Archive for the 'street photography' Category

12
Apr
15

Exhibition: ‘Modern Photographs from the Thomas Walther Collection, 1909-1949′ at the Museum of Modern Art (MoMA), New York

Exhibition dates: 13th December 2014 – 19th April 2015

Exhibition coincides with the culmination of the Thomas Walther Collection Project, a four-year research collaboration between MoMA’s curatorial and conservation staff

The Edward Steichen Photography Galleries, third floor

 

 

OMG, OMG, OMG if we had tele-transportation to travel around the world, I would be at this exhibition in an instant. Please MoMA, fly me to New York so that I can do a proper review of the exhibition!

Not only are there photographs from well known artists that I have never seen before – for example, the brooding mass of Boat, San Francisco (1925) by Edward Weston with the name of the boat… wait for it… ‘DAYLIGHT’ – there are also outstanding photographs from artists that I have never heard of before.

There is so much to like in this monster posting, from the glorious choreography of British ‘Chute Jumpers (1937) to the muscular symmetry and abstraction of Rodchenko’s Dive (1934); from the absolutely stunning light and movement of Riefenstahl’s Nocturnal Start of Decathlon 1,500m Race (August 1936) to the ecstatic, ghost-like swimming in mud apparitions of Kate Steinitz’s Backstroke (1930) – an artist who I knew nothing about (Kate Steinitz was a German-American artist and art historian affiliated with the European Bauhaus and Dadaist movements in the early 20th century. She is best known for her collaborative work with the artist Kurt Schwitters, and, in later life, her scholarship on Leonardo da Vinci). Another artist to flee Germany in the mid-1930s to evade the persecution of the Nazis.

In fact, when you look through the checklist for this exhibition I look at the country of origin of the artist, and the date of their death. There are a lot of artists from Germany and France. Either they lived through the maelstrom of the Second World War and survived, escaped to America or England, or died during the war and their archive was lost (such as the artist Robert Petschow (German, 1888-1945)). For some artists surviving the war was not enough either… trapped behind the Iron Curtain after repatriation, artists such as Edmund Kesting went unacknowledged in their lifetime. What a tough time it must have been. To have created this wonderful avant-garde art and then to have seen it dashed against the rocks of violence, prejudice and bigotry – firstly degenerate, then non-conforming to Communist ideals.

Out of the six sections of the exhibition (The Modern World, Purisms, Reinventing Photography, The Artist’s Life, Between Surrealism and Magic Realism, and Dynamics of the City) it would seem that the section ‘Reinventing Photography’ is the weakest – going from the checklist – with a lack of really memorable images for this section, hence only illustrated in this posting by one image. But this is a minor quibble. When you have images such as Anne W. Brigman’s A Study in Radiation (1924) or Edmund Kesting’s magnificent Glance to the Sun (Blick zur Sonne) (1928) who cares! I just want to see them all and soak up their atmosphere.

Marcus

PS. There is an excellent website titled Object:Photo to accompany the exhibition. It contains sections that map and compare photographs, connect and map artists’ lives along with many more images from the collection, conservation analysis and essays about the works. Well worth a look.

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Many thankx to the MoMA for allowing me to publish the photographs and text in the posting. Please click on the photographs for a larger version of the image. All images © The Museum of Modern Art

Note: Images below correspond to their sections in the exhbition.

 

 

“Modern Photographs from the Thomas Walther Collection, 1909-1949, on view from December 13, 2014, to April 19, 2015, explores photography between the First and Second World Wars, when creative possibilities were never richer or more varied, and when photographers approached figuration, abstraction, and architecture with unmatched imaginative fervor. This vital moment is dramatically captured in the photographs that constitute the Thomas Walther Collection, a remarkable group of works presented together for the first time through nearly 300 photographs. Made on the street and in the studio, intended for avant-garde exhibitions or the printed page, these objects provide unique insight into the radical intentions of their creators. Iconic works by such towering figures as Berenice Abbott, Karl Blossfeldt, Alvin Langdon Coburn, El Lissitzky, Lucia Moholy, László Moholy-Nagy, Aleksandr Rodchenko, and Paul Strand are featured alongside lesser-known treasures by more than 100 other practitioners. The exhibition is organized by Quentin Bajac, the Joel and Anne Ehrenkranz Chief Curator of Photography, and Sarah Hermanson Meister, Curator, Department of Photography, MoMA.

The exhibition coincides with Object:Photo. Modern Photographs: The Thomas Walther Collection 1909-1949, the result of a four-year collaborative project between the Museum’s departments of Photography and Conservation, with the participation of over two dozen leading international photography scholars and conservators, making it the most extensive effort to integrate conservation, curatorial, and scholarly research efforts on photography to date. That project is composed of multiple parts including a website that features a suite of digital-visualization research tools that allow visitors to explore the collection, a hard-bound paper catalogue of the entire Thomas Walther collection, and an interdisciplinary symposium focusing on ways in which the digital age is changing our engagement with historic photographs.

Modern Photographs from the Thomas Walther Collection, 1909-1949, is organized thematically into six sections, suggesting networks between artists, regions, and objects, and highlighting the figures whose work Walther collected in depth, including André Kertész, Germaine Krull, Franz Roh, Willi Ruge, Maurice Tabard, Umbo, and Edward Weston. Enriched by key works in other mediums from MoMA’s collection, this exhibition presents the exhilarating story of a landmark chapter in photography’s history.”

Press release from the MoMA website

 

The Collection

In the 1920s and ’30s photography underwent a period of exploration, experimentation, technical innovation, and graphic discovery so dramatic that it generated repeated claims that the true age of discovery was not when photography was invented but when it came of age, in this era, as a dynamic, infinitely flexible, and easily transmissible medium. The Thomas Walther Collection concentrates on that second moment of growth. The Walther Collection’s 341 photographs by almost 150 artists, most of them European, together convey a period of collective innovation that is now celebrated as one of the major episodes of modern art.

The Project

Our research is based on the premise that photographs of this period were not born as disembodied images; they are physical things – discrete objects made by certain individuals at particular moments using specific techniques and materials. Shaped by its origin and creation, the photographic print harbors clues to its maker and making, to the causes it may have served, and to the treatment it has received, and these bits of information, gathered through close examination of the print, offer fresh perspectives on the history of the era. “Object:Photo” – the title of this study – reflects this approach.

In 2010, the Andrew W. Mellon Foundation gave the Museum a grant to encourage deep scholarly study of the Walther Collection and to support publication of the results. Led by the Museum’s Departments of Photography and Conservation, the project elicited productive collaborations among scholars, curators, conservators, and scientists, who investigated all of the factors involved in the making, appearance, condition, and history of each of the 341 photographs in the collection. The broadening of narrow specializations and the cross-fertilization between fields heightened appreciation of the singularity of each object and of its position within the history of its moment. Creating new standards for the consideration of photographs as original objects and of photography as an art form of unusually rich historical dimensions, the project affords both experts and those less familiar with its history new avenues for the appreciation of the medium. The results of the project are presented in multiple parts: on the website, in a hard-bound paper catalogue of the entire Thomas Walther Collection (also titled Object:Photo), and through an interdisciplinary symposium focusing on the ways in which the digital age is changing our engagement with historic photographs.

Historical Context

The Walther Collection is particularly suited to such a study because its photographs are so various in technique, geography, genre, and materials as to make it a mine of diverse data. The revolutions in technology that made the photography of this period so flexible and responsive to the impulse of the operator threw open the field to all comers. The introduction of the handheld Leica
 in 1925 (a small camera using strips of 35mm motion-picture film), of enlargers to make positive prints from the Leica’s little negatives, and of easy-to-use photographic papers – each of these was respectively a watershed event. Immediately sensing the potential of these tools, artists began to explore the medium; without any specialized training, painters such as László Moholy-Nagy and Aleksandr Rodchenko could become photographers and teachers almost overnight. Excitedly and with an open sense of possibility, they freely experimented in the darkroom and in the studio, producing negative prints, collages and photomontages, photograms, solarizations, and combinations of these. Legions of serious amateurs also began to photograph, and manufacturers produced more types of cameras with different dimensions and capacities: besides the Leica, there was the Ermanox, which could function in low light, motion-picture cameras that could follow and stop action, and many varieties of medium- and larger-format cameras that could be adapted for easy transport. The industry responded to the expanding range of users and equipment with a bonanza of photographic papers in an assortment of textures, colors, and sizes. Multiple purposes also generated many kinds of prints: best for reproduction in books or newspapers were slick, ferrotyped glossies, unmounted and small enough to mail, while photographs for exhibition were generally larger and mounted to stiff boards. Made by practitioners ranging from amateurs to professional portraitists, journalists, illustrators, designers, critics, and artists of all stripes, the pictures in the Walther Collection are a true representation of the kaleidoscopic multiplicity of photography in this period of diversification.

Text from the MoMA website

 

 

Gustav Klutsis. 'Postcard for the All Union Spartakiada Sporting Event' 1928

 

Gustav Klutsis (Latvian, 1895-1938)
Postcard for the All Union Spartakiada Sporting Event
1928
Offset lithograph
5 3/4 x 4 1/8″ (14.1 x 10.5 cm)
The Museum of Modern Art, New York

 

Gustav Klutsis. 'Postcard for the All Union Spartakiada Sporting Event' 1928

 

Gustav Klutsis (Latvian, 1895-1938)
Postcard for the All Union Spartakiada Sporting Event
1928
Offset lithograph
5 3/4 x 4 1/8″ (14.1 x 10.5 cm)
The Museum of Modern Art, New York

 

Gustav Klutsis. 'Postcard for the All Union Spartakiada Sporting Event' 1928

 

Gustav Klutsis (Latvian, 1895-1938)
Postcard for the All Union Spartakiada Sporting Event
1928
Offset lithograph
5 3/4 x 4 1/8″ (14.1 x 10.5 cm)
The Museum of Modern Art, New York

 

Gustav Klutsis. 'Postcard for the All Union Spartakiada Sporting Event' 1928

 

Gustav Klutsis (Latvian, 1895-1938)
Postcard for the All Union Spartakiada Sporting Event
1928
Offset lithograph
5 3/4 x 4 1/8″ (14.1 x 10.5 cm)
The Museum of Modern Art, New York

 

 

Gustav Klutsis (Latvian, 1895-1938)

Latvian painter, sculptor, graphic artist, designer and teacher, active in Russia. He was an important exponent of Russian Constructivism. He studied in Riga and Petrograd (now St Petersburg), but in the 1917 October Revolution joined the Latvian Rifle Regiment to defend the Bolshevik government; his sketches of Lenin and his fellow soldiers show Cubist influence. In 1918 he designed posters and decorations for the May Day celebrations and he entered the Free Art Studios (Svomas) in Moscow, where he studied with Malevich and Antoine Pevsner. Dynamic City (1919; Athens, George Costakis priv. col., see Rudenstine, no. 339) illustrates his adoption of the Suprematist style. In 1920 Klucis exhibited with Pevsner and Naum Gabo on Tver’skoy Boulevard in Moscow; in the same year Klucis joined the Communist Party. In 1920-21 he started experimenting with materials, making constructions from wood and paper that combined the geometry of Suprematism with a more Constructivist concern with actual volumes in space. In 1922 Klucis applied these experiments to utilitarian ends when he designed a series of agitprop stands based on various combinations of loudspeakers, speakers’ platforms, display units, film projectors and screens. He taught a course on colour in the Woodwork and Metalwork Faculty of the Vkhutemas (Higher Artistic and Technical Workshops) from 1924 to 1930, and in 1925 helped to organize the Soviet section at the Exposition Internationale des Arts Décoratifs et Industriels Modernes in Paris. During the 1920s he became increasingly interested in photomontage, using it in such agitprop posters as ‘We will repay the coal debt to the country’ (1928; e.g. New York, MOMA). During the 1930s he worked on graphic and typographical design for periodicals and official publications. He was arrested and died during the purges in World War II.

From Grove Art Online

© 2009 Oxford University Press

 

Willi Ruge. 'Photo of Myself at the Moment of My Jump' (Selbstfoto im Moment des Abspringens) 1931

 

Willi Ruge (German, 1882-1961)
Photo of Myself at the Moment of My Jump (Selbstfoto im Moment des Abspringens)
1931
Gelatin silver print
5 9/16 × 8 1/16″ (14.2 × 20.4 cm)
The Museum of Modern Art, New York
Thomas Walther Collection. Gift of Thomas Walther

 

Willi Ruge. 'With My Head Hanging Down before the Parachute Opened . . .' (Mit dem Kopf nach unten hängend, bei ungeöffnetem Fallschirm . . .) 1931

 

Willi Ruge (German, 1882-1961)
With My Head Hanging Down before the Parachute Opened . . .
(Mit dem Kopf nach unten hängend, bei ungeöffnetem Fallschirm . . .)
1931
Gelatin silver print
5 1/2 × 8″ (14 × 20.3 cm)
The Museum of Modern Art, New York
Thomas Walther Collection. Gift of Thomas Walther

 

Willi Ruge. 'Seconds before Landing' (Sekunden vor der Landung) 1931

 

Willi Ruge (German, 1882-1961)
Seconds before Landing (Sekunden vor der Landung)
From the series I Photograph Myself during a Parachute Jump (Ich fotografiere mich beim Absturz mit dem Fallschirm)
1931
Gelatin silver print
8 1/16 × 5 9/16″ (20.4 × 14.1 cm) (irreg.)
The Museum of Modern Art, New York
Thomas Walther Collection. Gift of Thomas Walther

 

Willi Ruge. 'Seconds before Landing' (Sekunden vor der Landung) 1931 (detail)

 

Willi Ruge (German, 1882-1961)
Seconds before Landing (Sekunden vor der Landung) (detail)
From the series I Photograph Myself during a Parachute Jump (Ich fotografiere mich beim Absturz mit dem Fallschirm)
1931
Gelatin silver print
8 1/16 × 5 9/16″ (20.4 × 14.1 cm) (irreg.)
The Museum of Modern Art, New York
Thomas Walther Collection. Gift of Thomas Walther

 

Unknown photographer. 'British 'Chute Jumpers' 1937

 

