Archive for the 'works on paper' Category

30
Aug
15

Exhibition: ‘Indigenous Beauty: Masterworks of American Indian Art from the Diker Collection’ at the Amon Carter Museum of American Art, Fort Worth, Texas

Exhibition dates: 5th July – 13th September 2015

 

Just one word: glorious.

And to think, these disparate cultures were nearly wiped out through genocide enacted upon them by the white race.

Marcus

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Many thankx to the Amon Carter Museum of American Art for allowing me to publish the art work in the posting. Please click on the photographs for a larger version of the image.

 

 

“Drawn from the celebrated American Indian art collection of Charles and Valerie Diker, Indigenous Beauty: Masterworks of American Indian Art from the Diker Collection showcases approximately 120 masterworks, including fine examples of basketry, pottery, sculpture, ivories, kachina dolls, regalia, and pictographic arts from tribes across the North American continent. The exhibition provides rare access to many exquisite works from one of the most comprehensive and diverse collections of American Indian art in private hands.

Indigenous Beauty is organized by the American Federation of Arts. This exhibition was made possible by the generosity of an anonymous donor, the JFM Foundation, and Mrs. Donald Cox.”

Text from the Amon Carter website

 

 

Elizabeth Conrad Hickox (Karuk) Somes Bar, California '"Fancy" lidded basket' c. 1917–26

 

Elizabeth Conrad Hickox (Karuk)
Somes Bar, California
“Fancy” lidded basket
c. 1917-26
Conifer root, maidenhair fern stems, porcupine quills, hazel shoots
Courtesy American Federation of Arts Diker no. 445

 

Louisa Keyser (also known as Datsolalee, Washoe) Carson City, Nevada 'Basket bowl' 1907

 

Louisa Keyser (also known as Datsolalee, Washoe)
Carson City, Nevada
Basket bowl
1907
Willow shoots, redbud shoots, bracken fern root
Courtesy American Federation of Arts Diker no. 326

 

Nampeyo (Hopi-Tewa) Hano Village, Hopi, Arizona 'Water jar' c. 1900

 

Nampeyo (Hopi-Tewa)
Hano Village, Hopi, Arizona
Water jar
c. 1900
Clay, slip
Courtesy American Federation of Arts Diker no. 824

 

Ancestral Pueblo, New Mexico. 'Water jar' c. 1150

 

Ancestral Pueblo
New Mexico
Water jar

c. 1150
Clay, slip
Courtesy American Federation of Arts Diker no. 313

 

Old Bering Sea III culture. 'Harpoon counterweight (Winged object)' 5th-9th century

 

Old Bering Sea III culture
Bering Strait region, Alaska
Harpoon counterweight (Winged object)
5th-9th century
Walrus ivory
Courtesy American Federation of Arts Diker no. 731

 

Niimiipu (Nez Perce). 'Man's shirt' c. 1850

 

Niimiipu (Nez Perce)
Oregon or Idaho
Man’s shirt
c. 1850
Hide, porcupine quills, horsehair, wool, glass beads, pigment
Courtesy American Federation of Arts Diker no. 666

 

Julian Scott ledger Artist B (Ka’igwu [Kiowa]) Kiowa and Comanche Indian Reservation, Oklahoma. 'Twelve High-Ranking Kiowa Men' Nd

 

Julian Scott ledger Artist B (Ka’igwu [Kiowa])
Kiowa and Comanche Indian Reservation, Oklahoma
Twelve High-Ranking Kiowa Men
Nd
Pencil, colored pencil, and ink on paper
Courtesy American Federation of Arts Diker no. 059 LD

 

 

“This summer, the Amon Carter Museum of American Art presents the traveling exhibition Indigenous Beauty: Masterworks of American Indian Art from the Diker Collection. Organized by the American Federation of Arts (AFA), the exhibition is drawn from the celebrated holdings of Charles and Valerie Diker and features approximately 120 masterworks representing tribes across the North American continent. The exhibition is on view at the Amon Carter from July 7 through September 13, 2015.

“This exhibition has been shaped by the Dikers’ passion for Native American art, and their collection is renowned as one of the largest and most comprehensive in private hands,” says AFA Director Pauline Willis. “We are delighted to bring these exquisite works to Fort Worth.”

Selections from the collection have been presented previously at the Metropolitan Museum of Art (1998-2000) and the Smithsonian’s National Museum of the American Indian (2003-2006), but Indigenous Beauty showcases recent acquisitions never before seen by the public. This is the first traveling exhibition curated from this remarkable collection.

“Charles and Valerie Diker are collectors and stewards of exceptional works of art from all corners of native North America, and audiences will be awed by the transformative spirit of creativity of the First Peoples whose ‘art schools’ were their families and communities,” says Barbara Brotherton, curator of Native American Art at the Seattle Art Museum. “This traveling exhibition and accompanying catalogue will invigorate new perspectives and rich discussion about the ways in which these objects affirm cultural values and express refined aesthetic sensibilities.”

Indigenous Beauty emphasizes three interrelated themes – diversity, beauty and knowledge – that relate both to the works’ original contexts and to the ways in which they might be experienced by non-Native visitors in a contemporary museum setting. The exhibition is organized in 11 sections; while the objects within each section demonstrate common formal and functional qualities, the groupings are based primarily on geographic and cultural factors, allowing the viewer to perceive the impact of historical events as well as stylistic shifts over the course of decades or centuries. The range of work represented includes sculpture of the Northwest Coast; ancient ivories from the Bering Strait region; Yup’ik and Aleut masks from the Western Arctic; Kachina dolls of the Southwest pueblos; Southwest pottery; sculptural objects from the Eastern Woodlands; Eastern regalia; Plains regalia; pictographic arts of the Plains; and Western baskets.

Diversity is underlined as an essential aspect of indigenous American art, a corrective to the notion of a homogenous “American Indian” cultural and ethnic identity.

“Visitors to the exhibition are reminded that there is not just one North American Indian culture but hundreds of unique groups whose languages, mythologies and customs have evolved over the centuries,” says Andrew J. Walker, director of the Amon Carter. The comprehensive nature of the Dikers’ collection allows for this broad view of Native American art in all its complexity and historical specificity.”

A hallmark of the Diker Collection is the beauty and visual richness of the objects it comprises. The concept of formal beauty is the oldest and perhaps the strongest link between the material cultures of indigenous people and those of the Euro-American West. All known Native American languages include words that signify beauty or aesthetic quality, and many have more than one term to convey these concepts. For instance, in the language of Anishinaabe peoples which includes the Ottawa, Ojibwa or Algonquin, the word miikawaadiziwin refers to physical comeliness or handsomeness, while bishigendaagoziwin denotes beauty of a more spiritual and ethical nature. Such nuanced vocabularies influence the creation of objects within Native communities, each with its own criteria for technical excellence and aesthetic merit.

Cultural knowledge is inseparable from the practices of traditional art making in Native communities. From their elders, artists learn techniques for gathering and processing materials; production methods; a repertory of designs and patterns and the meanings they may contain; and often songs, prayers and rituals that are closely tied to art making. Over the last few decades, increased scholarship and closer collaborations between museums and Native communities have resulted in the recovery of knowledge about how objects were made, as well as their provenance and the ways they might have been used and understood in the contexts in which they originated.

Indigenous Beauty celebrates native North American artists whose visionary creativity and technical mastery have helped preserve cultural values across generations. The artists identified as members of many tribes and nations, each the product of complex and intertwined histories; and the captivating objects they created convey the extraordinary breadth and variety of Native American experience in North America. The exhibition shows both the deep historical roots of Native art and its dynamism, emphasizing the living cultures and traditions of Native American groups through to the contemporary era.

Visitors to the Amon Carter can have a hands-on experience with many of the materials the artists used to create the objects in the exhibition. Tactile boards with several authentic materials (such as buffalo hide, abalone shells and seed beads) will be available for visitors to interact with while viewing the artworks.

Indigenous Beauty: Masterworks of American Indian Art from the Diker Collection is organized by the American Federation of Arts. This exhibition was made possible by the generosity of an anonymous donor, the JFM Foundation and Mrs. Donald M. Cox. The guest curator, David Penney, is an internationally recognized scholar of American Indian art. A fully illustrated catalogue presenting new research on the objects in the exhibition will include an essay by Penney, and contributions offer insight into the visual and material diversity of the collection, providing a greater understanding of the social and cultural worlds from which these works came. The catalogue will retail for $55 in the Museum Store. After closing at the Amon Carter, the exhibition travels to the Michael C. Carlos Museum at Emory University (October 8, 2015 – January 3, 2016) and Toledo Museum of Art (February 14 – May 11, 2016).”

Press release from the Amon Carter Museum of American Art website

 

Muscogee (Creek) (?) 'Pipe bowl' c. 1780

 

Muscogee (Creek)(?)
Georgia or Alabama
Pipe bowl
c. 1780
Wood, brass (?), ferrous nails (?), tin
American Federation of Arts Diker no. 531

 

Anishinaabe, Ojibwa, Ontario. 'Shoulder bag (without strap)' c. 1820

 

Anishinaabe, Ojibwa
Ontario
Shoulder bag (without strap)
c. 1820
Hide, porcupine quills, tin cones, silk ribbon, dyed hair
Courtesy American Federation of Arts Diker no. 586

 

Apsáalooke (Crow), Montana. 'Boy's shirt' c. 1870

 

Apsáalooke (Crow)
Montana
Boy’s shirt
c. 1870
Hide, glass beads, cotton fabric, wool cloth, sinew, cotton thread
Courtesy American Federation of Arts Diker no. 665

 

Tsimshian, British Columbia. 'Maskette' 1780-1830

 

Tsimshian
British Columbia
Maskette
1780-1830
Wood, copper, opercula shell, pigment
Courtesy American Federation of Arts Diker no. 681

 

Yup'ik, Hooper Bay, Alaska. 'Mask' 1916-18

 

Yup’ik
Hooper Bay, Alaska
Mask
1916-18
Wood, pigment, vegetal fiber
Courtesy American Federation of Arts Diker no. 788

 

Ancestral Columbia River people, Washington State or Oregon. 'Figure (Pendant?)' 3rd–13th century

 

Ancestral Columbia River people
Washington State or Oregon
Figure (Pendant?)
3rd-13th century
Antler
Courtesy American Federation of Arts Diker no. 529

 

Tlingit, Chilkat, Klukwan, Alaska. 'Tunic and leggings' late 19th century

 

Tlingit, Chilkat
Klukwan, Alaska
Tunic and leggings
late 19th century
Cedar bark, wool, metal cones
Courtesy American Federation of Arts Diker no. 795

 

Zuni, New Mexico. 'Situlilu (Rattlesnake) Katsina' 1910–30

 

Zuni
New Mexico
Situlilu (Rattlesnake) Katsina
1910-30
Cottonwood, pine, gesso, pigment, dyed horsehair, cornhusk, cotton cord
Courtesy American Federation of Arts Diker no. 835

 

Hopi, Arizona. 'Qötsa Nata’aska Katsina' 1910

 

Hopi
Arizona
Qötsa Nata’aska Katsina
1910
Cottonwood, cloth, hide, metal, pigment
Courtesy American Federation of Arts Diker no. 831

 

 

Amon Carter Museum of American Art
3501 Camp Bowie Boulevard
Fort Worth, TX 76107-2695

Opening hours:
Tuesday, Wednesday, Friday, Saturday:
 10 am – 5 pm
Thursday: 10 am – 8 pm
Sunday: 12 am – 5 pm
Closed Mondays and major holidays.

Amon Carter Museum of American Art website

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27
Aug
15

Exhibition: ‘Light, Paper, Process: Revolutionizing Photography’ at the J. Paul Getty Museum, Getty Center, Los Angeles

Exhibition dates: 14th April – 6th September 2015

 

These days, photography can be anything your imagination, concept and process desires…

Whether that makes for interesting / lasting (ie. memorable) / good, (post)photographic outcomes is up to you to decide.

