus experience and an extension of the formal and structural aesthetics of Cubism, Purism and Constructivism. These non-objective principles forged an alternative to the then-dominant French art movement Surrealism. Henri transcended the avant-garde of one art form to that of another…

Henri’s greatest experimentation with geometric abstraction occurred during the period between 1929-1930… In the photographic work, Florence Henri exploited the dialogue between realism and abstraction, but always maintained a recognisable subject. She was concerned with transparency and movement, and she explored spatial extension and fragmentation in her utter modern vocabulary.

Her still life and abstract compositions achieved by balancing abstraction with a pure and essential subject were created in the spirit of the machine age. She viewed space as if it were elastic, distorting figure and ground and altering planes through the use of mirrors and lenses.”

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Lynne Warren. Encyclopedia of Twentieth-Century Photography, 3-Volume set. Routledge, 2005, p. 691

 

 

Florence Henri. 'Composition' 1928

 

Florence Henri (New York 1893 – Compiègne 1982)
Composition
1928
Gelatin silver print, vintage
27.2 x 37.5 cm
Bauhaus Archiv, Berlin
© Florence Henri / Galleria Martini & Ronchetti Photo
© Bauhaus Archiv

 

Florence Henri. 'Composition' 1928

 

Florence Henri (New York 1893 – Compiègne 1982)
Composition
1928
Gelatin silver print, vintage
27 x 37.1 cm
Museum Folkwang, Essen
© Florence Henri / Galleria Martini & Ronchetti

 

Florence Henri. 'Composition abstraite [Still-life composition]' 1929

 

Florence Henri (New York 1893 – Compiègne 1982)
Composition abstraite [Still-life composition]
1929
Collage, gelatin silver print cut and pasted on paper
12 x 14 cm
Private collection, courtesy Florence Henri Archive, Genoa
© Florence Henri / Galleria Martini & Ronchetti

 

Florence Henri. 'Portrait Composition, Tulia Kaiser' c. 1930

 

Florence Henri (New York 1893 – Compiègne 1982)
Portrait Composition, Tulia Kaiser
c. 1930
Gelatin silver print, vintage
23 x 29.2 cm
Achat grâce au mécénat de Yves Rocher, 2011
Ancienne collection Christian Bouqueret Centre Pompidou, Paris. Musée national d’art moderne / Centre de création industrielle
© Florence Henri / Galleria Martini & Ronchetti Photo
© Centre Pompidou, Mnam-Cci, Dist. Rmn-Grand Palais / Georges Meguerditchian

 

 

Summary of exhibition

Florence Henri. Mirror of the avantgarde illustrates the desire of the Jeu de Paume to highlight the important role played by women photographers from the 1920s to the 1950s, and follows on from previous exhibitions devoted to Claude Cahun, Kati Horna, Eva Besnyö, Berenice Abbott, Lisette Model, Laure Albin Guillot and indeed,Lee Miller.

The exhibition brings together, for the first time in France, over 130 vintage prints by Florence Henri, as well as rare documents and publications, revealing the artist’s photographic production. Influenced by Constructivism, Cubism and Surrealism, Florence Henri’s work is part of the exciting creative tenor of the period, during which, photography, like cinema or architecture, embodied a spirit of innovation and progress, as well as a certain unconventionality in terms of the dominant visual order.

Familiar with Bauhaus, Florence Henri was one of the figures of the European artistic intelligentsia of the time. Her friendship with Fernand Léger, the Delaunays, Hans Arp, László Moholy-Nagy and Theo van Doesburg would have a profound influence on her work. In 1929, Florence Henri opened a photography studio in Paris. It soon rivalled that of Man Ray’s. Her classes were very well-attended and her talents as a portrait photographer were quickly recognized.

It is not so much the image alone as the constant research that brings Florence Henri’s work to life. Lines and geometric compositions are recurring elements in her photographs. Over the years, she made her compositions increasingly complex through the use of mirrors, industrial and natural objects, or through collage and superposition. The exhibition attempts to both decipher and highlight the work of Florence Henri in terms of reflections, perspective, the depth of field and photomontage – key technical experimentations in the history of modern photography.

 

Florence Henri. 'Mannequin de tailleur [Tailor's mannequin]' 1930-1931

 

Florence Henri (New York 1893 – Compiègne 1982)
Mannequin de tailleur [Tailor’s mannequin]
1930-1931
Gelatin silver print, vintage
17.1 x 22.8 cm
Private collection, courtesy Florence Henri Archive, Genoa
©Florence Henri / Galleria Martini & Ronchetti

 

Florence Henri. 'Composition Nature morte [Still-life composition]' 1931

 

Florence Henri (New York 1893 – Compiègne 1982)
Composition Nature morte [Still-life composition]
1931
Gelatin silver print dated 1977
23 x 30 cm
Private collection, courtesy Florence Henri Archive, Genoa
© Florence Henri / Galleria Martini & Ronchetti

 

Florence Henri. 'Pont [Bridge]' 1930-1935

 

Florence Henri (New York 1893 – Compiègne 1982)
Pont [Bridge]
1930-1935
Gelatin silver print dated 1977
23.5 x 23.8 cm
Private collection, courtesy Florence Henri Archive, Genoa
© Florence Henri / Galleria Martini & Ronchetti

 

Florence Henri. 'Composition, The Glory that was Greece' c. 1933

 

Florence Henri (New York 1893 – Compiègne 1982)
Composition, The Glory that was Greece
c. 1933
Photomontage, gelatin silver print dated 1975
23.5 x 29.5 cm
Private collection, courtesy Florence Henri Archive, Genoa
© Florence Henri / Galleria Martini & Ronchetti

 

 

“All that I know, and how I know this, is primarily made up of abstract elements: spheres, planes, and grids whose parallel lines provide numerous opportunities, without taking into account the mirrors I use, to present the same object from several different angles within a single photograph, in order to yield, in the same way, different visions that complement and complete each other, and which when taken as a whole, are better able to explain it. Essentially, all of this is much more difficult to explain than to do.”

.
Florence Henri in an interview with Attilio Colombo, “Specchio, essenzialità, geometría,” in Florence Henri (Milan: Gruppo Editoriale Fabbri, 1983)

 

 

Florence Henri (New York 1893 – Compiègne (France) 1982) was a multi-faceted artist, who was first known for her paintings before making a name for herself as a major figure in avant-garde photography between the end of the 1920s and the beginning of the 1940s. She lived in Silesia, Munich, Vienna, Rome and above all Berlin, before finally settling in Paris in 1924 and devoting herself to photography. This medium enabled her to experiment new relationships with space, in particular by the use of mirrors and other objects in her compositions.

The Jeu de Paume is presenting a vast panorama of Florence Henri’s photographic production from 1927 to 1940, including her self-portraits, abstract compositions, portraits of artists, nudes, photomontages, photocollages, as well as documentary photos taken in Rome, Paris and Brittany. The exhibition comprises vintage prints, various documents and published material.

When she was young, Florence Henri studied music and painting in England and Germany. In 1919, when she was a student at the Berlin Academy of Arts, she made the acquaintance of writer and art historian Carl Einstein and became friends with several figures of the avant-garde, including Hans Arp, Adrian Ludwig Richter, John Heartfield and Lázló Moholy-Nagy. She took classes with Paul Klee and Vassily Kandinsky at the Bauhaus in Weimar. In 1924 she moved to Paris, where she followed classes at the Académie Montparnasse, whose director was André Lhote, then at the Académie moderne (founded by Fernand Léger and Amédée Ozenfant). In 1927, after a visit to Bauhaus in Dessau, she abandoned painting in favour of photography. It was at this time that she produced her famous self-portraits in mirrors and her still lifes; the result of her first steps in the spatial research that she would carry out through the medium of photography.

Between the end of the 1920s and the beginning of the 1930s, three mythical exhibitions in terms of the history of European photography took place in Germany: “Fotografie der Gegenwart” at the Folkwang Museum in Essen (1929); “Film ind Foto” (Fifo) organised the same year by the Deutscher Werkbund in Stuttgart and “Das Lichtbild” held in Munich (1931). These exhibitions bore witness to the rapid expansion of new photographic concepts and a rupture with tradition. Fifo marked the zenith of the Neues Sehen (New Vision) movement of which László Moholy-Nagy was an exponent and “Das Lichtbild” marked the triumph of Neue Sachlichkeit (New Objectivity), whose leading representative was Albert Renger-Patzsch.

Florence Henri was invited to show an important number of prints at these three exhibitions in recognition of her photographic production during this fundamental period that saw the photography used to free our vision and open out onto new experiences.

Florence Henri’s studio rivalled that of Man Ray, even if she had also opened a school of photography where Lisette Model and Gisèle Freund, amongst others, would enrol. In fact, despite the central position that her oeuvre occupied in avant-garde photography at the end of the 1920s, her reputation as a portraitist in Paris, and the fact that her photos had been published in many of the period’s illustrated magazines such as Arts et Métiers and Lilliput etc, Florence Henri’s body of work remains largely unknown.

László Moholy-Nagy’s* comments are a perfect illustration of Florence Henri’s position: “With Florence Henri’s photos, photographic practice enters a new phase, the scope of which would have been unimaginable before today. Above and beyond the precise and exact documentary composition of these highly defined photos, research into the effects of light is tackled not only through abstract photograms, but also in photos of real-life subjects. The entire problem of manual painting is taken onboard by the photographic process and is manifestly given a whole new depth thanks to this new optical instrument. Reflections and spatial relationships, superposition and intersections are just some of the areas explored from a totally new perspective and viewpoint.”

*László Moholy-Nagy, “Zu den Fotografien von Florence Henri”, i10, No 17-18, Amsterdam, December 20, 1928.

Press release from the Jeu de Paume website

 

Florence Henri. 'Double portrait' 1927-1928

 

Florence Henri (New York 1893 – Compiègne 1982)
Double portrait
1927-1928
Gelatin silver print dated 1977
24 x 18 cm
Private collection, courtesy Florence Henri Archive, Genoa
© Florence Henri / Galleria Martini & Ronchetti

 

Florence Henri. 'Autoportrait [Self-portrait]' 1928

 

Florence Henri (New York 1893 – Compiègne 1982)
Autoportrait [Self-portrait]
1928
Gelatin silver print, vintage
39.3 x 25.5 cm
Staatliche Museen zu Berlin, Kunstbibliothek
© Florence Henri / Galleria Martini & Ronchetti

 

 

Her most well-known work is a self-portrait, in which Henri sits before a mirror, dolled up almost as if in drag. Two silver balls lay reflected up against the mirror, equivocal symbols of both testicles and breasts. Henri, influential in both her artistic style and personal styles, toyed with gender binaries, using her personal appearance to emphasize the performative nature of gender. The artist was married to a Swiss house servant, but went on to have other relationships with both men and women, including a longtime affair with artist and model Margarete Schall.

Henri established herself as a formidable photographer, and remained consistent in her work up until World War II. Then her work declined considerably, both due to lack of materials and the prohibitions imposed under the Nazi occupation. Henri briefly returned to painting, but her central period of output remained in the 1920s and 1930s. Her compositions, simultaneously warm, playful, clever and inquisitive, set the stage for future explorations into the limits of photography, or lack thereof.

Priscilla Frank. “Meet Florence Henri, The Under-Acknowledged Queen Of Surrealist Photography,” on the Huffington Post website, 20th February 2015.

 

Florence Henri. 'Femme aux cartes [Woman with cards]' 1930

 

Florence Henri (New York 1893 – Compiègne 1982)
Femme aux cartes [Woman with cards]
1930
Gelatin silver print, vintage
39 x 28.5 cm
Private collection, courtesy Florence Henri Archive, Genoa
© Florence Henri / Galleria Martini & Ronchetti

 

Florence Henri. 'Portrait Composition, Cora' 1931

 

Florence Henri (New York 1893 – Compiègne 1982)
Portrait Composition, Cora
1931
Gelatin silver print, vintage 13.6 x 11.4 cm
Private collection, courtesy Florence Henri Archive, Genoa
© Florence Henri / Galleria Martini & Ronchetti

 

Florence Henri. 'Fernand Léger' 1934

 

Florence Henri (New York 1893 – Compiègne 1982)
Fernand Léger
1934
Gelatin silver print, vintage
30.4 x 24 cm
Private collection, courtesy Archives Florence Henri, Genoa
© Florence Henri / Galleria Martini & Ronchetti

 

 

Earliest compositions

Her earliest compositions introduce an element that would be fundamental for her artistic investigations, namely the mirror. Using a very limited number of elements, Henri created extremely complex images characterised by the fragmentation of space and the use of multiple viewpoints. They include one of her best-known works, the self-portrait looking in the mirror with two metal spheres, which may be said to embody the spirit of freedom typical of that period, conveying the image of a modern and emancipated female artist, one who failed to conform to the societal status traditionally assigned to women.

Multiple exposure

Florence Henri uses methods such as multiple exposures when shooting, or a combination of several negatives, some inverted, to obtain abstract images, in which she manages to bestow static objects with a sense of dynamism. Florence Henri’s output during this early phase can be described as a perfect synthesis between abstract geometrical painting and the innovations of New Vision photography.

 

“Florence Henri’s work lured me to come to Paris in 1929. I wanted to live in a place where images were made that coincided with my own concepts.”

Ilse Bing, quoted in Gisèle Freund’s preface to Ilse Bing 1929/1955 : Femmes de l’enfance à la vieillesse

 

Advertising photography

In the field of professional photography, Florence Henri stands out for her very personal approach to advertising photography. Indeed, her images are the natural extension of her photographic experimentation and investigations using objects and mirrors.