Unknown photographer
British ‘Chute Jumpers
1937
Gelatin silver print
5 15/16 x 6 15/16″ (15.1 x 17.6 cm)
The Museum of Modern Art, New York
Thomas Walther Collection. Gift of Thomas Walther

 

Robert Petschow. 'Lines of Modern Industry: Cooling Tower' (Linien der modernen Industrie: Kühlturmanlage) 1920-29

 

Robert Petschow (German, 1888-1945)
Lines of Modern Industry: Cooling Tower (Linien der modernen Industrie: Kühlturmanlage)
1920-29
Gelatin silver print
3 3/8 × 4 1/2″ (8.5 × 11.5 cm)
The Museum of Modern Art, New York
Thomas Walther Collection. Gift of Albert Renger-Patzsch, by exchange

 

Robert Petschow. 'The Course of the Mulde with Sand Deposits in the Curves' (Der Lauf der Mulde mit Versandungen in den Windungen) 1920-33

 

Robert Petschow (German, 1888-1945)
The Course of the Mulde with Sand Deposits in the Curves (Der Lauf der Mulde mit Versandungen in den Windungen)
1920-33
Gelatin silver print
3 3/8 × 4 1/2″ (8.5 × 11.5 cm)
The Museum of Modern Art, New York
Thomas Walther Collection. Gift of Albert Renger-Patzsch, by exchange

 

 

Robert Petschow was studying in Danzig as a free balloon pilot in the West Prussian air force. During the First World War Petschow was a balloon observer with the rank of lieutenant in Poland, France and Belgium. Maybe it was the work of a balloon observer which led him to photography, in which he was worked freelance from 1920. His images appeared in the prestigious photographic yearbook The German photograph in which he was presented with photographers such as Karl Blossfeldt, Albert Renger-Patzsch Chargesheimer and Erich Salomon. The book Land of the Germans, which was published in 1931 by Robert Diesel and includes many photographs of Petschow went on to be published in four editions. In 1931 he journeyed with the airship LZ 127, the “Graf Zeppelin” to Egypt. He participated as an unofficial member of the crew to document the trip photographically. In 1936, at the age of 48 years, Petschow joined the rank of captain in the Air Force and ended his work as a senior editor at the daily newspaper The West, a position he held from 1930. For the following years, there is no information to Petschow.

Robert Petschow died at the age of 57 years on 17 October 1945 in Haldensleben after he had to leave his apartment in Berlin-Steglitz due to the war. He left there a picture archive with about 30,000 aerial photographs, which fell victim of the war. His contemporaries describe Petschow as a humorous person and a great raconteur. (Translated from the German Wikipedia)

 

Aleksandr Rodchenko. 'Dive' (Pryzhok v vodu) 1934

 

Aleksandr Rodchenko (Russian, 1891-1956)
Dive (Pryzhok v vodu)
1934
Gelatin silver print
11 11/16 x 9 3/8″ (29.7 x 23.8 cm)
The Museum of Modern Art, New York
Thomas Walther Collection. Gift of Shirley C. Burden, by exchange

 

Aleksandr Rodchenko. 'Dive' (Pryzhok v vodu) 1934

 

Aleksandr Rodchenko (Russian, 1891-1956)
Dive (Pryzhok v vodu)
1934
Gelatin silver print
11 3/4 × 9 5/16″ (29.9 × 23.6 cm)
The Museum of Modern Art, New York
Thomas Walther Collection. Gift of Shirley C. Burden, by exchange

 

Leni Riefenstahl. 'Nocturnal Start of Decathlon 1,500m Race' (Nächtlicher Start zum 1500-m-Lauf des Zehnkampfes) August 1936

 

Leni Riefenstahl (German, 1902-2003)
Nocturnal Start of Decathlon 1,500m Race
(Nächtlicher Start zum 1500-m-Lauf des Zehnkampfes)

August 1936
Gelatin silver print 9 5/16 x 11 3/4″ (23.7 x 29.8 cm)
The Museum of Modern Art, New York
Thomas Walther Collection. Abbott-Levy Collection funds, by exchange

 

Leni Riefenstahl. 'Untitled' 1936

 

Leni Riefenstahl (German, 1902-2003)
Untitled
1936
Gelatin silver print
9 3/16 x 11 5/8″ (23.4 x 29.5 cm)
The Museum of Modern Art, New York
Thomas Walther Collection. Abbott-Levy Collection funds, by exchange

 

Kate Steinitz 'Backstroke' (Rückenschwimmerinnen) 1930

 

Kate Steinitz (American, born Germany 1889-1975)
Backstroke (Rückenschwimmerinnen)
1930
Gelatin silver print
10 1/2 × 13 7/16″ (26.6 × 34.1 cm)
The Museum of Modern Art, New York
Thomas Walther Collection. Gift of Thomas Walther

 

 

The Modern World

Even before the introduction of the handheld Leica camera in 1925, photographers were avidly exploring fresh perspectives, shaped by the unique experience of capturing the world through a lens and ideally suited to express the tenor of modern life in the wake of World War I. Looking up and down, these photographers found unfamiliar points of view that suggested a new, dynamic visual language freed from convention. Improvements in the light sensitivity of photographic films and papers meant that photographers could capture motion as never before. At the same time, technological advances in printing resulted in an explosion of opportunities for photographers to present their work to ever-widening audiences. From inexpensive weekly magazines to extravagantly produced journals, periodicals exploited the potential of photographs and imaginative layouts, not text, to tell stories. Among the photographers on view in this section are Martin Munkácsi (American, born Hungary, 1896-1963), Leni Riefenstahl (German, 1902-2003), Aleksandr Rodchenko (Russian, 1891-1956), and Willi Ruge (German, 1882-1961).

 

Anne W. Brigman (American, born Hawaii 1869-1950) 'A Study in Radiation' 1924

 

Anne W. Brigman (American, born Hawaii 1869-1950)
A Study in Radiation
1924
Gelatin silver print
7 11/16 × 9 3/4″ (19.6 × 24.8 cm)
The Museum of Modern Art, New York
Thomas Walther Collection. Gift of Mrs. B. S. Sexton and Mina Turner, by exchange

 

Bernard Shea Horne. 'Untitled' 1916-17

 

Bernard Shea Horne (American, 1867-1933)
Untitled
1916-17
Platinum print
8 1/16 × 6 1/8″ (20.5 × 15.5 cm)
The Museum of Modern Art, New York
Thomas Walther Collection. Gift of Thomas Walther

 

Bernard Shea Horne. 'Design' 1916-17

 

Bernard Shea Horne (American, 1867-1933)
Design
1916-17
Platinum print
7 15/16 x 6 1/8″ (20.2 x 15.5 cm)
The Museum of Modern Art, New York
Thomas Walther Collection. Gift of Thomas Walther

 

 

Bernard Shea Horne was the son of Joseph Horne, who built a legendary department store in Pittsburgh. The younger Horne retired from the family business when he was in his thirties and moved to northern Virginia to pursue his interests in golf and photography. In 1916 he enrolled at the Clarence H. White School of Photography, in New York, and became friends with one of its teachers, the avant-garde painter Max Weber. Horne produced numerous Weber-inspired design exercises, which he compiled into albums of twenty Platinum prints each. The four prints in the Thomas Walther Collection belonged to an album that he gave to Weber.

In 1917 Horne was elected president of the White School’s alumni association, a post he retained until 1925. In 1918 instructor Paul L. Anderson left the school, and Horne took his place as teacher of the technique class, a job he held until 1926. That a middle-aged man of independent means commuted to the school several days a week from Princeton, New Jersey, where he then lived with his two sons, suggests Horne’s devotion to White and his Pictorialist aims. During these years, Horne played a major role in the White School’s activities. In 1920 he was given a one-person show in the exhibition room of the school’s new building, a show that the alumni bulletin described as “interesting and varied in subject and technique, rich in bromoils, strong in design.” Supportive of the practical applications of artistic photography, in 1920 White joined his school to other institutions, including the American Institute of Graphic Arts and the Art Directors Club, to form The Art Center in New York. In 1926 Horne was given a one-person show at The Art Center, which marked the end of his active association with the school.

Abbaspour, Mitra, Lee Ann Daffner, and Maria Morris Hambourg

 

Jarislav Rössler. 'Untitled' 1924

 

Jarislav Rössler (Czech, 1902-1990)
Untitled
1924
Pigment print
9 1/16 × 9 1/16″ (23 × 23 cm)
The Museum of Modern Art, New York
Thomas Walther Collection. Horace W. Goldsmith Fund through Robert B. Menschel

 

 

Jaroslav Rössler (1902-1990) was one of the Czech avant-garde photographers of the first half of the twentieth century whose work has only recently become known outside Eastern Europe. Czech photography in the twenties and thirties produced radical modernist works that incorporated principles of abstract art and constructivism; Jaroslav Rossler was one of the most important and distinctive artists of the period. He became known for his fusing of different styles, bringing together elements of symbolism, pictorialism, expressionism, cubism, futurism, constructivism, new objectivity, and abstract art. His photographs often reduced images to elementary lines and shapes that seemed to form a new reality; he would photograph simple objects against a stark background of black and white, or use long exposures to picture hazy cones and spheres of light. From 1927 to 1935 he lived and worked in Paris, producing work influenced by constructivism and new objectivity. He used the photographic techniques and compositional approaches of the avant-garde, including photograms, large details, diagonal composition, photomontage, and double exposures, and experimented with color advertising photographs and still lifes produced with the carbro print process. After his return to Prague, he was relatively inactive until the late 1950s, when he reconnected with Czech artistic and photographic trends of that period, including informalism. This book documents each stage of Rossler’s career with a generous selection of duotone images, some of which have never been published before. The photographs are accompanied by texts by Vladimir Birgus, Jan Mlcoch, Robert Silverio, Karel Srp, and Matthew Witkovsky. (Amazon)

 

Manuel Álvarez Bravo. 'A Fish Called Sierra' (Un pez que llaman sierra) 1944

 

Manuel Álvarez Bravo (Mexican, 1902-2002)
A Fish Called Sierra (Un pez que llaman sierra)
1944
Gelatin silver print
9 1/2 x 7 1/4″ (24.1 x 18.4 cm)
The Museum of Modern Art, New York
Thomas Walther Collection
Edward Steichen Estate and gift of Mrs. Flora S. Straus, by exchange

 

Manuel Alvarez Bravo. 'Somewhat Gay and Graceful' (Un poco alegre y graciosa) 1942

 

Manuel Alvarez Bravo (Mexican, 1902-2002)
Somewhat Gay and Graceful (Un poco alegre y graciosa)
1942
Gelatin silver print
6 5/8 × 9 1/2″ (16.9 × 24.2 cm)
The Museum of Modern Art, New York
Thomas Walther Collection. Grace M. Mayer Fund

 

Manuel Alvarez Bravo. 'Day of Glory' (Día de gloria) 1940s

 

Manuel Alvarez Bravo (Mexican, 1902-2002)
Day of Glory (Día de gloria)
1940s
Gelatin silver print
6 3/4 × 9 1/2″ (17.2 × 24.2 cm)
The Museum of Modern Art, New York
Thomas Walther Collection. Grace M. Mayer Fund

 

Edward Weston. 'Steel: Armco, Middletown, Ohio' October 1922

 

Edward Weston (American, 1886-1958)
Steel: Armco, Middletown, Ohio
October 1922
Palladium print
9 1/16 × 6 7/8″ (23 × 17.4 cm)
The Museum of Modern Art, New York
Thomas Walther Collection. Gift of Thomas Walther

 

 

In Edward Weston’s journals, which he began on his trip to Ohio and New York in fall 1922, the artist wrote of the exhilaration he felt while photographing the “great plant and giant stacks of the American Rolling Mill Company” in Middletown, Ohio. He then went to see the great photographer and tastemaker Alfred Stieglitz. Were he still publishing the magazine Camera Work, Stieglitz told him, he would have reproduced some of Weston’s recent images in it, including, in particular, one of his smokestacks. The photograph’s clarity and the photographer’s frank awe at the beauty of the brute industrial subject seemed clear signs of advanced modernist tendencies.

In moving away from the soft focus and geometric stylization of his recent images, such as Attic of 1921 (MoMA 1902.2001), Weston was discovering a more straightforward approach, one of considered confrontation with the facts of the larger world much like that of his close friend Johan Hagemeyer, who was photographing such modern subjects as smokestacks, telephone wires, and advertisements. Shortly before his trip east, Weston had met R. M. Schindler, the Austrian architect, and had been excited by his unapologetically spare, modern house and its implications for art and design. Weston was also reading avant-garde European art magazines full of images and essays extolling machines and construction. Stimulated by these currents, Weston saw that by the time he got to Ohio he was “ripe to change, was changing, yes changed.”

The visit to Armco was the critical pivot, the hinge between Weston’s Pictorialist past and his modernist future. It marked a clear leave-taking from his bohemian circle in Los Angeles and the first step toward the cosmopolitan connections he made in New York and in Mexico City, where he moved a few months later to live with the Italian actress and artist Tina Modotti. The Armco photographs went with him and became talismans of the sea change, emblematic works that decorated his studio in Mexico, along with a Japanese print and a print by Picasso. When he sent a representation of his best work to the Film und Foto exhibition in Stuttgart in 1929, one of the smokestacks was included.

In the midst of such transformation, Weston maintained tried-and-true darkroom procedures. He had used an enlarger in earlier years but had abandoned the technique because he felt that too much information was lost in the projection. Instead he increasingly favored contact printing. To make the smokestack print, Weston enlarged his 3 ¼ by 4 ¼ inch (8.3 by 10.8 centimeter) original negative onto an 8 by 10 inch (20.3 by 25.4 centimeter) interpositive transparency, which he contact printed to a second sheet of film in the usual way, creating the final 8 by 10 inch negative. Weston was frugal; he was known to economize by purchasing platinum and palladium paper by the roll from Willis and Clements in England and trimming it to size. He exposed a sheet of palladium paper to the sun through the negative and, after processing the print, finished it by applying aqueous retouching media to any flaws. The fragile balance of the photograph’s chemistry, however, is evinced in a bubble-shaped area of cooler tonality hovering over the central stacks. The print was in Modotti’s possession at the time of her death in Mexico City, in 1942.

