Archive for the 'surrealism' Category

30
Jan
15

Exhibition: ‘Storyteller: The Photographs of Duane Michals’ at Carnegie Museum of Art, Pittsburgh

Exhibition dates: 1st November 2014 – 16th February 2015

 

Exposing your/self

.
Viva Michals! Viva Michals!

Magician, poet, storyteller, philosopher and dreamer.

Not for him the overblown statement (huge prints the size of billboards) but small, dark, rough prints assembled in photo-sequences, often incorporating text, that examine the human condition in every aspect. This is emotional work and Michals has a unique style and voice as an artist. You always know that you are looking at a sequence by Michals, for his signature is that distinctive.

As he says, his work goes beyond description, beyond surfaces, to reveal the subject – not as it looks but as it feels. In his sequences he usually achieves this by posing a question that has no answer, a question that is like a Zen koan…. what is the sound of one hand clapping? The grandfather ascends smilingly to heaven with little wings on his back as the child waves goodbye (if youth knew, if age could); the man as human condition turns into a galaxy; and the spirit leaves the body as it was left before.

Various Michals sequences, such as The Spirit Leaves The Body (1968, below), have a circular construction. Another sequence, Things are Queer (1973, below) is also a circular spatio-temporal enigma where instead of moving forward, the camera and the viewer are pulled backwards in a space-time continuum… where Michals forces you to question what reality really is. These two sequences are my personal favourites, and I had to scour the internet to find images for them as you rarely see them online.

His most famous sequence, the one that you see most often, is Chance Meeting (1970, below) – again an open-ended, intimate but puzzling encounter with a reflection of the self. Michals sequences are full of ghosts, uncommon intimacies, nubile females and delicious males (Michals is gay and has just celebrated his 54th anniversary with his partner). Dealing “with topics such as death, desire, and the passage of time” his work peers inward to examine “his own thoughts and dreams, to blur the lines between photography and philosophy.”

All is not sunshine and light, and I feel that there is a nebulous, obsidian energy hovering not too far below the surface. The photographs have high contrast and the subjects are very closely framed, giving the sequences an almost claustrophobic quality, as though you are having the life, the energy gently yet forcibly manipulated around you. The photographs rarely breathe freely and you feel as though you are almost trapped within their spaces.

Then there is the text. Never used to excess in the sequences (the title does that job alone), the singular images are extended into a longer narrative by biting, poignant words – sentences that utter harsh truths and tell it how it really is. I can’t look at that image, and read that text, from A Letter from My Father (1960/1975, below) without thinking of my abusive father and wondering what happened to his love – whether he hadn’t hidden it, he just didn’t have any to start with. For any child in an adult who has been abused, this image cuts to the bone.

.
Michals staged, narrative scenes take us on a journey into his reality, one which “has entered a realm beyond observation.” He poses difficult questions that force us to examine ideas beyond the world of phenomena, beyond the world of surfaces. He challenges our repressed inner lives and our idealised image of ourselves, disturbing the boundaries of personality, ego, and identity.1 He wrestles with Sartre’s noumenal world (the world of the subconscious, dreams), the “being-in-itself” or sometimes simply “the in-itself,” as Sartre calls it (what Kant called the noumenal world), where Sartre does not see man comfortably installed in the world.

“All of us, says Sartre, have a “pre-ontological comprehension” of being-in-itself, that is to say, an opaque, inarticulate, but very real sense of its presence and nature. The world is but a “varnish” on the surface of the being-in-itself; or, changing the metaphor, the world is but a “thin crust” of meaning which we impose upon being-in-itself. Ordinarily this thin crust of meaning conceals the in-itself and obscures our awareness of it, but the anguish of being is always there just below the surface of daily consciousness, and from time to time it breaks through to the surface, presenting being-in-itself without disguise.”2

This is what Michals attunes himself to, an examination of the in-itself, one that impacts on our internal poetic understandings of space and time. In his malleable daydreams Michals proffers a ‘releasement toward things’, the glimpsing of a coexistence between a conscious and unconscious way of perceiving which enables the seeing of the ‘Thing Itself’. As Heidegger observes, 

“We stand at once within the realm of that which hides itself from us, and hides itself just in approaching us. That which shows itself and at the same time withdraws is the essential trait of what we call the mystery… Releasement towards things and openness to the mystery belong together. They grant us the possibility of dwelling in the world in a totally different way…”3

It is Michals great skill as an artist and a human being that enables us the possibility of accessing some aspect of the mystery of our existence.

Dr Marcus Bunyan for the Art Blart blog

 

1. As discussed in Magee, Bryan. Confessions of a Philosopher. London: Weidenfeld and Nicolson, 1997, p. 405-406

2. Olsen, Robert. An Introduction to Existentialism. Dover Publications, New York, 1962, p. 39

3. Heidegger, Martin. Discourse on Thinking. New York: Harper & Row, 1966, pp. 55-56 quoted in Baracco, Mauro. “Completed Yet Unconcluded: The Poetic Resistance of Some Melbourne Architecture,” in van Schaik, Leon (ed.,). Architectural Design Vol. 72, No. 2 (‘Poetics in Architecture’). London: John Wiley and Sons, 2002, p. 74. Footnote 6.

.
Many thankx to the Carnegie 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.

 

 

“Who gives a fuck about what he had for breakfast? These are stylistic ticks. The digital has changed the paradigms of photography. I had an opening in Boston and this woman had a little camera with her and kept exclaiming, ‘Everything is a photograph!’ That’s the problem. The bar has been lowered so much in photography now…”

.
“Photographers tend not to photograph what they can’t see, which is the very reason one should try to attempt it. Otherwise we’re going to go on forever just photographing more faces and more rooms and more places. Photography has to transcend description. It has to go beyond description to bring insight into the subject, or reveal the subject, not as it looks, but how does it feel?”

.
“I don’t trust reality. So all of the writing on and painting on the photographs is born out of the frustration to express what you do not see.”

.
Duane Michals

 

 

Duane Michals. 'Cavafy Cheats Playing Strip Poker' 2004

 

Duane Michals
Cavafy Cheats Playing Strip Poker
2004
12 Gelatin silver prints with hand applied text
5″ x 7″ each

 

This series of photographs was inspired by the poem The Windows by Constantine Cavafy

In these dark rooms where I live out empty days,

I wander round and round trying to find the windows.

But the windows are not to be found –
or at least I can’t find them.
And perhaps
it is better that way.

Perhaps the light will prove another tyranny.

Who knows what new things it will expose?

 

Duane Michals. 'Chance Meeting' 1970

Duane Michals. 'Chance Meeting' 1970

Duane Michals. 'Chance Meeting' 1970

Duane Michals. 'Chance Meeting' 1970

Duane Michals. 'Chance Meeting' 1970

Duane Michals. 'Chance Meeting' 1970

 

Duane Michals
Chance Meeting
1970
Six gelatin silver prints
Carnegie Museum of Art, Pittsburgh
Courtesy of the Artist and DC Moore Gallery

 

Duane Michals. 'Things are Queer' 1973

Duane Michals. 'Things are Queer' 1973

Duane Michals. 'Things are Queer' 1973

Duane Michals. 'Things are Queer' 1973

Duane Michals. 'Things are Queer' 1973

Duane Michals. 'Things are Queer' 1973

Duane Michals. 'Things are Queer' 1973

Duane Michals. 'Things are Queer' 1973

Duane Michals. 'Things are Queer' 1973

 

Duane Michals
Things are Queer
1973
Nine gelatin silver prints
Carnegie Museum of Art, Pittsburgh
Courtesy of the Artist and DC Moore Gallery

 

Duane Michals. 'Grandpa Goes to Heaven' 1989

Duane Michals. 'Grandpa Goes to Heaven' 1989

Duane Michals. 'Grandpa Goes to Heaven' 1989

Duane Michals. 'Grandpa Goes to Heaven' 1989

Duane Michals. 'Grandpa Goes to Heaven' 1989

 

Duane Michals
Grandpa Goes to Heaven
1989
Five gelatin silver prints with hand applied text
Carnegie Museum of Art, Pittsburgh
Courtesy of the Artist and DC

 

 

“The best part of us is not what we see, it’s what we feel. We are what we feel. We are not what we look at… We’re not our eyeballs, we’re our mind. People believe their eyeballs and they’re totally wrong… That’s why I consider most photographs extremely boring – just like Muzak, inoffensive, charming, another waterfall, another sunset. This time, colors have been added to protect the innocent. It’s just boring. But that whole arena of one’s experience – grief, loneliness – how do you photograph lust? I mean, how do you deal with these things? This is what you are, not what you see. It’s all sitting up here. I could do all my work sitting in my room. I don’t have to go anywhere.”