Collages

She quickly substitutes industrial objects with natural elements in her compositions. In addition, she introduces a new tool in her work: collage. She makes them with fragments of prints, and then reproduces them to create the final print. She also introduces a new technique into her work –  collage – thereby underlining her interest in autonomous images that move away from a simple reproduction of reality, all the while emphasizing the conceptual work of the artist.

Shadows

Her quest for experimentation leads Florence Henri to work on the shadows passing vertically through the frame, creating a dark gap that interrupts and fragments the continuity of the image.

Nu composition

Their aesthetic characteristics clearly place the works grouped under the title Nu composition as part of the formal research Florence Henri carried out from the early 1930s, where the mastery of the composition obviously remains the central concern of her work.

Here, the camera is positioned at a slight distance in order to capture the sensuality of the female form, while natural objects – hyacinths and shells – or other more enigmatic elements, such as a comb or cards, also appear in the frame.

Rome

In late 1931 and early 1932, Florence Henri visits Rome where she takes a series of photographs, notably at the Roman Forum, but also at Saint Peter’s Square, which she uses, upon her return to Paris, as material for numerous collages, developing the technique she had already used in certain of her still lifes.

Portrait composition

The series Portrait Composition, is characterized by the tight framing of the central figurer – though some are models, most are her friends, including Grete Willers, Sonia Delaunay, Woty Werner, Kurt Wilhelm-Kästner, Fernand Léger, and Tulia Kaiser. The artist often makes use of harsh lighting, which marks the traits or make-up of her subjects with a diagonal composition or even distorts the image.

Brittany

The photographs taken in Brittany, which at first glance could be seen as purely documentary, reveal a very carefully considered attention to structure. In some of the more general shots, Florence Henri inserts a blurred, graphic element between the lens and the landscape, thereby going against the idea of photography as merely capturing reality, and once again, reinforcing the notion of composition.

Store windows

When Florence Henri strolls through Paris with her camera, her images reveal a very different preoccupation to that of other photographers. Faithful to her attention to structure, in the reflections of store windows she finds the same spirit that brings life to her studio compositions using mirrors. In 1936, Florence Henri moves to the Rue Saint-Romain in Montparnasse, where she makes use of the terrace to work in natural light, and to pursue her study of the fragmentation of the image through the use of shadows and reflections. She also returns to her self-portrait work.

 

Florence Henri. 'Fenêtre [Window]' 1929

 

Florence Henri (New York 1893 – Compiègne 1982)
Fenêtre [Window]
1929
Gelatin silver print, vintage
37.3 x 27.5 cm
Staatliche Museen zu Berlin, Kunstbibliothek
© Florence Henri / Galleria Martini & Ronchetti

 

Florence Henri. 'Jeanne Lanvin' 1929

 

Florence Henri (New York 1893 – Compiègne 1982)
Jeanne Lanvin
1929
Gelatin silver print, vintage
36.7 x 28.7 cm
Collection particulière, courtesy Archives Florence Henri, Gênes
© Florence Henri / Galleria Martini & Ronchetti

 

Florence Henri. 'Composition Nature morte [Still-life composition]' 1931

 

Florence Henri (New York 1893 – Compiègne 1982)
Composition Nature morte [Still-life composition]
1931
Gelatin silver print, vintage
45.9 x 37.7 cm
Private collection, courtesy Florence Henri Archive, Genoa
© Florence Henri / Galleria Martini & Ronchetti

 

Florence Henri. 'Composition Nature morte [Still-life composition]' c. 1933

 

Florence Henri (New York 1893 – Compiègne 1982)
Composition Nature morte [Still-life composition]
c. 1933
Photomontage, épreuve gélatino-argentique d’époque
29.4 x 24 cm
Private collection, courtesy Florence Henri Archive, Genoa
© Florence Henri / Galleria Martini & Ronchetti

 

Florence Henri. 'Robert Delaunay' c. 1935

 

Florence Henri (New York 1893 – Compiègne 1982)
Robert Delaunay
c. 1935
Gelatin silver print, vintage
49.5 x 39.7 cm
Private collection, courtesy Florence Henri Archive, Genoa
© Florence Henri / Galleria Martini & Ronchetti

 

Florence Henri (New York 1893 - Compiègne 1982) 'Bretagne [Brittany]' 1937-1940

 

Florence Henri (New York 1893 – Compiègne 1982)
Bretagne [Brittany]
1937-1940
Gelatin silver print, vintage
28.2 x 24.2 cm
Private collection, courtesy Florence Henri Archive, Genoa
© Florence Henri / Galleria Martini & Ronchetti

 

Florence Henri. 'Structure (intérieur du Palais de l'Air, Paris, Exposition Universelle) [Structure (Interior of the Palais de l'Air, Paris, World's Fair)]' 1937

 

Florence Henri (New York 1893 – Compiègne 1982)
Structure (intérieur du Palais de l’Air, Paris, Exposition Universelle) [Structure (Interior of the Palais de l’Air, Paris, World’s Fair)]
1937
Gelatin silver print dated 1976
17.5 x 17.5 cm
Private collection, courtesy Florence Henri Archive, Genoa
© Florence Henri / Galleria Martini & Ronchetti

 

Florence Henri. 'Autoportrait [Self-portrait]' 1938

 

Florence Henri (New York 1893 – Compiègne 1982)
Autoportrait [Self-portrait]
1938
Gelatin silver print dated 1970’s
24.8 x 23.1 cm
Private collection, courtesy Florence Henri Archive, Genoa
© Florence Henri / Galleria Martini & Ronchetti

 

 

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04
Feb
15

Exhibition: ‘Cairo to Constantinople: Early Photographs of the Middle East’ at The Queen’s Gallery, Buckingham Palace, London

Exhibition dates: 7th November 2014 – 22nd February 2015

 

These photographs are absolutely glorious!

Bedford had one advantage… what subject matter to work with. The quality is outstanding and the images really bring these treasures alive. The photographs breathe history, but they also breathe the space and light that surround these great monuments. It takes a special skill as an artist to position the camera in just the right place – to tension the image, to let it breathe, to capture the magic of their continued existence – like Charles Marville and Eugène Atget did with the streets of Old Paris. You can see why Francis Bedford was considered one of the finest landscape photographers in Victorian England.

Just look at the space in photographs such as Acropolis and Temple of Jupiter Olympus (31 May 1862, below) and, my favourite, Tombs of the Memlooks at Cairo (25 Mar 1862, below). In the latter, vibrations in the energy of the air and the earth – oscillating at numerous frequencies simultaneously – flow towards the viewer like a sound wave, akin to musical harmonics. These works veritably sing to you. You only have to look at the stereograph by an anonymous photographer of the same subject to realise what a master photographer like Bedford can achieve.

Please look at these photographs at the large size. They are truly stunning.

Marcus

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

 

“This exhibition follows the journey taken by the Prince of Wales (later King Edward VII) in 1862, as he undertook a four month tour around the Middle East. Seen through the photographs of Francis Bedford (1815-94), the first photographer to travel on a royal tour, it explores the cultural and political significance Victorian Britain attached to the region, which was then as complex and contested as it remains today.

The tour took the Prince to Egypt, Palestine and the Holy Land, Syria, Lebanon, Turkey and Greece where he met rulers, politicians and other notable figures, and travelled in a manner not associated with royalty – by horse and camping out in tents. On the royal party’s return to England, Francis Bedford’s work was displayed in what was described as “the most important photographic exhibition that has hitherto been placed before the public.”

 

 

Francis Bedford (1815-94) (photographer) 'South West View of the Parthenon [on the Acropolis, Athens, Greece]' 31 May 1862

 

Francis Bedford (1815-94) (photographer)
South West View of the Parthenon [on the Acropolis, Athens, Greece]
31 May 1862
Albumen print mounted on card
23.8 x 29.4 cm
Acquired by the Prince of Wales (later King Edward VII), 1862
Royal Collection Trust/© Her Majesty Queen Elizabeth II 2014

 

The Prince saw the Parthenon on 30 May, the day before Bedford took this photograph. The group drove there in a carriage at 8am, stopping on the way to see a newly excavated amphitheatre. At the Acropolis, the royal party was joined by the Director of Antiquities who showed them the site. The Prince described the ruins as ‘beautiful’.

The photograph is signed, dated and captioned in the negative, ‘F Bedford Athens 163′, 31 May 1862. See RCIN 2861702 for another print of the same image.

 

Francis Bedford (1815-94) (photographer) 'Portions of the Frieze of the Parthenon [Athens, Greece]' 31 May 1862

 

Francis Bedford (1815-94) (photographer)
Portions of the Frieze of the Parthenon [Athens, Greece]
31 May 1862
Albumen print mounted on card
16.7 x 29.2 cm
Acquired by the Prince of Wales (later King Edward VII), 1862
Royal Collection Trust/© Her Majesty Queen Elizabeth II 2014

 

The photograph shows marble blocks from the frieze that ran around all four sides of the Parthenon, a temple dedicated to the goddess Athena. The frieze was sculpted probably between 438 and 432 BC. In the early 19th century, Thomas Bruce the 7th Earl of Elgin removed about half of the surviving marble blocks from the Parthenon. In 1816 they ended up in the British Museum. The head of the Prince’s party, Robert Bruce, was the younger son of the 7th Earl. Bedford photographed several of the blocks which remained in Athens.

The photograph is signed, captioned and dated in the negative, ‘F Bedford Athens’, 31 May 1862. See RCIN 2861704 for another print of the same image.

 

Francis Bedford (1815-94) (photographer) 'The Caryatid porch of the Erechtheum [Athens, Greece]' 30 May 1862

 

Francis Bedford (1815-94) (photographer)
The Caryatid porch of the Erechtheum [Athens, Greece]
30 May 1862
Albumen print mounted on card
24.6 x 29.5 cm
Acquired by the Prince of Wales (later King Edward VII), 1862
Royal Collection Trust/© Her Majesty Queen Elizabeth II 2014

 

After leaving Constantinople, the royal party sailed to Athens. Their first stop upon arrival was to visit the King and Queen of Greece. They then spent two days sightseeing and shopping before rejoining the Royal Yacht. The Erechtheum, set on the Acropolis, is a Greek temple probably built between 421 and 406 BC. The figures of six maidens (the ‘caryatids’) are used to support the porch.

The photograph is signed, captioned and dated in the negative, ‘F Bedford Athens’, 30 May 1862. See RCIN 2861708 for another print of this image.

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The best-known and most-copied examples are those of the six figures of the Caryatid Porch of the Erechtheion on the Acropolis at Athens. One of those original six figures, removed by Lord Elgin in the early 19th century, is now in the British Museum in London. The Acropolis Museum holds the other five figures, which are replaced onsite by replicas. The five originals that are in Athens are now being exhibited in the new Acropolis Museum, on a special balcony that allows visitors to view them from all sides. The pedestal for the Caryatid removed to London remains empty. From 2011 to 2015, they were cleaned by a specially constructed laser beam, which removed accumulated soot and grime without harming the marble’s patina. Each Caryatid was cleaned in place, with a television circuit relaying the spectacle live to museum visitors.

Although of the same height and build, and similarly attired and coiffed, the six Caryatids are not the same: their faces, stance, draping, and hair are carved separately; the three on the left stand on their right foot, while the three on the right stand on their left foot. Their bulky, intricately arranged hairstyles serve the crucial purpose of providing static support to their necks, which would otherwise be the thinnest and structurally weakest part. (Wikipedia)

 

Francis Bedford (1815-94) (photographer) 'Acropolis and Temple of Jupiter Olympus [Olympieion, Athens]' 31 May 1862

 

Francis Bedford (1815-94) (photographer)
Acropolis and Temple of Jupiter Olympus [Olympieion, Athens]
31 May 1862
Albumen print mounted on card
22.0 x 29.4 cm
Acquired by the Prince of Wales (later King Edward VII), 1862
Royal Collection Trust/© Her Majesty Queen Elizabeth II 2014

 

The columns in the foreground are part of the remains of the Olympieion, also known as the Temple of Olympic Zeus. This vast temple was dedicated to Zeus, King of the Gods. During the Roman period, it was renowned as the largest temple in Greece. The Acropolis, with the ruins of the Parthenon, can be seen beyond.

The photograph is signed, captioned and dated in the negative, ‘F Bedford Athens’, 31 May 1862. See RCIN 2861698 for another print of this image.

 

Francis Bedford (1815-94) (photographer) 'The Temple of Jupiter from the north west [Baalbek, Lebanon]' 3 May 1862

 

Francis Bedford (1815-94) (photographer)
The Temple of Jupiter from the north west [Baalbek, Lebanon]
3 May 1862
Albumen print
23.6 x 29.3 cm
Acquired by the Prince of Wales (later King Edward VII), 1862
Royal Collection Trust/© Her Majesty Queen Elizabeth II 2014

 

The royal party spent about a day and a half exploring Baalbek. Most of the time was spent in and around this temple. The Prince wrote in his journal that ‘Mr Bedford took some excellent views of it, which will be a great addition to his collection of photographs.’

The photograph is signed, captioned and dated in the negative, ‘F Bedford Baalbec’. The number in the Day & Son series is 111.

 

Francis Bedford (1815-94) (photographer) 'The Temple of the Sun and Temple of Jupiter [Baalbek, Lebanon]' 4 May 1862

 

Francis Bedford (1815-94) (photographer)
The Temple of the Sun and Temple of Jupiter [Baalbek, Lebanon]
4 May 1862
Albumen print
24.3 x 28.8 cm
Acquired by the Prince of Wales (later King Edward VII), 1862
Royal Collection Trust/© Her Majesty Queen Elizabeth II 2014

 

The six standing columns are all that remain of the colonnade that ran around the outside of the Temple of Jupiter. The columns are the largest in the world, at a height of 22.9 metres. A legend about the founding of Baalbek stated that a race of giants constructed the buildings.