Lee Ann Daffner, Maria Morris Hambourg

 

Edward Weston. 'Boat, San Francisco' 1925

 

Edward Weston (American, 1886-1958)
Boat, San Francisco
1925
Gelatin silver print
9 5/16 x 7 9/16″ (23.7 x 19.2 cm)
The Museum of Modern Art, New York
Thomas Walther Collection. Grace M. Mayer Fund

 

Edward Weston (American, 1886-1958) 'Tina' January 30, 1924

 

Edward Weston (American, 1886-1958)
Tina
January 30, 1924
Gelatin silver print
9 1/16 x 6 7/8″ (23 x 17.5 cm)
The Museum of Modern Art, New York
Thomas Walther Collection. Grace M. Mayer Fund and The Fellows of Photography Fund, by exchange

 

Karl Blossfeldt (German, 1865-1932) 'Acanthus mollis' (Acanthus mollis [Akanthus, Bärenklau. Deckblätter, die Blüten sind entfernt, in 4facher Vergrößerung]) 1898-1928

 

Karl Blossfeldt (German, 1865-1932)
Acanthus mollis (Acanthus mollis [Akanthus, Bärenklau. Deckblätter, die Blüten sind entfernt, in 4facher Vergrößerung])
1898-1928
Gelatin silver print
11 3/4 × 9 3/8″ (29.8 × 23.8 cm)
The Museum of Modern Art, New York
Thomas Walther Collection. Gift of Thomas Walther

 

 

Purisms

The question of whether photography ought to be considered a fine art was hotly contested from its invention in 1839 into the 20th century. Beginning in the 1890s, in an attempt to distinguish their efforts from hoards of Kodak-wielding amateurs and masses of professionals, “artistic” photographers referred to themselves as Pictorialists. They embraced soft focus and painstakingly wrought prints so as to emulate contemporary prints and drawings, and chose subjects that underscored the ethereal effects of their methods. Before long, however, most avant-garde photographers had come to celebrate precise and distinctly photographic qualities as virtues. On both sides of the Atlantic, photographers were making this transition from Pictorialism to modernism, while occasionally blurring the distinction. Exhibition prints could be made with precious platinum or palladium, or matte surfaces that mimicked those materials. Perhaps nowhere is this variety more clearly evidenced than in the work of Edward Weston, whose suite of prints in this section suggests the range of appearances achievable with unadulterated contact prints from his large-format negatives. Other photographers on view include Karl Blossfeldt (German, 1865-1932), Manuel Álvarez Bravo (Mexican, 1902-2002), Jaromír Funke (Czech, 1896-1945), Bernard Shea Horne (American, 1867-1933), and Alfred Stieglitz (American, 1864-1946).

 

Alvin Langdon Coburn (American, 1882-1966) 'Vortograph' 1916-17

 

Alvin Langdon Coburn (American, 1882-1966)
Vortograph
1916-17
Gelatin silver print
11 1/8 x 8 3/8″ (28.2 x 21.2 cm)
The Museum of Modern Art, New York
Thomas Walther Collection. Grace M. Mayer Fund

 

 

Vortograph

The intricate patterns of light and line in this photograph, and the cascading tiers of crystalline shapes, were generated through the use of a kaleidoscopic contraption invented by the American/British photographer Alvin Langdon Coburn, a member of London’s Vorticist group. To refute the idea that photography, in its helplessly accurate capture of scenes in the real world, was antithetical to abstraction, Coburn devised for his camera lens an attachment made up of three mirrors, clamped together in a triangle, through which he photographed a variety of surfaces to produce the results in these images. The poet and Vorticist Ezra Pound coined the term “vortographs” to describe Coburn’s experiments. Although Pound went on to criticize these images as lesser expressions than Vorticist paintings, Coburn’s work would remain influential.

 

Reinventing Photography – Here Comes New Photographer 

In 1925, László Moholy-Nagy articulated an idea that became central to the New Vision movement: although photography had been invented 100 years earlier, it was only now being discovered by the avant-garde circles for all its aesthetic possibilities. As products of technological culture, with short histories and no connection to the old fine-art disciplines – which many contemporary artists considered discredited – photography and cinema were seen as truly modern instruments that offered the greatest potential for transforming visual habits. From the photogram to solarization, from negative prints to double exposures, the New Vision photographers explored the medium in countless ways, rediscovering known techniques and inventing new ones. Echoing the cinematic experiments of the same period, this emerging photographic vocabulary was rapidly adopted by the advertising industry, which appreciated the visual efficiency of its bold simplicity. Florence Henri (Swiss, born America, 1893-1982), Edward Quigley (American, 1898-1977), Franz Roh (German, 1890-1965), Franciszka Themerson and Stefan Themerson (British, born Poland, 1907-1988 and 1910-1988), and František Vobecký (Czech, 1902-1991) are among the numerous photographers represented here.

 

André Kertész. 'Magda, Mme Beöthy, M. Beöthy, and Unknown Guest, Paris' 1926-29

 

André Kertész (American, born Hungary 1894-1985)
Magda, Mme Beöthy, M. Beöthy, and Unknown Guest, Paris
1926-29
Gelatin silver print
3 1/8 × 3 7/8″ (7.9 × 9.8 cm)
The Museum of Modern Art, New York
Thomas Walther Collection. Gift of Thomas Walther

 

André Kertész. 'Mondrian's Glasses and Pipe' 1926

 

André Kertész (American, born Hungary 1894-1985)
Mondrian’s Glasses and Pipe
1926
Gelatin silver print
3 1/8 × 3 11/16″ (7.9 × 9.3 cm)
The Museum of Modern Art, New York
Thomas Walther Collection. Grace M. Mayer Fund

 

Unknown Photographer. 'White Party, Dessau' (Weißes Fest, Dessau) March 20, 1926

 

Unknown Photographer
White Party, Dessau (Weißes Fest, Dessau)
March 20, 1926
Gelatin silver print
3 x 1 15/16″ (7.6 x 5 cm)
The Museum of Modern Art, New York
Thomas Walther Collection. Acquired through the generosity of Howard Stein

 

Iwao Yamawaki. 'Lunch (12-2 p.m.)' (Mittagessen [12-2 Uhr]) 1931

 

Iwao Yamawaki (Japanese, 1898-1987)
Lunch (12-2 p.m.) (Mittagessen [12-2 Uhr])
1931
Gelatin silver print
6 7/16 × 4 5/8″ (16.3 × 11.7 cm)
The Museum of Modern Art, New York
Thomas Walther Collection. Abbott-Levy Collection funds, by exchange

 

Gertrud Arndt. 'At the Masters' Houses' (An den Meisterhäusern) 1929-30

 

Gertrud Arndt (German, 1903-2000)
At the Masters’ Houses (An den Meisterhäusern)
1929-30
Gelatin silver print
8 7/8 x 6 1/4″ (22.6 x 15.8 cm)
The Museum of Modern Art, New York
Thomas Walther Collection. Gift of Thomas Walther

 

 

Gertrud Arndt (née Hantschk; 20 September 1903 – 10 July 2000) was a photographer associated with the Bauhaus movement. She is remembered for her pioneering series of self-portraits from around 1930.

Arndt’s photography, forgotten until the 1980s, has been compared to that of her contemporaries Marta Astfalck-Vietz and Claude Cahun. Over the five years when she took an active interest in photography, she captured herself and her friends in various styles, costumes and settings in the series known as Masked Portraits. Writing for Berlin Art Link, Angela Connor describes the images as “ranging from severe to absurd to playful.” Today Arndt is considered to be a pioneer of female self-portraiture, long predating Cindy Sherman and Sophie Calle. (Wikipedia)

 

Iwao Yamawaki (Japanese, 1898-1987) 'Untitled' 1931

 

Iwao Yamawaki (Japanese, 1898-1987)
Untitled
1931
Gelatin silver print
8 11/16 x 6 1/2″ (22 x 16.5 cm)
The Museum of Modern Art, New York
Thomas Walther Collection. Abbott-Levy Collection funds, by exchange

 

Hajo Rose. 'Untitled (Self-Portrait)' 1931

 

Hajo Rose (German, 1910-1989)
Untitled (Self-Portrait)
1931
Gelatin silver print
9 7/16 × 7 1/16″ (23.9 × 17.9 cm)
The Museum of Modern Art, New York
Thomas Walther Collection. Gift of Thomas Walther

 

 

‘Finally – a house made of steel and glass!’ This was the enthusiastic reaction of Hajo Rose (1910-1989) to the Bauhaus building in Dessau when he began his studies there in 1930. Rose promoted the methods of the Bauhaus throughout his lifetime: as a lecturer at universities in Amsterdam, Dresden and Leipzig, and also as an artist and photographer.

Hajo Rose experimented with a wide variety of materials and techniques. The photomontage of his self-portrait combined with the Dessau Bauhaus building (c. 1930), the surrealism of his photograph Seemannsbraut (Sailor’s Bride, 1934), and the textile print designs that he created with a typewriter (1932) are examples of the extraordinary creativity of this artist. He also contributed to an advertising campaign for the Jena Glass Company: the first heat-resistant household glassware stood for modern product design and is still regarded as a kitchen classic today.

Shortly before the Bauhaus was closed, Hajo Rose was one of the last students to receive his diploma. Subsequent periods in various cities shaped his biography, which is a special example of the migratory experience shared by many Bauhaus members after 1933. After one year as an assistant in the Berlin office of László Moholy-Nagy, Hajo Rose immigrated to The Netherlands together with Paul Guermonprez, a Bauhaus colleague, in 1934. He worked there as a commercial artist and taught at the Nieuwe Kunstschool in Amsterdam. At the 1937 World Exposition in Paris, he won an award for his poster ‘Amsterdam’. After the Second World War, Rose worked as a graphic designer, photographer and teacher in Dresden and Leipzig. He continued to advocate Bauhaus ideas in the GDR, even though the Bauhaus was regarded in East Germany as bourgeois and formalistic well into the 1960s. Rose resigned from the Socialist Unity Party (SED) – in spite of the loss of his teaching position as a consequence. From that time, he worked as one of the few freelance graphic designers in the GDR. Hajo Rose died at the age of 79 – shortly before the fall of the Berlin Wall.

 

Edward Steichen (American, born Luxembourg 1879-1973) 'Gertrude Lawrence' 1928

 

Edward Steichen (American, born Luxembourg 1879-1973)
Gertrude Lawrence
1928
Gelatin silver print
9 7/16 × 7 9/16″ (24 × 19.2 cm)
The Museum of Modern Art, New York
Thomas Walther Collection. Edward Steichen Estate and gift of Mrs. Flora S. Straus, by exchange

 

 

The Artist’s Life

Photography is particularly well suited to capturing the distinctive nuances of the human face, and photographers delighted in and pushed the boundaries of portraiture throughout the 20th century. The Thomas Walther Collection features a great number of portraits of artists and self-portraits as varied as the individuals portrayed. Additionally, the collection conveys a free-spirited sense of community and daily life, highlighted here with photographs made by André Kertész and by students and faculty at the Bauhaus. When the Hungarian-born Kertész moved to Paris in 1925, he couldn’t afford to purchase photographic paper, so he would print on less expensive postcard stock. These prints, whose small scale requires that the viewer engage with them intimately, function as miniature windows into the lives of Kertész’s bohemian circle of friends. The group of photographs made at the Bauhaus in the mid-1920s, before the medium was formally integrated into the school’s curriculum, similarly expresses friendships and everyday life captured and printed in an informal manner. Portraits by Claude Cahun (French, 1894-1954), Lotte Jacobi (American, born Germany, 1896-1990), Lucia Moholy (British, born Czechoslovakia, 1894-1989), Man Ray (American, 1890-1976), August Sander (German, 1876-1964) and Edward Steichen (American, born Luxembourg, 1879-1973) are among the highlights of this gallery.

 

Aenne Biermann. 'Summer Swimming' (Sommerbad) 1925-30

 

Aenne Biermann (German, 1898-1933)
Summer Swimming (Sommerbad)
1925-30
Gelatin silver print
7 x 7 7/8″ (17.8 x 20 cm)
The Museum of Modern Art, New York
Thomas Walther Collection. Bequest of Ilse Bing, by exchange

 

 

Aenne Biermann (March 8, 1898 – January 14, 1933), born Anna Sibilla Sternfeld, was a German photographer of Ashkenazi origin. She was one of the major proponents of New Objectivity, a significant art movement that developed in Germany in the 1920s.

Biermann was a self-taught photographer. Her first subjects were her two children, Helga and Gershon. The majority of Biermann’s photographs were shot between 1925 and 1933. Gradually she became one of the major proponents of New Objectivity, an important art movement in the Weimar Republic. Her work became internationally known in the late 1920s, when it was part of every major exhibition of German photography.

Major exhibitions of her work include the Munich Kunstkabinett, the Deutscher Werkbund and the exhibition of Folkwang Museum in 1929. Other important exhibitions include the exhibition entitled Das Lichtbild held in Munich in 1930 and the 1931 exhibition at the Palace of Fine Arts (French: Palais des Beaux Arts) in Brussels. Since 1992 the Museum of Gera has held an annual contest for the Aenne Biermann Prize for Contemporary German Photography, which is one of the most important events of its kind in Germany. (Wikipedia)

 

Helmar Lerski. 'Metamorphosis 601' (Metamorphose 601) 1936

 

Helmar Lerski (Swiss, born Germany 1871-1956)
Metamorphosis 601 (Metamorphose 601)
1936
Gelatin silver print
11 7/16 × 9 1/16″ (29 × 23 cm)
The Museum of Modern Art, New York
Thomas Walther Collection. The Family of Man Fund

 

 

There can hardly be another name in the international history of photography whose work has been so frequently misunderstood and so controversially evaluated as that of Helmar Lerski (1871-1956). “In every human being there is everything; the question is only what the light falls on”. Guided by this conviction, Lerski took portraits that did not primarily strive for likeness but which left scope for the viewer’s imagination, thus laying himself open to the criticism of betraying the veracity of the photographic image.