Marcus

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

 

 

Man Ray (Emmanuel Radnitsky) (American, 1890-1976) 'Untitled (Smoke)' 1928

 

Man Ray (Emmanuel Radnitsky) (American, 1890-1976)
Untitled (Smoke)
1928
Gelatin silver print
Image: 24.6 x 19.8 cm (9 11/16 x 7 13/16 in.)
The J. Paul Getty Museum, Los Angeles
© Man Ray Trust ARS-ADAG

 

Chargesheimer (Karl Heinz Hargesheimer) (German, 1924-1971) 'Picturesque' 1949

 

Chargesheimer (Karl Heinz Hargesheimer) (German, 1924-1971)
Picturesque
1949
Gelatin silver print
Image: 49.5 x 39.6 cm (19 1/2 x 15 9/16 in.)
The J. Paul Getty Museum, Los Angeles
© Museum Ludwig, Cologne

 

Henry Holmes Smith (American, 1909-1986) 'Man and Woman' 1976

 

Henry Holmes Smith (American, 1909-1986)
Man and Woman
1976
Dye imbibition print
Image: 33.2 x 26.2 cm (13 1/16 x 10 5/16 in.)
The J. Paul Getty Museum, Los Angeles, Gift of the Smith Family Trust
© J. Paul Getty Trust

 

Edmund Teske (American, 1911-1996) 'Leaves on Glass, Topanga Canyon, California' 1952; print 1960s

 

Edmund Teske (American, 1911-1996)
Leaves on Glass, Topanga Canyon, California
1952; print 1960s
Gelatin silver duotone solarized print
Image: 35.4 x 27.9 cm (13 15/16 x 11 in.)
The J. Paul Getty Museum, Los Angeles
© Edmund Teske Archives/Laurence Bump and Nils Vidstrand, 2001

 

Alison Rossiter (American, born 1953) 'Gevaert Gevarto 47, exact expiration date unknown, about 1960s, processed 2013 (#37)' 2013

 

Alison Rossiter (American, born 1953)
Gevaert Gevarto 47, exact expiration date unknown, about 1960s, processed 2013 (#37)
2013
Four gelatin silver print
Each image: 10.8 x 8.3 cm (4 1/4 x 3 1/4 in.)
Courtesy of the artist and Yossi Milo Gallery, New York
© Alison Rossiter

 

Chris McCaw (American, born 1971) 'Sunburned GSP #202 (San Francisco Bay)' 2008

 

Chris McCaw (American, born 1971)
Sunburned GSP #202 (San Francisco Bay)
2008
Gelatin silver print
Image: 37.5 x 47.6 cm (14 3/4 x 18 3/4 in.)
Santa Barbara Museum of Art, Museum Purchase
© Chris McCaw

 

Pierre Cordier (Belgian, born 1933) 'Chemigram II' 1976

 

Pierre Cordier (Belgian, born 1933)
Chemigram II
1976
Gelatin silver print
Image: 23.8 x 17.9 cm (9 3/8 x 7 1/16 in.)
The J. Paul Getty Museum, Los Angeles
© 2015 Artists Rights Society (ARS), New York / SABAM, Brussels

 

 

“From its very beginnings in the 19th century, photography has been shaped by the desire of the artist to continually explore and expand its possibilities through experimentation. Taking that spirit of invention and discovery as a point of departure, some artists today have chosen to distill photography to its most essential components of light-sensitivity and the chemical processing of photographic papers, challenging viewers to see the medium anew. Light, Paper, Process: Reinventing Photography, on view at the Getty Center April 14-September 6, 2015, features the work of seven contemporary artists – Alison Rossiter, Marco Breuer, James Welling, Lisa Oppenheim, Chris McCaw, John Chiara, and Matthew Brandt – all of whom have created inventive photographs that reveal aspects of their making (or unmaking).

The artists in the exhibition utilize an extensive array of practices – often achieved through trial and error, accident, or chance – that shift the understanding of photography from a medium that accurately records the world to one that revels in its materiality. Whether they use handmade cameras or none at all, work with expired papers or toxic chemicals, the images remain latent until processed, fixed, or otherwise coaxed from the paper.

“Each of the artists in this exhibition engages in some way with the process by which the photographic medium captures and transmutes light into a two-dimensional image on paper,” says Timothy Potts, director of the J. Paul Getty Museum. “But rather than seeing this process as something to be ‘perfected,’ or even neutralized, they exploit its ability to be manipulated and deconstructed, thus collapsing process and product into a single creative activity. I am particularly pleased that the Getty Museum Photographs Council has provided funds to acquire works by Matthew Brandt, Marco Breuer, John Chiara, and Allison Rossiter for our permanent collection that are included in the exhibition.”

The exhibition begins with an overview of 20th-century practices that were experimental in nature, featuring works by Man Ray, László Moholy-Nagy, Nathan Lerner, Edmund Teske, and others. The renewed interest of artists of this period in techniques such as camera-less photograms, chemigrams, and solarization serves as inspiration for today’s artists. Each of the subsequent galleries in the Getty Museum’s Center for Photographs will be dedicated to the work of one of the seven featured contemporary artists, and follows a progression from abstract, camera-less works to representative images made with custom-built cameras.

“This exhibition is an excellent opportunity to feature the work of living artists alongside earlier photographs from our permanent collection,” says Virginia Heckert, department head of the Getty Museum’s Department of Photographs and curator of the exhibition. “By focusing on work of a more experimental nature, visitors will be reminded that the exploration of materiality and process has been an important aspect of photography since its inception and continues to motivate and inspire artists working with the medium today.”

Alison Rossiter (American, born 1953) takes a minimalist approach to the materials she uses to create her photographic works. She does not use a camera, film, or light, but instead only uses unprocessed sheets of expired gelatin silver paper and photographic chemicals in the darkroom. Through the simple acts of immersing or dipping a sheet of paper in developer or pouring and pooling developer onto the paper’s surface, she achieves a rich array or results. Some suggest faint impressions of primitive mark-making, others resemble landscapes, and still others call to mind abstract painting of the mid-20th-century.

Working since the early 1990s without a camera or film, Marco Breuer (German, born 1966) subjects light-sensitive paper to various acts that abrade, burn, or scrape away the emulsion layer. Completely nonrepresentational, his “photographs” look like no others; they elicit the hues and textures of rare metals, mineral deposits, or oil spills, and display marks ranging from fine incisions and abrasions to scar-like burns and gashes. His deliberate misuse of black-and-white and photographic papers is the starting point for a negotiation between the paper as recording material, the hand, and the tools employed.

James Welling (American, born 1951) spent the first ten years of his career exploring painting, sculpture, performance art, video art, conceptual art, and installation before he committed to thinking of himself as a photographer. For the past four decades, he has explored photography, from documentary to experimental, with and without a camera, using black-and-white, color, and Polaroid films and papers, as well as digital files and printing. Since 1995 he has worked increasingly with color, filters, and camera-less photography. Three bodies of recent work presented in the exhibition include variations on the photogram, chemigram, and printing-out process.

Influenced by her background in structural/materialist filmmaking, Lisa Oppenheim (American, born 1975) is interested in exploring the ways in which a photograph can record both its subject and the process by which it was made. In three bodies of work dating from 2010 to present, she enlists the very entities depicted in the negatives – the sun, the moon, and smoke/fire – in the act of exposing them. Although they sound scientific, the titles of two of these bodies of work, Heliograms and Lunagrams, are made up, combining the name of the camera-less photogram technique and the source of light by which the enlarged negatives have been contact-printed.

Chris McCaw (American, born 1971) establishes an immediate, visceral relationship between his subject, the sun, and his process, which involves loading photographic paper directly into the camera. The photographs in his Sunburn series record the sun’s movement, which literally sears its path into the paper in the form of dots, lines, or arcs, depending on its position, the weather conditions, and the length of the exposure(s). McCaw uses customized cameras outfitted with vintage military lenses pointed directly at the sun to function like a magnifying glass that burns through the emulsion layer and paper base, leaving behind singe marks and solarized passages.

John Chiara’s (American, born 1971) large-scale color prints convey a hands-on – rather than pristine, mechanized – aesthetic. For the past decade his subjects have been both uninhabited landscapes and the built environment. He works with large custom-built cameras that he loads with color photographic paper that he then processes himself by pouring chemicals into a six-foot-long section of PVC sewer pipe, sealing the tube, and then rolling it back and forth on the floor. Irregular streaks and drips characterize his prints, as do areas of overexposure and underexposure, flare from light leaks, and unevenly saturated colors.

Matthew Brandt (American, born 1982) has created diverse bodies of work, some of which are realized with photographic means and others that are more tangentially related to photographic images, techniques, or ideas. He may begin with a photograph that he has made with a 4 x 5-inch view camera, a digital camera, or his iPhone, one that he has sourced from archives in public libraries, or one that he has clicked and dragged from Ebay. His fascination with early photographic processes has led him to experiment with salted paper prints, gum bichromate prints, and heliographs, examples of which will be on view. Brandt’s interest in both photographic/visual and the physical/material forms of representation has led him to bring the two together, incorporating physical elements from his subjects into his photographic representations of them.

Light, Paper, Process: Reinventing Photography, is on view April 14-September 6, 2015 at the J. Paul Getty Museum, Getty Center. The exhibition is curated by Virginia Heckert, department head of the Museum’s Department of Photographs. A related publication of the same title will be produced by Getty Publications.”

Press release from the J. Paul Getty Museum website

 

Alison Rossiter (American, born 1953) 'Haloid Platina, exact expiration date unknown, about 1915, processed 2010' 2010

 

Alison Rossiter (American, born 1953)
Haloid Platina, exact expiration date unknown, about 1915, processed 2010
2010
Gelatin silver print
Image (each): 21.6 x 16.5 cm (8 1/2 x 6 1/2 in.)
The J. Paul Getty Museum, Los Angeles, Purchased with funds provided by the Photographs Council
© Alison Rossiter

 

Alison Rossiter (American, born 1953) 'Fuji gaslight, exact expiration date unknown, about 1920s, processed 2010' 2010

 

Alison Rossiter (American, born 1953)
Fuji gaslight, exact expiration date unknown, about 1920s, processed 2010
2010
Gelatin silver print
Image: 30.5 x 25.4 cm (12 x 10 in.)
The J. Paul Getty Museum, Los Angeles, Purchased with funds provided by the Photographs Council
© Alison Rossiter

 

Alison Rossiter (American, born 1953) 'Kilbourn Acme Kruxo, exact expiration date unknown, about 1940s, processed 2013' 2013

 

Alison Rossiter (American, born 1953)
Kilbourn Acme Kruxo, exact expiration date unknown, about 1940s, processed 2013
2013
Gelatin silver print
Image: 12.7 x 17.8 cm (5 x 7 in.)
The J. Paul Getty Museum, Los Angeles, Purchased with funds provided by the Photographs Council
© Alison Rossiter

 

Marco Breuer (German, born 1966) 'Untitled (Heat/Gun)' 2001

 

Marco Breuer (German, born 1966)
Untitled (Heat/Gun)
2001
Gelatin silver paper, burned
Image: 27.9 x 21.6 cm (11 x 8 1/2 in.)
The J. Paul Getty Museum, Los Angeles, Purchased with funds provided by the Photographs Council
© Marco Breuer

 

Marco Breuer (German, born 1966) 'Untitled (C-62)' 2002

 

Marco Breuer (German, born 1966)
Untitled (C-62)
2002
Chromogenic paper, exposed and abraded
Image: 35.6 x 27.9 cm (14 x 11 in.)
Courtesy of the artist and Yossi Milo Gallery, New York
© Marco Breuer

 

Marco Breuer (German, born 1966) 'Spin (C-824)' 2008

 

Marco Breuer (German, born 1966)
Spin (C-824)
2008
Chromogenic paper, embossed and scratched
Image: 34.6 x 27 cm (13 5/8 x 10 5/8 in.)
The J. Paul Getty Museum, Los Angeles, Purchased with funds provided by the Photographs Council
© Marco Breuer

 

James Welling (American, born 1951) 'Water' 2009

 

James Welling (American, born 1951)
Water
2009
Chromogenic print
Image: 60.3 x 50.2 cm (23 3/4 x 19 3/4 in.)
Courtesy of the artist and Regen Projects, Los Angeles
© James Welling

 