.
Duane Michals

 

 

“Opening November 1, 2014, at Carnegie Museum of Art (CMOA), Storyteller: The Photographs of Duane Michals is the definitive retrospective and the largest-ever presentation of this innovative artist’s work. Drawing from select loans and the museum’s holdings, which constitute the largest single collection of Michals’s output, and spanning six decades, the works in Storyteller include classic sequences from the early 1970s as well as rarely seen images from later in his career.

Born in 1932 and raised in a steelworker family in McKeesport, Pennsylvania, Michals broke away from established traditions of documentary and fine art photography in the 1960s when he added handwritten messages and poems to prints, produced multi-image narrative sequences, and experimented with double- and triple-exposures. His work was poignant and unabashedly sentimental, flying in the face of the dominant photographic aesthetics of the time.

Storyteller unfolds in thematic groupings that range from portraiture to meditations on the mind’s interior world; from childhood and imagination to desire and death. Michals’s love of two very different cities, Pittsburgh and Paris, is evident in sections exploring the beauty, quirks, and particularities of these places. He has riffed on, critiqued, and crossed paths with countless artists, including René Magritte, Cindy Sherman, Joseph Cornell, Robert Frank, Andreas Gursky, Andy Warhol, and others, and a section of the exhibition brings to light the admiration and acerbic wit in Michals’s engagements with other creative minds.

“The exhibition is designed to acquaint the visitor with the many themes that Michals explored over more than half a century,” says curator of photography Linda Benedict-Jones. “Well known sequences such as Paradise Regained and Chance Meeting greet the viewer first, followed by engaging and sometimes surprising Children’s Stories. A section called The Mind’s Eye shows Michals’s absorption with photographing things that cannot actually be seen, such as A Man Going to Heaven or The Human Condition. We could not present Storyteller chronologically, because Michals revisits themes often. One theme, Painted Expression, shows how, in two distinct periods of his life – in the early 1980s and again in 2012 – Michals has picked up a brush to apply oil paint to both black-and-white photographic prints as well as most recently to 19th century tintypes, resulting in unique, one-of-a-kind photographic works. His creative energy is boundless and readily apparent when seen in a large retrospective display.”

“I’m a storyteller,” he often states as he begins a talk in public – equally interested in the moments before and after the “decisive moment” (a term coined by famed photographer Henri Cartier-Bresson). “When I began to do sequences, it wasn’t because I thought it was cool and the latest thing. I did it out of frustration with the still photograph.” He has observed that his practice aims to transcend mere appearances: “I’m not interested in what something looks like, I want to know what it feels like… My reality has entered a realm beyond observation.” This approach can be seen throughout his career, from early, carefully staged sequences, to hand-painted gelatin silver prints and tintypes, revealing the artist’s hand at work long after the image is captured.

According to curator of photography Linda Benedict-Jones, who organized Storyteller, “Duane Michals is a sensitive and provocative artist who has followed his own unique path. His way of staging narrative scenes, then recording them with a 35mm camera, represented a fresh approach to the medium. This, combined with an uncommon intimacy when dealing with topics such as death, desire, and the passage of time, set him apart as an image-maker.”

Storyteller also touches upon Michals’s extensive portfolio of commercial photography and portraiture, which spans several decades, and includes assignments for Neiman Marcus, Esquire, Vogue, and Gap, as well as commissioned portraits of such figures as Nancy Reagan, Sting, and Willem de Kooning.

CMOA, a fixture in Michals’s artistic upbringing, has acquired 139 of his works, ranging from his earliest images made in Russia in 1958 to hand-painted tintypes that he began creating in 2012. Michals, in turn, has always felt an attachment to Pittsburgh, a subject of many of his photographs, and of two books, the sequence The House I Once Called Home (2003) and poetry collection A Pittsburgh Poem (2013). Lending institutions to Storyteller include Musée d’Art Moderne de la Ville de Paris, Museum of Fine Arts (Houston), Musée des Beaux Arts (Montreal), High Museum of Art (Atlanta), and Museum of Modern Art (New York). Even longtime admirers of the artist may be unfamiliar with several of his bodies of work, and an examination of this full range is long overdue: while Michals has been championed in several solo exhibitions throughout Europe in the past decade, this is his first major museum exhibition in North America since 1998.

Storyteller also touches upon Michals’s extensive portfolio of commercial photography and portraiture, which spans several decades, and includes assignments for Neiman Marcus, Esquire, Vogue, and Gap, as well as commissioned portraits of such figures as Nancy Reagan, Sting, and Willem de Kooning.

Presented alongside Storyteller will be the exhibition Duane Michals: Collector, which highlights works from Michals’s private art collection that are promised gifts to the museum. The eclectic array of objects, ranging from 1799 to 1999, and from Francisco de Goya to André Kertész to Mark Tansey, will be united by Michals’s unique take on the artists, the artworks, and their influence on his own practice. Organized by associate curator of fine arts Amanda Zehnder, Duane Michals: Collector will further contextualize his work from an unusually personal perspective.

Storyteller: The Photographs of Duane Michals represents a refreshing, much-needed reexamination of a historically significant photographer. Michals’s pioneering photography infused the medium with a personal, critical approach that translates universally. In an art world that feels at times jaded and detached, his images retain the same moving, affecting impact that they commanded decades ago.”

Press release from the Carnegie Museum of Art

 

 

Internationally-renowned photographer Duane Michals discusses his eight-decade life and career as a self-described “expressionist.” His work is known for its innovative narrative sequencing and iconic use of text and image. During a period when photography looked out to the world around us, Michals redefined the medium by peering inward to his own thoughts and dreams to blur the lines between photography and philosophy.

 

Duane Michals. 'The Spirit Leaves The Body' 1968

Duane Michals. 'The Spirit Leaves The Body' 1968

Duane Michals. 'The Spirit Leaves The Body' 1968

Duane Michals. 'The Spirit Leaves The Body' 1968

Duane Michals. 'The Spirit Leaves The Body' 1968

Duane Michals. 'The Spirit Leaves The Body' 1968

Duane Michals. 'The Spirit Leaves The Body' 1968

 

Duane Michals
The Spirit Leaves The Body
1968
Seven gelatin silver prints with hand applied text
Carnegie Museum of Art, Pittsburgh
Courtesy of the Artist and DC Moore Gallery

 

Duane Michals. 'The Young Girl’s Dream' 1969

Duane Michals. 'The Young Girl’s Dream' 1969

Duane Michals. 'The Young Girl’s Dream' 1969

Duane Michals. 'The Young Girl’s Dream' 1969

Duane Michals. 'The Young Girl’s Dream' 1969

 

Duane Michals
The Young Girl’s Dream
1969
Five gelatin silver prints with hand applied text
Carnegie Museum of Art, Pittsburgh
Courtesy of the Artist and DC Moore Gallery

 

Duane Michals. 'A Letter from My Father' 1960/1975

 

Duane Michals
A Letter from My Father
1960/1975
Gelatin silver print with hand-applied text
Carnegie Museum of Art, Pittsburgh
Courtesy of the Artist and DC Moore Gallery

 

Duane Michals. 'Magritte with Hat' 1965

 

Duane Michals
Magritte with Hat
1965
Gelatin silver print with hand applied text
Carnegie Museum of Art, Pittsburgh
Courtesy of the Artist and DC Moore Gallery

 

Duane Michals. 'Magritte with Hat' 1965 (detail)

 