… Lerski’s pictures were only partly in line with the maxims of the New Photography, and they questioned the validity of pure objectivity. The distinguishing characteristics of his portraits included a theatrical-expressionistic, sometimes dramatic use of lighting inspired by the silent film. Although his close-up photographs captured the essential features of a face – eyes, nose and mouth -, his primary concern was not individual appearance or superficial likeness but the deeper inner potential: he emphasised the changeability, the different faces of an individual. Lerski, who sympathised with the political left wing, thereby infiltrated the photography of types that was practised  (and not infrequently misused for racist purposes) by many of Lerski’s contemporaries.

… Helmar Lerski’s attitude was at its most radical in his work entitled Metamorphosis. This was completed within a few months at the beginning of 1936 in Palestine, to where Lerski and his second wife Anneliese had immigrated in 1932. In Verwandlungen durch Licht (this is the second title for this work), Lerski carried his theatrical talent to extremes. With the help of up to 16 mirrors and filters, he directed the natural light of the sun in constant new variations and refractions onto his model, the Bernese-born, at the time out-of-work structural draughtsman and light athlete Leo Uschatz. Thus he achieved, in a series of over 140 close-ups “hundreds of different faces, including that of a hero, a prophet, a peasant, a dying soldier, an old woman and a monk from one single original face” (Siegfried Kracauer). According to Lerski, these pictures were intended to provide proof “that the lens does not have to be objective, that the photographer can, with the help of light, work freely, characterise freely, according to his inner face.” Contrary to the conventional idea of the portrait as an expression of human identity, Lerski used the human face as a projection surface for the figures of his imagination. We are only just becoming aware of the modernity of this provocative series of photographs.

Peter Pfrunder
Fotostiftung Schweiz

 

Max Burchartz. 'Lotte (Eye)' (Lotte [Auge]) 1928

 

Max Burchartz (German, 1887-1961)
Lotte (Eye) (Lotte [Auge])
1928
Gelatin silver print
11 7/8 x 15 3/4″ (30.2 x 40 cm)
The Museum of Modern Art, New York
Thomas Walther Collection. Acquired through the generosity of Peter Norton

 

Stanislaw Ignacy Witkiewicz. 'Anna Oderfeld, Zakopane' 1911-12

 

Stanisław Ignacy Witkiewicz (Polish, 1885-1939)
Anna Oderfeld, Zakopane
1911-12
Gelatin silver print 6 11/16 × 4 3/4″ (17 × 12.1 cm)
The Museum of Modern Art, New York
Thomas Walther Collection. Gift of Mrs. Willard Helburn, by exchange

 

Edmund Kesting. 'Glance to the Sun' (Blick zur Sonne) 1928

 

Edmund Kesting (German, 1892-1970)
Glance to the Sun (Blick zur Sonne)
1928
Gelatin silver print
13 1/16 x 14 1/2″ (33.2 x 36.8 cm)
The Museum of Modern Art, New York
Thomas Walther Collection. Gift of Thomas Walther

 

 

Edmund Kesting (27 July 1892, Dresden – 21 October 1970, Birkenwerder) was a German photographer, painter and art professor. He studied until 1916 at the Dresden Academy of Fine Arts before participating as a soldier in the First World War, upon returning his painting teachers were Richard Müller and Otto Gussmann and in 1919 he began to teach as a professor at the private school Der Weg. In 1923 he had his first exposition in the gallery Der Sturm in which he showed photograms. When Der Weg opened a new academy in Berlin in 1927, he moved to the capital.

He formed relations with other vanguardists in Berlin and practiced various experimental techniques such as solarization, multiple images and photograms, for which reason twelve of his works were considered degenerate art by the Nazi regime and were prohibited. Among the artists with whom he interacted are Kurt Schwitters, László Moholy-Nagy, El Lissitzky and Alexander Archipenko. At the end of World War II he formed part of a Dresden artistic group known as Künstlergruppe der ruf – befreite Kunst (Call to an art in freedom) along with Karl von Appen, Helmut Schmidt-Kirstein and Christoph Hans, among others. In this city he made an experimental report named Dresdner Totentanz (Dance of death in Dresden) as a condemnation of the bombing of the city. In 1946 he was named a member of the Academy of Art in the city.

He participated in the controversy between socialist realism and formalism that took place in the German Democratic Republic, therefore his work was not realist and could not be shown in the country between 1949 and 1959. In 1955 he began to experiment with chemical painting, making photographs without the use of a camera and only with the use of chemical products such as the developer and the fixer and photographic paper, for which he made exposures to light using masks and templates. Between 1956 and 1967 he was a professor at the Academy of Cinema and Television of Potsdam.

His artistic work was not recognized by the authorities of the German Democratic Republic until 1980, ten years after his death. (Wikipedia)

 

Maurice Tabard. 'Am I Beautiful?' (Suis-je belle?) 1929

 

Maurice Tabard (French, 1897-1984)
Am I Beautiful? (Suis-je belle?)
1929
Gelatin silver print
9 5/16 × 6 15/16″ (23.6 × 17.7 cm)
The Museum of Modern Art, New York
Thomas Walther Collection. Gift of Shirley C. Burden, by exchange

 

 

Between Surrealism and Magic Realism

In the mid-1920s, European artistic movements ranging from Surrealism to New Objectivity moved away from a realist approach by highlighting the strange in the familiar or trying to reconcile dreams and reality. Echoes of these concerns, centered on the human figure, can be found in this gallery. Some photographers used anti-naturalistic methods – capturing hyperreal, close-up details; playing with scale; and rendering the body as landscape – to challenge the viewer’s perception. Others, in line with Sigmund Freud’s definition of “the uncanny” as an effect that results from the blurring of distinctions between the real and the fantastic, offered visual plays on life and the lifeless, the animate and the inanimate, confronting the human body with surrogates in the form of dolls, mannequins, and masks. Photographers influenced by Surrealism, such as Maurice Tabard, subjected the human figure to distortions and transformations by experimenting with photographic techniques either while capturing the image or while developing it in the darkroom. Additional photographers on view include Aenne Biermann (German, 1898-1933), Jacques-André Boiffard (French, 1902-1961), Max Burchartz (German, 1887-1961), Helmar Lerski (Swiss, 1871-1956), and Stanisław Ignacy Witkiewicz (Polish, 1885-1939)

 

Berenice Abbott. 'Daily News Building, 220 East 42nd Street, Manhattan' November 21, 1935

 

Berenice Abbott (American, 1898-1991)
Daily News Building, 220 East 42nd Street, Manhattan
November 21, 1935
Gelatin silver print
9 5/8 × 7 1/2″ (24.4 × 19.1 cm)
The Museum of Modern Art, New York
Thomas Walther Collection. Abbott-Levy Collection funds, by exchange

 

Marjorie Content. 'Steamship Pipes, Paris' Winter 1931

 

Marjorie Content (American, 1895-1984)
Steamship Pipes, Paris
Winter 1931
Gelatin silver print
3 13/16 × 2 11/16″ (9.7 × 6.8 cm)
The Museum of Modern Art, New York
Thomas Walther Collection. Gift of Andreas Feininger, by exchange

 

 

Marjorie Content (1895-1984) was an American photographer active in modernist social and artistic circles. Her photographs were rarely published and never exhibited in her lifetime, but have become of interest to collectors and art historians. Her work has been collected by the Metropolitan Museum of Art and the Chrysler Museum of Art; it has been the subject of several solo exhibitions. (Wikipedia)

Marjorie Content (1895-1984) was a modest and unpretentious photographer who kept her work largely to herself, never published or exhibited. Overshadowed by such close friends as Georgia O’Keefe and Alfred Stieglitz, she was more comfortable as a muse and source of encouragement for others, including her fourth husband, poet Jean Toomer. This text presents her beautiful, varied photographs and provides a glimpse into her life. Her pictures portray a variety of images including: New York’s frenetic cityscape distilled to essential patterns and rhythms; the Southwestern light and heat along with the strength and dignity of the Taos pueblo culture; and cigarettes and other everyday items arranged in jewel-like compositions. The discovery of the quality and extent of her work is proof that an artist’s determination can surmount a lack of recognition in her lifetime. (Amazon)

 

Walker Evans. 'Votive Candles, New York City' 1929-30

 

Walker Evans (American, 1903-1975)
Votive Candles, New York City
1929-30
Gelatin silver print
8 1/2 x 6 15/16″ (21.6 x 17.7 cm)
The Museum of Modern Art, New York
Thomas Walther Collection. Gift of Willard Van Dyke and Mr. and Mrs. Alfred H. Barr, Jr., by exchange

 

Georgii Zimin. 'Untitled' 1926

 

Georgii Zimin (Russian, 1900-1985)
Untitled
1926
Gelatin silver print
3 11/16 x 3 1/4″ (9.4 x 8.3 cm)
The Museum of Modern Art, New York
Thomas Walther Collection. Gift of Thomas Walther

 

 

Georgii Zimin was born in Moscow in 1900, where he lived and worked for his entire life. Before the Russian Revolution he enrolled as a student at the Artistic-Industrial Stroganov Institute, known after 1918 as SVOMAS (Free state art studios). Zimin continued his studies at VKhUTEMAS (Higher state artistic and technical studios), which replaced SVOMAS in 1920. It was during his time at the school that he published the portfolio Skrjabin in Lukins Tanz (Scriabin in Lukin’s dance), in an edition of one hundred. This set of Cubo-Futurist lithographs from 1922 features costumed dancers in erotic poses, complementing a ballet choreographed by Lev Lukin. This work garnered Zimin acknowledgment by the Academy of Arts and Sciences and marked his affiliation with the Russian Art of Movement group. Throughout the 1920s he showed regularly at Art of Movement exhibitions at GAKhN (State academy for artistic sciences), in Moscow. Zimin also experimented with photography in the late 1920s and early 1930s, producing photograms akin to those made by László Moholy-Nagy and others at the time. Later in life, he served as Art Director of Exhibitions at the Department of Trade and held a post at the All-Union Agricultural Exhibition. – Ksenia Nouril

 

Umbo (Otto Umbehr) 'Mystery of the Street' (Mysterium der Strasse) 1928

 

Umbo (Otto Umbehr) (German, 1902-1980)
Mystery of the Street (Mysterium der Strasse)
1928
Gelatin silver print
11 7/16 x 9 1/4″ (29 x 23.5 cm)
The Museum of Modern Art, New York
Thomas Walther Collection. Gift of Shirley C. Burden, by exchange

 

 

Trained at the Bauhaus under Johannes Itten, a master of expressivity, Berlin-based photographer Umbo (born Otto Umbehr) believed that intuition was the source of creativity. To this belief, he added Constructivist structural strategies absorbed from Theo Van Doesburg, El Lissitzky, and others in Berlin in the early twenties. Their influence is evident in this picture’s diagonal, abstract construction and its spatial disorientation. It is also classic Umbo, encapsulating his intuitive vision of the world as a resource of poetic, often funny, ironic, or dark bulletins from the social unconscious.

After he left the Bauhaus, Umbo worked as assistant to Walther Ruttmann on his film Berlin, Symphony of a Great City 1926. In 1928, photographing from his window either very early or very late in the day and either waiting for his “actors” to achieve a balanced composition or, perhaps, positioning them as a movie director would, Umbo exposed three negatives. He had an old 5 by 7 inch (12.7 by 17.8 centimeter) stand camera and a 9 by 12 centimeter (3 9/16 by 4 ¾ inch) Deckrullo Contessa-Nettle camera, but which he used for these overhead views is not known, as he lost all his prints and most negatives in the 1943 bombing of Berlin. The resulting images present a world in which the shadows take the active role. Umbo made the insubstantial rule the corporeal and the dark dominate the light through a simple but inspired inversion: he mounted the pictures upside down (note the signature in ink in the lower right).

In 1928-29, Umbo was a founding photographer at Dephot (Deutscher Photodienst), a seminal photography agency in Berlin dedicated to creating socially relevant and visually fascinating photoessays, an idea originated by Erich Solomon. Simon Guttmann, who directed the business, hired creative nonconformists, foremost among them the bohemian Umbo, who slept in the darkroom; Umbo in turn drew the brothers Lore Feininger and Lyonel Feininger to the agency, which soon also boasted Robert Capa and Felix H. Man. Dephot hired Dott, the best printer in Berlin, and it was he who made the large exhibition prints, such as this one, ordered by New York gallerist Julien Levy when he visited the agency in 1931. Umbo showed thirty-nine works, perhaps also printed by Dott, in the 1929 exhibition Film und Foto, and he put Guttmann in touch with the Berlin organizer of the show; accordingly, Dephot was the source for some images in the accompanying book, Es kommt der neue Fotograf! (Here comes the new photographer!). Levy introduced Umbo’s photographs to New York in Surréalisme (January 1932) and showcased them again at the Julien Levy Gallery, together with images by Herbert Bayer, Jacques-André Boiffard, Roger Parry, and Maurice Tabard, in his 1932 exhibition Modern European Photography.

Maria Morris Hambourg, Hanako Murata

 

Umbo (Otto Umbehr). 'Six at the Beach' (Sechs am Strand) 1930

 

Umbo (Otto Umbehr) (German, 1902-1980)
Six at the Beach (Sechs am Strand)
1930
Gelatin silver print
9 3/8 × 7 1/8″ (23.8 × 18.1 cm)
The Museum of Modern Art, New York
Thomas Walther Collection. Gift of Shirley C. Burden, by exchange

 

Alvin Langdon Coburn. 'The Octopus' 1909

 

Alvin Langdon Coburn (American, 1882-1966)
The Octopus
1909
Gelatin silver print
22 1/8 × 16 3/4″
(56.2 × 42.6 cm)
The Museum of Modern Art, New York
Thomas Walther Collection. Gift of Thomas Walther

 

 

Dynamics of the City – Symphony of a Great City 

In his 1928 manifesto “The Paths of Contemporary Photography,” Aleksandr Rodchenko advocated for a new photographic vocabulary that would be more in step with the pace of modern urban life and the changes in perception it implied. Rodchenko was not alone in this quest: most of the avant-garde photographers of the 1920s and 1930s were city dwellers, striving to translate the novel and shocking experience of everyday life into photographic images. Equipped with newly invented handheld cameras, they used unusual vantage points and took photos as they moved, struggling to re-create the constant flux of images that confronted the pedestrian. Reflections in windows and vitrines, blurry images of quick motions, double exposures, and fragmentary views portray the visual cacophony of the metropolis. The work of Berenice Abbott (American, 1898- 1991), Alvin Langdon Coburn (American, 1882-1966), Germanie Krull (Dutch, born Germany, 1897-1985), Alexander Hackenschmied (Czech, 1907-2004), Umbo (German, 1902-1980), and Imre Kinszki (Hungarian, 1901-1945) is featured in this final gallery.