James Welling (American, born 1951) 'Water' 2009

 

James Welling (American, born 1951)
Water
2009
Chromogenic print
Image: 58.7 x 49.5 cm (23 1/8 x 19 1/2 in.)
Courtesy of the artist and Regen Projects, Los Angeles
© James Welling

 

James Welling (American, born 1951) 'Chemical' 2013

 

James Welling (American, born 1951)
Chemical
2013
Chemigram on chromogenic paper
Image: 35.6 x 27.9 cm (14 x 11 in.)
Courtesy of the artist and David Zwirner, New York/London
© James Welling

 

Lisa Oppenheim (American, born 1975) 'Heliograms July 8, 1876 / October 16, 2011' 2011

 

Lisa Oppenheim (American, born 1975)
Heliograms July 8, 1876 / October 16, 2011
2011
Gelatin silver print exposed with sunlight, toned
Image: 30 x 27.9 cm (11 13/16 x 11 in.)
The J. Paul Getty Museum, Los Angeles
© Lisa Oppenheim

 

Lisa Oppenheim (American, born 1975) 'A Handley Page Halifax of No. 4 Group flies over the suburbs of Caen, France, during a major daylight raid to assist the Normandy land battle. 467 aircraft took part in the attack, which was originally intended to have bombed German strongpoints north of' 2012

 

Lisa Oppenheim (American, born 1975)
A Handley Page Halifax of No. 4 Group flies over the suburbs of Caen, France, during a major daylight raid to assist the Normandy land battle. 467 aircraft took part in the attack, which was originally intended to have bombed German strongpoints north of
2012
Gelatin silver print
Framed (approx.): 71.1 x 86.4 cm (28 x 34 in.)
The Museum of Modern Art, New York. Fund for the Twenty-First Century
Digital Image © The Museum of Modern Art / Licensed by SCALA / Art Resource, NY
© Lisa Oppenheim

 

Chris McCaw (American, born 1971) 'Sunburned GSP #609 (San Francisco Bay)' 2012

 

Chris McCaw (American, born 1971)
Sunburned GSP #609 (San Francisco Bay)
2012
Gelatin silver paper negatives
Each image: 76.1 x 101.6 cm (30 x 40 in.)
The J. Paul Getty Museum, Los Angeles

 

Chris McCaw (American, born 1971) 'Sunburned GSP #555 (San Francisco Bay)' 2012

 

Chris McCaw (American, born 1971)
Sunburned GSP #555 (San Francisco Bay)
2012
Gelatin silver paper negative
Image: 20.3 x 25.4 cm (8 x 10 in.)
Courtesy of Stephen Wirtz Gallery San Francisco
© Chris McCaw

 

Chris McCaw (American, born 1971) 'Poly-optic #10' 2012

 

Chris McCaw (American, born 1971)
Poly-optic #10
2012
Gelatin silver paper negative
Image: 20.3 x 25.4 cm (8 x 10 in.)
Collection of Leslie, Judith and Gabrielle Schreyer, Courtesy of Stephen Wirtz Gallery
© Chris McCaw

 

John Chiara (American, born 1971) 'Longview at Panorama' 2007

 

John Chiara (American, born 1971)
Longview at Panorama
2007
Dye destruction photograph on Ilfochrome paper
Image: 50.8 x 40.6 cm (20 x 16 in.)
Rose Gallery and Von Lintel Gallery
© John Chiara

 

John Chiara (American, born 1971) 'Grandview at Elysian' 2012

 

John Chiara (American, born 1971)
Grandview at Elysian
2012
Dye destruction photographs on Ilfochrome paper
Each image: 85.1 x 71.1 cm (33 1/2 x 28 in.)
The J. Paul Getty Museum, Los Angeles, Gift of Trish and Jan de Bont
© John Chiara

 

John Chiara (American, born 1971) 'Starr King: 30th: Coral' 2013

 

John Chiara (American, born 1971)
Starr King: 30th: Coral
2013
Dye destruction photograph on Ilfochrome paper
Image: 83.8 x 71.1 cm (33 x 28 in.)
Kerstin Morehead
© John Chiara

 

John Chiara (American, born 1971) 'Sierra at Edison' 2012

 

John Chiara (American, born 1971)
Sierra at Edison
2012
Chromogenic photograph on Kodak Professional Endura Metallic paper
Image: 127 x 182.9 cm (50 x 72 in.)
The J. Paul Getty Museum, Los Angeles, Purchased with funds provided by the Photographs Council
© John Chiara

 

Matthew Brandt (American, born 1982) '00036082-3 "Mathers Department Store, Pasadena, 1971"' 2013

 

Matthew Brandt (American, born 1982)
00036082-3 “Mathers Department Store, Pasadena, 1971”
2013
Gum bichromate print with dust from AT&T parking structure level 2
Image: 110.5 x 143.5 cm (43 1/2 x 56 1/2 in.)
The J. Paul Getty Museum, Los Angeles, Gift of the artist and M+B
© Matthew Brandt, Source image courtesy of the Los Angeles Public Library Photo Collection

 

Matthew Brandt (American, born 1982) 'Rainbow Lake, WY A4' Negative 2012; print 2013

 

Matthew Brandt (American, born 1982)
Rainbow Lake, WY A4
Negative 2012; print 2013
Chromogenic print, soaked in Rainbow Lake water
Image: 76.2 x 101.6 cm (30 x 40 in.)
The J. Paul Getty Museum, Los Angeles, Purchased with funds provided by the Photographs Council
© Matthew Brandt

 

Matthew Brandt (American, born 1982) 'Rainbow Lake, WY A20' Negative 2012; print 2013

 

Matthew Brandt (American, born 1982)
Rainbow Lake, WY A20
Negative 2012; print 2013
Chromogenic print, soaked in Rainbow Lake water
Image: 76.2 x 101.6 cm (30 x 40 in.)
The J. Paul Getty Museum, Los Angeles, Purchased with funds provided by the Photographs Council
© Matthew Brandt

 

 

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

Opening hours:
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24
Aug
15

Exhibition: ‘The view from here: The photographic world of Alfred Elliott 1890-1940’ at the Museum of Brisbane

Exhibition dates: 13 February – 30 August 2015

 

This is more like it… what a find!

There are some fascinating punctum (which denote the wounding, personally touching detail which establishes a direct relationship with the object or person within the image), contained among this recently discovered treasure trove of photographs by Alfred Elliott.

At first, what looks like a real dog is actually a toy sitting in front of Alfred Goldsbrough Elliott, Stanley Terrace, Taringa (1908). And then you notice the hard-nosed stare of the little girl in Dorothy Elliott (1911). She is not a happy camper. Then the scruffy, bare-footed urchin in ‘Welcome to Brisbane’ arch, Queen Street (1895). Or the unhappy woman staring directly into the camera in Grand Arch, Queen Street, visit of the Duke of York (1901), as though her thoughts are being transmitted to us from beyond the grave. And finally, to the two young, blurred children running in front of a white picket fence in Windmill, Wickham Terrace (1895), the smaller of the children noticing the photographer and camera and looking towards both. Just a joy!

And don’t forget, all of these early photographs were taken with a large plate camera (the photographs after 1921 were taken with a film camera and have a totally different feel to them). For an artist to obtain the street photographs and potraits out in the field with this type of camera is superb. Just look at the image Members of the QLD League of Wheelmen, Wellington Point (1897). You can tell the personality of every individual in this image through the clarity, not just of the image but of the thought of the photographer, before he exposed his plate. It is so Australian in its iconography, it could come from nowhere else in the world. This photograph deserves to be up there with one of the seminal images of Australian photography.

Dr Marcus Bunyan for Art Blart

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Many thanks to the Museum of Brisbane for allowing me to publish the photographs in the posting. Please click on the photographs for a larger version of the image.

 

 

The view from here: The photographic world of Alfred Elliott 1890-1940

 

Alfred Elliott. 'Brisbane Botanic Gardens, near the Edward Street entrance' 1895

 

Alfred Elliott
Brisbane Botanic Gardens, near the Edward Street entrance
1895
City of Brisbane Collection, Museum of Brisbane

 

Alfred Elliott. 'Brisbane, from the Windmill' 1895

 

Alfred Elliott
Brisbane, from the Windmill
1895
City of Brisbane Collection, Museum of Brisbane

 

Alfred Elliott. 'Aborigines fishing in the Maroochy River' 1890

 

Alfred Elliott
Aborigines fishing in the Maroochy River
1890
City of Brisbane Collection, Museum of Brisbane

 

Alfred Elliott. 'Central Railway Station, from Edward Street' 1922

 

Alfred Elliott
Central Railway Station, from Edward Street
1922
City of Brisbane Collection, Museum of Brisbane

 

Alfred Elliott. ''Citizens' Welcome' arch, Queen Street' 1927

 

Alfred Elliott
‘Citizens’ Welcome’ arch, Queen Street
1927
City of Brisbane Collection, Museum of Brisbane

 

Alfred Elliott. ''Citizens' Welcome' arch, Queen Street' 1927 (detail)

 

Alfred Elliott
‘Citizens’ Welcome’ arch, Queen Street (detail)
1927
City of Brisbane Collection, Museum of Brisbane

 

 

“Museum of Brisbane’s latest exhibition offers an amazing visual portrait of a lost city – Brisbane at the turn of the 20th century – through a rare collection of photographs, all shot by a single resident and left forgotten under an inner-city house for decades. The view from here: The photographic world of Alfred Elliott 1890-1940 showcases the life’s work of the avid Brisbane-based photographer, offering a fascinating chronicle of the places he visited, major events he witnessed and intimate glimpses into his family life.

The historic collection of glass-plate and film negatives remained stored in cigar boxes under a house in Red Hill until they were uncovered in 1983 and acquired by Museum of Brisbane. For the past 30 years ‘The Elliott Collection’ was thought to comprise 285 glass plate negatives, until a neglected cigar box with more than 400 film negatives was uncovered at the Museum’s storage facility last year. This significant discovery has allowed the Museum to further piece together fragments of the passionate amateur photographer’s past. The collection provides a window into both his life and the life of a quickly changing city.

Elliott’s work also captures significant moments in Brisbane’s history, including the Duke and Duchess of York’s visit in 1901 and the farewell of the troops aboard SS Cornwall from Pinkenba in 1899. Museum of Brisbane Director Peter Denham said the collection was an exceptional record of one man’s perspective of Brisbane at a very exciting time.

“These unseen photographs offer a unique view of Brisbane at a significant turning point – the city’s population was booming, grand civic structures were erected and huge social change was occurring,” Mr Denham said. “The interactive elements of The view from here offer visitors the chance to get up close with buildings from our past, as well as investigate the photographic technology from the turn of last century.”

“With the discovery of hundreds of new photos, we have learned a lot about Elliott and his family and were even able to locate his much-loved home in Taringa. It is part of our mission as the city’s museum to uncover new stories and we are thrilled to share these findings with visitors. The exhibition wonderfully captures how much our city has changed and I think it will encourage people to reflect on their own perceptions of Brisbane.” The view from here will run until 30 August 2015.”

Press release from the Museum of Brisbane website

 

Alfred Elliott. 'Dorothy Elliott, Amy Lock, Mrs Lock and Elizabeth Ellen Elliott' Nd

 

Alfred Elliott
Dorothy Elliott, Amy Lock, Mrs Lock and Elizabeth Ellen Elliott
Nd
City of Brisbane Collection, Museum of Brisbane

 

Alfred Elliott. 'Elizabeth Ellen Elliott w the Dillon sisters Mary, Clare, Margo' Nd

 

Alfred Elliott
Elizabeth Ellen Elliott w the Dillon sisters Mary, Clare, Margo
Nd
City of Brisbane Collection, Museum of Brisbane

 

Alfred Elliott. 'Government House, George Street' 1908

 

Alfred Elliott
Government House, George Street
1908
City of Brisbane Collection, Museum of Brisbane

 

Alfred Elliott, 'Maroochy' 1890

 

Alfred Elliott
Maroochy
1890
City of Brisbane Collection, Museum of Brisbane

 

Alfred Elliott, 'Maroochy' 1890 (detail)

 

Alfred Elliott
Maroochy (detail)
1890
City of Brisbane Collection, Museum of Brisbane

 

Alfred Elliott. 'Members of the QLD League of Wheelmen, Wellington Point' 1897

 

Alfred Elliott
Members of the QLD League of Wheelmen, Wellington Point
1897
City of Brisbane Collection, Museum of Brisbane

 

 

“The first shipment of tricycles arrived in Brisbane in 1870 and the first race is reported to have been between a cyclist and a Cobb and Co coach from Brisbane to Sandgate. No official timing was recorded.