Duane Michals
Magritte with Hat (detail)
1965
Gelatin silver print with hand applied text
Carnegie Museum of Art, Pittsburgh
Courtesy of the Artist and DC Moore Gallery

 

Duane Michals. 'This Photograph Is My Proof' 1967

 

Duane Michals
This Photograph Is My Proof
1967
Gelatin silver print with hand-applied text
The Henry L. Hillman Fund, Carnegie Museum of Art, Pittsburgh
Courtesy of the Artist and DC Moore Gallery

 

Duane Michals. 'Young Soldiers Dream in the Garden of the Dead with Flowers Growing from Their Heads' 1995

 

Duane Michals
Young Soldiers Dream in the Garden of the Dead with Flowers Growing from Their Heads
1995
From the series Salute, Walt Whitman
Gelatin silver print
The Henry L. Hillman Fund
Courtesy of Carnegie Museum of Art, Pittsburgh

 

Lewis Wickes Hine. 'Two 7-Year-Old Nashville Newsies, Profane and Smart, Selling Sunday' 1910

 

Lewis Wickes Hine
Two 7-Year-Old Nashville Newsies, Profane and Smart, Selling Sunday
1910
Gelatin silver print
Gift of Duane Michals
Courtesy of Carnegie Museum of Art

 

Duane Michals. 'The Human Condition' 1969

 

Duane Michals
The Human Condition
1969
Six gelatin silver prints with hand applied text
Carnegie Museum of Art, Pittsburgh
Courtesy of the Artist and DC Moore Gallery

 

Duane Michals. 'Rigamarole' 2012

 

Duane Michals
Rigamarole
2012
Tintype with oil paint
The William T. Hillman Fund for Photography
Carnegie Museum of Art,Pittsburgh
Courtesy of the Artist and DC Moore Gallery

 

 

Carnegie Museum of Art
4400 Forbes Avenue
Pittsburgh, PA 15213

Opening hours:
Monday: 10 am – 5 pm
Tuesday: Closed
Wednesday: 10 am – 5 pm
Thursday: 10 am – 8 pm
Friday: 10 am – 5 pm
Saturday: 10 am – 5 pm
Sunday: noon – 5 pm

Carnegie Museum of Art website

LIKE ART BLART ON FACEBOOK

Back to top

23
Jan
15

Exhibition: ‘Marc Chagall – A Retrospective 1908-1985′ at the Palazzo Reale, Milan

Exhibition dates: 17th September 2014 – 1st February 2015

 

A bumper posting on this glorious artist – another who, too late, realised the threat of Nazi Germany and only survived deportation and death by the skin of his teeth. It would have been a sad loss, for he possesses an unbridled passion for life. Social conscience, mythology, iconography, place, identity, race, religion, beauty, war and tragedy. And the exemplary use of colour in his metaphysical, fantastical scenes. But above all…. MAGIC!

Marcus

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

 

 

“If I create from the heart, nearly everything works; if from the head, almost nothing.”

.
Marc Chagall

 

“Chagall a pioneer of modern art and one of its greatest figurative painters… [who] invented a visual language that recorded the thrill and terror of the twentieth century…

On his canvases we read the triumph of modernism, the breakthrough in art to an expression of inner life that … is one of the last century’s signal legacies. At the same time Chagall was personally swept up in the horrors of European history between 1914 and 1945: world wars, revolution, ethnic persecution, the murder and exile of millions. In an age when many major artists fled reality for abstraction, he distilled his experiences of suffering and tragedy into images at once immediate, simple, and symbolic to which everyone could respond.”

.
Wullschlager, Jackie. Chagall: A Biography. Knopf, 2008. p. 4

 

 

Marc Chagall. 'Figura davanti alla volta blu' 1911

 

Marc Chagall
Figura davanti alla volta blu
1911
Gouache on paper

 

Marc Chagall. 'Daphnis and Cloe' 1911

 

Marc Chagall
Daphnis and Cloe
1911
Watercolour
16.5 x 21 cm
Private collection

 

Marc Chagall. 'Il compleanno' 1915

 

Marc Chagall
Il compleanno (Birthday)
1915
Oil on cardboard
The Museum of Modern Art, New York. Acquired through the Lillie P. Bliss Bequest, 1949
© 2014. Digital image, The Museum of Modern Art, New York/Scala, Firenze © Chagall ® by SIAE 2014

 

Marc Chagall. 'The Blue House' 1917

 

Marc Chagall
The Blue House
1917
Oil on canvas
66 x 96.8 cm
Musée des Beaux-Arts, Liège, France

 

Marc Chagall. 'Matrimonio' (Wedding) 1918

 

Marc Chagall
Matrimonio (Wedding)
1918
Oil on canvas
100 x 119 cm
Tretyakov Gallery, Moscow, Russia

 

Marc Chagall. 'Model of great scene for "Mazeltov" Scholem Aleichem' 1919

 

Marc Chagall
Modello di grande scena per “Mazeltov” di Scholem Aleichem (Model of great scene for “Mazeltov” Scholem Aleichem)
1919
Oil and black pencil on paper pasted on cardboard
Private Collection

 

Marc Chagall. 'Composition with circles and goat (Jewish Theatre Art)' 1920

 

Marc Chagall
Composizione con cerchi e capra (Teatro d’arte ebraica) (Composition with circles and goat (Jewish Theatre Art))
1920
Oil on cardboard laid on wood agglomerate
Private Collection

 

Marc Chagall. 'Angelo cadente' (The Falling Angel) 1923

 

Marc Chagall
Angelo cadente (The Falling Angel)
1923
Oil on canvas
148 x 189 cm
Private collection

 

Marc Chagall. 'Bella con un libro e un vaso di fiori (o Bella a Mourillon)' 1926

 

Marc Chagall
Bella con un libro e un vaso di fiori (o Bella a Mourillon) (Beauty with a book and a vase of flowers (or Bella in Mourillon))
1926
Oil on canvas
Credits: Collezione Privata
© Chagall ® by SIAE 2014

 

Marc Chagall. 'Nude above Vitebsk' 1933

 

Marc Chagall
Nude above Vitebsk
1933
Oil on canvas
Private collection
© Chagall ® by SIAE 2014

 

Marc Chagall. 'Cow with Parasol' 1946

 

Marc Chagall
La mucca con l’ombrello (Cow with Parasol)
1946
Oil on canvas
New York, The Metropolitan Museum of Art, Bequest of Richard S. Zeisler, 2007
© Chagall ®, by SIAE 2014

 

Marc Chagall. 'The Red Circus' 1956-1960

 

Marc Chagall
The Red Circus
1956-1960
Oil on canvas

 

Marc Chagall. 'Big Sun' 1958

 

Marc Chagall
Big Sun
1958
Oil on canvas

 

Marc Chagall. 'War' 1964

 

Marc Chagall
War (Guerra)
1964
Oil on canvas
163 x 231 cm
Kunsthaus Zürich, Zürich, Switzerland

 

Marc Chagall. 'The Players' (i giocatori) 1968

 

Marc Chagall
The Players (i giocatori)
1968
Oil no canvas
150 x 160 cm
Private collection

 

Marc Chagall. 'The Grand Parade' 1979

 

Marc Chagall
The Grand Parade
1979
Oil on canvas
119 x 132 cm
Private collection

 

 

“Will the hurried men of today be able to penetrate her work, her world?” is the question asked by Marc Chagall in 1947 in the postface to the memoirs of his wife Bella, who left him “in the shadows” following her sudden death three years earlier. However, this question could also be asked about his own work, the work of an artist who speaks such a universal language that he is loved by everyone alike, both young and old, men and women, scholars and men on the street. Chagall is an artist who is known and recognized by everyone and, out of all the 20th-century artists, was one of the few to remain faithful to himself despite living through a century of wars, catastrophes, political and technological upheavels.

The exhibition narrative has arisen from a question and a need: on the one hand, the attempt to understand the strength that an enabled an artist who experimented with the styles of all the avant-garde movements, to remain so consistent to himself, always curious about the world around him, developing a style that can be recognized immediately by people of any age and any social status; on the other, the need to study Chagall’s work in order to identify the secret behind the poetry of this fragile man who was yet able to keep faith with his traditions and with his humanity, despite living in a world shaken to the core by indescribable and until then unimaginable catastrophes.