 

 

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22
Mar
15

Exhibition: ‘Juvenilia: Peter Milne’ at Strange Neighbour, Fitzroy, Melbourne

Exhibition dates: 27th February 27th – 28th March, 2015

Curators: Helen Frajman and Linsey Gosper

 

For those of you that remember The Venue, St Kilda and Razor Club, this posting is for you.

This is a FAB exhibition of the life and times of Nick Cave, Roland S Howard, Genevieve McGuckin, Polly Borland, The Boys Next Door, The Birthday Party et al. Peter Milne… the photographs are fantastic, perfectly capturing the spirit, youth and electricity of the times. My god, everyone is so young, so skinny and Roland is SO androgynous in quite a few of the photos – all eyeliner and come to bed eyes.

Although I never mixed in these circles I occasionally went to The Venue, but Razor was definitely the place to be. One enduring memory was of me, totally off my face on a big party night, climbing up past the ladies loo using the gutter down pipes up to the first floor balcony and clambering over, so that I could go and get someone from management to let us all in.

The hang of the exhibition is perfect. In a flow of images, here is Peter Milne at 17 sitting on a couch with Roland S Howard reading Playboy; Polly Borland at home with a broken, unlit fag hanging from her mouth; and the most beautiful, colour photograph of Nick Cave and Rowland S Howard after Birthday Party gig (1982, below) with arms around each, Nick planting a kiss on the dapper Roland, flocked wallpaper behind. Youth, innocence, life, love, beauty and nostalgia all rolled into one. Gen (Genevieve McGuckin), long-time partner of Roland, has been a friend of mine for years and so it is wonderful to see photographs of her in her youth, as vivacious and as delightful now as then.

I loved every second of this exhibition. The creativity of the people, the vibrancy of the ad hoc poses and the sheer joy of living the life – coupled with the magic of the insightful, intuitive images – make this a must see exhibition. If you do anything in Melbourne this coming week, go see this show (ends Saturday, 28th March).

Dr Marcus Bunyan

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Many thankx to Strange Neighbour and Peter Milne for allowing me to publish the photographs in the posting. Please click on the photographs for a larger version of the image. All images courtesy of the artist and M.33. Download the Juvenilia web essay (2.7Mb pdf)

 

 

“Juvenilia brings together for the first time 100 astonishing photographs of friends and family taken by renowned Victorian artist Peter Milne when he was a very young man. Warm, intimate, surprising and already displaying the great compositional skills, originality and humour for which Milne is known, these images offer an unprecedented peep into mid 1970s to mid 1980s Melbourne and a milieu of people who would go on to play pivotal roles in Melbourne’s burgeoning cultural scene.

Starting in 1976 when Milne was 16 and photographing school friends Gina Riley and Rowland S Howard, through to images of the legendary band, the Boys Next Door lounging in Nick Cave’s bedroom in his parents’ house, the first Boys Next Door gig and photo shoot, parties, trips to the country, outings to the beach, rehearsals and a full length photo essay tracing A Day in the Life of Rowland S Howard, the photographs feature a dazzling cast including Anita Lane, Blixa Bargeld, Tony Clark, Polly Borland and Mick Harvey as well as Milne’s less famous but equally interesting friends and family.

Peter Milne is based in Castlemaine. He has exhibited extensively around Australia and internationally. He has had three monographs of his work published: When Nature Forgets (M.33, Melbourne, 2013), Beautiful Lies – Notes Towards a History of Australia (QCP, Brisbane, 2011) and Fish in a Barrel – Nick Cave & The Bad Seeds on Tour (Tender Prey, London, 1993). He is represented by M.33, Melbourne.”

Text from the Strange Neighbour website

 

Installation photograph of the exhibition 'Juvenilia' at Strange Neighbour, Melbourne

Installation photograph of the exhibition 'Juvenilia' at Strange Neighbour, Melbourne

Installation photograph of the exhibition 'Juvenilia' at Strange Neighbour, Melbourne

Installation photograph of the exhibition 'Juvenilia' at Strange Neighbour, Melbourne

 

Installation photograph of the exhibition 'Juvenilia' at Strange Neighbour, Melbourne

 

Installation photographs of the exhibition Juvenilia at Strange Neighbour, Melbourne
Photography: Alex Bell Moffat

 

 

“I was initially quite dubious when curators Linsey Gosper and Helen Frajman approached me about exhibiting this work because it is so obviously the product of a callow youth (the earliest images on show here were shot when I was 16 years old, soon after the dismissal of the Whitlam government in the mid 1970s).

I was placated by the argument that the work had some kind of historical value that negated my concerns about poor technique and the visible signs of decay in an archive that has been poorly stored for the last four decades but I still felt uncomfortable. I think my key anxiety was the possibility that I would come across like one of those figures we’ve seen in numerous, recent documentaries about the Punk days in Melbourne – fat, balding, middle-aged individuals banging on about how amazing they were when 18 years old. As a fat, balding, middle-aged artist (with visible signs of decay) I try to be more focused on my next body of work than I am on images I produced so very, very long ago.

However, having pulled the negatives and slides out of their dusty boxes, I now see some merit in them. I am immediately struck by the evidence that I really did hang out with some lovely, clever people who went on to fulfil much of the creative potential that they so clearly promised.

I cannot say that life in Melbourne in the late 1970s and early 1980s was bliss (because the city had some meagre, stale and forbidding ways) but it was a time and a place where I found myself in the company of a cohort with great inventive energy and all the joyous arrogance of youth.

Looking at these images now, I see that my friends and family were every bit as beautiful as I remember them.”

Peter Milne
2015

 

Peter Milne. 'Untitled (Peter Milne and Rowland S Howard' from the series 'A Day in the Life of Rowland S Howard' 1977

 

Peter Milne
Untitled (Peter Milne and Rowland S Howard)
1977
From the series A Day in the Life of Rowland S Howard 1977
Digital photograph
© Peter Milne

 

Peter Milne. 'Untitled (Rowland S Howard)' 1977 From the series 'A Day in the Life of Rowland S Howard' 1977

 

Peter Milne
Untitled (Rowland S Howard)
1977
From the series A Day in the Life of Rowland S Howard 1977
Digital photograph
© Peter Milne

 

Peter Milne. 'Untitled (Rowland S Howard)' 1977 From the series 'A Day in the Life of Rowland S Howard' 1977

 

Peter Milne
Untitled (Rowland S Howard)
1977
From the series A Day in the Life of Rowland S Howard 1977
Digital photograph
© Peter Milne

 

 

Rowland S. Howard – A Short Biography

 

Peter Milne. 'Untitled (Rowland S Howard)' 1977 From the series 'A Day in the Life of Rowland S Howard' 1977

 

Peter Milne
Untitled (Rowland S Howard)
1977
From the series A Day in the Life of Rowland S Howard 1977
Digital photograph
© Peter Milne

 

Peter Milne. 'Untitled (Rowland S Howard)' 1977 From the series 'A Day in the Life of Rowland S Howard' 1977

 

Peter Milne
Untitled (Rowland S Howard)
1977
From the series A Day in the Life of Rowland S Howard 1977
Digital photograph
© Peter Milne

 

 

“Christmas holidays 1977…

My friends and I were in our mid-teens and we’d heard about the coming of Australian punk: the Saints in Brisbane and Radio Birdman in Sydney. We’d been to a few gigs at Burnhearts, a gay venue housed in the old ‘Thumping Tum’ that had given up its Tuesday nights to punk. We’d seen Fiction, the Negatives and News there. Punk had exploded across the world, not that you’d know it in Melbourne unless you were one of the few hundred weirdo kids who listened to the new Community Radio station 3RMT FM.

Every form of popular music culture was about something from outside of Australia, untouchable and inaccessible to us. On the other hand, punk was raw and exciting, friends who could strum a few chords had started picking up guitars and all of a sudden, some of us were playing something that resembled music, sure it was dumb and clumsy but it was also empowering and exhilarating.

There was a girl at my high school, Jenny Shannon. Jenny had been telling me and my mates of when her good friend Anita Lane had taken her to see the coolest punk band in Melbourne, so we had to check them out, but each attempt was thwarted with false gig listings and cancellations. Finally, we heard of a gig in Footscray Gardens where Suicide Records were promoting the release of their ‘Lethal Weapons’ compilation LP with a free open air punk gig. We rolled across to Footscray on a beautiful sunny day with the occasional sun shower. In the old red rattler, we were amongst about 50 curious, pimply kids with our hair becoming shorter as our conviction for this new thing grew.

On this particular day punk bands played, loud, distorted music with no frills and minimal production. The Boys Next Door, a tall skinny gang of guys in black, stove pipe pants, long black duffel coats, high collars turned up and mean, superior stares saunter in. “Rowlands here” Jenny whispers “He’s not a member of the band he’s just a friend of Nicks.” Who’s Rowland? Who’s Nick I’m wondering? “We’re the Boys Next Door” one of them spits. With that, the sky suddenly opens and people run for the cover of the trees.

The promoter jumps onto the mic and announces that due to rain they won’t play. There’s a round of booing from 50 people who wanna witness the spectacle of some real punk bands like animals in a zoo. The tall skinny guy grabs the mic, “We’re not fucking playing!” “That’s Nick” says Jenny…more boos… “Fuck off” says skinny guy, so we’ve seen them now, they seem like real assholes and I can’t wait to actually hear ’em live. As we walk back to the station in the drizzle I’ve got Dum Dum Boys by Iggy Pop ringing in my head…

“The first time I saw the dum dum boys I was fascinated”

I didn’t get to catch the Boys Next Door properly until a few months later at the VCA, it was Rowlands 1st gig as the new member of the band…

“I was most impressed. No one else was impressed… they looked as if they put the whole world… down”

This era was exhilaration, bright, skinny, sharp, obnoxious vitality, compelling handsome boys with eyeliner, well-spoken brats with beautiful intelligent sharp witted girls hanging off their arms, the birth of a movement in popular culture that had come to kick the ass of everything that had come before it, to burn brightly and then splinter off into a million shiny pieces. Peter Milne was there at its birth, captured the first sparks of this Super Nova going off. Fortunately he was the only kid around at the time with a good camera who actually knew how to use it to recognize a bunch of ascending stars and shoot those “Fish in a Barrel.”

Quincy McLean
2015

 

 

The Birthday Party
Nick The Stripper
1981

Band Location: Melbourne, VIC, Australia
Track: Nick The Stripper
Album: Prayers On Fire
Composed By: Nick Cave
Produced by: Tony Cohen & The Birthday Party

 

Peter Milne. 'Anita Lane and Nick Cave, The Venue, St Kilda' mid-1980s

 

Peter Milne
Anita Lane and Nick Cave, The Venue, St Kilda
mid-1980s
Digital photograph
© Peter Milne

 

Peter Milne. 'Anita Lane at a party' mid 1980s

 

Peter Milne
Anita Lane at a party
mid 1980s
Digital photograph
© Peter Milne

 

Peter Milne. 'Boys Next Door first photo session after Rowland joined. Nick's bedroom, Caulfield' c. 1978

 

Peter Milne
Boys Next Door first photo session after Rowland joined. Nick’s bedroom, Caulfield
c. 1978
Digital photograph
© Peter Milne

 

Peter Milne. 'George and Troy' mid-1980's

 

Peter Milne
George and Troy
mid-1980’s
Digital photograph
© Peter Milne

 

Peter Milne. 'Janet Austin and Katy Becle' 1977

 

Peter Milne
Janet Austin and Katy Becle
1977
Digital photograph
© Peter Milne

 

Peter Milne. 'Polly Borland at home' early 1980s

 

Peter Milne
Polly Borland at home
early 1980s
Digital photograph
© Peter Milne

 

 

The Birthday Party
Deep in the Woods

 

Peter Milne. 'Rowland S. Howard, Gina Riley, Simon McLean. TATROC gig, Greville Street, 1976' 1976

 

Peter Milne
Rowland S. Howard, Gina Riley, Simon McLean. TATROC gig, Greville Street, 1976
1976
Digital photograph
© Peter Milne

 

Peter Milne. 'Rowland S. Howard and Genevieve McGuckin, St Kilda rooftop' 1977

 

Peter Milne
Rowland S. Howard and Genevieve McGuckin, St Kilda rooftop
1977
Digital photograph
© Peter Milne

 

Peter Milne. 'Nick Cave and Rowland S Howard after Birthday Party gig, Melbourne' 1982

 

Peter Milne
Nick Cave and Rowland S Howard after Birthday Party gig, Melbourne
1982
Digital photograph
© Peter Milne

 

 

Strange Neighbour
395 Gore St, Fitzroy
Victoria Australia 3065
T: +61 3 9041 8727

Opening hours:
Wednesday – Saturday, 11am – 6pm

Strange Neighbour website

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08
Mar
15

Exhibition: ‘In Focus: Play’ at the J. Paul Getty Museum at the Getty Center, Los Angeles

Exhibition dates: 23rd December 2014 – 10th May 2015

 

The J. Paul Getty Museum always puts on the most interesting photography exhibitions. This looks to be no exception.