The photograph is signed, captioned and dated in the negative, ‘F Bedford Baalbec’. It is number 106 in the Day & Son series.

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In 334 BC, Alexander The Great conquered Baalbek and the process of Hellenization began. After the death of Alexander the Great, the Ptolemies of Egypt invaded Baalbek and they renamed it to Heliopolis, the City of the Sun. They identified Baal with Zeus and the temple was mentioned as a place of oracular divination. During the Greek era, the court was enlarged and a podium was completed to support a classic temple that was never built.

During the Roman era, Baalbek entered its golden age. In 15 BC, Julius Caesar settled in Baalbek and began the construction of a temple complex consisting of three temples: Jupiter (God of sky and thunder), Bacchus (God of agriculture and wine), and Venus (God of love and beauty). On a nearby hill, the Romans built the temple of Mercury. The construction of the temple complex was completed in several phases over three centuries during the Roman Empire. (Extract from Lauren Zak, “Baalbek: The Unsolved Enigma”)

 

Francis Bedford (1815-94) (photographer) 'The Colossi on the plain of Thebes [Colossi of Memnon]' 17 Mar 1862

 

Francis Bedford (1815-94) (photographer)
The Colossi on the plain of Thebes [Colossi of Memnon]
17 Mar 1862
Albumen print, mounted on card
23.7 x 28.6 cm
Acquired by the Prince of Wales (later King Edward VII), 1862
Royal Collection Trust/© Her Majesty Queen Elizabeth II 2014

 

The ‘colossi’ are two statues of the Pharaoh Amenhotep III, standing about 18 m (60 ft) high. They are all that remain of a large mortuary temple to Amenhotep, originally serving as guardians to the entrance of the temple. During the Roman period, one of the statues was believed to ‘sing’ at dawn and thus was linked to the legendary figure of Memnon. As the son of Eos the dawn, he was believed to greet her each morning with a sigh.

The photograph is signed, captioned and dated in the negative. The number in the Day & Son series is 38.

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The twin statues depict Amenhotep III (fl. 14th century BC) in a seated position, his hands resting on his knees and his gaze facing eastwards (actually ESE in modern bearings) towards the river. Two shorter figures are carved into the front throne alongside his legs: these are his wife Tiy and mother Mutemwiya. The side panels depict the Nile god Hapy.

The statues are made from blocks of quartzite sandstone which was quarried at el-Gabal el-Ahmar (near modern-day Cairo) and transported 675 km (420 mi) overland to Thebes. (They are too heavy to have been transported upstream on the Nile.) The blocks used by later Roman engineers to reconstruct the northern colossus may have come from Edfu (north of Aswan). Including the stone platforms on which they stand – themselves about 4 m (13 ft) – the colossi reach a towering 18 m (60 ft) in height and weigh an estimated 720 tons each The two figures are about 15 m (50 ft) apart.

Both statues are quite damaged, with the features above the waist virtually unrecognizable. The southern statue is a single piece of stone, but the northern figure has a large extentive crack in the lower half and above the waist consists of 5 tiers of stone. These upper levels consist of a different type of sandstone, and are the result of a later (Roman Empire) reconstruction attempt. It is believed that originally the two statues were identical to each other, although inscriptions and minor art may have varied.

The original function of the Colossi was to stand guard at the entrance to Amenhotep’s memorial temple (or mortuary temple): a massive construct built during the pharaoh’s lifetime, where he was worshipped as a god-on-earth both before and after his departure from this world. In its day, this temple complex was the largest and most opulent in Egypt. Covering a total of 35 hectares (86 acres), even later rivals such as Ramesses II’s Ramesseum or Ramesses III’s Medinet Habu were unable to match it in area; even the Temple of Karnak, as it stood in Amenhotep’s time, was smaller. (Wikipedia)

 

Francis Bedford (1815-94) (photographer) 'The Sphinx, the Great Pyramid and two lesser Pyramids, Ghizeh, Egypt' 4 March 1862

 

Francis Bedford (1815-94) (photographer)
The Sphinx, the Great Pyramid and two lesser Pyramids, Ghizeh, Egypt
4 March 1862
Albumen print
23.1 x 29.5 cm
Acquired by King Edward VII when Prince of Wales, 1862
Royal Collection Trust/© Her Majesty Queen Elizabeth II 2014

 

The Prince and his companions visited the pyramids on camels, which the Prince described as ‘not at all an unpleasant mode of conveyance’. They viewed the Sphinx just before sunset and decided to set up an encampment below the pyramids where they slept for the night in order to climb the Great Pyramid before sunrise the following day.

The photograph is signed, captioned and dated in the negative, ‘F Bedford Pyramids Gizeh’. The number in the Day & Son series is 14.

 

 

“In 1862, the 20-year-old Prince of Wales, eldest son of Queen Victoria and Prince Albert (and the future King Edward VII), embarked on a tour of the Middle East, accompanied by the photographer Francis Bedford. The resulting images, produced little more than 20 years after the arrival of photography, were the first-ever visual record of a royal tour.

A new exhibition Cairo to Constantinople: Early Photographs of the Middle East on view at The Queen’s Gallery, Buckingham Palace this Friday reveals the Prince’s journey through Egypt, Palestine and the Holy Land, Syria, Lebanon, Turkey and Greece in over 100 spectacular photographs.

The Prince of Wales’s four-month tour, the first official royal tour of the Middle East, had been carefully planned by his parents to occupy him after university and before he was married. Despite Prince Albert’s sudden death just two months earlier in December 1861, Queen Victoria was determined that her son’s visit should go ahead. The Prince travelled in a manner unassociated with royalty at the time, by horse and camping in tents, and met rulers, politicians and other notable figures throughout his journey. He diligently recorded his travels in a private journal, which is on show for the first time.

Photography of a royal tour was a new concept, inspired in part by Queen Victoria and Prince Albert’s avid interest in the medium. Francis Bedford had already impressed the Queen with his photographs of places associated with Prince Albert’s childhood in Germany, an earlier royal commission. In mid-February 1862, the Photographic News announced that the Prince of Wales was to be accompanied by ‘eight gentlemen only’, including Mr Bedford, on a tour to be undertaken ‘in as private a manner as possible’. The presence of a photographer was “the first public act which illustrates that the heir to England’s throne takes as deep an interest in photography as his late royal father.”

The main purpose of Bedford’s work was to capture historic and sacred landscapes – the young Prince and his companions appear in only three of the 191 surviving photographs. Two of these were taken in Egypt, showing the party in front of the pyramids at Giza and at the Temple of Amun at Karnak, ancient Thebes. In the third, they are having lunch under a fig tree at Capernaum, on the northern shore of the Sea of Galilee. The rest of the photographs reflect a growing public demand for romantic images of biblical sites, Egyptian and Greek ruins, and mosques. By the 1860s leisure travel to the Middle East was increasing, stimulated by major archaeological discoveries in the region. The introduction of steamships to Alexandria in 1840 had cut journey times and made the area more accessible for European pilgrims and tourists.

In his lifetime, Francis Bedford was considered one of the greatest British photographers, and on his return from the Middle East many of his photographs of the royal tour were exhibited to the public in a gallery on New Bond Street. Among those now on display for the first time since then are views of the Colossi of Memnon and of the Temple of Horus at Edfu on the west bank of the Nile, in which Bedford’s portable darkroom can be seen in the shadow of the temple. Bedford would have had to take a large amount of equipment with him, including plates, tripods, lenses, chemicals and a darkroom, as well as the camera itself.

A number of antiquities collected by the Prince also are on display for the first time. They include an ancient Egyptian papyrus inscribed with the Amduat, a funerary text which describes the journey of regeneration of Re, the Egyptian sun god, and pottery vessels from an excavation on the island of Rhodes. Also among the objects is a marble fragment from Syria inscribed From the remains of the Christian Quarter at Damascus, May. 1862. Syria, reflecting the devastation caused by the 1860 conflict between the Christian Maronites and the Druze, when the Christian quarter in Damascus was destroyed. A marble bust of Princess Alexandra, who married the Prince the following year, shows her wearing a brooch set with one of the scarabs acquired by the Prince in Egypt, which is also on display.

Sophie Gordon, Royal Collection Trust, curator of the exhibition, said, “Today royal tours are widely photographed, and the pictures are transmitted instantly around the world. Bedford’s photographs were not seen by the public until over a month after the royal party’s return to England, but his presence on the tour was widely reported in the press. The intense interest in his work at the time shows just how innovative and ground-breaking a move it was to invite Bedford to accompany the tour.”

Writer and broadcaster John McCarthy, who has written the foreword to the exhibition publication, said, “The first thing that strikes me about Bedford’s photographs is how good they are. It is only 20 or 30 years after the invention of the medium, and yet the quality of the images is stunning. They manage to bring alive the places the royal party visited, capturing the majesty and romance of what were then largely unvisited sites. One hundred and fifty years on and the Middle East continues to hold our attention – for the wonderful sites, but also for the political landscape in which they are set.”

Pres release from The Queen’s Gallery

 

Joseph Albert (1825-86) (photographer) '[The Prince of Wales with Prince Louis of Hesse, and companions, in Munich, February 1862]' 1862

 

Joseph Albert (1825-86) (photographer)
[The Prince of Wales with Prince Louis of Hesse, and companions, in Munich, February 1862]
1862
Albumen print pasted onto card
Acquired by the Prince of Wales (later King Edward VII), 1862
Royal Collection Trust/© Her Majesty Queen Elizabeth II 2014

 

A group of eight men, with the Prince of Wales (later Edward VII) at the centre and Prince Louis of Hesse standing on the right. The Prince of Wales rests his hand against his face, while an open book is held in front of him.

This photograph was taken at the beginning of the Prince of Wales’s tour to the Middle East. He travelled out by train through Europe, meeting various dignitaries en route. Prince Louis of Hesse (who was to marry the prince’s sister, Princess Alice, in July 1862) met the royal party in Darmstadt on 8 February 1862. The Prince of Wales and Prince Louis were photographed with a number of the party who accompanied the Prince from Windsor. The Prince wrote about the occasion in his journal, ‘before luncheon we went through the ordeal of being photography by Mr. Albert and the result was very successful’.

 

Francis Bedford (1815-94) (photographer) 'View through the Great Gateway into the Grand Court of the Temple of Edfou [Temple of Horus, Edfu]' 14 Mar 1862

 

Francis Bedford (1815-94) (photographer)
View through the Great Gateway into the Grand Court of the Temple of Edfou [Temple of Horus, Edfu]
14 Mar 1862
Albumen print mounted on card
23.5 x 29.2 cm
Aquired by the Prince of Wales (later King Edward VII), 1862
Royal Collection Trust/© Her Majesty Queen Elizabeth II 2014

 

Edfu is the site of an important temple complex to the falcon-headed god Horus, constructed between 237 and 51 BC. The main gateway, properly known as the First Pylon, is covered in carvings showing the Pharaoh Ptolemy XII defeating his enemies in the presence of the god Horus and goddess Hathor, both of whom appear twice, on either side of the gateway.

The photograph is signed, captioned and dated in the negative, ‘F Bedford Edfou’. The number in the Day & Son series is 23.

 

Francis Bedford (1815-94) (photographer) 'The Great Propylon of the Temple at Edfou [Pylon of the Temple of Horus, Edfu]' 14 Mar 1862

 

Francis Bedford (1815-94) (photographer)
The Great Propylon of the Temple at Edfou [Pylon of the Temple of Horus, Edfu]
14 Mar 1862
Albumen print, mounted on card
23.4 x 29.0 cm
Acquired by the Prince of Wales (later King Edward VII), 1862
Royal Collection Trust/© Her Majesty Queen Elizabeth II 2014

 

Edfu is the site of an important temple complex to the falcon-headed god Horus, constructed between 237 and 51 BC. The main gateway, properly known as the First Pylon, is covered in carvings showing the Pharaoh Ptolemy XII defeating his enemies in the presence of the god Horus and goddess Hathor, both of whom appear twice, on either side of the gateway.

The photograph is signed, captioned and dated in the negative, ‘F Bedford Edfou’. The number in the Day & Son series is 22.

.
Edfu was one of several temples built during the Ptolemaic period, including Dendera, Esna, Kom Ombo and Philae. Its size reflects the relative prosperity of the time. The present temple, which was begun “on 23 August 237 BC, initially consisted of a pillared hall, two transverse halls, and a barque sanctuary surrounded by chapels.” The building was started during the reign of Ptolemy III and completed in 57 BC under Ptolemy XII. It was built on the site of an earlier, smaller temple also dedicated to Horus, although the previous structure was oriented east-west rather than north-south as in the present site. A ruined pylon lies just to the east of the current temple; inscriptional evidence has been found indicating a building program under the New Kingdom rulers Ramesses I, Seti I and Ramesses II. A naos of Nectanebo II, a relic from an earlier building, is preserved in the inner sanctuary, which stands alone while the temple’s barque sanctuary is surrounded by nine chapels.

The temple of Edfu fell into disuse as a religious monument following Theodosius I’s edict banning non-Christian worship within the Roman Empire in 391. As elsewhere, many of the temple’s carved reliefs were razed by followers of the Christian faith which came to dominate Egypt. The blackened ceiling of the hypostyle hall, visible today, is believed to be the result of arson intended to destroy religious imagery that was then considered pagan.