The initial Brisbane Bicycle Club meeting was held in 1881 at the Belle Vue Hotel. High wheel bicycles including the Penny Farthing were the only bikes available and novelty Penny Farthing races were held in the Brisbane Botanic Gardens where more riders fell off than stayed on. By 1886 Brisbane had 200 bicycles and 50 of these were used for racing…

The first Queensland championship was held at the Breakfast Creek Sports Ground in 1891 and was won by Lou Isles. Isles also rode long distance, riding from Brisbane to Sydney in 1891 a 700 mile trek which he completed in 7 days. Imported bicycles cost £30 although local bicycles could be bought for two pound ten. Successful Queensland riders of the day included Ben Goodsen, Billy Dowd and Percy Davies.

In 1895 a record of 1 hour 2 minutes and 10 seconds was set by George Stombaco for a 34 kilometre race over rough dirt roads from Brisbane and Cleveland. That same year, The League of Queensland Wheelmen held a Christmas Carnival with over 8000 attendees. Brisbane wasn’t the only town with a club as Maryborough, Townsville, Ipswich and Rockhampton also had successful clubs.”

Karen Hind. “Cycling in Queensland.” 18 July 2011 [Online] Cited 19/08/2015.

 

Alfred Elliott. 'Treasury Building, William Street' 1895

 

Alfred Elliott
Treasury Building, William Street
1895
City of Brisbane Collection, Museum of Brisbane

 

Alfred Elliott. 'Victoria Bridge, decorated for the Duke of York' 1901

 

Alfred Elliott
Victoria Bridge, decorated for the Duke of York
1901
City of Brisbane Collection, Museum of Brisbane

 

Alfred Elliott. 'Victoria Bridge, decorated for the Duke of York' 1901 (detail)

 

Alfred Elliott
Victoria Bridge, decorated for the Duke of York (detail)
1901
City of Brisbane Collection, Museum of Brisbane

 

 

“The images chronicle a broad range of Elliott’s life – from private moments with friends on family trips and picnics at the Glasshouse Mountains to key moments in Brisbane’s history such as the construction of Central Railway Station in 1899 and the visit from the Duke and Duchess of York in 1901. Images were captured in locations including Mt Coot-tha, the city’s Botanic Gardens, Tweeds Heads just south of the border and the Moreton Bay Region – all undertaken by train, bus, boat, car and possibly even by horse and bicycle.

Curator Phil Manning, who discovered the last cigar box, said it was evident from the body of work that Elliott was proud of his city.

“He documented the city by walking the streets and going on travels with his family,” Mr Manning said. “He had a strong connection to the British Empire, that was probably the area he was most drawn to documenting … royal visits and the Queensland troops going off to the Boer War. But he’s also photographed Brisbane’s new buildings and structures such as the bridges that went up following the 1893 flood.”

Elliot’s first photographs were dated 1890 and captured on dry-plate glass negatives, including both single image and stereograph negatives. They were a mixture of amateur and professionally produced plates. Elliot used glass plates until 1921 when it appeared he changed to a camera with film.

Very little was known about Alfred Henrie Elliott. He was born in Paignton in England in 1870 and was the youngest of seven children. His family came to Queensland when he was seven years old, with his father taking up post as principal of Humpybong Primary School in Redcliffe, north of Brisbane. Elliott was known to have worked in Brisbane as a civil servant in a variety of roles. His working life also included jobs as a law clerk, professional shorthand writer and a bank clerk.

Patrick Williams and Maria Hatzakis. “Uncovered glass plates and film negatives capturing 50 years of Brisbane’s history go on display,” on the ABC News website, 10 Feb 2015 [Online] Cited on 19/08/2015.

 

Alfred Elliott. 'Eight hour day procession on Queen Street in Brisbane city' 1893

 

Alfred Elliott
Eight hour day procession on Queen Street in Brisbane city
1893
City of Brisbane Collection, Museum of Brisbane

 

Alfred Elliott. 'Alfred Goldsbrough Elliott, Stanley Terrace, Taringa' 1908

 

Alfred Elliott
Alfred Goldsbrough Elliott, Stanley Terrace, Taringa
1908
City of Brisbane Collection, Museum of Brisbane

 

Alfred Elliott. 'Dorothy Elliott' 1911

 

Alfred Elliott
Dorothy Elliott
1911
City of Brisbane Collection, Museum of Brisbane

 

Alfred Elliott. 'Dorothy Elliott' 1911 (detail)

 

Alfred Elliott
Dorothy Elliott (detail)
1911
City of Brisbane Collection, Museum of Brisbane

 

Alfred Elliott. 'Grand Arch, Queen Street, visit of the Duke of York' 1901

 

Alfred Elliott
Grand Arch, Queen Street, visit of the Duke of York
1901
City of Brisbane Collection, Museum of Brisbane

 

Alfred Elliott. 'Grand Arch, Queen Street, visit of the Duke of York' 1901 (detail)

 

Alfred Elliott
Grand Arch, Queen Street, visit of the Duke of York (detail)
1901
City of Brisbane Collection, Museum of Brisbane

 

Alfred Elliott. 'Picnic party on Brisbane River at Seventeen Mile Rocks' 1898

 

Alfred Elliott
Picnic party on Brisbane River at Seventeen Mile Rocks
1898
City of Brisbane Collection, Museum of Brisbane

 

Alfred Elliott. 'Picnic party on Brisbane River at Seventeen Mile Rocks' 1898 (detail)

 

Alfred Elliott
Picnic party on Brisbane River at Seventeen Mile Rocks (detail)
1898
City of Brisbane Collection, Museum of Brisbane

 

Alfred Elliott. 'Queen Street, Brisbane' 1899

 

Alfred Elliott
Queen Street, Brisbane
1899
City of Brisbane Collection, Museum of Brisbane

 

Alfred Elliott. 'Treasury Building, Queen and William Street' 1901

 

Alfred Elliott
Treasury Building, Queen and William Street
1901
City of Brisbane Collection, Museum of Brisbane

 

Alfred Elliott. ''Welcome to Brisbane' arch, Queen Street' 1920

 

Alfred Elliott
‘Welcome to Brisbane’ arch, Queen Street
1920
City of Brisbane Collection, Museum of Brisbane

 

Alfred Elliott. ''Welcome to Brisbane' arch, Queen Street' 1920 (detail)

 

Alfred Elliott
‘Welcome to Brisbane’ arch, Queen Street (detail)
1920
City of Brisbane Collection, Museum of Brisbane

 

Alfred Elliott. 'Windmill, Wickham Terrace' 1895

 

Alfred Elliott
Windmill, Wickham Terrace
1895
City of Brisbane Collection, Museum of Brisbane

 

Alfred Elliott. 'Windmill, Wickham Terrace' 1895 (detail)

 

Alfred Elliott
Windmill, Wickham Terrace (detail)
1895
City of Brisbane Collection, Museum of Brisbane

 

Alfred Elliott. 'Alfred Henry Elliott (1870 - 1954)' 1899

 

Alfred Elliott
Alfred Henry Elliott (1870 – 1954)
1899
City of Brisbane Collection, Museum of Brisbane

 

Alfred Elliott. 'Elizabeth Ellen Elliott and Alfred Elliott' 1899

 

Alfred Elliott
Elizabeth Ellen Elliott and Alfred Elliott
1899
City of Brisbane Collection, Museum of Brisbane

 

 

Museum of Brisbane

Museum of Brisbane is located on Level 3, Brisbane City Hall (Adelaide and Ann Street, Brisbane QLD)

Opening hours:
Open 7 days a week, 10am -“ 5pm

Museum of Brisbane website

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19
Aug
15

Exhibition: ‘Robert Mapplethorpe’ at the Museum of Contemporary Art Kiasma, Helsinki

Exhibition dates: 13th March – 13th September 2015

Curators: The exhibition is curated by Jérôme Neutres from Paris with Director Pirkko Siitari and Chief Curator Marja Sakari from Kiasma.

 

 

These images are good to see… but not really what I want to see.

I want to see some of the early work, and some of the S/M photographs. You never get to see these online. It’s almost as though the Robert Mapplethorpe Foundation is too scared to authorise the online publication of these works, for fear of – heaven forbid – letting people understand all the facets of Mapplethorpe’s work.

Its the origin story and the picturing of his sexual proclivities that are some of his most powerful work… and we never get to see them. Eros (denied).

Marcus
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Many thankx to the Museum of Contemporary Art Kiasma for allowing me to publish the photographs in the posting. Please click on the photographs for a larger version of the image.

 

 

 

Robert Mapplethorpe. 'Ken Moody and Robert Sherman' 1984

 

Robert Mapplethorpe
Ken Moody and Robert Sherman
1984
Gelatin silver print
© Robert Mapplethorpe Foundation

 

Robert Mapplethorpe. 'Self-Portrait' 1980

 

Robert Mapplethorpe
Self-Portrait
1980
Gelatin silver print
© Robert Mapplethorpe Foundation

 

Robert Mapplethorpe. 'Leather Crotch' 1980

 

Robert Mapplethorpe
Leather Crotch
1980
Gelatin silver print
© Robert Mapplethorpe Foundation

 

 

“The American photographer Robert Mapplethorpe (1946-1989) lived a life of passion in the New York underground and rock scenes in the 1970s and ‘80s. That passion also made its way into his art.

Consisting of more than 250 works, the retrospective exhibition in the Museum of Contemporary Art Kiasma offers a broad overview of the key periods of Mapplethorpe’s career. In their aspiration for perfection, Mapplethorpe’s pictures blend beauty and eroticism with pain, pleasure and death. Mapplethorpe also photographed his celebrity friends such as Patti Smith, Andy Warhol and Richard Gere. Although solidly anchored in their time, his photographs are also universal and topical even today.

Arriving from Paris to Helsinki, the high-profile exhibition is a unique opportunity to learn about the art and life of one of the most important photographic artists of our time. The exhibition is curated by Jérôme Neutres from Paris with Director Pirkko Siitari and Chief Curator Marja Sakari from Kiasma.

This exhibition is organized by The Finnish National Gallery – Museum of Contemporary Art Kiasma and the Réunion des Musées Nationaux – Grand Palais, with the collaboration of the Robert Mapplethorpe Foundation New York.