Marcus

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

 

 

Platt D. Babbitt. '[Scene at Niagara Falls]' c. 1855

 

Platt D. Babbitt (American, 1823-1879, active Niagara Falls, New York 1853-1870)
[Scene at Niagara Falls]
c. 1855
Whole plate daguerreotype
The J. Paul Getty Museum
CC This work is in the public domain

 

In the 1800s Prospect Point at Niagara Falls was a popular destination for travelers in search of a transcendent encounter with nature. The falls were revered as a sacred place that was recognized by the Catholic Church in 1861 as a “pilgrim shrine,” where the faithful could contemplate the landscape as an example of divine majesty. Two well-dressed couples are seen from behind as they stand on the shore downstream from the falls, gazing at its majestic splendor. The silhouetted forms – women wearing full skirts and bonnets and carrying umbrellas and men in stovepipe hats – are sharply outlined against the patch of shore and expansive, white foam. Platt D. Babbitt would customarily set up his camera in an open-sided pavilion and photograph groups of tourists admiring the falls without their knowledge, as he appears to have done here. Later he would sell the unsuspecting subjects their daguerreotype likenesses alongside the natural wonder.

 

Roger Fenton. 'The Billiard Room, Mentmore' c. 1858

 

Roger Fenton (English, 1819-1869)
The Billiard Room, Mentmore
c. 1858
Albumen silver print
Height: 303 mm (11.93 in). Width: 306 mm (12.05 in).
The J. Paul Getty Museum
CC This work is in the public domain

 

A group of fashionable men and women enjoy a game of billiards in a richly furnished salon. The recently completed billiards room, which was designed as a conservatory, is flooded with sunlight, illuminating the lavish interior and creating a dramatic pattern of light and shadows. Indoor photography was rare in the mid-1800s, but the abundance of light and Fenton’s skill with the wet-collodion process created a remarkably detailed portrait of the space and its inhabitants. Behind the woman standing in the doorway at the very far end of the salon, a marble bust, mantelpiece, and mirror can be seen in an adjacent room.

Mentmore House was a country residence of the wealthy Rothschild family, but little is known as to how Fenton came to photograph its interior or who the depicted individuals might be. Fenton accepted commissions to document several other country homes, and his surviving photographs of Mentmore House-both interior and exterior views-may have formed part of a commissioned album. Like Fenton’s Orientalist scenes, this image reveals a high degree of staging. Only one figure actually holds a cue stick, and several of the women wear hats that seem unusual for the indoor setting.

 

Camille Silvy. 'Group of their Royal Highnesses the Princess Clementine de Saxe Cobourg Gotha, her Sons and Daughter, the Duke d'Aumale, the Count d'Eu, the Duke d'Alencon, and the Duke de Penthievre [in England]' 1864

 

Camille Silvy (French, 1834-1910, active in London)
Group of their Royal Highnesses the Princess Clementine de Saxe Cobourg Gotha, her Sons and Daughter, the Duke d’Aumale, the Count d’Eu, the Duke d’Alencon, and the Duke de Penthievre [in England]
1864
Albumen silver print
10.2 x 17 cm (4 x 6 11/16 in.)

 

Camille Silvy. 'Group of their Royal Highnesses the Princess Clementine de Saxe Cobourg Gotha, her Sons and Daughter, the Duke d'Aumale, the Count d'Eu, the Duke d'Alencon, and the Duke de Penthievre [in England]' 1864

 

Camille Silvy (French, 1834-1910, active in London)
Group of their Royal Highnesses the Princess Clementine de Saxe Cobourg Gotha, her Sons and Daughter, the Duke d’Aumale, the Count d’Eu, the Duke d’Alencon, and the Duke de Penthievre [in England] (detail)
1864
Albumen silver print
10.2 x 17 cm (4 x 6 11/16 in.)

 

Herman F. Nielson. 'View of Niagara Falls in Winter' c. 1885

 

Herman F. Nielson (American, active Niagara Falls, New York 1883 – early 1900s)
View of Niagara Falls in Winter
c. 1885
Gelatin silver print
19.1 x 24.3 cm (7 1/2 x 9 9/16 in.)
The J. Paul Getty Museum, Los Angeles

 

Man Ray. '[Marcel Duchamp and Raoul de Roussy de Sales Playing Chess]' 1925

 

Man Ray (American, 1890-1976)
[Marcel Duchamp and Raoul de Roussy de Sales Playing Chess]
1925
Gelatin silver print
16.7 x 22.5 cm (6 9/16 x 8 7/8 in.)
The J. Paul Getty Museum, Los Angeles
© Man Ray Trust ARS-ADAGP

 

Weegee (Arthur Fellig). '[Summer, The Lower East Side, New York City]' Summer 1937

 

Weegee (Arthur Fellig) (American, born Austria, 1899-1968)
[Summer, The Lower East Side, New York City]
Summer 1937
Gelatin silver print 26.5 x 33.3 cm (10 7/16 x 13 1/8 in.)
The J. Paul Getty Museum, Los Angeles
© International Center of Photography

 

André Kertész. '[Underwater Swimmer]' Negative 1917; print 1970s

 

André Kertész (American, born Hungary, 1894-1985)
[Underwater Swimmer]
Negative 1917; print 1970s
Gelatin silver print 17 x 24.7 cm (6 11/16 x 9 3/4 in.)
The J. Paul Getty Museum, Los Angeles
© Estate of André Kertész

 

 

“In Focus: Play, on view at the J. Paul Getty Museum at the Getty Center from December 23, 2014 through May 10, 2015, presents photographs that explore how notions of leisure and play have been represented over the course of the medium’s history. The nearly thirty works from the Museum’s permanent collection highlight a wide range of amusing activities, from quiet games like chess to more boisterous forms of recreation like skateboarding and visits to amusement parks and circuses. All of the photographs included in the exhibition illustrate the many ways people have chosen to spend their free time. The images also demonstrate inventive and improvised approaches, like unusual vantage points and jarring juxtapositions that photographers have employed to help capture the spontaneity of playfulness.

Organized by assistant curator Arpad Kovacs in the Department of Photographs at the J. Paul Getty Museum, this exhibition spans almost 175 years of the medium’s history and features the work of a variety of well-known and lesser-known photographers, including Diane Arbus, Henri Cartier-Bresson, Imogene Cunningham, Larry Fink, T. Lux Feininger, Roger Fenton, Andre Kertész, Man Ray, Alexander Rodchenko, Masato Seto, Camille Silvy, and Weegee, among others.

“Capturing our everyday lives has been one of photography’s central themes ever since its invention in the mid-nineteenth century,” says Timothy Potts, Director of the J. Paul Getty Museum. “So it is no surprise that images of people playing games and having fun is a rich seam within the history of photography that this exhibition and accompanying book bring to life brilliantly. This is photography at its entertaining and uplifting best.”

The introduction of photography in 1839 coincided with a bourgeoning culture of leisure. Changes in working and living conditions brought on by the Industrial Revolution created an unprecedented amount of free time for large numbers of people in Europe and the United States. In the 1850s, photographic studios began to capitalize on the development and growth of the tourism industry, promoting recreation as a photographic subject. Technological advancements in film and camera equipment during the early twentieth century facilitated the recording of dynamic activities such as sports and visits to amusement parks. Domestic and public spaces alike became sites where people performed for the camera and documented a break from daily routines.

During the nineteenth century, the eminent photographer Roger Fenton, who was widely recognized for visually documenting the Crimean War (1853-56), also photographed intimate scenes that reflected casual pastimes. Included in the exhibition is his photograph from 1858 entitled, The Billiard Room, Mentmore House, in which a group of six people act out a scene of domestic amusement in a billiard room lined with a row of large windows.

The desire for pictures of everyday life flourished during the early twentieth-century. The illustrated press, which had grown in popularity in the United States and Europe since the 1920s, was especially interested in photographs of recreation and leisure. Photojournalists often searched for high-impact images that could tell compelling or amusing stories. Weegee (Arthur Fellig), a well-known tabloid photographer, kept his camera focused on New York City’s neighborhoods. In the photograph Summer, Lower East Side, New York City, 1937, he recorded the ecstatic faces of boys and girls cooling off in the water from an open fire hydrant as they briefly co-opted a street for their own delight.

Tourist destinations with sweeping vistas, like Niagara Falls and Yosemite Valley, had been attracting photographers continuously since the 1850s. In a 1980 photograph from his Sightseer series, Roger Minick comments on the phenomenon of taking in the sights through visual juxtaposition. A tourist, seen from behind, obstructs the famous view of Yosemite Valley from Inspiration Point, a spot that is practically synonymous with photography. The woman wears a souvenir headscarf illustrated with views of the valley, underscoring the commodification of nature that pervades modern life.

In the 1990s, the photographer Lauren Greenfield began an ambitious project documenting various subcultures in Los Angeles. These works examine the social pecking order and rites of passage associated with youth culture. In her photograph “Free Sex” Party Crew Party, East Los Angeles, 1993, one gets a glimpse into the potential dangers associated with these wild demonstrations of unrestricted freedom and machismo.

“The photographs chosen for this exhibition demonstrate the wide range of approaches photographers have employed to capture people at play, along with a variety of sites that have traditionally signaled leisure and entertainment,” said Kovacs. “Visiting a museum would be included on that list of leisure-time activities. I can’t think of a better way to spend an afternoon.”

In Focus: Play is on view at the J. Paul Getty Museum at the Getty Center beginning December 23, 2014, through May 10, 2015.”

Press release from the J. Paul Getty Museum

 

Unknown photographer. '[Barnum and Bailey Circus Tent in Paris, France]' 1901-1902

 

Unknown photographer
[Barnum and Bailey Circus Tent in Paris, France]
1901-1902
Gelatin silver print
22.2 x 58.1 cm (8 3/4 x 22 7/8 in.)
The J. Paul Getty Museum, Los Angeles

 

Max Yavno. 'Card Players, Los Angeles, California' 1949

 

Max Yavno (American, 1911-1985)
Card Players, Los Angeles, California
1949
Gelatin silver print
26.5 x 27.9 cm
© 1988 Center for Creative Photography, The University of Arizona Foundation

 

Joe Schwartz. 'East L.A. Skateboarders' 1950s

 

Joe Schwartz (American, 1913-2013)
East L.A. Skateboarders
1950s
Toned gelatin silver print
30.2 x 39 cm (11 7/8 x 15 3/8 in.)
The J. Paul Getty Museum, Los Angeles
© Joe Schwartz

 

Bill Owens (American, born 1938) 'Untitled (Swimming Pool)' 1973 or before

 

Bill Owens (American, born 1938)
Untitled (Swimming Pool)
1973 or before
Gelatin silver print
17.1 x 21.5 cm (6 3/4 x 8 7/16 in.)
The J. Paul Getty Museum, Los Angeles, Gift of Robert Harshorn Shimshak and Marion Brenner
© Bill Owens

 

Hiromi Tsuchida (Japanese, born 1939) 'Counting Grains of Sand, Tsuruga' Negative 1985; print May 15, 1990

 

Hiromi Tsuchida (Japanese, born 1939)
Counting Grains of Sand, Tsuruga
Negative 1985; print May 15, 1990
Gelatin silver print
28.1 x 42.5 cm (11 1/16 x 16 3/4 in.)
The J. Paul Getty Museum, Los Angeles
© Hiromi Tsuchida

 

Roger Minick (American, born 1944) 'Woman with Scarf at Inspiration Point, Yosemite National Park' 1980

 

Roger Minick (American, born 1944)
Woman with Scarf at Inspiration Point, Yosemite National Park
1980
Chromogenic print
38.1 x 43.5 cm (15 x 17 1/8 in.)
The J. Paul Getty Museum, Los Angeles
© Roger Minick

 

Lauren Greenfield (American, born 1966) '"Free Sex" Party Crew Party, East Los Angeles' 1993

 

Lauren Greenfield (American, born 1966)
“Free Sex” Party Crew Party, East Los Angeles
1993
Dye destruction print
32.4 x 48.9 cm (12 3/4 x 19 1/4 in.)
The J. Paul Getty Museum, Los Angeles, Gift of Allison Amon & Lisa Mehling
© Lauren Greenfield/INSTITUTE

 

 

Masato Seto. 'picnic #32' 2005

 

Masato Seto (Japanese, born Thailand, 1953)
picnic #32
2005
From the series picnic
Silver-dye bleach print
43.2 x 55 cm
© Masato Seto

 

Photographer Masato Seto’s series picnic, produced between 1996 and 2005, takes a particularly intimate approach. Seto’s photographs get inside Tokyo’s private pockets of outdoor space, a highly coveted respite from the busy thrum of the Japanese urban lifestyle. They give us a glimpse of the hard-won leisure of local couples escaping the cramped quarters of high-rise living for the scarce green space of public parks.

The couples’ reactions to the camera’s intrusion range from shielding their faces to outright defiance, to simple staring curiosity. We feel like we’ve caught them in the act of doing something that we shouldn’t see. Representing one family, couple, or individual at a time, Seto situates his subjects in a detached reality of their own. He creates what critic Hiro Koike referred to as “invisible rooms” – plots of grass often defined by the customary plastic sheet – in which intimate moments have been openly displayed and captured.

Melissa Abraham, “An Intimate View of Tokyo,” on The Getty Iris blog, August 5, 2014 [Online] Cited 03/03/2015

 

T. Lux Feininger (American, born Germany 1910-2011) 'Am Strand (On the Beach)' c. 1929

 

T. Lux Feininger (American, born Germany 1910-2011)
Am Strand (On the Beach)
c. 1929
Gelatin silver print 23.8 x 17.8 cm (9 3/8 x 7 in.)
The J. Paul Getty Museum, Los Angeles
© Estate of T. Lux Feininger

 

Brassaï. 'Kiss on the Swing' 1935-37

 

Brassaï (French, born Hungary, 1899 – 1984)
Kiss on the Swing
1935-37
Gelatin silver print
29.7 x 23.3 cm
© Estate Brassaï-RMN

 

Imogen Cunningham. 'Self-Portrait with Grandchildren in Funhouse' 1955

 

Imogen Cunningham (American, 1883-1976)
Self-Portrait with Grandchildren in Funhouse
1955
Gelatin silver print
22.2 x 18.5 cm (8 3/4 x 7 5/16 in.)
The J. Paul Getty Museum, Los Angeles
© Imogen Cunningham Trust

 

 

The J. Paul Getty Museum
1200 Getty Center Drive
Los Angeles, California 90049

Opening hours:
Tues – Friday 10 am – 5.30 pm
Saturday 10 am – 9 pm
Sunday 10 am – 9 pm
Monday closed

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01
Mar
15

Review: ‘Richard Avedon People’ at The Ian Potter Museum of Art, Melbourne

Exhibition dates: 6th December 2014 – 15th March 2015

Curator: Dr Christopher Chapman

 

 

You can tell a lot about a person from their self-portrait. In the case of Richard Avedon’s self-portrait (1969, below), we see a man in high key, white shirt positioned off centre against a slightly off-white background, the face possessing an almost innocuous, vapid affectation as though the person being captured by the lens has no presence, no being at all. The same could be said of much of Avedon’s photography. You can also tell a lot about an artist by looking at their early work. In the exhibition there is a photograph of James Baldwin, writer, Harlem, New York 1945, celebrated writer and close friend of the artist, which evidences Avedon’s mature portrait style: the frontal positioning of Afro-American Baldwin against a white background will be repeated by Avedon from the start to the end of his career. This trope, this hook has become the artist’s defining signature.