The exhibition opened on 17 September at the Palazzo Reale in Milan and is the biggest retrospective ever devoted to Marc Chagall in the last 50 years in Italy, with over two hundred and twenty works – mainly paintings from 1908 onwards, when Chagall painted his first work Le Petit Salon, right up to his final, monumental works of the 1980s – which guide visitors through the artistic career of Marc Chagall. Works from the collections of his heirs, some of which have not been exhibited to the public before, feature alongside masterpieces from the world’s most important museums, including the MoMA, the Metropolitan Museum in New York, the National Gallery in Washington, the State Russian Museum in St Petersburg, the Centre Pompidou, and over fifty public and private collections that have so generously collaborated. The exhibition theme therefore focuses on a new interpretation of the language of Chagall, whose poetic vein developed throughout the 20th century out of a blend of the best western European traditions: from his original Jewish culture to the Russian culture and his encounter with French avant-garde painting.

“The exhibition features a comprehensive chronological narrative, which is divided into sections, starting with his earliest works painted in Russia; his first visit to France and his subsequent return to Russia where he stayed until 1921; the second period of his exile, opened by the autobiography written by Chagall when he left Russia forever, living firstly in France and then, in the 1940s running away from Nazism, in America where he endured the tragedy of the death of his beloved wife Bella; his return to France and his decision to settle permanently on the Cote d’Azur, where Chagall rediscovered his most relaxed poetic language, calmed by the colours and atmosphere of the south.

The exhibition provides visitors with an understanding of how, despite living in perennial exile, Chagall never lost hold of the thread that kept the child he used to be in his heart; how, over the years and throughout the terrible events that marred his existence, he succeeded in preserving his sense of amazement, joy and wonder inspired by nature and humanity, as well as his strong faith that led him to believe in the possibility of a better world and seek to build it in all possible ways. Visitors will also discover his highly original poetic language, born out of the assimilation of the three cultures to which he belonged: Jewish culture (the visual tradition of its ornate manuscripts inspired the expressive, non-perspectival and sometimes mystic elements of his work); Russian culture (evident both in the folk images of the luboks and the religious images of the icons); western culture (in which he assimilates the great artists of tradition, from Rembrandt to the avant-garde artists whom he frequented so assiduously). They will also observe his sense of wonder at nature and the amazement inspired by living creatures that places him closer to mediaeval sources than 20th-century ones.

Flowers and animals are a constant presence in his paintings, enabling him on the one hand to overcome the Jewish interdiction of human depiction, while on the other becoming metaphors for a possible world in which all living beings can live in peace as in Russian mediaeval culture. In the words of Giovanni Arpino: “The soul of Chagall is a bleating soul, as mild as it is invincible because it escapes the horrors, the snares, the outrages … His paradise is an earthly Otherworld that encompasses the simulacra of life, a physical place that becomes metaphysical precisely because we have all killed it during daily life.” His art constitutes a sort of metissage [mix] between cultures and traditions. The fundamental key to his modernity lies in his desire to transform contamination into a value, a work of art into a language able to ask questions that have as yet been left unanswered by mankind.

After Milan the exhibition will travel to the prestigious Musees royaux des Beaux-Arts de Belgique/Koninklike Musea voor Schone Kunsten van Belgie, Bruxelles.”

Press release from the Palazzo Reale website

 

Marc Chagall. 'La nascita' (The birth) 1911

 

Marc Chagall
La nascita (The birth)
1911
Oil on canvas original pasted on wood (plywood)
Private collection
© Chagall ® by SIAE 2014

 

Marc Chagall. 'The Soldier Drinks' 1911

 

Marc Chagall
The Soldier Drinks (Soldato che beve)
1911
Oil on canvas
109.8 x 94.7 cm
Solomon R. Guggenheim Museum, New York

 

Marc Chagall. 'Bride with Fan' 1911

 

Marc Chagall
Bride with fan (Sposa con ventaglio)
1911
Oil on canvas
Private Collection

 

Marc Chagall. 'I and the village' 1911

 

Marc Chagall
I and the Village
1911
Oil on canvas
192.1 x 151.4 cm
Museum of Modern Art, New York

 

Marc Chagall. 'Nude with comb' 1911-1912

 

Marc Chagall
Nude with comb (Nuda con pettine)
1911-1912
Black ink and gouache on paper

 

Marc Chagall. 'The Fiddler' 1912

 

Marc Chagall
The Fiddler
1912
Oil on canvas
188 x 158 cm
Stedelijk Museum, Amsterdam

 

Marc Chagall. 'Soldiers' 1912

 

Marc Chagall
Soldiers
1912
Private collection
38.1 x 32.4 cm

 

Marc Chagall. 'The Old Jew' (il vecchio ebreo) 1912

 

Marc Chagall
The Old Jew (il vecchio ebreo)
1912
Oil on canvas

 

Marc Chagall. 'Self-portrait in profile' 1914

 

Marc Chagall
Self-portrait in profile
1914
Oil on cardboard
34 x 27.9 cm
Private collection

 

Marc Chagall. 'Blue Lovers' 1914

 

Marc Chagall
Blue Lovers
1914
Tempera on paper pasted on cardboard
49 x 44 cm
Private collection

 

Marc Chagall in his studio of Saint-Paul de Vence

 

Marc Chagall in his studio of Saint-Paul de Vence
Nd

 

Marc Chagall. 'Red Jew' 1915

 

Marc Chagall
Red Jew
1915
Oil on cardboard
Russian Museum, St. Petersburg, Russia

 

Marc Chagall. 'The Poet Reclining' 1915

 

Marc Chagall
The Poet Reclining (Il poeta giacente)
1915
Oil on board
Support: 772 x 775 mm Frame: 953 x 960 x 91 mm
© Tate, London 2014 © Chagall ® by SIAE 2014

 

Marc Chagall. 'La passeggiata' (The walk) 1917-1918

 

Marc Chagall
La passeggiata (The walk)
1917-1918
Oil on canvas
Russian State  Museum, St. Petersburg
© Chagall ® by SIAE 2014

 

Marc Chagall. 'Al Cavalletto (tavola 18 di "Ma Vie")' 1922

 

Marc Chagall
Al Cavalletto (tavola 18 di “Ma Vie”)
1922
Etching and drypoint on Japanese paper
Private collection
© Chagall ® by SIAE 2014

 

Marc Chagall. 'Autoritratto (tavola 17 di "Ma Vie")' 1922

 

Marc Chagall
Autoritratto (tavola 17 di “Ma Vie”) (Self-portrait)
1922
Etching and drypoint on Japanese paper
Private collection
© Chagall ® by SIAE 2014

 

Marc Chagall. 'Study for The green violinist' 1917

 

Marc Chagall
Study for The green violinist (studio violinista verde)
1917

 

Marc Chagall. 'Two pigeons' 1925

 

Marc Chagall
Two pigeons
1925
Gouache, ink and blue ink on colored paper
Private collection

 

Marc Chagall. 'L'aquila e lo scarabeo' 1926

 

Marc Chagall
L’aquila e lo scarabeo
1926
Gouache on paper pasted on wooden panel
Private collection
© Chagall ® by SIAE 2014

 

Marc Chagall. 'The Madonna of the Village' 1938-1942

 

Marc Chagall
The Madonna of the Village
1938-1942
Oil on canvas
Thyssen-Bornemisza Museum, Madrid
© Chagall ® by SIAE 2014

 

Marc Chagall. 'Mondo rosso e nero o Sole rosso' (Red and black world) 1951

 

Marc Chagall
Mondo rosso e nero o Sole rosso (Red and black world)
1951
Gouache, watercolor, pastel on paper pasted on canvas
Private collection

 

Marc Chagall. 'Il trionfo della musica - Maquette per il murale Metropolitan Opera, Lincoln Art Center, New York' 1966

 

Marc Chagall
Il trionfo della musica – Maquette per il murale Metropolitan Opera, Lincoln Art Center, New York (The triumph of music – Maquette for the mural Metropolitan Opera, Lincoln Art Center, New York)
1966
Tempera, gouache and collage on paper
Private collection

 

Marc Chagall. 'Lovers over Saint-Paul' 1968

 

Marc Chagall
Lovers over Saint-Paul
1968
Oil, tempera and sawdust on canvas
145 x 130 cm
Private collection
© Chagall ® by SIAE 2014

 

 

Palazzo Reale
Piazza del Duomo 12
Milan, Italy

Opening times:
Monday 2.30 pm – 7.30 pm
Tuesday, Wednesday, Friday and Sunday 9.30 am – 7.30 pm
Thursday and Saturday 9.30 am – 10.30 pm

Marc Chagall exhibition website

LIKE ART BLART ON FACEBOOK

Back to top

14
Jan
15

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

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

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

 

For you Fred!