 

Robert Mapplethorpe. 'Self-Portrait' 1975

 

Robert Mapplethorpe
Self-Portrait
1975
Gelatin silver print
© Robert Mapplethorpe Foundation

 

Robert Mapplethorpe. 'Patti Smith' 1979

 

Robert Mapplethorpe
Patti Smith
1979
Gelatin silver print
© Robert Mapplethorpe Foundation

 

Robert Mapplethorpe. 'Poppy' 1988

 

Robert Mapplethorpe
Poppy
1988
Unique dye transfer
© Robert Mapplethorpe Foundation

 

 

Exhibition themes

BODY SCULPTURE

“If I had been born one hundred or two hundred years ago, I might have been a sculptor, but photography is a very quick way to see, to make sculpture.” – Robert Mapplethorpe

Mapplethorpe became interested in photographing sculpture during his first trip to Paris in the early 1970s. He also began taking pictures of people in poses that imitated classical sculptures. Lisa Lyon, the first World Women’s Bodybuilding Champion, was the subject in many of the pictures.
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BODY AND GEOMETRY

Mapplethorpe prized order and purity of form in his art. He was also particular about the frames of his pictures, which he often designed himself. He had great respect for the long history of art. Some of his nude studies echo Leonardo da Vinci’s Vitruvian Man which shows an idealised human body inside a circle and a square.
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STILL LIFES AND BODY DETAILS

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

Mapplethorpe’s still lifes and pictures of body parts play with stormy associations. They are distinctly corporeal and vitalistic, whether the subject is an exposed penis or an aubergine on a table. Mapplethorpe said he looked at all objects in precisely the same way. According to Patti Smith, “Robert infused objects, whether for art or life, with his creative impulse, his sacred sexual power. He transformed a ring of keys, a kitchen knife, or a simple wooden frame into art.”
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CHAPEL & COLOUR BRACKET

“I was a Catholic boy, I went to church every Sunday. A church has a certain magic and mystery for a child.” – Robert Mapplethorpe

Mapplethorpe came from a Roman Catholic family, but his interest in the church was primarily aesthetic. He said he wanted his pictures to be viewed like altars. The figure of a crucified Christ appears in some of his works, as does the human skull, a traditional reminder of death. Instead of suffering, however, the images convey a sense of sinful pleasure. Mapplethorpe worked with colour film starting in the late 1970s, but did not routinely exhibit his colour photos until the end of the 1980s.
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MAPPLETHORPE AND WOMEN

“Lisa Lyon reminded me of Michelangelo’s subjects, because he did muscular women.” – Robert Mapplethorpe

Poet and musician Patti Smith was Mapplethorpe’s first and last model and muse. Mapplethorpe photographed covers for Smith’s albums and books of poems. Another important model was the body builder Lisa Lyon, who is the subject of Mapplethorpe’s book Lady: Lisa Lyon. Both women could be described as androgynous. Locating himself in the same intermediate space between femininity and masculinity, Mapplethorpe photographed himself in drag.
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PORTRAITS

New York and the Chelsea Hotel in particular were places where the American cultural intelligentsia used to gather in the 1970s. There Mapplethorpe met writers, musicians and artists such as William Burroughs, Iggy Pop and David Hockney, and enjoyed the attention lavished on him. He became the court photographer of certain cultural circles, his camera capturing friends, celebrities and famous figures in the art world.
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EROS

“I don’t think anyone understands sexuality. It’s about an unknown, which is why it’s so exciting.” – Robert Mapplethorpe

Sadomasochism, S&M, was both sex and magic for Mapplethorpe. Like the French writer Jean Genet, he too wanted to elevate things into art that were not yet considered art. Mapplethorpe’s depiction of fetishes in his photographs was deliberately formal. He documented spontaneous acts only very infrequently. The sex he captured in his pictures was neither malicious nor repugnant. S&M is about desire and pleasure, and above all about trust.
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POLAROIDS

“I’m trying to record the moment I’m living in and where I’m living, which happens to be in New York. These pictures could not have been done at any other time.” – Robert Mapplethorpe

Mapplethorpe got his first Polaroid camera in 1970 and fell in love with its simplicity: there were few adjustments to make and you could see the results instantly. Because the film was expensive, Mapplethorpe felt that every picture had to be perfect. Precision and economy became a habit that endured throughout his career. In 1975, he switched over to the more versatile Hasselblad 500.
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STILL MOVING

“We were like two children playing together, like the brother and sister in Cocteau’s ‘Enfants Terribles’.” – Patti Smith

Robert Mapplethorpe and Patti Smith began their creative careers together. Frequently they would not plan their projects in advance. The experimental short Still Moving had no script, and Smith improvised her movements and lines. The camera operator was Lisa Rinzler. “He wordlessly guided me. I was an oar in the water and his the steady hand,” Smith has said.
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ROBERT MAPPLETHORPE – PORTRAITS

New York was home to America’s cultural intelligentsia in the 1970s. Mapplethorpe was the court photographer of the cultural elite. His portraits feature his friends, celebrities and influential figures on the art scene.

 

Installation view of the exhibition 'Robert Mapplethorpe' at the Museum of Contemporary Art Kiasma, Helsinki

Installation view of the exhibition 'Robert Mapplethorpe' at the Museum of Contemporary Art Kiasma, Helsinki

Installation view of the exhibition 'Robert Mapplethorpe' at the Museum of Contemporary Art Kiasma, Helsinki

Installation view of the exhibition 'Robert Mapplethorpe' at the Museum of Contemporary Art Kiasma, Helsinki

Installation view of the exhibition 'Robert Mapplethorpe' at the Museum of Contemporary Art Kiasma, Helsinki

 

Installation view of the exhibition 'Robert Mapplethorpe' at the Museum of Contemporary Art Kiasma, Helsinki

Installation view of the exhibition 'Robert Mapplethorpe' at the Museum of Contemporary Art Kiasma, Helsinki

Installation view of the exhibition 'Robert Mapplethorpe' at the Museum of Contemporary Art Kiasma, Helsinki

 

Installation views of the exhibition Robert Mapplethorpe at the Museum of Contemporary Art Kiasma, Helsinki
Finnish National Gallery / Pirje Mykkänen

 

 

Who’s who?

  • Princesse Diane de Beauvau
    French aristocrat, model and fashion muse
  • Bruno Bischofberger
    Swiss gallerist and art dealer known for bringing American Pop Art to Europe, long-term associate of Andy Warhol
  • Louise Bourgeois
    French-born sculptor known for her gigantic spider sculptures
  • Miep Brons
    Dutch porn dealer
  • William Burroughs
    Writer and primary figure of the Beat Generation
  • Alistair Butler
    New York dancer
  • Patrice Calmettes
    French photographer
  • Truman Capote
    American author and journalist whose best known titles include Breakfast at Tiffany’s and In Cold Blood
  • Leo Castelli
    American-Italian gallerist, influential promoter of contemporary art in New York
  • Katherine Cebrian
    San Francisco socialite
  • Francesco Clemente
    Italian-born contemporary artist
  • Ed and Melody
    Mapplethorpe’s brother Edward and his girlfriend at the time, Melody, a friend of Mapplethorpe’s
  • Richard Gere
    American actor, idolized at the time of this portrait following his performance in American Gigolo
  • Philip Glass and Robert Wilson
    Glass is a contemporary composer, Wilson a director and playwright. At the time of this portrait, they had worked together on their opera Einstein on the Beach
  • Keith Haring
    American Pop and graffiti artist
  • Deborah Harry
    Singer and actress, best known as lead singer of Blondie
  • David Hockney and Henry Geldzahler
    Hockney is a British artist and Pop Art pioneer. Belgian-born Geldzahler was a curator, critic and art historian
  • Grace Jones
    Jamaican-born singer, producer, actress and model
  • Amanda Lear
    French singer, performer, painter and author, friend of celebrities such as David Bowie, Salvador Dalí and Brian Jones
  • Annie Leibovitz
    American photographer whose work featured on the cover Rolling Stone and Vanity Fair
  • Roy Lichtenstein
    American painter, sculptor and leading Pop artist
  • Lisa and Robert
    Mapplethorpe and his long-term muse, bodybuilder Lisa Lyon
  • John McKendry
    Curator of prints and photographs at the Metropolitan Museum of Art and personal friend who first introduced Mapplethorpe to the MET’s fine art photography collection
  • Louise Nevelson
    American sculptor
  • Yoko Ono
    Japanese-born artist and musician
  • Philippe
    French socialite
  • Iggy Pop
    Singer, songwriter and actor known for his energetic stage presence as lead singer of The Stooges
  • Robert Rauschenberg
    American artist who inspired later generations of artists including Andy Warhol and Roy Lichtenstein, regarded as a major figure in the transition from Abstract Expressionism to Pop Art
  • Isabella Rossellini
    Italian-born actress, model, filmmaker, author, and philanthropist
  • Giorgio di Sant’Angelo
    Italian-born fashion designer
  • Arnold Schwarzenegger
    Budding actor and award-winning bodybuilder at the time of this portrait, he later achieved world renown as a Hollywood star and Governor of California
  • Cindy Sherman
    American contemporary artist, known for photographs analyzing women’s roles and place in society
  • Holly Solomon
    A self-anointed ‘Pop princess’, Solomon was a prominent collector and subsequent dealer of contemporary art. She was famously immortalized by other artists such as Andy Warhol and Roy Lichtenstein
  • Susan Sontag
    American writer and essayist
  • Tom of Finland
    Finnish artist and illustrator. His drawings had a major influence on gay culture from the 1970s onwards. Mapplethorpe and Andy Warhol were among his admirers
  • Sam Wagstaff
    Curator, collector, Mapplethorpe’s lifetime companion and artistic mentor
  • Andy Warhol
    Pop Art pioneer and filmmaker, greatly admired by Mapplethorpe
  • Edmund White
    American author, known for his work on gay themes

 

Robert Mapplethorpe. 'Ajitto' 1981

 

Robert Mapplethorpe
Ajitto
1981
Gelatin silver print
© Robert Mapplethorpe Foundation

 

Robert Mapplethorpe. 'Lisa Lyon' 1982

 

Robert Mapplethorpe
Lisa Lyon
1982
Gelatin silver print
© Robert Mapplethorpe Foundation

 

Robert Mapplethorpe. 'Self-Portrait' 1988

 

Robert Mapplethorpe
Self-Portrait
1988
Gelatin silver print
© Robert Mapplethorpe Foundation

 

 

Museum of Contemporary Art Kiasma
Mannerheiminaukio 2, FIN-00100
Helsinki, Finland
Tel:+358 (0)294 500 501

Opening hours:
Tue 10-17
Wed-Fri 10-20.30
Sat 10-18
Sun 10-17
Mon closed

Museum of Contemporary Art Kiasma website

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16
Aug
15

Exhibition: ‘Early Photography in Imperial China’ at the Rijksmuseum, Amsterdam

Exhibition dates: 5th June – 23rd August 2015

 

For me, the standout photographs in this posting are Mee Cheung’s rhythmic Buddhist Monks in Chefoo and the work of Baron Raimund von Stillfried und Ratenitz, especially the three photographs Portrait of two Chinese Buddhist monks with rosary, bell and slit drum, Portrait of a Chinese woman and Portrait of Chinese Admiral Ting.

The latter three have a deceptively simple structure, delicate hand colouring, and a visual and metaphysical presence that is almost beyond description… as though you know the character and personality of these anonymous human beings through the rendition of their image. In a way they are humanist portraits presaging the tradition of the more scientific and archetypal portraits of August Sander.

You can see in the face of Admiral Ting that he is a prosperous and powerful man, you can see the individuality of each person in these images, the individualisation of these people, a tradition which is continued by today’s documentary photographers. But not generally by today’s art photographers looking at the portrait because, for them, the portrait is surface and detail – controlled by the photographer and not responsive to the subject.

Marcus

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

 

 

A. Chan. 'Sheung-mun-tai Street in Canton' c. 1870

 

A. Chan
Sheung-mun-tai Street in Canton
c. 1870
Collectie Ferry Bertholet, Amsterdam

 

A. Chan. 'Sheung-mun-tai Street in Canton' (detail) c. 1870

 

A. Chan
Sheung-mun-tai Street in Canton (detail)
c. 1870
Collectie Ferry Bertholet, Amsterdam

 

Mee Cheung. 'Buddhist Monks in Chefoo' c. 1880-1890

 

Mee Cheung
Buddhist Monks in Chefoo
c. 1880-1890
Collection Ferry Bertholet, Amsterdam

 

Mee Cheung. 'Buddhist Monks in Chefoo' (detail) c. 1880-1890

 

 

Mee Cheung
Buddhist Monks in Chefoo (detail)
c. 1880-1890
Collection Ferry Bertholet, Amsterdam

 

Afong. 'Studio Portrait of Courtesans in Shanghai' c. 1875-1880

 

Afong
Studio Portrait of Courtesans in Shanghai
c. 1875-1880
Collections Ferry Bertholet, Amsterdam

 

Afong. 'Studio Portrait of Courtesans in Shanghai' (detail) c. 1875-1880

 

Afong
Studio Portrait of Courtesans in Shanghai (detail)
c. 1875-1880
Collections Ferry Bertholet, Amsterdam

 

Afong. 'A Chinese Party Game' c. 1895

 

Afong
A Chinese Party Game
c. 1895
Rijksmuseum, Amsterdam

 

 

“Rare photos, photo albums and stereo photos from the collection of China expert Ferry Bertholet, enhanced with photographs from the Rijksmuseum’s collection, show 19th century unknown China at the time of the last emperors for the very first time. From 5 June to 23 August 2015 the Rijksmuseum is presenting Early Photography in Imperial China in it’s Photo Gallery.