Over the centuries, the temple became buried to a depth of 12 metres (39 ft) beneath drifting desert sand and layers of river silt deposited by the Nile. Local inhabitants built homes directly over the former temple grounds. Only the upper reaches of the temple pylons were visible by 1798, when the temple was identified by a French expedition. In 1860 Auguste Mariette, a French Egyptologist, began the work of freeing Edfu temple from the sands.

The Temple of Edfu is nearly intact and a very good example of an ancient Egyptian temple. The Temple of Edfu’s archaeological significance and high state of preservation has made it a centre for tourism in Egypt and a frequent stop for the many riverboats that cruise the Nile. In 2005, access to the temple was revamped with the addition of a visitor center and paved carpark. A sophisticated lighting system was added in late 2006 to allow night visits. (Wikipedia)

 

Francis Bedford (1815-94) (photographer) 'Tombs of the Memlooks at Cairo [Mausoleum and Khanqah of Emir Qawsun]' 25 Mar 1862

 

Francis Bedford (1815-94) (photographer)
Tombs of the Memlooks at Cairo [Mausoleum and Khanqah of Emir Qawsun]
25 Mar 1862
Albumen print, mounted on card
24.1 x 29.0 cm
Acquired by the Prince of Wales (later King Edward VII), 1862
Royal Collection Trust/© Her Majesty Queen Elizabeth II 2014

 

Once the royal party returned to Cairo, Francis Bedford spent some time photographing the sites alone while the Prince undertook a separate programme of events. Bedford visited a number of fine examples of Islamic architecture. Emir Qawsun was one of the most powerful emirs during the 14th century. His tomb and khanqah (a large hall for gatherings for prayer and meditation) were built in 1335-6.

The photograph is signed, captioned and dated in the negative, ‘F Bedford Cairo’. The number in the Day & Son series is 9.

 

Anonymous. 'View of the Tombs of the Memlook Kings, Cairo, Egypt' Nd

 

Anonymous
View of the Tombs of the Memlook Kings, Cairo, Egypt
Nd
7.75 x 4.2 inches
From the collection of Dr Paula Sanders, Rice University

 

Francis Bedford (1815-94) (photographer) 'Mosque of Mehemet Ali [Mosque of Muhammad Ali, Cairo]' 8 March 1862

 

Francis Bedford (1815-94) (photographer)
Mosque of Mehemet Ali [Mosque of Muhammad Ali, Cairo]
8 March 1862
Albumen print, mounted on card
24.8 x 29.5 cm
Acquired by the Prince of Wales (later King Edward VII), 1862
Royal Collection Trust/© Her Majesty Queen Elizabeth II 2014

 

View of Mosque of Mohammed Ali in Cairo, Egypt. Alabaster building seen across square, with 2 tall minarets centre. Single row of columns supporting round arches lining court, left. The mosque was built in the Ottoman style between 1830 and 1848 for the son of the ruler Muhammad Ali Pasha (Mehmet Ali). The Prince of Wales and his party visited the mosque on 3 March 1862. They climbed to the roof to get a view of the town and country, and were able to see the pyramids in the distance. They also visited Mehmet Ali’s tomb within the mosque (he died in 1849).

The photograph is signed, captioned and dated in the negative, ‘F Bedford Cairo’. The number in the Day & Son series is 10.

 

Francis Bedford (1815-94) (photographer) 'Fountain in the Court of the Mosque of Mehemet Ali [Mosque of Muhammad Ali, Cairo]' 3 Mar 1862

 

Francis Bedford (1815-94) (photographer)
Fountain in the Court of the Mosque of Mehemet Ali [Mosque of Muhammad Ali, Cairo]
3 Mar 1862
Albumen print, mounted on card
24.8 x 29.6 cm
Acquired by the Prince of Wales (later King Edward VII), 1862
Royal Collection Trust/© Her Majesty Queen Elizabeth II 2014

 

The Prince spent a few days in Cairo before travelling down the Nile. The royal party were taken to visit the Mosque of Muhammad Ali (r. 1805-48), who was the founder of the dynasty ruling the country at that time. The Mosque, only completed in 1857, remains today one of the most prominent landmarks in the city.

The photographer, Francis Bedford, wrote in his catalogue of this scene, “This light and elegant edifice has long and justly been celebrated as one of the most beautiful fountains in the mosks of Cairo. As is apparent in the Photograph, it is fast hastening to decay; and it is altogether to be lamented that among the inhabitants of modern Egypt so little provision is made for the repair and preservation of interesting monuments of ancient art.” (Bedford photographic catalogue 1862, p. 4-5).

The photograph is signed, captioned and dated in the negative, ‘F Bedford Cairo’. The number in the Day & Son series is 11.

 

Francis Bedford (1815-94) (photographer) 'Garden of Gethsemane [Jerusalem]' 2 Apr 1862 

 

Francis Bedford (1815-94) (photographer)
Garden of Gethsemane [Jerusalem]
2 Apr 1862
Albumen print, mounted on card
21.1 x 29.1 cm
Acquired by the Prince of Wales (later King Edward VII), 1862
Royal Collection Trust/© Her Majesty Queen Elizabeth II 2014

 

The Garden of Gethsemane has always been identified as an olive grove. Here the carefully tended, centuries-old olive trees are easily identified.

The photograph is signed, captioned and dated (incorrectly as 2 March 1862) in the negative, ‘F Bedford Gethsemane’. The number in the Day & Son series is 68.

 

Francis Bedford (1815-94) (photographer) 'The Mount of Olives and Garden of Gethsemane [Jerusalem]' 2 Apr 1862

 

Francis Bedford (1815-94) (photographer)
The Mount of Olives and Garden of Gethsemane [Jerusalem]
2 Apr 1862
Albumen print, mounted on card
23.4 x 28.5 cm
Acquired by the Prince of Wales (later King Edward VII), 1862
Royal Collection Trust/© Her Majesty Queen Elizabeth II 2014

 

The Mount of Olives rises to the east of Jerusalem. The walled enclosure to the right contains the site identified as the Garden of Gethsemane. After the Last Supper, Jesus went to the garden where he prayed, accompanied by St Peter, St John and St James the Greater. Jesus was subsequently betrayed by Judas in the garden and arrested.

The photograph is signed, captioned and dated (incorrectly as 2 March 1862) in the negative, ‘F Bedford Jerusalem’. The number in the Day & Son series is 63.

 

Francis Bedford (1815-94) (photographer) 'West Front of the Mosque of Omar [Dome of the Rock, Jerusalem]' 1 Apr 1862

 

Francis Bedford (1815-94) (photographer)
West Front of the Mosque of Omar [Dome of the Rock, Jerusalem]
1 Apr 1862
Albumen print, mounted on card
22.3 x 28.2 cm
Acquired by the Prince of Wales (later King Edward VII), 1862
Royal Collection Trust/© Her Majesty Queen Elizabeth II 2014

 

The Islamic shrine was constructed on a site traditionally identified with Solomon’s Temple, which was later replaced with the Second Temple only to be destroyed by the Romans. The Dome of the Rock was constructed between 688 and 691 AD. The ‘rock’ is believed to be the place from where the prophet Muhammad ascended to Heaven in his Night Journey. Other traditions identify the rock as the place where Abraham was asked to sacrifice Isaac.

The photograph is signed, captioned and dated in the negative, ‘F Bedford Jerusalem’. The number in the Day & Son series is 55.

 

Francis Bedford (1815-94) (photographer) 'Upper Bethoron [Beit Ur al-Foqa and the Valley of Ajalon]' 31 Mar 1862

 

Francis Bedford (1815-94) (photographer)
Upper Bethoron [Beit Ur al-Foqa and the Valley of Ajalon]
31 Mar 1862
Albumen print, mounted on card
23.1 x 29.0 cm
Acquired by the Prince of Wales (later King Edward VII), 1862
Royal Collection Trust/© Her Majesty Queen Elizabeth II 2014

 

The Royal Yacht reached Jaffa (modern-day Tel Aviv) on 29 March. The following day the royal party set out on horses in the direction of Jerusalem. En route they visited Beit Ur al-Foqa from where they could view the Valley of Ajalon, the site of a famous biblical battle, fought by Joshua, the leader of the Israelites, against the Amorite kings.

The photograph is signed, captioned and dated in the negative, ‘F Bedford Bethoron’. The number in the Day & Son series is 50.

 

Francis Bedford (1815-94) (photographer) 'Damascus - from a minaret in the Christian quarter [Syria]' 30 Apr 1862

 

Francis Bedford (1815-94) (photographer)
Damascus – from a minaret in the Christian quarter [Syria]
30 Apr 1862
Albumen print
23.5 x 28.8 cm
Acquired by the Prince of Wales (later King Edward VII), 1862
Royal Collection Trust/© Her Majesty Queen Elizabeth II 2014

 

View across rooftops of dilapidated buildings in Damascus. Minarets and dome of Great Mosque visible in distance, left. The ruins were a consequence of the conflict during the 1860 massacres.

The photograph is signed, captioned and dated in the negative, ‘F Bedford Damascus’. The number in the Day & Son series is 95.

 

Francis Bedford (1815-94) (photographer) 'The Street called Straight, Damascus' 30 Apr 1862

 

Francis Bedford (1815-94) (photographer)
The Street called Straight, Damascus
30 Apr 1862
Albumen print
23.8 x 29.0 cm
Acquired by the Prince of Wales (later King Edward VII), 1862
Royal Collection Trust/© Her Majesty Queen Elizabeth II 2014

 

View up Straight Street – narrow lane running between Christian and Jews’ Quarter in Damascus. Buildings either side stand in ruins.

The ‘Street called Straight’ led out of the Christian quarter. Signs of the 1860 conflict are still apparent in the photograph. The street, however, was known as the place where St Paul (formerly Saul) regained his sight and converted to Christianity, having been blinded by holy light three days earlier while travelling on the road to Damascus. The Christian quarter is to the north-east of the street. This reflects a decision made in 636 by Khalid Ibn al-Walid, the Muslim conqueror of Damascus, to retain the orthodox churches in this area and to continue to provide access for the Christians to these buildings.

The photograph is signed, captioned and dated in the negative, ‘F Bedford Damascus’. The number in the Day & Son series is 97.

 

Francis Bedford (1815-94) (photographer) 'Tower of Galata and part of Turkish burial ground [Istanbul, Turkey]' 21 May 1862

 

Francis Bedford (1815-94) (photographer)
Tower of Galata and part of Turkish burial ground [Istanbul, Turkey]
21 May 1862
Albumen print mounted on card
23.6 x 28.8 cm
Acquired by the Prince of Wales (later King Edward VII), 1862
Royal Collection Trust/© Her Majesty Queen Elizabeth II 2014

 

View of the Galata Tower, in the Galata district of Constantinople [Istanbul]. The tower was built by the Genoese community in 1348 and was known as the ‘Christea Turris’ [Tower of Christ]. Various restoration works have taken place over the years, and the tower now has a conical turret at the top, rather than the two-storey pavilion seen in the photograph. The Prince of Wales makes no mention in his journal of visiting or climbing the tower. It was not far from the arsenal and the Nusretiye Mosque, which he visited on 21 May 1862.

The photograph is signed and captioned in the negative, ‘F Bedford Constantinople’. See RCIN 2861678 for another print of this image.

.
The Romanesque style tower was built as Christea Turris (Tower of Christ) in 1348 during an expansion of the Genoese colony in Constantinople. Galata Tower was the tallest building in Istanbul at 219½ feet (66.9 m) when it was built in 1348. It was built to replace the old Tower of Galata, an original Byzantine tower named Megalos Pyrgos (English: Great Tower) which controlled the northern end of the massive sea chain that closed the entrance to the Golden Horn. That tower was on a different site and was largely destroyed in 1203, during the Fourth Crusade of 1202-1204.

The upper section of the tower with the conical cap was slightly modified in several restorations during the Ottoman period when it was used as an observation tower for spotting fires. According to the Seyahatname of Ottoman historian and traveller Evliya Çelebi, in circa 1630-1632, Hezarfen Ahmet Çelebi flew as an early intercontinental aviator using artificial wings for gliding from this tower over the Bosphorus to the slopes of Üsküdar on the Anatolian side, nearly six kilometres away. Evliyâ Çelebi also tells of Hezarfen’s brother, Lagari Hasan Çelebi, performing the first flight with a rocket in a conical cage filled with gunpowder in 1633.

Starting from 1717 the Ottomans began to use the tower for spotting fires in the city. In 1794, during the reign of Sultan Selim III, the roof of the tower made of lead and wood, and the stairs were severely damaged by a fire. Another fire damaged the building in 1831, upon which a new restoration work took place.

In 1875, during a storm, the conical roof on the top of the building was destroyed. The tower remained without this conical roof for the rest of the Ottoman period. Many years later, during the restoration works between 1965 and 1967, the conical roof was reconstructed. During this final restoration in the 1960s, the wooden interior of the tower was replaced by a concrete structure and it was commercialized and opened to the public. (Wikipedia)

 

Francis Bedford (1815-94) (photographer) 'Rhodes, supposed site of the Colossus' 15 May 1862

 

Francis Bedford (1815-94) (photographer)
Rhodes, supposed site of the Colossus
15 May 1862
Albumen print mounted on card
22.6 x 29.0 cm
Acquired by the Prince of Wales (later King Edward VII), 1862
Royal Collection Trust/© Her Majesty Queen Elizabeth II 2014

 

The Colossus of Rhodes, one of the seven wonders of the ancient world, was said to have straddled the entrance to the harbour into Rhodes Town. The Colossus was a statue of the Titan Helios, standing at about 30 m (107 ft) high. It was constructed to commemorate an unsuccessful siege of the island in 305 BC.

The photograph is signed and captioned in the negative, ‘F Bedford Rhodes’.