Marcus

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

 

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

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

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

 

 

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

 

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

 

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

 

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

 

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

 

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

 

Robert Gober. 'Untitled' 1991

 

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

 

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

 

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

 

 

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

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

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

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

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

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

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

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

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

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

 

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

 

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

 

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

 

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

 

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

 

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

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

 

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

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

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

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

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

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

Ann Temkin

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

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

Paulina Pobocha

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

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

Press release from the MoMA website

 

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


 

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

 

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

 

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

 

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


 

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

 

Robert Gober. 'Untitled' 2005-06

 

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

 

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

 

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

 

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

 

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

 

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


 

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

 

Robert Gober. 'Untitled' 2003-05

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

 

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

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

MOMA website

LIKE ART BLART ON FACEBOOK

Back to top

06
Jan
15

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

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

Curator: Hans-Michael Koetzle

 

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

Marcus

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

 

 

Oskar Barnack. 'Wetzlar Eisenmarkt' 1913

 

Oskar Barnack
Wetzlar Eisenmarkt
1913
© Leica Camera AG

 

Ernst Leitz. 'New York II' 1914

 

Ernst Leitz
New York II
1914
© Leica Camera AG

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

 

Oskar Barnack. 'Flood in Wetzlar' 1920

 

Oskar Barnack
Flood in Wetzlar
1920
© Leica Camera AG

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

 

'Ur-Leica' 1914

 

Ur-Leica
1914
© Leica Camera AG

 

Oskar Barnack invents the Ur-Leica

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

 

Ilse Bing. 'Self-portrait in Spiegeln' 1931

 

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

 

Anton Stankowski. 'Greeting, Zurich, Rüdenplatz' 1932

 

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

 

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

 

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

 

Alexander Rodchenko. 'Girl with Leica' 1934

 

Alexander Rodchenko
Girl with Leica
1934

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

 

Heinrich Heidersberger. 'Laederstraede, Copenhagen' 1935

 

Heinrich Heidersberger
Laederstraede, Copenhagen
1935
© Institut Heidersberger

 

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

 

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

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

 

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

 

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

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

 

Jewgeni Chaldej. 'The Flag of Victory' 1945

 

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

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

 

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

 

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

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

 

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

 

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

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

 

Inge Morath. 'London' 1950

 

Inge Morath
London
1950

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

 

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

 

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

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

 

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

 

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

 

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

 

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

 

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

 

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

 

 

 

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

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

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

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

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

Press release from the Deichtorhallen Hamburg website

 

 

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

 

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

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

 

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

 

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

 

Ulrich Mack. 'Wild horses in Kenya' 1964

 

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

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

 

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

 

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

 

Fred Herzog. 'Man with Bandage' 1968

 

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

 

Lee Friedlander. 'Mount Rushmore, South Dakota' 1969

 

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

 

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

 

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

 

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

 

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

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

 

René Burri. 'San-Cristobál' 1976

 

René Burri
San-Cristobál
1976

 

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

 

Martine Franck
Swimming pool designed by Alain Capeilières
1976

 

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

 

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

 

Rudi Meisel. 'Leningrad' 1987

 

Rudi Meisel
Leningrad
1987

 

Jeff Mermelstein. 'Sidewalk' 1995

 

Jeff Mermelstein
Sidewalk
1995
© Jeff Mermelstein

 

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

 

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

 

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

 

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

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

 

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

 

François Fontaine
Vertigo from the Silenzio! series
2012

 

Julia Baier. From the series "Geschwebe," 2014

 

Julia Baier
From the series Geschwebe
2014
© Julia Baier

 

 

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

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

Deichtorhallen Hamburg website

LIKE ART BLART ON FACEBOOK

Back to top

04
Jan
15

Exhibition: ‘Forbidden Games: Surrealist and Modernist Photography’ at the Cleveland Museum of Art

Exhibition dates: 19th October 2014 – 11th January 2015

The Kelvin and Eleanor Smith Foundation Exhibition Hall

 

 

Love this period in photographic history and this type of work, love them all. Dora Maar your a star!

Marcus

.
Many thankx to the Cleveland 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.

 

“Often wild and recalcitrant, the images presented in Forbidden Games have been somewhat bridled by the curators who present them in broadly structured theme-based spaces. These categories include Advertising and the Picture Magazine, Collage, City, Natural World, Body, Mannequin, Night Life, and Abstraction. The curatorial rubrics guide the visitor through the exhibition and ease the appreciation of “the eye in its wild state” (l’oeil à l’état sauvage), the museum’s declared leitmotif for the show. Three additional spaces highlight the work of individual artists Marcel Lefranq (1916-1974), Georges Hugnet (1906-1974), and Dora Maar (1907-1997)…

It is not difficult to engage in a personal way with a number of photographs in this exhibition. In sharp contrast to the monumental scale of many late twentieth-century and millennial museum photographs, which often seem designed to engulf and visually overwhelm the viewer, these comparatively ‘small scale’ works radiate a quiet integrity often lacking in the former. The photographs on view are powerful, yet neither dominate the room nor repel the viewer. Instead, and refreshingly so, they are the whispered testimonial of artists who practiced unhurried looking and seeing. These images must be approached without haste; only then, do they yield their subtle beauty and secrets.”

.
Julie Nero, from her excellent review “Forbidden Games: Surrealist and Modern Photography” on the ArtHopper website

 

 

Anton Stankowski (German, 1906-1998) 'Photo Eye' (Foto-Auge) 1927, printed 1938-40

 

Anton Stankowski (German, 1906-1998)
Photo Eye (Foto-Auge)
1927, printed 1938-40
Gelatin silver print, montage, from negatives with handwork
10.9 x 14.5 cm
The Cleveland Museum of Art, John L. Severance Fund 2007.122
© Stankowski-Stiftung

 

Jacques-Henri Lartigue (French, 1894-1986) 'The Crystal Ball' (La Boule de Verre) 1931

 

Jacques-Henri Lartigue (French, 1894-1986)
The Crystal Ball (La Boule de Verre)
1931
Gelatin silver print, toned
23.7 x 29.9 cm
The Cleveland Museum of Art, John L. Severance Fund 2007.149
© Ministère de la Culture – France / AAJHL

 

Raoul Ubac (Belgian, 1910-1985) 'The Battle of the Penthesilea' (Le Combat des Penthésiliées) 1937

 

Raoul Ubac (Belgian, 1910-1985)
The Battle of the Penthesilea (Le Combat des Penthésiliées)
1937
Gelatin silver print
16.9 x 22.8 cm
The Cleveland Museum of Art, John L. Severance Fund 2007.154
© 2013 Artists Rights Society (ARS), New York / ADAGP, Paris

 

 

Man Ray
Emak Bakia
1926

 

 

Photo of collector, David Raymond
Photo credit: Elena Dorfman

 

 

“The Cleveland Museum of Art presents Forbidden Games: Surrealist and Modernist Photography, a fascinatingly varied group of over 160 surrealist and modernist photographs from the 1920s through the 1940s. The exhibition and accompanying catalogue of the extraordinary vintage prints, acquired by the museum in 2007-2008 from the renowned collection of filmmaker David Raymond, represent the collection’s first appearance in print or at a museum. The exhibition will also include six short films and two books. Forbidden Games will be on view at the Cleveland Museum of Art from October 19, 2014, through January 11, 2015.