In the 19th century Imperial China was almost entirely hidden away from the world until the last Emperor was deposed in 1912. Access was limited to port cities such as Shanghai, Hong Kong and Canton, which were forced to be open to the West after 1842 so that Westerners could trade unimpeded. The advent of photography coincided with a rapidly growing interest in the unknown China. The photographs in the exhibition take the visitor into this exciting unknown world of ports, quays and rickshaws, but also of narrow crowded streets bustling with the multitude of shops and ‘tea houses’ and their hostesses.

The display includes important photographs by such as Felice Beato (his famous photograph of the Second Opium War 1857-1860) and the famous China photographer John Thomson. They were among the first Europeans able to record images of a country that – even at that time – was still barely accessible to the rest of the world. Furthermore, this is also the first time that the work of Chinese photographers such as Afong, Lan Wah and Sze Yuen Ming has ever been shown in the Netherlands. 
Other highlights of the exhibition include a rare Chinese family portrait from 1860 from the Bertholet collection of American photographer Milton Miller, as well as the coloured photos of ‘types of people’ by Baron Raimund Ratenitz von Stillfried.

Besides the 35 photos in the exhibition, a huge travel camera from that time is also on display, illustrating how awkward it was to photograph such material. There are also stereo photos in 3D, including a special shot of the city of Peking in 1860, and photo albums and amateur photos of travellers to China are also on display. A richly illustrated book was published recently: Ferry Bertholet & Lambert van der Aalsvoort, Among the Celestials. China in Early Photographs, Brussels 2014.”

Press release from the Rijksmuseum website

 

Anonymous. 'Peking' c. 1860 - c. 1930

 

Anonymous
Peking
c. 1860 – c. 1930

 

Attributed to Baron Raimund von Stillfried und Ratenitz. 'Chinese carriers' c. 1861 - c. 1880

 

Attributed to Baron Raimund von Stillfried und Ratenitz
Chinese carriers
c. 1861 – c. 1880

 

Attributed to Baron Raimund von Stillfried und Ratenitz. 'Portrait of two Chinese Buddhist monks with rosary, bell and slit drum' 1875

 

Attributed to Baron Raimund von Stillfried und Ratenitz
Portrait of two Chinese Buddhist monks with rosary, bell and slit drum
1875

 

Attributed to Baron Raimund von Stillfried und Ratenitz. 'Portrait of two Chinese Buddhist monks with rosary, bell and slit drum' 1875

 

Attributed to Baron Raimund von Stillfried und Ratenitz
Portrait of two Chinese Buddhist monks with rosary, bell and slit drum
1875

 

Attributed to Baron Raimund von Stillfried und Ratenitz. 'Portrait of two Chinese Buddhist monks with rosary, bell and slit drum' (detail) 1875

 

Attributed to Baron Raimund von Stillfried und Ratenitz
Portrait of two Chinese Buddhist monks with rosary, bell and slit drum (detail)
1875

 

attributed to Baron Raimund von Stillfried und Ratenitz. 'Portrait of a Chinese woman' 1860 - 1870

 

Attributed to Baron Raimund von Stillfried und Ratenitz
Portrait of a Chinese woman
1860 – 1870

 

Attributed to Baron Raimund von Stillfried und Ratenitz. 'Portrait of Chinese Admiral Ting' c. 1861 - c. 1880

 

Attributed to Baron Raimund von Stillfried und Ratenitz
Portrait of Chinese Admiral Ting
c. 1861 – c. 1880

 

Attributed to Baron Raimund von Stillfried und Ratenitz. 'Portrait of Chinese Admiral Ting' (detail) c. 1861 - c. 1880

 

Attributed to Baron Raimund von Stillfried und Ratenitz
Portrait of Chinese Admiral Ting (detail)
c. 1861 – c. 1880

 

Attributed to Jan Adriani. 'A street with several people in Kinkiang, China' 1907

 

Attributed to Jan Adriani
A street with several people in Kinkiang, China
1907

 

 

Rijksmuseum, Amsterdam
Jan Luijkenstraat 1, Amsterdam

Opening hours:
Every day from 9:00 to 18:00

Rijksmuseum website

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12
Aug
15

Exhibition: ‘Crowd Source’ at the State Library of New South Wales, Sydney

Exhibition dates: 4th April – 23rd August 2015

 

There is an almost Dickensian mellow dramatic feel to some of these 1880s-1900 albumen photographs by Sydney photographer Arthur K. Syer.

While the photographs offer a unique point of view (low down by the waist) of Victorian era Sydney, you get the feeling that Syer was more interested in the fact that his camera was hidden, and the game he was playing to get these photographs, than in the visual construction of the images themselves.

The best of them are photographs – such as Hawker haggling with customers, with its links to the photography of Atget, and crowd scenes like Men in street, where the different poses of the men and the rising and falling of the six items of headgear – which offer a rhythmic consideration and interest that other photographs in the posting lack.

The gem in this group of images is the outstanding Forest Lodge double decker steam tram stopped on Elizabeth Street near Supreme Court N.S.W. Again, it is the attitude and rhythm of the protagonists within the image frame that makes this diorama so engaging. The man at left looks away from us with his back to the camera, while above him a man stands in the tram perpendicular to him, giving a nice play to the space between the tram carriages. Three people in alternating dark and light hats wait patiently for a old biddie to descend from the open door of the tram, the man holding on to the hand rail of the tram ready to pull himself up, just as everyone still does on old trams in Melbourne to this day. Above on the top deck sits a young man staring straight at the camera (without knowing it is there), with his legs crossed in a most unusual and uncomfortable way.

Below him to the right a gent in a bowler hat talks with his wife, cigar stuck in his mouth. His facial outline, lit by the sun, is echoed in the darkness of the interior of the tram by another man with a beard and hat sitting in shadow. In front of this husband and wife is a son with his mother / grandmother – she, clutching her bag in heavy tassel-fringed cloak, protecting herself with umbrella against the sun – he, in long gents morning coat and hat looking very dapper. It must be mid afternoon by the length of the shadows cast by the sun. To the right of this pair is an older, heavy set man with great beard and hat, looking out of the image to the right. His gaze is cut across by a man sitting in the tram, all darkness and outline, beard and hat, looking out onto the scene from the interior. Finally, to ground the foreground of the image, there is a mother and daughter at bottom right of the image, with the small child clutching at the mother’s dress.

The characters in this Dickens play rise and fall from left to right. They wash over you in their happenstance, frozen interaction. It is a superbly constructed image. Interesting as they are in their own vernacular way, it just makes the other images in this posting seem rather, well, prosaic.

Dr Marcus Bunyan for Art Blart

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

 

 

Arthur K. Syer (d. 1935) 'George Street, The Rocks' c. 1880s - 1900

 

Arthur K. Syer (d. 1935)
George Street, The Rocks
c. 1880s – 1900
Albumen print
From an album of Sydney street life, harbour and beach scenes, domestic animals
81 photographs in album: 15.2 x 20.4 cm or smaller

Mitchell Library, State Library of New South Wales

 

Arthur K. Syer (d. 1935) 'George Street, The Rocks' c. 1880s - 1900 (detail)

 

Arthur K. Syer (d. 1935)
George Street, The Rocks (detail)
c. 1880s – 1900
Albumen print
From an album of Sydney street life, harbour and beach scenes, domestic animals
81 photographs in album: 15.2 x 20.4 cm or smaller

Mitchell Library, State Library of New South Wales

 

Arthur K. Syer (d. 1935) 'Argyle Cut, The Rocks' c. 1880s - 1900

 

Arthur K. Syer (d. 1935)
Argyle Cut, The Rocks
c. 1880s – 1900
Albumen print
From an album of Sydney street life, harbour and beach scenes, domestic animals
81 photographs in album: 15.2 x 20.4 cm or smaller

Mitchell Library, State Library of New South Wales

 

Arthur K. Syer (d. 1935) 'Martin Place near the GPO Colonnade' c. 1880s - 1900

 

Arthur K. Syer (d. 1935)
Martin Place near the GPO Colonnade
c. 1880s – 1900
Albumen print
From an album of Sydney street life, harbour and beach scenes, domestic animals
81 photographs in album: 15.2 x 20.4 cm or smaller

Mitchell Library, State Library of New South Wales

 

Arthur K. Syer (d. 1935) 'Devonshire and Chalmers Streets near Central Station' c. 1880s - 1900

 

Arthur K. Syer (d. 1935)
Devonshire and Chalmers Streets near Central Station
c. 1880s – 1900
Albumen print
From an album of Sydney street life, harbour and beach scenes, domestic animals
81 photographs in album: 15.2 x 20.4 cm or smaller

Mitchell Library, State Library of New South Wales

 

Arthur K. Syer (d. 1935) Forest Lodge double decker steam tram stopped on Elizabeth Street near Supreme Court N.S.W. (detail) c. 1880s - 1900

 

Arthur K. Syer (d. 1935)
Forest Lodge double decker steam tram stopped on Elizabeth Street near Supreme Court N.S.W.
c. 1880s – 1900
Albumen print
From an album of Sydney street life, harbour and beach scenes, domestic animals
81 photographs in album: 15.2 x 20.4 cm or smaller

Mitchell Library, State Library of New South Wales

 

Arthur K. Syer (d. 1935) 'Forest Lodge double decker steam tram stopped on Elizabeth Street near Supreme Court N.S.W.' (detail) c. 1880s - 1900

 

Arthur K. Syer (d. 1935)
Forest Lodge double decker steam tram stopped on Elizabeth Street near Supreme Court N.S.W. (detail)
c. 1880s – 1900
Albumen print
From an album of Sydney street life, harbour and beach scenes, domestic animals
81 photographs in album: 15.2 x 20.4 cm or smaller

Mitchell Library, State Library of New South Wales

 

Arthur K. Syer (d. 1935) 'Forest Lodge double decker steam tram stopped on Elizabeth Street near Supreme Court N.S.W.' (detail) c. 1880s - 1900

 

Arthur K. Syer (d. 1935)
Forest Lodge double decker steam tram stopped on Elizabeth Street near Supreme Court N.S.W. (detail)
c. 1880s – 1900
Albumen print
From an album of Sydney street life, harbour and beach scenes, domestic animals
81 photographs in album: 15.2 x 20.4 cm or smaller

Mitchell Library, State Library of New South Wales

 

Arthur K. Syer (d. 1935) 'Forest Lodge double decker steam tram stopped on Elizabeth Street near Supreme Court N.S.W.' (detail) c. 1880s - 1900

 

Arthur K. Syer (d. 1935)
Forest Lodge double decker steam tram stopped on Elizabeth Street near Supreme Court N.S.W. (detail)
c. 1880s – 1900
Albumen print
From an album of Sydney street life, harbour and beach scenes, domestic animals
81 photographs in album: 15.2 x 20.4 cm or smaller

Mitchell Library, State Library of New South Wales

 

 

“Some of the world’s earliest street photographs, capturing many previously unseen views of Sydney from the 1880s will go on public display for the first time in a new exhibition opening at the State Library of NSW, from Saturday 4 April. Crowd Source presents over 50 rare snapshots of Sydneysiders and Sydney’s bustling streets secretly taken with the world’s first hand‐held camera – branded the ‘Detective Camera’ – by amateur local photographer Arthur Syer.

“Arthur Syer took candid photographs of ordinary people in everyday situations which he supplied to illustrators to use as ‘source material’ to help them create a life-like quality and characters in their drawings,” says exhibition co-curator Margot Riley. “Syer’s distinctive low angle photographs evocatively capture the buzz of 1880s Sydney showing the shoe-shiners and fruit sellers, road workers, transport deliveries and barrow shopping, queues at Circular Quay, children playing, shipping and scenes at the horses races,” said Ms Riley.

Syer crossed into the publishing industry through his artist brother Walter, who introduced him to internationally renowned English cartoonist, Phil May. Invited to Sydney by The Bulletin in 1885, May often used Syer’s images to add authenticity to the backgrounds for his illustrations, for example drawings of people at the racecourse.