 

Francis Bedford (1815-94) (photographer) 'Entrance to the Grotto of Antiparos' 16 May 1862

 

Francis Bedford (1815-94) (photographer)
Entrance to the Grotto of Antiparos
16 May 1862
Albumen print mounted on card
22.5 x 28.6 cm
Acquired by the Prince of Wales (later King Edward VII), 1862
Royal Collection Trust/© Her Majesty Queen Elizabeth II 2014

 

The Grotto, or ‘Great Cave’, on the small island of Antiparos, has been a tourist attraction for hundreds of years. The Prince of Wales described his visit, “A ride of 45 minutes brought us to the entrance of a large grotto or cave which is 60 fathoms in depth. We descended it by means of rope and rope ladders, and it was by no means an easy job. … There are some very fine stalactites in the cave.”

The photograph is signed and captioned in the negative, ‘F Bedford Antiparos’. See RCIN 2861673 for another print of this image.

 

Francis Bedford (1815-94) (photographer) Photographic title page: 'Photographic Pictures made by Mr Francis Bedford during the Tour in the East' 1862

 

Francis Bedford (1815-94) (photographer)
Photographic title page: ‘Photographic Pictures made by Mr Francis Bedford during the Tour in the East’
1862
Albumen print on original mount
25.8 x 21.3 cm
Acquired by HM The Queen, 2006
Royal Collection Trust/© Her Majesty Queen Elizabeth II 2014

 

Photographic title page from Francis Bedford’s Middle East views of 1862. Includes a copy of Bedford’s view of the ‘Mosque of Omar from the Governor’s House’ in Jerusalem

 

Joseph Albert (1825-86) (photographer) '[The Prince of Wales and Prince Louis of Hesse, 11 February 1862]' Feb 1862

 

Joseph Albert (1825-86) (photographer)
[The Prince of Wales and Prince Louis of Hesse, 11 February 1862]
Feb 1862
Albumen print pasted on card
Commissioned and acquired by the Prince of Wales while travelling through Europe, 1862
Royal Collection Trust/© Her Majesty Queen Elizabeth II 2014

 

A carte-de-visite portrait of the Prince of Wales (right) with Prince Louis of Hesse (Grand Duke Ludwig IV). Prince Louis was engaged to marry the Prince’s sister, Princess Alice.

This photograph was taken when the Prince was travelling across Europe in order to meet the royal yacht at Venice, in order to commence his tour of the Middle East. Both princes wear overcoats and hats, and are smoking cigarettes; the Prince of Wales is holding a cane. The Prince later wrote about this occasion in his journal, “Before luncheon we went through the ordeal of being photographed by Mr Albert and the result was very successful” (11 February 1862).

 

 

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14
Jan
15

Exhibition: ‘Robert Gober: The Heart Is Not a Metaphor’ at the Museum of Modern Art (MoMA), New York

Exhibition dates: 4th October 2014 – 18th January 2015

Contemporary Galleries and The Donald B. and Catherine C. Marron Atrium, second floor

 

For you Fred!

Marcus

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

 

“Begun in 1984, the sink series appeared during the darkest period of the AIDS epidemic. Gober, who is gay, responded to the tragedy with poetic indirection: the sinks’ cold air of clinical hygiene. The Times critic John Russell nailed the artistic effect: “Minimal forms with maximum content.” The fact that the content must be intuited by the viewer, who is free to regard the sinks as just cleverly manufactured found objects, typifies Gober’s circumspection. His works are enigmatic but not coy, morally driven but not aggrieved. They radiate a quality that is as rare in life as it is in art: character. …

The heart is an excitable physical organ that registers sensations of fight or flight and of love or aversion: the first and last unimpeachable witness to what can’t help but matter, for good and for ill, in every life.”

.
Peter Schjeldahl. “Found Meanings: A Robert Gober Retrospective”1

 

 

Robert Gober (American, born 1954)
 'X Playpen' 1987

 

Robert Gober (American, born 1954)
X Playpen
1987
Wood and enamel paint
27 x 37 x 37” (68.6 x 94 x 94 cm)
Batsheva and Ronald Ostrow
Image Credit: D. James Dee, courtesy the artist and Paula Cooper Gallery
© 2014 Robert Gober

 

Robert Gober (American, born 1954)
 'The Ascending Sink' 1985

 

Robert Gober (American, born 1954)
The Ascending Sink
1985
Plaster, wood, steel, wire lath, and semi-gloss enamel paint
Two components, each: 30 x 33 x 27” (76.2 x 83.8 x 68.6 cm); floor to top: 92” (233.7 cm)
Installed in the artist’s studio on Mulberry Street in Little Italy, Manhattan
Collection of Thea Westreich Wagner and Ethan Wagner, New York
Promised gift to the Whitney Museum of American Art
Image Credit: John Kramer, courtesy the artist
© 2014 Robert Gober

 

Robert Gober (American, born 1954) '
Untitled Closet' 1989

 

Robert Gober (American, born 1954)
Untitled Closet
1989
Wood, plaster, enamel paint
84 x 52 x 28″ (213.4 x 132.1 x 71.1 cm)
Private collection
Courtesy the artist and Matthew Marks Gallery
© 2014 Robert Gober

 

Robert Gober. 'Untitled' 1991

 

Robert Gober (American, born 1954)
Untitled
1991
Wood, beeswax, human hair, fabric, paint, shoes
9 x 16 1/2 x 45″ (22.9 x 41.9 x 114.3 cm)
Collection the artist
Image Credit: Andrew Moore, courtesy the artist
© 2014 Robert Gober

 

Robert Gober (American, born 1954)
 'Untitled' 1994-1995

 

Robert Gober (American, born 1954)
Untitled
1994-1995
Wood, beeswax, brick, plaster, plastic, leather, iron, charcoal, cotton socks, electric light and motor
47 3/8 × 47 × 34″ (120.3 × 119.4 × 86.4 cm)
Emanuel Hoffmann Foundation, on permanent loan to the Öffentliche Kunstsammlung Basel
Image Credit: D. James Dee, courtesy the artist and Matthew Marks Gallery
© 2014 Robert Gober

 

 

“Chronicling a 40-year career, Robert Gober: The Heart Is Not a Metaphor is the first large-scale survey of Robert Gober’s (American, b. 1954) work to take place in the United States. The exhibition is on view from October 4, 2014 to January 18, 2015, and features approximately 130 works across several mediums, including individual sculptures, immersive sculptural environments, and a distinctive selection of drawings and prints. Robert Gober: The Heart Is Not a Metaphor is organized by Ann Temkin, The Marie- Josée and Henry Kravis Chief Curator, and Paulina Pobocha, Assistant Curator, Department of Painting and Sculpture, MoMA, working in close collaboration with the artist.

Early on, Gober’s sculptures declared themselves an indispensable part of the landscape of late-twentieth century art; since then they have continued to evolve while remaining tightly bound to the principles outlined by the artist almost four decades ago. Gober places narrative at the center of his endeavor, embedding themes of sexuality, religion, and politics into work drawn from everyday life. Spare in its use of images and motifs while protean in its capacity to generate meaning, Gober’s work is an art of contradictions: intimate yet assertive, straightforward yet enigmatic. Taking imagery familiar to anyone – doors, sinks, legs – Gober dislocates, alters, and estranges what we think we know. Although a first glance might suggest otherwise, all of Gober’s objects are entirely handmade, by the artist and by collaborators with the necessary expertise.

The earliest works in the exhibition date from the mid-to-late 1970s when Gober was largely working in two dimensions. A painting of the house he grew up in Connecticut hangs at the entrance to the galleries. The first room of the exhibition offers an introduction to Gober’s career, as told through five works: a sculpture of a paint can, a man’s leg, and a closet, as well as a drawing and a small print.

Between 1983 and 1986, Gober created more than 50 sculptures of sinks and scores of related drawings. Based on real sinks, including one in the artist’s childhood home, Gober built them from wood, plaster, and wire lath, and finished them with multiple coats of paint to mimic the appearance of enamel. But, crucially, they lack faucets and plumbing. The sinks’ appearance coincided with the early years of the AIDS epidemic, and their uselessness spoke to the impossibility of cleansing oneself. The sculptures on view in the second gallery of the exhibition were featured in Gober’s first show of sinks, held at the Daniel Weinberg Gallery, Los Angeles, in 1985.

Gober’s early and straightforward sink sculptures gave way in 1985 to a group of distorted sinks whose bodies are variably stretched, bent, multiplied, and divided. The evolution of form registers in the works’ titles: self-evident descriptions become increasingly expressive (e.g. The Sink Inside of Me). By the mid-1980s, the artist’s preoccupation with domestic objects expanded to include sculptures of furniture such as beds and playpens, as well as an armchair, on view in the third gallery. Between 1986 and 1987, Gober created Two-Partially Buried Sinks, among the last sink sculptures of the decade. This work is positioned outside the walls of the Museum on a scaffold, and can be viewed through the gallery’s window.

In 1989 at the Paula Cooper Gallery, Gober exhibited his first room-sized installations. Each is framed by wallpapers: a pattern pairing a sleeping white man and a lynched black man in one, and line drawings of male and female genitalia in the other, both of which are on view in the following galleries. These backdrops powerfully inflect the sculptures contained within: a freestanding bridal gown and handpainted plaster cat litter bags in the first room and a bag of donuts with cast-pewter drains inset into the walls in the second. With characteristic concision, Gober sets off a complex swirl of questions about the unease surrounding issues to everyday life in America.

Gober made Slides of a Changing Painting between 1982 and 1983. During this year, he painted on a small Masonite board and photographed the imagery as it changed over time. Eventually, he had accumulated more than 1,000 slides, which he edited down and organized into a slide projection that he showed in 1984. After the exhibition, Gober put the slides away. When he revisited the project around 1990, he realized that he had unknowingly employed many of the same images in his subsequent sculptures. Slides of a Changing Painting has continued to be generative; it provides a nearly complete index of Gober’s visual themes and vocabulary. The work is on view in a gallery centrally located within the exhibition.

The human figure was absent from Gober’s sculptural repertoire until 1989, when he made his first sculpture of a man’s leg, a breakthrough that ushered in many related works. Single legs wearing trousers and shoes and truncated at mid-shin were followed by pairs of legs that Gober left whole to the waist. He showed these surreal sculptures in a 1991 exhibition in Paris, recreated in the following gallery. Three pairs of legs, augmented by candles, drains, and a musical score, are positioned around the perimeter of a room wallpapered with a kaleidoscopic landscape of a beech forest in autumn. In the center of the gallery sits a human-sized cigar composed of tobacco sheafs purchased from a Pennsylvania supplier. To learn how to preserve this organic material as it aged, Gober consulted an expert at the American Museum of Natural History. Seeking out specialists’ advice on complicated projects is a hallmark of the artist’s craft based practice.

The works on view in the following gallery were made by artists Anni Albers, Robert Beck, Cady Noland, and Joan Semmel; photographs by Nancy Shaver hang in the adjoining space. Gober brought these objects together for the first time in an exhibition he organized at the Matthew Marks Gallery, New York in 1999. Gober has been curating exhibitions since the mid-1980s, most recently focusing on monographic presentations of the works by American artists Charles Burchfield and Forrest Bess. The contemporary artists included in this gallery share with Gober daring approaches to the representation of sexuality, violence, and American culture.

 

Installation view of Robert Gober: The Heart Is Not a Metaphor, The Museum of Modern Art, October 4, 2014–January 18, 2015

 

Robert Gober (American, born 1954)
X Pipe Playpen
2013-14
Wood and bronze
26 1/8 x 55 x 55″ (66.4 x 139.7 x 139.7 cm)
Collection the artist

 

Installation view of Robert Gober: The Heart Is Not a Metaphor, The Museum of Modern Art, October 4, 2014–January 18, 2015

 

Robert Gober (American, born 1954)
Untitled
1989-1996
Silk satin, muslin, linen, tulle, welded steel, hand-printed silkscreen on paper, cast hydrostone plaster, vinyl acrylic paint, ink, and graphite
Dimensions variable, approximately 800 square feet installed
The Art Institute of Chicago, restricted gift of Stefan T. Edlis and H. Gael Neeson Foundation; through prior gifts of Mr. and Mrs. Joel Starrels and Fowler McCormick
© 2014 Robert Gober

 

Installation view of Robert Gober: The Heart Is Not a Metaphor, The Museum of Modern Art, October 4, 2014–January 18, 2015

 

Robert Gober (American, born 1954)
Bag of Donuts
1989
paper, dough and rhoplex (12 donuts)
© 2014 Robert Gober

 

Installation view of Robert Gober: The Heart Is Not a Metaphor, The Museum of Modern Art, October 4, 2014–January 18, 2015

 

Robert Gober (American, born 1954)
Cigar
1991
Wood, paint, paper, tobacco
15 3/4 x 15 3/4 x 70 7/8″ (40 x 40 x 180 cm)
The Museum of Contemporary Art, Los Angeles. Purchased with funds provided by the Collectors Committee in honor of Marcia Simon Weisman
© 2014 Robert Gober

Robert Gober (American, born 1954)
Forest
1991
Hand-printed silkscreen on paper
180″ x 124″ (457.2 x 315 cm)
Courtesy the artist
© 2014 Robert Gober

 

Installation view of Robert Gober: The Heart Is Not a Metaphor, The Museum of Modern Art, October 4, 2014–January 18, 2015

 

Robert Gober (American, born 1954)
Untitled
1992
Paper, twine, metal, light bulbs, cast plaster with casein and silkscreen ink, stainless steel, painted cast bronze and water, plywood, forged iron, plaster, latex paint and lights, photolithography on archival (Mohawk Superfine) paper, twine, hand-painted forest mural
511 3/4 × 363 3/16 × 177 3/16″ (1300 × 922.5 × 450.1 cm)
Glenstone
© 2014 Robert Gober

 

Installation view of Robert Gober: The Heart Is Not a Metaphor, The Museum of Modern Art, October 4, 2014–January 18, 2015

 

Robert Gober (American, born 1954)
Untitled (detail)
2003-05
© 2014 Robert Gober

 

Installation view of Robert Gober: The Heart Is Not a Metaphor, The Museum of Modern Art, October 4, 2014–January 18, 2015

 

Robert Gober (American, born 1954)
Untitled Door and Door Frame
1987-88
Wood, enamel paint
Door: 84 x 34 x 1 1/2″ (213.4 x 86.4 x 3.8 cm); doorframe: 90 x 43 x 5 1/2″ (228.6 x 109.2 x 14 cm)
Collection Walker Art Center, Minneapolis. Gift of the John and Mary Pappajohn Art Foundation, 2004
© 2014 Robert Gober

Installation views of Robert Gober: The Heart Is Not a Metaphor, The Museum of Modern Art, October 4, 2014-January 18, 2015
All works by Robert Gober © 2014 Robert Gober © 2014 The Museum of Modern Art
Photos: Jonathan Muzikar

 

The immersive installation Gober conceived for a 1992 exhibition at the Dia Center for the Arts, New York is on view nearby. All three rooms of that original presentation are reconstructed: an antechamber, a central gallery, and a dark cul-de-sac. The main space features a hand-painted mural, executed in a paint-by-number method by scenic painters, depicting a forest inspired by the landscape of Long Island’s North Fork. Barred prison windows, through which a blue sky is visible, interrupt the verdant panorama. Placed throughout the gallery are hand-painted plaster sculptures of boxes of rat bait and bundles of newspapers – actually photolithographic facsimiles of newspapers featuring real and invented content. After a six-year absence from Gober’s work, sinks reappeared in the installation at Dia, water now running freely from their faucets.