Through 167 photographs and illustrated books, the Raymond collection tells two stories: one of a radical moment in early twentieth-century art and the other of an impassioned collector whose adventurous spirit and vision harmonized perfectly with his subject. Beginning in the 1990s, art collector and filmmaker David Raymond judiciously sought out vintage prints from the 1920s through the 1940s that reflect the eye in its wild state (l’oeil a l’état sauvage), remaining true to the spirit of André Breton, a founder of surrealism. Raymond’s holdings of surrealist and modernist photography were distinguished by their quality, breadth, and rarity of subject matter. In 2007, the Cleveland Museum of Art made a major, transformative acquisition by procuring that collection, one of the most important holdings of twentieth-century surrealist photography that remained in private hands.

Vertiginous camera angles, odd croppings, and exaggerated tones and perspectives are hallmarks of the two principal photographic movements of the period, surrealism and modernism. As with surrealist efforts in other media, artists making photographs also aimed to explore the irrational and the chance encounter – magic and the mundane – filtered through the unconscious defined by Sigmund Freud. Eventually, photography became a preeminent tool of surrealist visual culture.

Artists from fourteen countries, representing diverse artistic pathways and divergent attitudes toward photography, come together in this collection. Many of the photographs reflect Parisian circles, with masterful works by Man Ray, Brassaï, Maurice Tabard, and Roger Parry. Soviet Russia is represented by Alexander Rodchenko and El Lissitzky; Germany by László Moholy-Nagy and Erwin Blumenfeld, among others. In addition to these notable artists, the collection features many photographers whose work is not as well known in the United States, including Horacio Coppola of Argentina, Emiel van Moerkerken of Holland, and Marcel-G. Lefrancq of Belgium. A highlight of the collection is a grouping of 23 works by Dora Maar, a female photographer with a strong voice in surrealist Paris.

“We are proud to celebrate this important acquisition with the first in-depth examination of a segment of our increasingly important collection of photography,” said Dr. William M. Griswold, museum director. “David Raymond is a judicious and passionate collector who assembled his collection with astute judgment and connoisseurship, seeking out works that reflect l’oeil à l’état sauvage – the eye in its wild state, a tenet of surrealism supplied by André Breton, founder of the first surrealist group in Paris.”

“The Cleveland Museum of Art made a major, transformative acquisition by procuring the David Raymond collection, one of the most important holdings of twentieth-century surrealist photography that remained in private hands,” said Barbara Tannenbaum, the museum’s curator of photography. “Forbidden Games offers the public its first chance to view Raymond’s collection and through it, to vicariously experience an exhilarating, sometimes harrowing period of revolutionary social and cultural change.”

Forbidden Games is accompanied by a 240-page catalogue by Tom Hinson, curator emeritus, who tells the story of how the collection came to the museum and discusses the philosophy and the psychology behind Raymond’s collecting style; photo historian Ian Walker of the University of South Wales, who sets the photographs into historical and historiographic contexts; and independent curator Lisa Kurzner, who delves into topics of special interest ranging from examinations of techniques such as photograms and photo collage to explications of the symbolism of the mannequin and biographical studies of Maar and Hugnet. The catalogue, distributed by Yale University Press, is available for purchase at the museum or online: store.cmastore.org/fogasuandmop.html (Hard cover/$39.95, soft cover/$29.95.)

This exhibition is supported by a grant from the Robert Mapplethorpe Foundation and was developed in part through the generosity of Mark Schwartz and Bettina Katz. The Cleveland Museum of Art is generously funded by Cuyahoga County residents through Cuyahoga Arts and Culture. The Ohio Arts Council helped fund this exhibition with state tax dollars to encourage economic growth, educational excellence, and cultural enrichment for all Ohioans.”

Text from the Cleveland Museum of Art website

 

Raoul Ubac. 'Mannequin d'Andre Masson' 1938

 

Raoul Ubac
Mannequin d’Andre Masson
1938

 

Photographed by Raoul Ubac, André Masson’s Mannequin (1938) was one of sixteen artist-decorated dress-shop dummies on view at the 1938 Paris Exposition Internationale du Surréalisme. Probably the most well-known mannequin of the infamous installation, the head of Masson’s dummy is framed in a wicker bird-cage. Nearby, in the same area devoted to the “Mannequin,” a theme addressed ubiquitously in countless surrealist works, Hans Bellmer’s dismembered Poupée (1936) is on view. While both works symbolically objectify and victimize the female ‘body,’ Bellmer’s disturbing Poupée, unlike Masson’s somewhat playful Mannequin, darkly insinuates sexual torture and murder. (Text by Julie Nero)

 

Erwin Blumenfeld. 'Boxers over New York' 1920

 

Erwin Blumenfeld
Boxers over New York
1920
Photomontage

 

A 1920 photo-collage of boxers fighting over New York, an aerial shot of the city overlaid with silver print cut-outs of Jack Johnson and Jim Jeffries, the Great White Hope, duking it out like gods in the sky. It was made by Erwin Blumenfeld, who signed the work Blumenfeldada. (Many of these artists cut and pasted their names as readily as they cut and pasted images.) (Text by Sarah Boxer)

 

François Kollar (Slovak, 1904-1979) 'Wood-Milne' 1930

 

François Kollar (Slovak, 1904-1979)
Wood-Milne
1930
Gelatin silver print, montage
37.5 x 28.1 cm
The Cleveland Museum of Art, John L. Severance Fund 2007.58
© Ministère de la Culture / Médiathèque du Patrimoine, Dist. RMN

 

Edward Quigley (American, 1898-1977) 'Photogram (Number 9)' 1931

 

Edward Quigley (American, 1898-1977)
Photogram (Number 9)
1931
Gelatin silver print, photogram
20.7 x 16.6 cm
The Cleveland Museum of Art, John L. Severance Fund 2007.110

 

Thurman Rotan (American, 1903-1991) 'New York Montage' 1928

 

Thurman Rotan (American, 1903-1991)
New York Montage
1928
Gelatin silver print, montage
11.5 x 8.2 cm
The Cleveland Museum of Art, John L. Severance Fund 2007.117

 

Dora Maar (French, 1907-1997) 'Double Portrait with Hat' c. 1936-37

 

Dora Maar (French, 1907-1997)
Double Portrait with Hat
c. 1936-37
Gelatin silver print, montage, from negatives with handwork
29.7 x 23.8 cm
The Cleveland Museum of Art, Gift of David Raymond 2008.172
© 2013 Artists Rights Society (ARS), New York/ADAGP

 

In Double Portrait with Hat(1936-37), Dora Maar radically altered and reconfigured photographic materials to generate an image. In her quietly gripping self-portrait, Maar cut and scraped directly into two negatives to create a heavy and forbidding halo above a torn and divided self. Works such as these… explore the formal definition and limits of photographic ‘content’ and anticipate the experiments of non-narrative filmmakers Stan Brakhage and Jonas Mekas of the 1960s and 1970s. (Text by Julie Nero)

 

Dora Maar (French, 1907-1997) 'Mendiant aveugle' (Blind Beggar) 1934

 

Dora Maar (French, 1907-1997)
Mendiant aveugle (Blind Beggar)
1934
Vintage gelatin silver print
30 x 23.9 cm

 

The Second Spanish Republic fascinated many of the photographers active in the international context during the first half of the 20th century, such as Henri Cartier-Bresson, Man Ray and Dora Maar. The latter travelled to Barcelona in the summer of 1933; there, imbued with the spirit of the flâneur (Baudelaire’s stroller looking for chance encounters), she wandered through the city taking photographs of anonymous characters. In Mendiant aveugle (Blind Beggar), Dora Maar felt drawn to blindness, a motif that had been recurrent in photography from its very beginnings, because of the paradox of capturing the image of someone who cannot see. Dora Maar plays a game that is both conceptual and aesthetic, by combining elements that seek symbolic efficacy, in harmony with the interests of Surrealism: the subject’s open eyes, which preserve the gesture of seeing but not the sense of sight, the mysterious wrapped object the beggar is holding in his lap (probably a stringed instrument) and the lowered metallic blinds that serve as a backdrop to the character’s drama. This image is evidence of the affinity that Dora Maar felt with the surrealist group; in the opinion of its early theorists, André Breton and Paul Éluard, artists should “train one’s eyes by closing them” in order to shape their gaze and direct it towards the alternative reality associated with the unconscious mind.