When the hand‐held camera was introduced in Australia in the mid‐1880s “it became a craze much like the smart phone or selfie stick of today, with photographs for the first time being able to be taken quickly and unnoticed,” said Ms Riley. The camera resembled “a square case… disguised as a … shoeblack’s box, or even a book. The operator places it upon the ground, or under his arm, the pressure of the pneumatic ball opening or closing the hidden lens at the required moment.” (The Sydney Mail, 2 July 1881).

No skill was required to operate the Detective Camera, signalling the beginning of mass photography. It used dry plate negatives – commercialised by George Eastman of Kodak fame – which were available over the counter at photography shops where negatives could be taken for developing and printing.

“This new technology, which also saw the introduction of other novelties like the ‘vest camera’ and ‘watch camera’, triggered debate around issues of privacy which led to the passing of new privacy laws in America,” says Ms Riley. “Manners and rules around candid photography continue to be a hot topic today.”

The State Library holds over 170 original Arthur Syer photographs – the most extensive collection of early Australian street photography known to exist. With the help of the Flickr community the Library has been able to label many of the images in the collection.

Crowd Source is a free exhibition at the State Library of NSW from 4 April to 23 August 2015. #1880Sydney @statelibrarynsw”

Press release from the State Library of New South Wales

 

Arthur K. Syer (d. 1935) 'Tram, West Crescent St., North Sydney' c. 1880s - 1900

 

Arthur K. Syer (d. 1935)
Tram, West Crescent St., North Sydney
c. 1880s – 1900
Albumen print
From an album of Sydney street life, harbour and beach scenes, domestic animals
81 photographs in album: 15.2 x 20.4 cm or smaller

Mitchell Library, State Library of New South Wales

 

Arthur K. Syer (d. 1935) 'Tram, West Crescent St., North Sydney' (detail) c. 1880s - 1900

 

Arthur K. Syer (d. 1935)
Tram, West Crescent St., North Sydney (detail)
c. 1880s – 1900
Albumen print
From an album of Sydney street life, harbour and beach scenes, domestic animals
81 photographs in album: 15.2 x 20.4 cm or smaller

Mitchell Library, State Library of New South Wales

 

Arthur K. Syer (d. 1935) 'Pyrmont Bridge looking across to City' c. 1880s - 1900

 

Arthur K. Syer (d. 1935)
Pyrmont Bridge looking across to City
c. 1880s – 1900
Albumen print
From an album of Sydney street life, harbour and beach scenes, domestic animals
81 photographs in album: 15.2 x 20.4 cm or smaller

Mitchell Library, State Library of New South Wales

 

Arthur K. Syer (d. 1935) 'Circular Quay near First Fleet Park' c. 1880s - 1900

 

Arthur K. Syer (d. 1935)
Circular Quay near First Fleet Park
c. 1880s – 1900
Albumen print
From an album of Sydney street life, harbour and beach scenes, domestic animals
81 photographs in album: 15.2 x 20.4 cm or smaller

Mitchell Library, State Library of New South Wales

 

Arthur K. Syer (d. 1935) 'Children crowd around a ladder' c. 1880s - 1900

 

Arthur K. Syer (d. 1935)
Children crowd around a ladder
c. 1880s – 1900
Albumen print
From an album of Sydney street life, harbour and beach scenes, domestic animals
81 photographs in album: 15.2 x 20.4 cm or smaller

Mitchell Library, State Library of New South Wales

 

Arthur K. Syer (d. 1935) 'Children crowd around a ladder' (detail) c. 1880s - 1900

 

Arthur K. Syer (d. 1935)
Children crowd around a ladder (detail)
c. 1880s – 1900
Albumen print
From an album of Sydney street life, harbour and beach scenes, domestic animals
81 photographs in album: 15.2 x 20.4 cm or smaller

Mitchell Library, State Library of New South Wales

 

Arthur K. Syer (d. 1935) 'Royal Exchange Building in Bridge Street' c. 1880s - 1900

 

Arthur K. Syer (d. 1935)
Royal Exchange Building in Bridge Street
c. 1880s – 1900
Albumen print
From an album of Sydney street life, harbour and beach scenes, domestic animals
81 photographs in album: 15.2 x 20.4 cm or smaller

Mitchell Library, State Library of New South Wales

 

Arthur K. Syer (d. 1935) 'Men in street' c. 1880s - 1900

 

Arthur K. Syer (d. 1935)
Men in street
c. 1880s – 1900
Albumen print
From an album of Sydney street life, harbour and beach scenes, domestic animals
81 photographs in album: 15.2 x 20.4 cm or smaller

Mitchell Library, State Library of New South Wales

 

Arthur K. Syer (d. 1935) 'Hawker haggling with customers' c. 1880s - 1900

 

Arthur K. Syer (d. 1935)
Hawker haggling with customers
c. 1880s – 1900
Albumen print
From an album of Sydney street life, harbour and beach scenes, domestic animals
81 photographs in album: 15.2 x 20.4 cm or smaller

Mitchell Library, State Library of New South Wales

 

Arthur K. Syer (d. 1935) 'Shoe shiner with customer' c. 1880s - 1900

 

Arthur K. Syer (d. 1935)
Shoe shiner with customer
c. 1880s – 1900
Albumen print
From an album of Sydney street life, harbour and beach scenes, domestic animals
81 photographs in album: 15.2 x 20.4 cm or smaller

Mitchell Library, State Library of New South Wales

 

 

State Library of New South Wales
Macquarie Street, Sydney
NSW 2000 Australia
T: +61 2 9273 1414

Opening hours:
Monday – Friday 9 am – 5 pm
Saturday – Sunday 10 am – 5 pm

State Library of New South Wales website

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09
Aug
15

Exhibition: ‘John Wolseley – Heartlands and Headwaters’ at The Ian Potter Centre: NGV Australia, Melbourne

Exhibition dates: 11th April – 16th August 2015

 

This is a wondrous exhibition by John Wolseley at NGV Australia. The whole feeling of the exhibition, its scale and intimacy, the attention to detail and the sheer the beauty of the work is quite outstanding. I was fascinated with the text descriptions the artist gives with each piece of work, included here in the posting.

While Wolseley plays with time (deep time, shallow time and now time) and space here it is more than that, for deep time (or “the zone” in the alternative parlance of athletes) is also used in artistic activity to refer to the experience of being lost in the act of creation or the consumption of a work. To the viewer, so it would seem here for we become lost in the art of creation. There is a sense of timelessness, the experience of unusual freedom within time, an unawareness of time, within Wolseley’s work, yet still grounded in the past and present, flowing into the future of this planet. This sense of place, context, space and time(lessness) are lucidly resolved in the artist’s work.

As the Introduction to the exhibition states, Wolseley conceives the exhibition as gesamtkunstwerk , a total work of art, presenting new possibilities for understanding landscape in the twenty-first century. This generally works well in revealing the unique, dynamic processes of natural ecosystems when the work is on the wall. However, the floor of the gallery (natural timber boards) lessened the experience of the “total work of art” for me. If you are designing an exhibition that would seem to me to be immersive (to some extent) then the work needed more grounding than it contains here.

This is a minor observation in an otherwise superlative exhibition. The colours, the sensitivity of the painting, the flow of the images, water, music, prose… are a narrative almost like a fable if the issues were not so real. The heightened imagery and emotional effects of the work make us truly aware that now is the time for action. The future development of the new coal power stations must be stopped. Renewable energy is the energy of the future as much as it is light emanating from the past.

Dr Marcus Bunyan for Art Blart.

.
Many thankx to the National Gallery of Victoria for allowing me to publish the art work in the posting. Please click on the photographs for a larger version of the image.

 

 

 

 

“Over the past four years, John Wolseley has travelled and painted throughout the Australian continent. He has journeyed from the swamps of the Tasmanian high country to the coastal flood plains of the tropical north, exploring the nature and action of water and how it has shaped the land.

Wolseley has worked on site beside strange and diverse wetlands – sphagnum bogs, ephemeral waterholes, bilabongs and mangrove swamps – and combined his own distinctive mark-making processes with more traditional watercolour techniques. He has ‘collaborated’ with plants, birds and insects and used a range of drawing systems that includes frottaging (rubbing against) burnt trees, burying papers in snad and swamps and nature printing from leaves, wood and rocks.

The artist’s layered and collaged papers have been assembled as an installation in the shape of a giant branching tree, surrounded by large-scale works which enclose the viewer in an immersive environment. Wolseley has rejected European landscape conventions that often reduce a complex, living system to a static and generalised representation. Instead, he endeavours to reveal the unique, dynamic processes of natural ecosystems. Conceived as gesamtkunstwerk (total work of art), Heartlands and headwaters presents new possibilities for understanding landscape in the twenty-first century.”

Introduction text to the exhibition

 

John Wolseley. 'History of the Whipstick Forest with ephemeral swamps and gold bearing reefs' 2011

 

John Wolseley
History of the Whipstick Forest with ephemeral swamps and gold bearing reefs (detail)
2011
Watercolour, charcoal and pencil on 2 sheets (a-b)
233.5 x 286.6 cm (overall)
Collection of Sir Roderick Carnegie AC and Family
© John Wolseley

 

 

One summer’s day I walked from my studio into the forest and followed a dry creek to some swamps and pools bursting with life. This arid landscape, so torn up and churned over, was still miraculously reinventing itself. Such resilience!

In this drawing I bring together the histories of three kinds of time: the ‘deep time’ of geology, ‘shallow time’ since European arrival, and ‘now time’ in October 2011. The history of the hidden workings of the earth I stole from a geologist’s map. Resting on this ancient framework in the painting’s centre is the green swamp. Above this is another map, which tells the story of William Johnson, a visitor to this forest 160 years ago, whose discovery of gold was the birth of the Bendigo goldfields.

When I was working on this painting, this bush was burnt in line with the government’s draconian legislation to burn all public bushland in Victoria every ten years. This often gives no time for vegetation to mature and seed, and biodiversity in certain fire-sensitive ecologies is being ravaged. My reverence for nature’s resilience was moved to a sense of deep chagrin that yet again we are destroying the matrix which is our home.

 

John Wolseley. 'Regeneration after fire - the seeders and the sprouters, Mallee' (detail)  2009-11

 

John Wolseley
Regeneration after fire – the seeders and the sprouters, Mallee (detail)
2009-11
Watercolour, charcoal, pencil and pigment
152.2 x 256.7 cm irreg.
Collection of Sir Roderick Carnegie AC and Family
© John Wolseley

 

 

I went for a long walk through recently burnt mallee scrub in the Big Desert Wilderness Park. Some of the mallee roots had vivid amber, scarlet and mauve new growth exploding from the surviving stumps. Nearby were scatterings of tiny, bright banksia seedlings that had germinated after the fire, causing seed pods to burst open and expel their seeds. Botanists call such trees ‘seeders’, while their companions, the mallee eucalypts, are known as ‘sprouters’. Sprouters have a large root, known as a lignotuber, which stores water and nutrients – this is part of a brilliant strategy for survival in arid landscapes.

 

John Wolseley. 'From Siberia to Roebuck Bay - the godwits reach the mangrove swamps, WA' (detail) 2012

 

John Wolseley
From Siberia to Roebuck Bay – the godwits reach the mangrove swamps, WA (detail)
2012
Watercolour over pencil, charcoal and coloured chalk
151.9 x 199.0 cm irreg. Collection of Sir Roderick Carnegie AC and Family
© John Wolseley

 

 

Each year in June the bar-tailed godwits fly 12,000 kilometres from their breeding grounds in Siberia to the north coast of Australia. I was standing by the sea on the north Kimberley coast when out of a clear sky the godwits arrived in vast, pulsing flocks that swooped down to rest on the mudflats. The land, with its mudflats and sandbanks, had been formed by the great king tides, dragged for eons by the cycles of the moon. And now I could see these great tides of godwit, pulled by another powerful force, flow down and merge with the waters.