Following the introduction of mens’ legs into his sculptural vocabulary, Gober cast the leg of a young boy and used that mold as the basis for several subsequent works, including a fireplace where legs take the place of firewood, a vision invoking childhood nightmares and uncensored fairy tales. Also on view is a sculpture of a suitcase that occupies space below ground as well as above. Its lid opens to reveal a sewer grate and a brick shaft that leads to a subterranean tidal pool complete with seaweed, mussel shells, and starfish. Visible through the depths of the water, amid the marine life, are the legs of a man and baby, one holding the other in a manner suggestive of baptism. While primarily a sculptor, Gober has worked across a range of media throughout his career including drawing and printmaking. Drawings sit the closest to his work in three dimensions; most of his sculptures and installations are preceded by preparatory drawings. A selection of Gober’s works on paper is also on view in this gallery.

The final installation included in the exhibition was made in response to the attacks of September 11, 2001, and results from Gober’s desire to create a space of refuge and reflection. The overall structure evokes the interior of a church: a central aisle separating rows of pews leads to an altar-like area flanked by two chapels. From the nipples of a headless Christ, regenerative “living water” flows into a large hole jackhammered into the floor. In the pastel drawings hanging on the side walls, the power of human embrace confronts the harrowing news contained within the photolithographed pages of the September 12, 2001, issue of The New York Times. In this installation, the overt references to Catholicism explore the vitality of such symbolism in the wake of contemporary tragedy.

Over the past decade, Gober’s sculptures have become increasingly complex, both technically and iconographically. The artist sometimes uses casts of existing sculptures and combines them to create hybrid objects, as in the conjunction of a chest, a stool, and a twisted network of children’s legs. Elsewhere, Gober pushes recognizable imagery into unpredictable terrain: a sink’s backsplash morphs into gnarled planks of wood interwoven with casts of fragmented arms. New motifs, such as a surrealistically melting rifle, also have entered the artist’s visual universe. The strangeness of these new sculptures is presaged by Prayers Are Answered (1980-81), an early work loosely based on a Catholic church on 7th Street and Avenue B in the East Village. Rather than the traditional religious scenes to be found in paintings lining the walls, Gober has furnished the church with murals depicting the harshness of daily life in the city.

The exhibition’s final gallery presents works made as early as 1979 and as recently as this past spring. Images of domestic objects and architecture and themes of childhood and the body reverberates across the decades. The dollhouse placed on the floor is one of several that Gober designed and built during his first years in New York City, as one way of earning a living. The sculpture and installations that would follow may be considered life-size realizations of the imaginative potential contained within these small structures.

Published in conjunction with the exhibition and prepared in close collaboration with the artist, Robert Gober: The Heart Is Not a Metaphor traces the development of his work, highlighting themes and motifs to which he has returned throughout the decades. The book features an essay by Hilton Als – a text both wide-ranging and personal – and an in-depth narrative of Gober’s life. The rich selection of images illustrates every phase of the artist’s career, and includes previously unpublished photographs from his own archive. Hardcover. 6.5”w x 9.75”h; 272 pages; 169 illustrations. ISBN: 978-0-87070-946-3. $45.

Ann Temkin

The Marie-Josée and Henry Kravis Chief Curator of Painting and Sculpture
The Museum of Modern Art

Ms. Temkin assumed the role of Chief Curator of Painting and Sculpture in 2008, after joining The Museum of Modern Art in 2003 as Curator. During her tenure, Ms. Temkin has worked extensively with her colleagues on reimagining the Painting and Sculpture collection galleries at the Museum. Along with Robert Gober: The Heart Is Not A Metaphor, her exhibitions at MoMA include Ileana Sonnabend: Ambassador for the New (2013); Abstract Expressionist New York (2010); Gabriel Orozco (2009); and Color Chart: Reinventing Color, 1950 to Today (2008). Prior to MoMA, Ms. Temkin was the curator of modern and contemporary art at the Philadelphia Museum of Art from 1990 to 2003, where she organized such exhibitions as Barnett Newman (2002), Constantin Brancusi (1995), and Thinking is Form: The Drawings of Joseph Beuys (1994).

Paulina Pobocha

Assistant Curator, Department of Painting and Sculpture
The Museum of Modern Art

Ms. Pobocha is an assistant curator in the Department of Painting and Sculpture at The Museum of Modern Art. She joined the Museum in 2008 and has worked on the exhibitions Gabriel Orozco (2009) and Abstract Expressionist New York (2010). In 2013 she co-organized Claes Oldenburg: The Street and The Store. She has also worked extensively with the Museum’s collection. Prior to MoMA, Ms. Pobocha was a Joan Tisch Fellow at the Whitney Museum of American Art, where she lectured on a broad range of subjects in contemporary and modern art. In 2011, she was appointed Critic at the Yale University School of Art.”

Press release from the MoMA website

 

Robert Gober (American, born 1954) '
Untitled' 1992


 

Robert Gober (American, born 1954)
Untitled
1992
Paper, twine, metal, light bulbs, cast plaster with casein and silkscreen ink, stainless steel, painted cast bronze and water, plywood, forged iron, plaster, latex paint and lights, photolithography on archival (Mohawk Superfine) paper, twine, hand-painted forest mural
511 3/4 × 363 3/16 × 177 3/16″ (1300 × 922.5 × 450.1 cm)
Glenstone
Image Credit: Russell Kaye, courtesy the artist and Matthew Marks Gallery
© 2014 Robert Gober

 

Robert Gober (American, born 1954)
 'Untitled Leg' 1989-1990

 

Robert Gober (American, born 1954)
Untitled Leg
1989-1990
Beeswax, cotton, wood, leather, human hair
11 3/8 x 7 3/4 x 20” (28.9 x 19.7 x 50.8 cm)
The Museum of Modern Art, New York. Gift of the Dannheisser Foundation
© 2014 Robert Gober

 

Robert Gober (American, born 1954) '
Untitled' 2008


 

Robert Gober (American, born 1954)
Untitled
2008
Cast gypsum polymer
14 ½ x 10 ¾ x 6” (36.8 x 27.3 x 15.2 cm)
Edition of 4, with 1 AP
Collection the artist
Image Credit: Fredrik Nilsen, courtesy the artist and Matthew Marks Gallery
© 2014 Robert Gober

 

Robert Gober. 'Untitled' 2005-06

 

Robert Gober (American, born 1954)
Untitled
2005-2006
Aluminum-leaf, oil and enamel paint on cast lead crystal
4 3/4″ high × 4 1/4″ diameter (12.1 × 10.8 cm)
Collection the artist
Image Credit: Bill Orcutt, courtesy the artist and Matthew Marks Gallery
© 2014 Robert Gober

 

Robert Gober (American, born 1954) '
Slip Covered Armchair' 1986-87

 

Robert Gober (American, born 1954)
Slip Covered Armchair
1986-87
Plaster, wood, linen, and fabric paint
31 ½ x 30 ½ x 29” (80 x 77.5 x 73.7 cm)
Collection the artist
Image Credit: D. James Dee, courtesy the artist
© 2014 Robert Gober

 

Robert Gober (American, born 1954)
 'Untitled' 1980-81

 

Robert Gober (American, born 1954)
Untitled
1980-81
Oil on wood panel
8 x 5 ¾” (20.3 x 14.6 cm)
Collection the artist
Image Credit: Ron Amstutz, courtesy the artist and Matthew Marks Gallery
© 2014 Robert Gober

 

Robert Gober (American, born 1954) '
Untitled' 1991


 

Robert Gober (American, born 1954)
Untitled
1991
Wood, beeswax, leather, fabric, and human hair
13 1/4 x 16 1/2 x 46 1/8″ (33.6 x 41.9 x 117.2 cm)
The Museum of Modern Art, New York. Gift of Werner and Elaine Dannheisser
Background: Forest, 1991
Hand-painted silkscreen on paper
Image Credit: K. Ignatiadis, courtesy the artist and Matthew Marks Gallery
© 2014 Robert Gober

 

Robert Gober. 'Untitled' 2003-05

 

Robert Gober (American, born 1954)
Untitled
2003-05
Courtesy MoMA and Matthew Marks Gallery
Image Credit: Russel Kaye
© 2014 Robert Gober

 

Robert Gober (American, born 1954)
 'Leg with Anchor' 2008

 

Robert Gober (American, born 1954)
Leg with Anchor
2008
Forged iron and steel, beeswax, cotton, leather, and human hair
28 × 18 × 20″ (71.1 × 45.7 × 50.8 cm)
Glenstone
Image Credit: Bill Orcutt, courtesy the artist and Matthew Marks Gallery
© 2014 Robert Gober

 

Robert Gober (American, born 1954)
 'Untitled' 1984

 

Robert Gober (American, born 1954)
Untitled
1984
Plaster, wood, wire lath, aluminum, watercolor, semi-gloss enamel paint
28 x 33 x 22 1/2″ (71.1 x 83.8 x 57.2 cm)
Rubell Family Collection
Courtesy the artist and Matthew Marks Gallery
© 2014 Robert Gober

 

Robert Gober (American, born 1954)
 'Two Partially Buried Sinks' 1986-87

 

Robert Gober (American, born 1954)
Two Partially Buried Sinks
1986-87
Cast iron and enamel paint
Right: 39 x 25 ½ x 2 ½” (99.1 x 64.8 x 6.4 cm); left: 39 x 24 ½ x 2 3/4 “ (99.1 x 62.2 x 7 cm)
Private collection
Image Credit: Andrew Moore, courtesy the artist
© 2014 Robert Gober

 

 

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

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

MOMA website

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12
Jan
15

New Fredrick White Sculpture website

 

I have made a new website for my friend FW. The site is fully responsive on all devices and showcases his amazing work to advantage.

Visit his new website.

Marcus

 

 

Fredrick White Sculpture website

 

Fredrick White Sculpture website
2015

 

Fredrick White 'Transference' 2014

Fredrick White 'Transference' 2014

Fredrick White 'Transference' 2014

 

Fredrick White
Transference
2014
Aluminium pipe
802 x 133 x 290 cm

Photographed at Pipemakers Park, Maribyrnong

 

 

Fredrick White Sculpture website

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30
Dec
14

Exhibition: ‘Horst: Photographer of Style’ at the Victoria & Albert Museum, London

Exhibition dates: 6th September 2014 – 4th January 2015

Curator: Susanna Brown, Curator of Photographs at the V&A

 

 

Steichen, Penn, Avedon, Newman – and then there is Horst, master of them all. Style, elegance, lighting, framing, colour but above all panache – the guts and talent to push it just that little bit further.

Marcus

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

 

 

“Fashion is an expression of the times. Elegance is something else again.”

.
Horst, 1984

 

 

Installation image of 'Horst - Photographer of Style' at the V&A

Installation image of 'Horst - Photographer of Style' at the V&A

Installation image of 'Horst - Photographer of Style' at the V&A

Installation image of 'Horst - Photographer of Style' at the V&A

Installation image of 'Horst - Photographer of Style' at the V&A

Installation image of 'Horst - Photographer of Style' at the V&A

 

Installation images of Horst – Photographer of Style at the V&A
© Victoria and Albert Museum, London

 

 

“This autumn, the V&A will present the definitive retrospective exhibition of the work of master photographer Horst P. Horst (1906-1999) – one of the leading photographers of the 20th century. In his illustrious 60-year career, German-born Horst worked predominantly in Paris and New York and creatively traversed the worlds of photography, art, fashion, design, theatre and high society.