Almudena Cruz Yábar

 

Dora Maar (French, 1907-1997) 'Jeux interdits' (Forbidden Games) 1935

 

Dora Maar (French, 1907-1997)
Jeux interdits (Forbidden Games)
1935
Photomontage

 

Brassaï (French, 1899-1984) 'Young Couple Wearing a Two-in-One Suit at the Bal de la Montagne Sainte-Geneviève' 1931

 

Brassaï (French, 1899-1984)
Young Couple Wearing a Two-in-One Suit at the Bal de la Montagne Sainte-Geneviève
1931
Gelatin silver print, ferrotyped
29.8 x 22 cm
The Cleveland Museum of Art, John L. Severance Fund 2007.40
© The Brassaï Estate – RMN

 

Georges Hugnet (French, 1906-1974) 'The Architect of Magus' 1935

 

Georges Hugnet (French, 1906-1974)
The Architect of Magus
1935
Collage; photomechanical reproductions on drawing (graphite, watercolor, black pen, and ink)
31.3 x 22.7 cm
The Cleveland Museum of Art, John L. Severance Fund 2007.53
© 2013 Artists Rights Society (ARS), New York / ADAGP, Paris

 

Hans Bellmer (German, 1902-1975) 'The Doll' (La Poupée) 1936

 

Hans Bellmer (German, 1902-1975)
The Doll (La Poupée)
1936
Gelatin silver print
11.7 x 7.8 cm
The Cleveland Museum of Art,  John L. Severance Fund 2007.27
© 2013 Artists Rights Society (ARS), New York / ADAGP, Paris.

 

 

Cleveland Museum of Art
11150 East Boulevard
Cleveland, Ohio 44106

Opening hours:
Tuesdays, Thursdays, Saturdays, Sundays 10.00 am – 5.00 pm
Wednesdays, Fridays 10.00 am – 9.00 pm
Closed Mondays

Cleveland Museum of Art website

LIKE ART BLART ON FACEBOOK

Back to top

30
Dec
14

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

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

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

 

 

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

Marcus

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

 

 

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

.
Horst, 1984

 

 

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

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

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

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

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

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

 

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

 

 

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

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

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

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

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

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

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

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

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

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

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

Press release from the V&A

 

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

 

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

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

 

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

 

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

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

Horst P. Horst. 'Nina de Voe' 1951

 

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

 

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

 

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

 

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

 

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

 

Horst P.Horst. 'Bombay Bathing Fashion' 1950

 

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

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

 

Haute Couture

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

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

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

Horst in Colour from Victoria and Albert Museum

 

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

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

 

Fashion in Colour

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

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

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

 

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

 

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

 

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

 

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

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

 

Stage and Screen

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

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

 

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

 

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

 

Platinum

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

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

 

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

 

 

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

 

Horst P. Horst. 'Still Life' Nd

 

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

 

Horst P. Horst. 'Male Nude' 1952

 

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

 

Male Nudes

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

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

 

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

 

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

 

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

 

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

 

Horst P. Horst. 'Odalisque I' 1943

 

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

 

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

 

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

 

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

 

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

 

Surrealism

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

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

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

 

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

 

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

 

Patterns from Nature

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

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

 

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

 

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

 

Travel

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

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

 

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

 

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

 

Living in Style

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

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

 

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

 

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

 

In the Studio

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

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

 

 

Victoria and Albert Museum
Cromwell Road, London SW7 2RL

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

Victoria and Albert Museum website, Horst web page

LIKE ART BLART ON FACEBOOK

Back to top

04
Dec
14

Exhibition: ‘RealSurreal. Masterpieces of Avant-Garde Photography Das Neue Sehen 1920-1950. Siegert Collection’ at the Kunstmuseum Wolfsburg

Exhibition dates: 15th November 2014 – 6th April 2015

The artists
Eugène Atget – Herbert Bayer – Hans Bellmer – Aenne Biermann – Brassaï – František Drtikol – Jaromír Funke – Florence Henri – André Kertész – Germaine Krull – Herbert List – Man Ray – László Moholy-Nagy – Albert Renger-Patzsch – August Sander – Josef Sudek – Maurice Tabard – Raoul Ubac – Umbo – Wols – and others

 

Thought photography

Here are some names to conjure with (above). And what an appropriate word “conjure” is to illuminate these images:

: to charge or entreat earnestly or solemnly

: to summon by or as if by invocation or incantation

: to affect or effect by or as if by magic

: to practice magical arts

: to use a conjurer’s tricks

: to make you think of (something)

: to create or imagine (something)

 

For what is photography, if not magic?

These images are conjured from both the imagination of the artist… and reality itself. One cannot live, be magical, without the other. “Beneath the surface of visible things the irrational, the magical, and the contradictory could be discovered and explored.”

Still waters run deep.

 

Marcus

.
Many thankx to the Kunstmuseum Wolfsburg for allowing me to publish the photographs in the posting. Please click on the photographs for a larger version of the image. Watch a 6 minute video about the exhibition on Vimeo (in German).

 

 

Albert Renger-Patzsch. 'Self-Portrait' 1926/27

 

Albert Renger-Patzsch
Self-Portrait
1926/27
Gelatin silver paper, 16.9 x 22.8 cm
photo: Christian P. Schmider, Munich
© Albert Renger-Patzsch Archiv / Ann and Jürgen Wilde / VG Bild-Kunst, Bonn 2014

 

Brassaï. 'Occasional Magic (Sprouting Potato)' 1931

 

Brassaï
Occasional Magic (Sprouting Potato)
1931
Gelatin silver paper
28.8 x 23 cm
Photo: Christian P. Schmider, Munich
© ESTATE BRASSAÏ – RMN

 

František Drtikol. 'Circular Segment (Arc)' 1928

 

František Drtikol
Circular Segment (Arc)
1928
Carbon print
21.3 x 28.7 cm
Photo: Christian P. Schmieder, Munich
© František Drtikol – heirs, 2014

 

Hans Bellmer. 'The Doll' 1935

 

Hans Bellmer
The Doll
1935
Gelatin silver paper
17.4 x 17.9 cm
Photo: Christian P. Schmieder, Munich
© VG Bild-Kunst, Bonn 2014

 

Grete Stern. 'The Eternal Eye' c. 1950

 

Grete Stern
The Eternal Eye
c. 1950
Photomontage on gelatin silver paper
39.5 x 39.5 cm
Photo: Christian P. Schmieder, Munich
© Estate of Grete Stern courtesy Galería Jorge Mara – La Ruche, Buenos Aires, 2014

 

Installation view of the exhibition 'RealSurreal' at the Kunstmuseum Wolfsburg

Installation view of the exhibition 'RealSurreal' at the Kunstmuseum Wolfsburg

Installation view of the exhibition 'RealSurreal' at the Kunstmuseum Wolfsburg

Installation view of the exhibition 'RealSurreal' at the Kunstmuseum Wolfsburg

 

Installation views of the exhibition RealSurreal at the Kunstmuseum Wolfsburg

 

 

“Is a photograph a true-to-life reproduction of reality, or is it merely a staged image? This year – the 175th anniversary of the invention of photography – the Kunstmuseum Wolfsburg responds to this question with a comprehensive survey of avant-garde photography between 1920 and 1950. The exhibition RealSurreal presents around 200 masterpieces from the eminent Siegert Collection in Munich. This collection, which has never been shown in its entirety, contains photographs from the Neues Sehen (New Vision) movement, covering everything from New Objectivity to Surrealism in Germany, France, and Czechoslovakia.