Spread across two floors of the exhibition spaces at The Ian Potter Museum of Art, the exhibition hangs well. The tonal black and white photographs in their white frames, hung above and below the line against the white gallery walls, promote a sense of serenity and minimalism to the work when viewed from afar. Up close, the photographs are clinical, clean, pin sharp and decidedly cold in attitude. Overall the selection of work in the exhibition is weak and the show does not promote the artist to best advantage. There are the usual fashion and portrait photographs, supplemented by street photographs, photographs at the beach and of mental asylums, and distorted photographs. While it is good to see a more diverse range of work from the artist to fill in his back story none of these alternate visions really work. Avedon was definitely not a street photographer (see Helen Levitt for comparison); he couldn’t photograph the mentally ill (see Diane Arbus’ last body of work in the book Diane Arbus: Untitled, 1995) and his distorted faces fail miserably in comparison to Weegee’s (Athur Fellig) fabulous distortions. These are poor images by any stretch of the imagination.

That being said there are some arresting individual images. There is a magical photograph of Truman Capote, writer, 1955 which works because of the attitude of the sitter; an outdoors image of Bob Dylan, musician, Central Park, New York, February 20, 1965 (below) in which the musician has this glorious presence when you stand in front of the image – emanating an almost metaphysical aura – due to the light, low depth of field and stance of the proponent. Also top notch is a portrait of the dancer Rudolf Nureyev, Paris, France, July 25, 1961in which (for once), the slightly off-white background and the pallid colour of the dancer’s lithe body play off of each other, his placement allowing him to float in the contextless space of the image, his striking pose and the enormousness of his member drawing the eyes of the viewer. All combine to make a memorable, iconic image. Another stunning image is a portrait of the artist Pablo Picasso, artist, Beaulieu, France, April 16, 1958where the artist’s large, round face fills the picture plane, his craggy features lit by strong side lighting, illuminating the whites of his eyes and just a couple of his eyebrow hairs. Magnificent. And then there are just two images (see below) from the artist’s seminal book In the American West. More on those later. 

Other portraits and fashion photographs are less successful. A photograph of Twiggy, dress by Roberto Rojas, New York, April 1967 (below), high contrast, cropped close top and bottom, is a vapid portrait of the fashion/model. The image of Elizabeth Taylor, cock feathers by Anello of Emme, New York, July 1964 (below) is, as a good friend of mine said, a cruel photograph of the actress. I tend to agree, although another word, ‘bizarre’, also springs to mind. In some ways, his best known fashion photograph, Dovima with elephants, evening dress by Dior, Cirque d’Hiver, Paris, August 1955 (below) is a ripper of an image… until you observe the punctum, to which my eyes were drawn like a moth to a flame, the horrible shackles around the legs of the elephants.

Generally, the portraiture and fashion photographs are a disappointment. If, as Robert Nelson in The Age newspaper states, “Avedon’s portraiture is a search for authenticity in the age of the fake,”1 then Avedon fails on many levels. His deadpan portraits do not revive or refresh the life of the sitter. In my eyes their inflection, the subtle expression of the sitter, is not enough to sustain the line of inquiry. I asked the curator and a representative from the Avedon Foundation what they thought Avedon’s photographs were about and both immediately said, together, it was all about surfaces. “Bullshit” rejoined I, thinking of the portrait of Marilyn Monroe, actress, New York, May 6, 1957 (below), in which the photographer pressed the shutter again and again and again as the actress gallivanted around his studio being the vivacious Marilyn, only hours later, when the mask had dropped, to get the photograph that he and everyone else wanted, the vulnerable women. This, and only this image, was then selected to be printed for public consumption, the rest “archived, protected by the Avedon Foundation, never allowed off the negative or the contact sheet.”2 You don’t do that kind of thing, and take that much time, if you are only interested in surfaces.

On reflection perhaps both of us were right, because there is a paradox that lies at the heart of Avedon’s work. There is the surface vacuousness and plasticity of the celebrity/fashion portrait; then the desire of Avedon to be taken seriously as an artist, to transcend the fakeness of the world in which he lived and operated; and also his desire to always be in control of the process – evidenced by how people had to offer themselves up to the great man in order to have their portrait taken, with no control over the results. While Avedon sought to be in touch with the fragility of humanity – the man, woman and child inside – it was also something he was afraid of. Photography gave him control of the situation. In his constructed images, Avedon is both the creator and the observer and as an artist he is always in control. This control continues today, extending to the dictions of The Richard Avedon Foundation, which was set up by Avedon during his lifetime and under his tenants to solely promote his art after he passed away.

When you look into the eyes of the sitters in Avedon’s portraits, there always seems to be a dead, cold look in the eyes. Very rarely does he attempt to reveal the ambiguity of a face that resists artistic production (see Blake Stimson’s text below). And when he does it is only when he has pushed himself to do it (MM, BD). Was he afraid, was he scared that he might have been revealing too much of himself, that he would have “lost control”? If, as he said, there is finally nothing but the face – an autograph, the signature of the face – then getting their autograph was a way to escape his mundane family life through PERFORMANCE. Unfortunately, the performance that he usually evinces from the rich and famous, this “figuring” out of himself through others through control of that performance – is sometimes bland to the point of indifference. Hence my comment on his self-portrait that I mentioned at the start of this review. It would seem to me that Avedon could not face the complex truth, that he could bring himself, through his portraits, to be both inside and outside of a character at one and the same time… to be vulnerable, to be frightened, to loose control!

If he shines himself as a self-portrait onto others, in a quest or search for the human predicament, then his search is for his own frightened face. Only in the Western Project which formed the basis for his seminal book In the American West – only two of which are in the exhibition – does Avedon achieve a degree of insight, humanity and serenity that his other photographs lack and, perhaps, a degree of quietude within himself. Created after serious heart inflammations hindered Avedon’s health in 1974, he was commissioned in 1979 “by Mitchell A. Wilder (1913-1979), the director of the Amon Carter Museum to complete the “Western Project.” Wilder envisioned the project to portray Avedon’s take on the American West. It became a turning point in Avedon’s career when he focused on everyday working class subjects such as miners soiled in their work clothes, housewives, farmers and drifters on larger-than-life prints instead of a more traditional options with famous public figures… The project itself lasted five years concluding with an exhibition and a catalogue. It allowed Avedon and his crew to photograph 762 people and expose approximately 17,000 sheets of 8 x 10 Tri-X Pan film.”3

In his photographs of drifters, miners, beekeepers, oil rig workers, truckers, slaughterhouse workers, carneys and alike the figure is more frontally placed within the image space, pulled more towards the viewer. The images are about the body and the picture plane, about the minutiae of dress and existence and the presence and dignity of his subjects, more than any of his other work. In this work the control of the sitter works to the artist’s advantage (none of these people had ever had their portrait taken before and therefore had to be coached) and, for once, Avedon is not relying on the ego of celebrity of the transience of fashion but on the everyday attitudes of human beings. Through his portrayal of their ordinariness and individuality, he finally reveals his open, exposed self. The project was embedded with Avedon’s goal to discover new dimensions within himself… “from a Jewish photographer from out East who celebrated the lives of famous public figures to an aging man at one of the last chapters of his life to discovering the inner-worlds, and untold stories of his Western rural subjects… The collection identified a story within his subjects of their innermost self, a connection Avedon admits would not have happened if his new sense of mortality through severe heart conditions and aging hadn’t occurred.”4 Definitively, this is his best body of work. Finally he got there. 

Printed on Agfa’s luscious Portriga Rapid, a double-weight, fiber-based gelatin silver paper which has a warm (brown) colouration for the shadow areas and lovely soft cream highlights, the prints in the exhibition are over six-feet high. The presence of Sandra Bennett, twelve year old, Rocky Ford, Colorado, August 23, 1980 – freckles highlighted by the light, folds of skin under the armpit – and Boyd Fortin, thirteen-year-old, Sweetwater, Texas, March 10, 1979 – visceral innards of the rattlesnake and the look in his eyes – are simply stunning. Both are beautiful prints. In the American West has often been criticised for its voyeuristic themes, for exploiting its subjects and for evoking condescending emotions from the audience such as pity while studying the portraits, but these magnificent photographs are not about that: they are about the exchange of trust between the photographer and a human being, about the dignity of that portrayal, and about the revelation of a “true-self” as much as possible through a photograph – the face of the sitter mirroring the face of the photographer.

While it is fantastic to see these images in Victoria, the first time any Avedon photographs have been seen in this state (well done The Ian Potter Museum of Art!), the exhibition could have been so much more if it had only been more focused on a particular outcome, instead of a patchy, broad brush approach in which everything has been included. I would have been SO happy to see the whole exhibition devoted to Avendon’s most notable and influential work (think Thomas Ruff portraits) – In the American West. The exhibition climaxes (if you like) with three huge, mural-scale portraits of Merce Cunningham (1993, printed 2002), Doon Arbus, writer, New York, 2002 and Harold Bloom, literary critic, New York City, October 28, 2001 (printed 202), big-statement art that enlarges Avedon’s work to sit alongside other sizeable contemporary art works. Spanning floor to ceiling in the gallery space these overblown edifices, Avedon’s reaction to the ever expanding size of postmodern ‘gigantic’ photography, fall as flat as a tack. At this scale the images simply do not work. As Robert Nelson insightfully observes, “To turn Avedon’s portraiture into contemporary art is technically and commercially understandable, but from an artistic point of view, the conflation of familiarity to bombast seems to be faking it one time to many.”5

Finally we have to ask what do artists Andy Warhol, Keith Haring, Robert Mapplethorpe and Richard Avedon have in common? Well, they were all based in New York; they are all white, middle class, and reasonably affluent; they were either gay, Jewish or Catholic or a mixture of each; they all liked mixing with celebrities and fashion gurus; and they all have foundations set up in their honour. Only in New York. It seems a strange state of affairs to set up a foundation as an artist, purely to promote, sustain, expand, and protect the legacy and control of your art after you are gone. This is the ultimate in control, about controlling the image of the artist from the afterlife. Foundations such as the Keith Haring Foundation do good work, undertaking outreach and philanthropic programs, making “grants to not-for-profit groups that engage in charitable and educational activities. In accordance with Keith’s wishes, the Foundation concentrates its giving in two areas: The support of organizations which provide educational opportunities to underprivileged children and the support of organizations which engage in education, prevention and care with respect to AIDS and HIV infection.”6 I asked the representative of The Richard Avedon Foundation what charitable or philanthropic work they did. They offer an internship program. That’s it. For an artist so obsessed with image and surfaces, for an artist that eventually found his way to a deeper level of understanding, it’s about time The Richard Avedon Foundation offered more back to the community than just an internship. Promotion and narcissism are one thing, engagement and openness entirely another.

Dr Marcus Bunyan

Word count: 2,335

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

 

1. Robert Nelson. “Pin sharp portraits show us real life,” in The Age newspaper, Friday January 2, 2014, p. 22.
2. Andrew Stephens. “Fame and falsehoods,” in Spectrum, The Age newspaper, Saturday November 29, 2014, p. 12.
3. Anon. “Richard Avedon,” on the Wikipedia website [Online] Cited 01/03/2015
4. Whitney, Helen. “Richard Avedon: Darkness and Light.” American Masters, Season 10, Episode 3, 1996 quoted in Anon. “Richard Avedon,” on the Wikipedia website [Online] Cited 01/03/2015.
5. Robert Nelson op cit.,
6. Anon. “About” on The Keith Haring Foundation website [Online] Cited 01/03/2015

 

 

American photographer Richard Avedon (1923-2004) produced portrait photographs that defined the twentieth century. Richard Avedon People explores his iconic portrait making practice, which was distinctive for its honesty, candour and frankness.

One of the world’s great photographers, Avedon is best known for transforming fashion photography from the late 1940s onwards. The full breadth of Avedon’s renowned work is revealed in this stunning exhibition of 80 black and white photographs dating from 1949 to 2002. Avedon’s instantly recognisable iconic portraits of artists, celebrities, and countercultural leaders feature alongside his less familiar portraiture works that capture ordinary New Yorkers going about their daily lives, and the people of America’s West. With uncompromising rawness and tenderness, Avedon’s photographs capture the character of individuals extraordinary in their uniqueness and united in their shared experience of humanity.

Richard Avedon People pays close attention to the dynamic relationship between the photographer and his sitters and focuses on Avedon’s portraits across social strata, particularly his interest in counter-culture. At the core of his artistic work was a profound concern with the emotional and social freedom of the individual in society. The exhibition reveals Avedon’s sensitivity of observation, empathy of identification and clear vision that characterise these portraits.

Text from The Ian Potter Museum of Art website

 

“There is no truth in photography. There is no truth about anyone’s person.” –

“There is no such thing as inaccuracy in a photograph. All photographs are accurate. None of them is truth.”

“Sometimes I think all my pictures are just pictures of me. My concern is… the human predicament; only what I consider the human predicament may simply be my own.”