Horst: Photographer of Style will display 250 photographs, alongside haute couture garments, magazines, film footage and ephemera. The exhibition explores Horst’s collaborations and friendships with leading couturiers such as Coco Chanel and Elsa Schiaparelli in Paris; stars including Marlene Dietrich and Noël Coward; and artists and designers such as Salvador Dalí and Jean-Michel Frank. Highlights of the exhibition include photographs recently donated to the V&A by Gert Elfering, art collector and owner of the Horst Estate, previously unpublished vintage prints, and more than 90 Vogue covers by Horst.

The exhibition will also reveal lesser-known aspects of Horst’s work: nude studies, travel photographs from the Middle East and patterns created from natural forms. The creative process behind some of his most famous photographs, such as the Mainbocher Corset, will be revealed through the inclusion of original contact sheets, sketches and cameras. The many sources that influenced Horst – from ancient Classical art to Bauhaus ideals of modern design and Surrealism in 1930s Paris – will be explored.

Martin Roth, Director of the V&A said: “Horst was one of the greatest photographers of fashion and society and produced some of the most famous and evocative images of the 20th century. This exhibition will shine a light on all aspects of his long and distinguished career. Horst’s legacy and influence, which has been seen in work by artists, designers and performers including Herb Ritts, Robert Mapplethorpe, Bruce Weber and Madonna, continues today.” 

Horst’s career straddled the opulence of pre-war Parisian haute couture and the rise of ready-to-wear in post-war New York and his style developed from lavish studio set-ups to a more austere approach in the latter half of the 20th century. The exhibition will begin in the 1930s with Horst’s move to Paris and his early experiments in the Vogue studio. Among his first models and muses were Lisa Fonssagrives, Helen Bennett and Lyla Zelensky. Vintage black and white photographs from the archive of Paris Vogue will be displayed alongside garments in shades of black, white, silver and gold by Parisian couturiers such as Chanel, Lanvin, Molyneux and Vionnet.

The exhibition will then focus on Horst’s Surreal-inspired studies and collaborations with Salvador Dalí and Elsa Schiaparelli. Fashion photographs will be shown with trompe l’oeil portraits and haunting still lifes. Horst excelled at portraiture and in the 1930s he captured some of Hollywood’s brightest stars: Rita Hayworth, Bette Davis, Vivien Leigh, Noël Coward, Ginger Rogers, Marlene Dietrich and Joan Crawford, to name a few.

Horst travelled widely throughout the 1940s and 1950s to Israel, Iran, Syria, Italy and Morocco. An escape from the world of fashion and city environs, his little-known travel photographs reveal a fascination for ancient cultures, landscapes and architecture. On display will be works taken in Iran such as the Persepolis Bull, Horst’s powerful image of a vast sculpture head amidst the ruins of a once magnificent palace, and images documenting the annual migration of the nomadic Qashqai clan.

Detailed studies of natural forms such as flowers, minerals, shells and butterfly wings from the project Patterns From Nature, will be shown alongside a series of kaleidoscopic collages made by arranging photographs in simple repeat; his intention was that these dynamic patterns could be used as designs for textiles, wallpaper, carpets, plastics and glass.

Horst was admired for his dramatic lighting and became one of the first photographers to perfect the new colour techniques of the 1930s. A short film of him at work in the Vogue studios during the 1940s will be shown with an introduction to his peers including Lee Miller, Cecil Beaton and Irving Penn. The advent of colour enabled a fresh approach and Horst went on to create more than 90 Vogue covers and countless pages in vivid colour. A selection of 25 large colour photographs, newly printed from the original transparencies from the Condé Nast Archive, will demonstrate Horst’s exceptional skill as a colourist. These prints feature Horst’s favourite models from the 1940s and 50s, such as Carmen Dell’Orefice, Muriel Maxwell and Dorian Leigh, and will be shown together with preparatory sketches, which have never previously been exhibited.

In the early 1950s, Horst created a series of male nudes for an exhibition in Paris for which the models were carefully posed and dramatically lit to accentuate their musculature. The series evokes the classical sculpture that Horst so admired throughout his career. During the 1960s and 1970s, Horst photographed some of the world’s most beautiful and luxurious homes for House and Garden and Vogue under the editorship of his friend Diana Vreeland. A three-sided projection and interactive screens will present these colourful studies. Among the most memorable are the Art Deco apartment of Karl Lagerfeld, the three lavish dwellings of Yves Saint Laurent and the Roman palazzo of artist Cy Twombly.

In the latter years of Horst’s life, his early aesthetic experienced a renaissance. The period also witnessed a flurry of new books, exhibitions, and television documentaries celebrating his work. Horst produced new, lavish prints in platinum-palladium for museums and the collector’s market, selecting emblematic works from every decade of his career, which will be showcased as the finale to the exhibition.”

Press release from the V&A

 

Behind the scenes at American Vogue, 1946 from Victoria and Albert Museum

 

Showing clips from the publication house’s cutting room floor, as well as editors at work, this never-before-seen footage shot from late 1946 to early 1947 gives a fascinating insight into the history of fashion publishing. This film is comprised of outtakes from the documentary Fashion Means Business. Dorian Leigh models the latest American designs in the Condé Nast studio for Horst and his assistant Vassilov, overseen by Vogue editors Muriel Maxwell and Priscilla Peck. The photographs are selected with editor Jessica Daves and art director Alexander Liberman, and the page layout finalised with Marcel Guillaume and Liberman.

With permission from HBO Archives/The March of Time. Provided by Condé Nast Archive

 

Horst P. Horst. 'Chanel, Vogue France' 1935

 

Horst P. Horst
Chanel, Vogue France
1935
© Condé Nast/Horst Estate

A fore-runner of the timeless look of Chanel, here in brown and white check rayon with collar, cuffs and lapels in white piquè that matches the buttoned top.

 

Horst P. Horst. 'Hat and coat-dress by Bergdorf Goodman, modelled by Estrella Boissevain' 1938

 

Horst P. Horst
Hat and coat-dress by Bergdorf Goodman, modelled by Estrella Boissevain
1938
© Conde Nast / Horst Estate

 

Horst P. Horst. 'Corset by Detolle for Mainbocher' 1939

 

Horst P. Horst
Corset by Detolle for Mainbocher
1939
© Conde Nast / Horst Estate

 

Horst P.Horst. 'Lisa with Turban, New York' 1940

 

Horst P.Horst
Lisa with Turban, New York
1940
© Conde Nast / Horst Estate

 

Horst P. Horst. 'Gertrude Stein at Balmain Fashion Show' 1946

 

Horst P. Horst
Gertrude Stein at Balmain Fashion Show
1946
© Conde Nast / Horst Estate

 

Horst P. Horst. 'Birthday Gloves, New York' 1947

 

Horst P. Horst
Birthday Gloves, New York
1947
© Condé Nast/Horst Estate

 

Horst P. Horst. 'Lillian Marcuson in Dior's belted two-piece suit in black rustic wool, called 'Milieu du Siècle'' 1949

 

Horst P. Horst
Lillian Marcuson in Dior’s belted two-piece suit in black rustic wool, called ‘Milieu du Siècle’
1949
© Condé Nast/Horst Estate

 

Horst P. Horst. 'Nina de Voe' 1951

 

Horst P. Horst
Nina de Voe
1951
© Condé Nast/Horst Estate

 

Horst P. Horst. 'Lillian Marcuson, New York' 1950

 

Horst P. Horst
Lillian Marcuson, New York
1950
© Condé Nast/Horst Estate

 

Horst P. Horst. 'Outfit by Tina Leser' Vogue, April 1950

 

Horst P. Horst
Outfit by Tina Leser
Vogue, April 1950
© Condé Nast/Horst Estate

 

Horst P.Horst. 'Bombay Bathing Fashion' 1950

 

Horst P.Horst
Bombay Bathing Fashion
1950
© Condé Nast/Horst Estate

Model (unidentified) and Dorian Leigh (r) in bathing suit and sleeveless shirt cover-up by Carolyn Schnurer 1951 Vogue

 

Haute Couture

When Horst joined Vogue in 1931, Paris was still the world’s undisputed centre of high fashion. Photography had begun to eclipse graphic illustration in fashion magazines and the publisher Condé Montrose Nast devoted large sums to improving the quality of image reproduction. He insisted that Vogue photographers work with a large format camera, which produced richly detailed negatives measuring ten by eight inches.

The creation of a Horst photograph was a collaborative process, involving the talents of the photographer and model, the art director, fashion editor, studio assistants and set technicians. The modelling profession was still in its infancy in the 1930s and many of those who posed under the hot studio lights were stylish friends of the magazine’s staff, often actresses or aristocrats.

By the mid 1930s, Horst had superseded his mentor George Hoyningen-Huene as Paris Vogue‘s primary photographer. His images frequently appeared in the French, British and American editions of the magazine. Many of the photographs on display in the exhibition are vintage prints from the company’s archive.

 

Horst P. Horst. 'Dress by Hattie Carnegie' 1939

 

Horst P. Horst
Dress by Hattie Carnegie
1939
© Conde Nast / Horst Estate

 

Horst P. Horst. 'Dress by Hattie Carnegie' 1939

 

Horst P. Horst
Dress by Hattie Carnegie
1939
© Conde Nast / Horst Estate

 

Horst P. Horst. 'Muriel Maxwell, American Vogue' 1939

 

Horst P. Horst
Muriel Maxwell, American Vogue
1939
© Conde Nast / Horst Estate

 

Horst P. Horst. 'Summer Fashions, American Vogue cover' 1941

 

Horst P. Horst
Summer Fashions, American Vogue cover
1941
© Conde Nast / Horst Estate

 

Horst P. Horst. 'Dinner suit and headdress by Schiaparelli' 1947

 

Horst P. Horst
Dinner suit and headdress by Schiaparelli
1947
© Conde Nast / Horst Estate

 

Horst P. Horst. 'Millicent Rogers in a Charles James gown and a gold necklace of her own design' Vogue, February 1, 1949

 

Horst P. Horst
Millicent Rogers in a Charles James gown and a gold necklace of her own design
Vogue,
February 1, 1949
© Conde Nast / Horst Estate

 

Horst in Colour from Victoria and Albert Museum

 

This film reveals the process of creating new colour prints for the exhibition Horst: Photographer of Style. Horst was quick to master new colour processes, introduced in the late 1930s, and he created hundreds of vibrant fashion photographs for Vogue.

The V&A team worked closely with specialists at the Condé Nast Archive and expert printer Ken Allen to select and print from Horst’s early transparencies, which date from the 1930s to the 1950s. The film includes insights into Horst’s dynamic approach from model Carmen Dell’Orefice and Vogue’s International Editor at Large, Hamish Bowles.​

 

Fashion in Colour

The 1930s ushered in huge technical advancements in colour photography. Horst adapted quickly to a new visual vocabulary, creating some of Vogue’s most dazzling colour images. In 1935 he photographed the Russian Princess Nadejda Sherbatow in a red velveteen jacket for the first of his many Vogue cover pictures.

The occupation of Paris transformed the world of fashion. The majority of French ateliers closed and many couturiers and buyers left the country. Remaining businesses struggled with extreme shortages of cloth and other supplies. The scarcity of French fashions in America, however, enabled American designers to come into their own.

Horst’s colour photographs are rarely exhibited because few vintage prints exist. Colour capture took place on a transparency which could be reproduced on the magazine page without the need to create a photographic print. The size of the new prints displayed in this room of the exhibition echoes the large scale of a group of Horst images printed in 1938 at the Condé Nast press.

 

Horst P. Horst. 'Marlene Dietrich, New York' 1942

 

Horst P. Horst
Marlene Dietrich, New York
1942
© Conde Nast / Horst Estate

 

Horst P. Horst. 'Gloria Vanderbilt age 17 wearing a dress by Howard Greer, New York' 1941

 

Horst P. Horst
Gloria Vanderbilt age 17 wearing a dress by Howard Greer, New York
1941
© Conde Nast / Horst Estate

At 17, in Beverly Hills wearing a tabletop dress by Howard Greer. Tabletop dresses looked good from the waist up when stars were photographed sitting in restaurants and nightclub

 

Stage and Screen

Horst’s portraits spanned a wide cross-section of subjects, from artists and writers to presidents and royalty. In the 1930s, he became aware of a new focus for his work. As he later noted in his book Salute to the Thirties (1971), glamorous Hollywood movie stars were imperceptibly assuming the place left vacant by Europe’s vanishing royal families. With the approach of the Second World War, the escapism offered by theatre and cinema gained in popularity. Horst began to photograph these new, classless celebrities, both in costume and as themselves.

The first well-known star Horst photographed was the English performer Gertrude Lawrence, then appearing in Ronald Jeans’ play Can the Leopard…? at the Theatre Royal, Haymarket. Horst’s first portrait of a Hollywood actress, Bette Davis, appeared in Vogue‘s sister magazine Vanity Fair in 1932.

 

Horst P. Horst. 'Round the Clock, New York' 1987

 

Horst P. Horst
Round the Clock, New York
1987
© Conde Nast / Horst Estate

 

Platinum

The 1980s witnessed a flurry of new books, exhibitions and television documentaries about Horst. He produced new prints for museums and the collector’s market, selecting emblematic works from every decade of his career to be reprinted in platinum-palladium, sometimes with new titles. This was a complex and expensive technique, employing metals more expensive than gold. Failing eyesight finally forced him to stop working in 1992.

Horst’s platinum-palladium prints are treasured for their nuanced tones, surface quality and permanence. His style had experienced a renaissance in 1978 when Francine Crescent, French Vogue‘s editor in chief, had invited him to photograph the Paris collections. Horst’s work for her echoed his atmospheric, spot-lit studies of the 1930s. His use of the platinum process for creating new and reproducing early works ensured his mastery of light, mood and composition would be enjoyed by a new audience.