Das Neue Sehen (New Vision)

Notions about photography’s visual veracity are as old as the art itself. As early as the nineteenth century there were arguments as to whether or not photography – with its mechanical ability to record ‘reality’ – was better suited to portray life more comprehensively and truthfully than other visual arts of the period. An inevitable reaction to what were considered photography’s shortcomings was Pictorialism, which approached photography according to the conventions of painting, in an attempt to lend it more artistic credibility. But around 1920 a new generation of international photographers began reconsidering the specific characteristics of photography as tools for developing it into a more modern method of appropriating reality. Rapid progress in technologising modern society affected the adoption of and attitudes toward photography: convenient cameras that used rolls of film came onto the market in greater numbers, making it easy for even the greenest of amateurs to take photographs. Photographs were increasingly used as illustrations in mass media, and in advertising, leading to a rising demand for accomplished images and professional image makers. These developments also changed the public’s visual habits, so that the New Vision arose as an expression of the perception of this new media-fabricated reality. Positions ranged from the precise recordings of what was seen in portrait and industrial photography, via the use of new framings and perspectives at the Bauhaus, all the way to the photomontage and technical experiments such as the photogram and solarisation, as well as Surrealism’s staged images.

The Mechanical Eye

Photographers of the Neue Sachlichkeit (New Objectivity) movement wanted to show the world as it was. For Albert Renger-Patzsch, photography was the “most dependable tool” for objectively reproducing the visible things of this world, especially the results of modern technology, and in this respect, it was superior to the subjective perception of the human eye. László Moholy-Nagy went a step further, with his famous verdict that “the illiterate of the future will be the person ignorant of the use of the camera as well as the pen.” To the camera he attributed the crucial function of technically expanding human perception. Whilst adequately depicting machines, mass society, and modern metropolitan life: “the photographic apparatus can perfect or supplement our Photographs were increasingly used as illustrations in mass media.” Unusual aspects and viewpoints led to striking images. From a bird’s-eye perspective, buildings and streets became compositions made up of lines and planes, while a low-angle shot could create an unforeseen dynamic and greatly enlarging an object resulted in magical dissociations.

The Real and the Surreal

Ultimately, the Surrealists identified in the “realistic” recording tool of photography yet another artistic means of “écriture automatique,” which André Breton also described as “thought photography.” Beneath the surface of visible things the irrational, the magical, and the contradictory could be discovered and explored. Documentary photographers such as Eugène Atget and Karl Blossfeldt became inspirational figures in this movement. Their work was printed in the Surrealist magazines, because a plant, staged and isolated in a photograph, could trigger all kinds of magical associations beyond its botanical context. Meanwhile manipulated and staged photographs benefitted from the truthfulness of “this is the way it was,” since they could only reinforce their mysterious statements. One of Surrealism’s most important artistic means – the combinatory creation (including, of course, the photomontage) – was particularly effective because heterogeneous visual elements were joined to form new, surprising contexts of meaning. Like Brassaï’s photographs of a nocturnal Paris, Karel Teige’s collages have a surreal quality which can also be found in a different form in Man Ray’s dreamlike photograms. Both staged photography and – with many experiments with photographic techniques, such as multiple exposures, negative printing, and solarisation – strove to achieve the melding of dream and reality, a goal postulated by Breton in his first Surrealist manifesto. In New Vision photography this could generally result in images that could “go either way,” depending on the viewpoint of the real/surreal photographer and observer; they could be seen as sober, objective reproductions of the visible world, or as imaginary, subjective reflections of reality.

The exhibition RealSurreal leads the visitor through Neues Sehen in Germany, Surrealism in Paris, and the avant-garde in Prague, alongside themes such as portraits, nudes, objects, architecture, and experimental. Opening with a prologue of exemplary nineteenth-century photographs which are compared and contrasted with Neues Sehen, one can literally experience the Neues Sehen in the Kunstmuseum Wolfsburg via rare original prints by notable photographers, while rediscovering the broad spectrum and complexity of photographs from real to surreal. Besides approximately 200 photographs, the exhibition contains historical photography books and magazines, as well as rare artists’ books and examples of avant-garde cover design, making it possible to experience this new view of the world.

RealSurreal also features several famous clips from key films by Luis Buñuel, László Moholy-Nagy, Hans Richter, and others, shown continuously in a 45-minute loop, which highlight the fruitful interplay between avant-garde photography and the-then contemporary cinema. Important photographs and photo installations by Nobuyoshi Araki, Gilbert & George, Paul Graham, Andreas Gursky, Cindy Sherman, Jeff Wall, and James Welling, from the Kunstmuseum Wolfsburg’s collection, will also demonstrate that the artistic questions posed by Neues Sehen are still relevant today.”

Press release from the Kunstmuseum Wolfsburg website

 

Erwin Blumenfeld. 'Skull' 1932/33

 

Erwin Blumenfeld
Skull
1932/33
Solarisation on gelatin silver paper
29.6 x 24 cm
Photo: Christian P. Schmieder, Munich
© The Estate of Erwin Blumenfeld

 

Josef Sudek. 'Plaster Head' c. 1947

 

Josef Sudek
Plaster Head
c. 1947
Gelatin silver paper
23.5 x 17.5 cm
Photo: Christian P. Schmieder, Munich
© Estate of Josef Sudek

 

Herbert Bayer. 'Lonely Metropolitan' 1932/1969

 

Herbert Bayer
Lonely Metropolitan
1932/1969
Photomontage on gelatin silver paper
35.3 x 28 cm
Photo: Christian P. Schmieder, Munich
© VG Bild-Kunst, Bonn 2014

 

Herbert Bayer. 'Self-Portrait' 1932

 

Herbert Bayer
Self-Portrait
1932
Photomontage on gelatin silver paper
35.3 x 27.9 cm
Photo: Christian P. Schmieder, Munich
© VG Bild-Kunst, Bonn, 2014

 

Man Ray. 'Electricity' 1931

 

Man Ray
Electricity
1931
Photogravure
26 x 20.6 cm
Photo: Christian P. Schmieder, Munich
© Man Ray Trust, Paris/ VG Bild-Kunst, Bonn 2014

 

May Ray. 'Rayography (spiral)'1923

 

May Ray
Rayography (spiral)
1923
Photogram on gelatin silver paper
26.6. x 21.4 cm
Photo: Christian P. Schmieder, München
© Man Ray Trust, Paris/ VG Bild-Kunst, Bonn 2014

 

Florence Henri. 'Portrait Composition (Erica Brausen)' 1931

 

Florence Henri
Portrait Composition (Erica Brausen)
1931
Gelatin silver paper
39.9 x 29 cm
Photo: Christian P. Schmieder, Munich
© Galleria Martini & Ronchetti, Genova, Italy

 

Atelier Manassé. 'My Little Bird' c. 1928

 

Atelier Manassé
My Little Bird
c. 1928
Gelatin silver paper
21 x 16 cm
Photo: Christian P. Schmieder, Munich
© IMAGNO/Austrian Archives

 

Genia Rubin. 'Lisa Fonssagives. Gown: Alix (Madame Grès)' 1937

 

Genia Rubin
Lisa Fonssagives. Gown: Alix (Madame Grès)
1937
Gelatin silver paper
30.3 x 21.5 cm
Photo: Christian P. Schmieder / Siegert Collection, Munich
© Sheherazade Ter-Abramoff, Paris

 

 

Kunstmuseum Wolfsburg
Abteilung Kommunikation
Hollerplatz 1 38440
Wolfsburg
T: +49 (0)5361 2669 69

Opening hours:
Wednesday – Sunday 11 am – 6 pm
Tuesday 11 am – 8 pm
Monday closed

Kunstmuseum Wolfsburg website

LIKE ART BLART ON FACEBOOK

Back to top




Join 1,250 other followers

Follow Art_Blart on Twitter
Art Blart on Pinterest

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

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

Lastest tweets

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.

February 2015
M T W T F S S
« Jan    
 1
2345678
9101112131415
16171819202122
232425262728  

Archives

Categories


Follow

Get every new post delivered to your Inbox.

Join 1,250 other followers