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Richard Avedon

 

 

Installation photograph of the exhibition 'Richard Avedon People' at The Ian Potter Museum of Art, Melbourne, February 2015

Installation photograph of the exhibition 'Richard Avedon People' at The Ian Potter Museum of Art, Melbourne, February 2015

Installation photograph of the exhibition 'Richard Avedon People' at The Ian Potter Museum of Art, Melbourne, February 2015

Installation photograph of the exhibition 'Richard Avedon People' at The Ian Potter Museum of Art, Melbourne, February 2015

 

Installation photographs of the exhibition Richard Avedon People at The Ian Potter Museum of Art, Melbourne, February 2015

 

 

“Photography has had its place in the pas de deux between humanism and antihumanism, of course, and with two complementary qualities of its own. In the main, we have thought for a long time now, it is photography’s capacity for technological reproduction that defines its greater meaning, both by indexing the world and through its expanded and accelerated means of semiosis. This emphasis on the proliferation of signs and indices has been part of our posthumanism, and it has turned us away consistently from readings that emphasise photography’s second, humanist quality, its capacity to produce recognition through the power of judgment and thus realise the experience of solidarity or common cause.

In keeping with the framing for this collection of writings, we might call the first of these two qualities photography’s ‘either/and’ impulse and the second its ‘either/or’. Where the first impulse draws its structuring ideal from deferring the moment of judgment as it moves laterally from one iteration to the next, one photograph to the next, the second develops its philosophical ground by seeing more than meets the eye in any given photograph or image as the basis of judgment. For example, this is how Kierkegaard described the experience of a ‘shadowgraph’ (or ‘an inward picture which does not become perceptible until I see it through the external’) in his Either/Or:

Sometimes when you have scrutinised a face long and persistently, you seem to discover a second face hidden behind the one you see. This is generally an unmistakable sign that this soul harbours an emigrant who has withdrawn from the world in order to watch over secret treasure, and the path for the investigator is indicated by the fact that one face lies beneath the other, as it were, from which he understands that he must attempt to penetrate within if he wishes to discover anything. The face, which ordinarily is the mirror of the soul, here takes on, though it be but for an instant, an ambiguity that resists artistic production. An exceptional eye is needed to see it, and trained powers of observation to follow this infallible index of a secret grief. … The present is forgotten, the external is broken through, the past is resurrected, grief breathes easily. The sorrowing soul finds relief, and sorrow’s sympathetic knight errant rejoices that he has found the object of his search; for we seek not the present, but sorrow whose nature is to pass by. In the present it manifests itself only for a fleeting instant, like the glimpse one may have of a man turning a corner and vanishing from sight.

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Roland Barthes was trying to describe a similar experience with his account of the punctum just as Walter Benjamin did with his figure of the angel of history: ‘His face is turned toward the past. Where we perceive a chain of events [in the same way we experience photography’s ‘either/and’ iteration of images], he sees one single catastrophe which keeps piling wreckage upon wreckage and hurls it in front of his feet’. As Kierkegaard, Barthes, and Benjamin suggest, the old humanist experience of struggle with the singular experience of on-going failure to realise its hallowed ideals only ever arose in photography or anywhere else fleetingly, but it is all but invisible to us now.”

Søren Kierkegaard. Either/Or, volume I, 1843, 171, 173 quoted in Blake Stimson. “What was Humanism?” on the Either/And website [Online] Cited 01/03/2015

 

Richard Avedon. 'Andy Warhol, artist, Candy Darling and Jay Johnson, actors, New York, August 20, 1969' 1969

 

Richard Avedon
Andy Warhol, artist, Candy Darling and Jay Johnson, actors, New York, August 20, 1969
1969
© The Richard Avedon Foundation

 

Richard Avedon. 'Marilyn Monroe and Arthur Miller, New York, May 8, 1957' 1957

 

Richard Avedon
Marilyn Monroe and Arthur Miller, New York, May 8, 1957
1957
© The Richard Avedon Foundation

 

Richard Avedon. 'Mae West, actor, with Mr. America, New York' 1954

 

Richard Avedon
Mae West, actor, with Mr. America, New York
1954
© The Richard Avedon Foundation

 

Richard Avedon. 'New York Life #5, Lower West Side, New York City, September 9, 1949' 1949

 

Richard Avedon
New York Life #5, Lower West Side, New York City, September 9, 1949
1949
© The Richard Avedon Foundation

 

 

Richard Avedon People celebrates the work of American photographer Richard Avedon (1923 to 2004), renowned for his achievements in the art of black and white portraiture. Avedon’s masterful work in this medium will be revealed in an in-depth overview of 80 photographs from 1949 to 2002, to be displayed at The Ian Potter Museum of Art, University of Melbourne from 6 December 2014 to 15 March 2015.

Known for his exquisitely simple compositions, Avedon’s images express the essence of his subjects in charming and disarming ways. His work is also a catalogue of the who’s who of twentieth-century American culture. In the show, instantly recognisable and influential artists, celebrities, and countercultural leaders including Bob Dylan, Truman Capote, Marilyn Monroe, Elizabeth Taylor, and Malcolm X, are presented alongside portraits of the unknown. Always accessible, they convey his profound concern with the emotional and social freedom of the individual.

Ian Potter Museum of Art Director, Kelly Gellatly said, “Richard Avedon was one of the world’s great photographers. He is known for transforming fashion photography from the late 1940s onwards, and his revealing portraits of celebrities, artists and political identities.

“People may be less familiar, however, with his portraiture works that capture ordinary New Yorkers going about their daily lives, and the people of America’s West,” Gellatly continued. “Richard Avedon People brings these lesser-known yet compelling portraits together with his always captivating iconic images. In doing so, the exhibition provides a rounded and truly inspiring insight into Avedon’s extraordinary practice.”

Avedon changed the face of fashion photography through his exploration of motion and emotion. From the outset, he was fascinated by photography’s capacity for suggesting the personality and evoking the life of his subjects. This is evidenced across the works in the exhibition, which span Avedon’s career from his influential fashion photography and minimalist portraiture of well-known identities, to his depictions of America’s working class.

Avedon’s practice entered the public imagination through his long association with seminal American publications. He commenced his career photographing for Harper’s Bazaar, followed by a 20-year partnership with Vogue. Later, he established strong collaborations with Egoiste and The New Yorker, becoming staff photographer for The New Yorker in 1992.

Richard Avedon People is the first solo exhibition of Avedon’s work to be displayed in Victoria following showings in Perth and Canberra. The exhibition was curated by the National Portrait Gallery’s Senior Curator, Dr Christopher Chapman, in partnership with the Richard Avedon Foundation over the course of two years. The Foundation was established by Avedon in his lifetime and encourages the study and appreciation of the artist’s photography through exhibitions, publications and outreach programs.

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Dr Christopher Chapman

Dr Christopher Chapman is Senior Curator at the National Portrait Gallery where he has produced major exhibitions exploring diverse experiences of selfhood and identity. He joined the Gallery in 2008 and was promoted to Senior Curator in 2011. He works closely with the Gallery’s management team to drive collection and exhibition strategy. Working in the visual arts field since the late 1980s, Christopher has held curatorial roles at the National Gallery of Australia and the Art Gallery of South Australia. He has lectured in visual arts and culture for the Australian National University and his PhD thesis examined youth masculinity and themes of self-sacrifice in photography and film.

A National Portrait Gallery of Australia exhibition presented in partnership with the Richard Avedon Foundation, New York.

 

Richard Avedon. 'Bob Dylan, musician, Central Park, New York, February 20, 1965' 1965

 

Richard Avedon
Bob Dylan, musician, Central Park, New York, February 20, 1965
1965
© The Richard Avedon Foundation

 

Richard Avedon. 'Dovima with elephants, evening dress by Dior, Cirque d’Hiver, Paris, August 1955' 1955

 

Richard Avedon
Dovima with elephants, evening dress by Dior, Cirque d’Hiver, Paris, August 1955
1955
© The Richard Avedon Foundation

 

Richard Avedon. 'Marilyn Monroe, actress, New York, May 6, 1957' 1957

 

Richard Avedon
Marilyn Monroe, actress, New York, May 6, 1957
1957
© The Richard Avedon Foundation

 

Richard Avedon. 'Civil rights demonstration, Atlanta, Georgia' c. 1963

 

Richard Avedon
Civil rights demonstration, Atlanta, Georgia
c. 1963
© The Richard Avedon Foundation

 

Richard Avedon. 'Self portrait, New York City, July 23, 1969' 1969

 

Richard Avedon
Self portrait, New York City, July 23, 1969
1969
© The Richard Avedon Foundation

 

Richard Avedon. 'Michelangelo Antonioni, film director, with his wife Enrica, Rome, 1993' 1993

 

Richard Avedon
Michelangelo Antonioni, film director, with his wife Enrica, Rome, 1993
1993
© The Richard Avedon Foundation

 

 

“Insights into the crossover of genres and the convergence of modern media gave Avedon’s work its extra combustive push. He got fame as someone who projected accents of notoriety and even scandal within a decorous field. By not going too far in exceeding known limits, he attained the highest rank at Vogue. In American popular culture, this was where Avedon mattered, and mattered a lot. But it was not enough.

In fact, Avedon’s increasingly parodistic magazine work often left – or maybe fed – an impression that its author was living beneath his creative means. In the more permanent form of his books, of which there have been five so far, he has visualized another career that would rise above fashion. Here Avedon demonstrates a link between what he hopes is social insight and artistic depth, choosing as a vehicle the straight portrait. Supremacy as a fashion photographer did not grant him status in his enterprise – quite the contrary – but it did provide him access to notable sitters. Their presence before his camera confirmed the mutual attraction of the well-connected.”

Max Kozloff. “Richard Avedon’s “In the American West”,” on the ASX website, January 24, 2011 [Online] Cited 01/03/2015

 

Richard Avedon. 'Elizabeth Taylor, cock feathers by Anello of Emme, New York, July 1964' 1964

 

Richard Avedon
Elizabeth Taylor, cock feathers by Anello of Emme, New York, July 1964
1964
© The Richard Avedon Foundation

 

Richard Avedon. 'Twiggy, dress by Roberto Rojas, New York, April 1967' 1967

 

Richard Avedon
Twiggy, dress by Roberto Rojas, New York, April 1967
1967
© The Richard Avedon Foundation

 

Richard Avedon. 'Boyd Fortin, thirteen-year-old, Sweetwater, Texas, March 10, 1979' 1979

 

Richard Avedon
Boyd Fortin, thirteen-year-old, Sweetwater, Texas, March 10, 1979
1979, printed 1984-85
From the project the Western Project and the book In the American West
© The Richard Avedon Foundation

 

Richard Avedon. 'Sandra Bennett, twelve year old, Rocky Ford, Colorado, August 23, 1980' 1980

 

Richard Avedon
Sandra Bennett, twelve year old, Rocky Ford, Colorado, August 23, 1980
1980, printed 1984-85
From the project the Western Project and the book In the American West
© The Richard Avedon Foundation

 

 

The Ian Potter Museum of Art
The University of Melbourne,
Swanston Street (between Elgin & Faraday Streets)
Parkville, Melbourne, Victoria
Tel: +61 3 8344 5148

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

The Ian Potter Museum of Art website

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25
Feb
15

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

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

 

Another fun posting to add to the archive!

Marcus

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

 

 

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

 

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

 

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

 

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

 

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

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

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

 

 

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

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

Text from the deCordova Sculpture Park and Museum

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

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

 

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

 

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

 

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

 

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

 

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

Examples of Polaroids in book. 20 total.

 

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

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

 

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

 

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

 

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

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

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

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

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

 

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

Opening hours:
Summer
Every day
10 am – 5 pm

deCordova Sculpture Park and Museum website

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22
Feb
15

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

Exhibition dates: 16th January – 19th April 2015

 

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

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

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

Dr Marcus Bunyan

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

 

 

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

.
Stephen Somerstein

 

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

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

 

 

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

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

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

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

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

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

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

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

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

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

 

 

Selma – Montgomery March, 1965

 

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

Director: Stefan Sharff

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

 

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

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

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

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

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

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

 

Stephen Somerstein. 'Family watching march' 1965

 

Stephen Somerstein
Family watching march
1965
Courtesy of the photographer

 

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

 

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

 

 

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

 

 

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

 

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

 

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

 

 

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

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

New-York Historical Society Museum and Library website

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11
Feb
15

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

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

The Eyal Ofer Galleries

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

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

 

 

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

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

Marcus

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

 

 

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

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

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

Text from the Tate Modern website

 

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

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

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

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

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

 

 

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

.
Simon Baker

 

 

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

 

Roger Fenton
The Valley of the Shadow of Death
1855

 

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

 

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

 

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

 

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

 

Shomei Tomatsu. 'Melted bottle' Nagasaki, 1961

 

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

 

An-My Lê. 'Untitled, Hanoi' (1994-98)

 

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

 

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

 

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

 

Jane Wilson and Louise Wilson 'Azeville' 2006

 

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

 

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

 

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

 

 

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

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

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

Text from The New York Times website

 

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

 

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

 

Kikuji Kawada. 'Lucky Strike' 1962

 

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

 

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

 

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

 

 

Points of memory: Kikuji Kawada

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

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

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

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

Kikuji Kawada is a photographer based in Tokyo.

Text from the Tate Modern website

 

Richard Peter. 'Dresden After Allied Raids Germany' 1945

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

 

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

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

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

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

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

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

Press release from the Tate Modern website

 

Simon Norfolk. 'Bullet-scarred apartment building' 2003

 

Simon Norfolk

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

 

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

 

Susan Meiselas
Managua, July 2004
from the series Reframing History

 

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

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

 

 

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

 

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

 

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

 

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

 

 

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

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

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

 

Sophie Ristelhueber. 'Fait #25' 1992

 

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

 

Sophie Ristelhueber. 'Fait #44' 1992

 

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

 

Sophie Ristelhueber. 'Fait #46' 1992

 

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

 

Luc Delahaye. 'US Bombing on Taliban Positions' 2001

 

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

 

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

 

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

 

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

 

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

 

 

Seeing what can’t be seen

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

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

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

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

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

 

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

 

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

 

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

 

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

 

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

 

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

 

 

The limits of realism

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

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

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

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

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

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

 

Pierre Anthony-Thouret. 'Plate XXXVIII' 1927

 

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

 

 

Tate Modern
Bankside
London SE1 9TG
United Kingdom

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

Tate Modern website

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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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