 

Horst P. Horst. 'Male Nude #3' 1952, printed 1980s

 

 

Horst P. Horst
Male Nude #3
1952, printed 1980s
© Conde Nast / Horst Estate

 

Horst P. Horst. 'Still Life' Nd

 

Horst P. Horst
Still Life
Nd
© Conde Nast / Horst Estate

 

Horst P. Horst. 'Male Nude' 1952

 

Horst P. Horst
Male Nude
1952
© Conde Nast / Horst Estate

 

Male Nudes

In the early 1950s Horst produced a set of distinctive photographs unlike much of his previous output. These male figure studies were exhibited for the first time in Paris in 1953 and reprinted using the platinum-palladium process in the 1980s. The studies exemplify Horst’s sense of form. All emphasis is on the idealised human body, expressive light and shadow. Monumental and anonymous nudes resemble classical sculptures. As Mehemed Agha (1929-78), art director of American Vogue, commented:

“Horst takes the inert clay of human flesh and models it into the decorative shapes of his own devising. Every gesture of his models is planned, every line controlled and coordinated to the whole of the picture. Some gestures look natural and careless, because carefully rehearsed; the others, like Voltaire’s god, were invented by the artist because they did not exist.”

 

Horst P. Horst. 'Salvador Dali's costumes for Leonid Massine's ballet 'Bacchanale'' 1939

 

Horst P. Horst
Salvador Dali’s costumes for Leonid Massine’s ballet Bacchanale
1939
© Conde Nast / Horst Estate

 

Horst P. Horst. 'Lisa Fonssagrives hands, New York' 1941

 

Horst P. Horst
Lisa Fonssagrives hands, New York
1941
© Conde Nast / Horst Estate

 

Horst P. Horst. 'Odalisque I' 1943

 

Horst P. Horst
Odalisque I
1943
© Conde Nast / Horst Estate

 

Horst P.Horst. 'Bunny Hartley' Vogue, 1938

 

Horst P.Horst
Bunny Hartley
Vogue,
1938
© Conde Nast / Horst Estate

 

Horst P. Horst. 'Lisa Fonssagrives "I Love You"' 1937

 

Horst P. Horst
Lisa Fonssagrives “I Love You”
1937
© Conde Nast / Horst Estate

 

Surrealism

The Surrealist art movement explored unique ways of interpreting the world, turning to dreams and the unconscious for inspiration. During the 1930s Surrealism escaped its radical avant-garde roots and transformed design, fashion, advertising, theatre and film. Horst’s photographs of this period feature mysterious, whimsical and surreal elements combined with his classical aesthetic. He created trompe l’oeil still lifes, photographed the surreal-infused dress designs of his friend Elsa Schiaparelli and collaborated with the artist Salvador Dalí. He shared with the Surrealists a fascination with the representation of the female body, often fragmenting and eroticising the human form in his images.

His most celebrated photograph of the era is Mainbocher Corset (1939). Decades after the photograph was made, Main Bocher himself expressed his admiration for Horst’s virtuosity, writing,

“Your photographs are sheer genius and delight my soul … each one is perfect by itself.”

 

Horst P. Horst. 'Patterns from Nature Photographic Collage' 1945

 

Horst P. Horst
Patterns from Nature Photographic Collage
1945
© Conde Nast / Horst Estate

 

Patterns from Nature

Horst’s second book, Patterns from Nature (1946), and the photographs from which it originated, are a surprising diversion from the high glamour of his fashion and celebrity photographs. These close-up, black and white images of plants, shells and minerals were taken in New York’s Botanical Gardens, in the forests of New England, in Mexico, and along the Atlantic and Pacific coasts.

This personal project was partly inspired by photographs of plants by Karl Blossfeldt (1865-1932). Horst was struck by “their revelation of the similarity of vegetable forms to art forms like wrought iron and Gothic architecture.” Horst’s interest was also linked to the technical purity of ‘photographic seeing’, a philosophy associated with the New Objectivity movement of the 1920s and ’30s. Practitioners took natural forms out of their contexts and examined them with such close attention that they became unfamiliar and revelatory.

 

Horst P. Horst. 'View of ruins at the palace of Persepolis, Persia' 1949

 

Horst P. Horst
View of ruins at the palace of Persepolis, Persia
1949
© Conde Nast / Horst Estate

 

Travel

In the summer of 1949, Horst journeyed to the Middle East with his partner Valentine Lawford, then political counsellor at the British Embassy in Tehran. They travelled by road from Beirut to Persepolis, where Horst was able to photograph parts of the ancient Persian city that had only recently been uncovered. Afterwards, Horst visited the newly established State of Israel on a photographic assignment for Vogue.

The trip left a strong impression on Horst and he returned in the spring of 1950. He spent a week with Lawford at the relatively remote south-eastern shore of the Caspian Sea, before documenting the annual migration of the Qashqa’i clan. Horst and Lawford were invited by Malik Mansur Khan Qashqa’i to spend ten days with his tribe as they travelled by camel and horse, in search of vegetation for their flocks.

 

Horst P. Horst. 'Yves Saint Laurent poses in the apartment's grand salon for a November 1971 'Vogue' photo spread' 1971

 

Horst P. Horst
Yves Saint Laurent poses in the apartment’s grand salon for a November 1971 ‘Vogue’ photo spread
1971
© Conde Nast / Horst Estate

 

Living in Style

In 1947 Horst acquired five acres of land in Oyster Bay Cove, Long Island, part of the estate once owned by the designer Louis Comfort Tiffany. On the land he described as ‘everything I had ever dreamed of’, Horst built a unique house and landscaped garden. British diplomat Valentine Lawford visited for the first time in 1947, with Noël Coward, Christopher Isherwood, and Greta Garbo. It was the beginning of a relationship with Horst that would last until Lawford’s death in 1991.

They welcomed many friends and visitors to Long Island, including the dynamic editor Diana Vreeland. She left Harper’s Bazaar for Vogue in 1962 and soon put the couple to work on Vogue‘s ‘Fashions in Living’ pages. The homes and tastes of everyone from Jackie Onassis to the Duke and Duchess of Windsor, Andy Warhol and Karl Lagerfeld featured in their articles. Horst’s creative chemistry with Vreeland brought him a new lease of life.

 

Roy Stevens. 'Horst directing fashion shoot with Lisa Fonssagrives' 15 May 1941

 

Roy Stevens
Horst directing fashion shoot with Lisa Fonssagrives
15 May 1941
© Time & Life Pictures / Getty Images

 

In the Studio

During the 1940s Horst worked primarily in the Condé Nast studio on the 19th floor of the Graybar Building, an Art Deco skyscraper on Manhattan’s Lexington Avenue. The busy studio was well equipped with a variety of lights and props and Horst worked closely with talented art director Alexander Liberman. Like Horst, he had found refuge in the artistic circles of Paris and New York, and enjoyed a long career with Condé Nast.

By 1946 dressing the American woman had become one of the country’s largest industries, grossing over six billion dollars a year. The staff of Vogue expanded accordingly. In 1951 Horst found a studio of his own, the former penthouse apartment of artist Pavel Tchelitchew, with high ceilings and a spectacular view over the river. Horst developed a new approach to photography in response to the abundance of daylight and for a time his famous atmospheric shadows disappeared.

 

 

Victoria and Albert Museum
Cromwell Road, London SW7 2RL

Opening hours:
The V&A is open daily from 10.00 to 17.45 and until 22.00 on Fridays

Victoria and Albert Museum website, Horst web page

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24
Dec
14

Exhibition: ‘Dayanita Singh: Go Away Closer’ at the MMK Museum für Moderne Kunst Frankfurt

Exhibition dates: 27th September 2014 – 4th January 2015

 

This exhibition looks fantastic. I really love the sensitivity and melancholy of the individual images, I just wish I could see the whole exhibition up close in order to comprehend the scientific, surreal dreamscape narratives. In the top two installation photographs there is reference to Ed Ruscha’s folder books but in the large installation photographs (the wooden panels) I see more a cinematic archive form rather than a book form. Film strips as a puzzle (with echoes of Robert Heinecken) that can be read vertically, horizontally and in the round. What most interests Singh about photography is its dissemination in unusual and interesting ways. For her, the book and the choreography of the photographs within it (the sequencing) is the work.

There are so many excellent exhibitions finishing before 4th January 2015 I hope I get them all, including a huge two part posting on Robert Frank, a posting on Paul Strand and Nicholas Nixon’s The Brown Sisters. Keep your fingers crossed I have time…

Marcus

.
Many thankx to the MMK Museum für Moderne Kunst Frankfurt for allowing me to publish the photographs in the posting. Please click on the photographs for a larger version of the image.

 

 

“The art world would like to have one image, the art world would like to have three images, I would like to have a hundred images, maybe five hundred images – so books are really essential to enable me to do all that.”

.
Dayanita Singh

 

 

Dayanita Singh. Image from 'File Room' 2013

Dayanita Singh. Image from 'File Room' 2013

Dayanita Singh. Image from 'File Room' 2013

Dayanita Singh. Image from 'File Room' 2013

Dayanita Singh. Image from 'File Room' 2013

Dayanita Singh. Image from 'File Room' 2013

 

Dayanita Singh
Images from File Room
2013
Courtesy of the artist and Frith Street Gallery, London
© Dayanita Singh
“With more than seven hundred photographs, the internationally renowned photographer Dayanita Singh is providing in-depth insights into the past thirty years of her artistic work.

 

 

Her exhibition Go Away Closer is a museum in a museum: in installations she calls “museum structures”, Singh arranges her photographs and presents them in structures she had developed as her form. These archives structures stand in the exhibition like open oversize books. Each of the expansive, multiply convertible wooden structures holds between 70 and 140 black-and-white photographs – series of works edited and arranged in sequences by the artist, but theoretically capable of being rearranged and supplemented in any number of ways. The photos unite to form fictional narratives full of allusions and enigmas. The artist has given the various structures such titles as Museum of Little Ladies, Museum of Embraces, Museum of Machines or Museum of Chance. She quite deliberately chooses not to label or date the individual photographs.

Dayanita Singh, who refers to herself as a “book artist”, made a name for herself above all with her carefully designed artist’s books, which she has always thought of as portable museums. The “museum structures” have their origins in these books. This special exhibition form lends the images a quality of seemingly never-ending process. With the ‘museum structures’, Singh moreover broadens our conception of photography and how to approach it by introducing sculptural and architectonic aspects.

Singh’s photographs, which she processes with superb craftsmanship and great technical precision, are characterized by a balance between empathy and distance. In her pictures, with their underlying melancholy mood, she finds simple translations for complex states of mind. In the photographic essays, countless images of her past merge with perceptions of the present, as in a dreamlike state. European music, literature and movie history are as much a part of the artist’s work as the people, structures and places of her surroundings in New Delhi.

The exhibition is further enhanced by Singh’s latest video work, Mona and Myself, which she produced for the German pavilion at the 2013 Venice Biennale. Singh describes the striking video portrait as her first “moving still”. “This film demonstrates the true concern of my work: it’s like a dream, like the brief moment between sleeping and waking,” the artist explains.

Singh first met the film’s protagonist, the eunuch Mona Ahmed, in 1989; since that time the two have been close friends. Talking about the work, the artist says: “Mona tells what it’s like when you belong neither here nor there, are neither male nor female, neither an eunuch nor someone like me.”

 

Publication

On the occasion of the exhibition at the MMK 3, Dayanita Singh created a new artist’s book entitled Museum of Chance, published by Steidl Verlag, Göttingen. The 88 photographs featured on the inside of the clothbound book also each appear as front and back cover illustrations, so that there are 88 different versions of the publication. The book Museum of Chance is in English, costs 48 EUR and is available at the MMK shop. The exhibition was organized in cooperation with the Hayward Gallery in London.”

Text from the Museum für Moderne Kunst website

 

 

Dayanita Singh – Slide Lecture : Chandigarh Lalit Kala Akademi : Amrita Sher-Gil National Art Week

 

Installation view of Dayanita Singh's 'Go Closer Away' 2014

Installation view of Dayanita Singh's 'Go Closer Away' 2014

Installation view of Dayanita Singh's 'Go Closer Away' 2014

Installation view of Dayanita Singh's 'Go Closer Away' 2014 (detail)

Installation view of Dayanita Singh's 'Go Closer Away' 2014

Installation view of Dayanita Singh's 'Go Closer Away' 2014

Installation view of Dayanita Singh's 'Go Closer Away' 2014

Installation view of Dayanita Singh's 'Go Closer Away' 2014

 

Installation views of Dayanita Singh’s Go Closer Away 2014 at MMK Museum für Moderne Kunst Frankfurt
Photo: Axel Schneider
Courtesy the artist © MMK Frankfurt

 

Dayanita Singh. Image from 'Museum of Chance' 2013

Dayanita Singh. Image from 'Museum of Chance' 2013

Dayanita Singh. Image from 'Museum of Chance' 2013

Dayanita Singh. Image from 'Museum of Chance' 2013

Dayanita Singh. Image from 'Museum of Chance' 2013

Dayanita Singh. Image from 'Museum of Chance' 2013

Dayanita Singh. Image from 'Museum of Chance' 2013

Dayanita Singh. Image from 'Museum of Chance' 2013

 

Dayanita Singh
Images from Museum of Chance
2013
Courtesy of the artist and Frith Street Gallery London
© Dayanita Singh

 

 

MMK Museum für Moderne Kunst

Domstraße 10
60311
Frankfurt am Main
Phone: +49 69  21230447

Opening hours:
Closed Mondays
Tuesday – Sunday: 10 am – 6 pm
Wednesday: 10 am – 8 pm

MMK Museum für Moderne Kunst
 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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