 

John Wolseley. 'Natural history of swamps III, heron in swamp - Loy Yang Power Station' (detail) 2009-10

 

John Wolseley
Natural history of swamps III, heron in swamp – Loy Yang Power Station (detail)
2009-10
Watercolour, pencil, ink, black chalk, scratching out and leaf
114.0 x 176.0 cm
Collection of Sir Roderick Carnegie AC and Family
© John Wolseley

 

 

I was looking at a dam in the grounds of the Loy Yang Power Station, when in flew a black-backed heron. It looked for fish in the water and then peered at a billboard declaring ‘Hazelwood Power Station – WETLAND DEVELOPMENT PROJECT’. I walked down to the vast open-cut coalmine, and looked for fish fossils and Cryptogamic flora among the seams of coal. Then I returned to the heron, which now seemed to be looking at the steam and CO2 belching out of the cooling towers – those clouds of CO2 that came from the coal which was once a carboniferous swamp.

 

 

“For four years, artist John Wolseley has roamed the coastal floodplains of the Northern Territory through to the glacial lakes of Tasmania, exploring and recording in exquisite detail the diverse wetlands of Australia. The works he has created will be revealed at NGV Australia.

This series of eighteen evocative works on paper, many of them monumental in scale (up to 10 metres in size), detail the geographical features and unique plants and animals of these wetlands in works characterised by minutely- observed drawing and rich watercolour washes.

Many works combine collage and unusual markings made through burying works or hoisting large sheets of paper across the charred remains of burnt tree trunks and branches. Through this ‘collaboration’ with the natural environment, Wolseley subverts traditional approaches to the depiction of landscape and seeking to give the natural world a more active presence in the work of art.

‘Heartlands and Headwaters celebrates Australia’s unique and diverse natural environment,’ said Tony Ellwood, Director, NGV. ‘Wolseley’s work is not only of great beauty, but also demonstrates how depicting the landscape has become an important form of activism’.

The mangrove swamps of Roebuck Bay in Western Australia, the flood plains of the Gulf of Carpentaria in the Northern Territory, the Finke River in the Simpson Desert and the sphagnum swamps of Skullbone Plains in central Tasmania are just some of the sites detailed in these impressive works.

Commissioned by Sir Roderick Carnegie AC, these works celebrate the beauty of the Australian wilderness and encourage an understanding of the significance and environmental fragility of these remote and little-known sites.

 

About John Wolseley

Born in England in 1938, John Wolseley immigrated to Australia in 1976 and has gained recognition in the past four decades as one of Australia’s leading contemporary artists whose work engages passionately with the environment.

Over the years Wolseley has travelled extensively throughout the country, into the arid interior and remote wilderness areas in all states, camping out for extended periods and immersing himself in the landscape.

This approach is reflected in the distinctly non-traditional character of the landscape works Wolseley produces. Instead of presenting a single overarching view of a particular site they are composite images that combine precisely observed details of flora and fauna. Informed by readings in geology, biology, cartography and other disciplines, these provide multiple perspectives on the location’s topography, journal notations and observations of natural cycles or patterns of the area.”

Press release from the NGV website

 

John Wolseley. 'Murray-Sunset refugia with 14 ventifacts' 2008-10

 

John Wolseley
Murray-Sunset refugia with 14 ventifacts
2008-10
From The Great Tree of Drawings 1959-2015, installed 2015
Pencil, watercolour and charcoal on 15 sheets (a-o)
Dimensions variable (overall)
Collection of Sir Roderick Carnegie AC and Family
© John Wolseley

 

John Wolseley Murray-Sunset refugia with 14 ventifacts (detail) 2008-10

John Wolseley Murray-Sunset refugia with 14 ventifacts (detail) 2008-10

 

John Wolseley
Murray-Sunset refugia with 14 ventifacts (details)
2008-10
From The Great Tree of Drawings 1959-2015, installed 2015
Pencil, watercolour and charcoal on 15 sheets (a-o)
Dimensions variable (overall)
Collection of Sir Roderick Carnegie AC and Family
© John Wolseley

 

 

This work was made in the Murray-Sunset National Park, where I found an island of unburnt scrub remaining after a bushfire. This refugium, or sanctuary, provided shelter for plants and small creatures from which they could later gradually recolonise the surrounding sand dunes. The small, flying sheets are papers I released to blow on the desert winds for weeks and sometimes months. Each sheet records carbon traces made by the burnt fingers of trees and shrubs. Having been made soft from dews and showers, and dried and tossed by the desert winds, they have become fixed in a variety of sculptural forms.

 

John Wolseley. 'Natural history of a sphagnum bog, Lake Ina, Tasmania' 2013

 

John Wolseley
Natural history of a sphagnum bog, Lake Ina, Tasmania
2013
Watercolour, pencil, pen and ink, and sphagnum on 8 sheets (a-h)
155.6 x 407.6 cm (overall)
Collection of Sir Roderick Carnegie AC and Family
© John Wolseley

 

John Wolseley. 'Natural history of a sphagnum bog, Lake Ina, Tasmania' (detail) 2013

John Wolseley. 'Natural history of a sphagnum bog, Lake Ina, Tasmania' (detail) 2013

John Wolseley. 'Natural history of a sphagnum bog, Lake Ina, Tasmania' (detail) 2013

 

John Wolseley
Natural history of a sphagnum bog, Lake Ina, Tasmania (details)
2013
Watercolour, pencil, pen and ink, and sphagnum on 8 sheets (a-h)
155.6 x 407.6 cm (overall)
Collection of Sir Roderick Carnegie AC and Family
© John Wolseley

 

 

As a creek moves down to the shores of Lake Ina in the central highlands of Tasmania, it swells out into an ancient sphagnum moss swamp. I leant over and peered into a gap between the mats of sphagnum, and a small fish emerged in the crystal water. This brief phantom – a Clarence galaxias – was only miraculously there because its ancestors had been isolated by a glacial moraine (ridge) upstream, which six million years later had saved it from the European trout, which had supplanted most of the other galaxias in the rest of Tasmania. And then, marvellously, it had been saved again by the Tasmanian Land Conservancy, which had purchased these plains to protect them from further loss and degradation.

As the grey shadows moved down the hill and melted into the lake, I soaked and painted the spongy sphagnum mats with tinctures of watercolour – viridian and crimson and Indian yellow – and laid them on several sheets of paper. I did the same with water milfoils, spike reed, tassel sedges and bladderwort, and weighted them down overnight with slabs of bark. Their images were imprinted on the paper, emerging slowly like a photograph being developed.

 

John Wolseley. 'From the edge of the great flood plains of Garrangari and Garrangalli, NT' 2012-14

 

John Wolseley
From the edge of the great flood plains of Garrangari and Garrangalli, NT
2012-14
Pencil, charcoal, black and brown chalk, watercolour, coloured pencil, coloured pastel, frottage and collages of linocut, wood relief printed in black and brown ink, watercolour, charcoal and coloured pencil over pencil and pen and ink on Japanese and wove paper
155.5 x 961.7 cm irreg.
Collection of Sir Roderick Carnegie AC and Family
© John Wolseley

 

 

In June 2011 I was standing on the edge of the monsoon rainforest bordering a vast flood plain in East Arnhem Land with Djambawa Marawili, the great Yolngu leader and artist. Djambawa recounted how in the dawn of creation ancestral figures had moved up from the coast, digging for edible roots as they went, creating springs of fresh water that still bubble out along the plains. He described how when the first sun came up these ancestor women turned into brolga cranes. As he sang the song several brolgas emerged from the mists and flew slowly towards the coast.

This was the originary moment of this painting. For the next three years, guided by the Dhudi-Djapu clan leader and artist Mulkun Wirrpanda, I collected and drew specimens of plants and trees of the flood plain, and their edible roots and tubers. In the painting I have drawn many of them, along with the various trees festooned with vines.

For me the great miracle of that morning rested in that moment of time – being there, seeing the living land and sensing the ‘deep time’ so intimately linked with the life and art of the people who have lived in it for so long.

 

John Wolseley. 'A Daly River creek, NT' 2012

 

John Wolseley
A Daly River creek, NT
2012
Watercolour, pastel, pencil, charcoal, ink, yellow pencil and collage of woodcut and linocut on Japanese paper (a-c)
152.0 x 602.0 cm (overall)
Collection of Sir Roderick Carnegie AC and Family
© John Wolseley

 

John Wolseley. 'A Daly River creek, NT' (detail) 2012

 

John Wolseley
A Daly River creek, NT (detail)
2012
Watercolour, pastel, pencil, charcoal, ink, yellow pencil and collage of woodcut and linocut on Japanese paper (a-c)
152.0 x 602.0 cm (overall)
Collection of Sir Roderick Carnegie AC and Family
© John Wolseley

 

 

Here is a flowing tropical creek near Nauiyu, about two hours’ drive south of Darwin. It shows the fecund, flowing mass of life and aquatic plants and fish, and how they are all an integral part of one particular ecosystem. The plants were all drawn on the spot or collected and drawn later in Darwin. It was May 2012 and I went on several trips with the ethnobiologist Glenn Wightman, the Ngan’gi elder Patricia Marrfurra McTaggart AM and other artists from the arts centre at Nauiyu. They showed me the plants in their living habitat so that I could draw them in action, rather than as dried museum specimens – the Nymphaea waterlily, with its long, convulsive stems, several species of bladderwort, water chestnuts and duckweed.

In this tropical aquatic painting I have tried to show how landscape for me is made up of energy fields that I draw as passages of particular plant forms, in which the individual plants move or dance with different rhythms. My intention is to show how these rafts of different species weave in and out of one another, and across the surface of my painting, rather as a passage of a symphony changes key and mood.

 

John Wolseley. 'Cycles of fire and water - Lake Tyrrell, Victoria' 2011-12

 

John Wolseley
Cycles of fire and water – Lake Tyrrell, Victoria
2011-12
Watercolour, charcoal, pencil, sponging and scratching out on 2 sheets (a-b)
154.0 x 610.0 cm (overall)
Collection of Sir Roderick Carnegie AC and Family
© John Wolseley

 

John Wolseley. 'Cycles of fire and water - Lake Tyrrell, Victoria' (detail) 2011-12

 

John Wolseley
Cycles of fire and water – Lake Tyrrell, Victoria (detail)
2011-12
Watercolour, charcoal, pencil, sponging and scratching out on 2 sheets (a-b)
154.0 x 610.0 cm (overall)
Collection of Sir Roderick Carnegie AC and Family
© John Wolseley

 

 

I was sitting on a low sandbank and drawing the pools of water that lay on this ancient salt lake. A rust-coloured cloud erupted into the air and darkened the sky over the water. The wind grew stronger, as if emanating from the core of the fire, and it carried embers and burning branches like dismembered limbs. I felt a kind of disquiet, almost dread. I knew such fires had always been part of the natural cycles of the bush, but this was one of several I had experienced that season where it felt as if fire itself was behaving in a different, more erratic way; as if the subtle equilibrium of the climate was changing.

From out of the billowing clouds of smoke some spoonbills, ibis and cormorants emerged, and flew far out over the lake. Several of them alighted on a patch of sunlit water and remained there, as if illustrating some cycle of eternal return – from action to stillness, from noise to quiet. But as I watched, the great black cloud drifted over their resting place, moving them on as if they were being chased away from the world they had known.

 

John Wolseley. 'After fire - spiny-cheeked honeyeaters at Lake Monibeong' (detail) 2009-11

 

John Wolseley
After fire – spiny-cheeked honeyeaters at Lake Monibeong (detail)
2009-11
Watercolour, charcoal, pencil, gouache and brown chalk
151.7 x 128.9 cm
Collection of Sir Roderick Carnegie AC and Family
© John Wolseley

 

 

Walking through the recently burnt Cobboboonee Forest in Victoria one morning, I reached a lake where fresh water rested in sand dunes bordering the sea. I stood beside a burnt banksia tree with powdery black, corrugated bark. It had been a stormy night, but now the sea and lake were calm. Several spiny-cheeked honeyeaters swooped down, perched in the tree and sung out jubilantly. It was as if they were filled with elation at all these elements coming to rest in equilibrium – the lake resting within the sand dune, the quietening of the wind and the passing of the fire.

 

 

The Ian Potter Centre: NGV Australia
Federation Square
Corner of Russell and 
Flinders Streets, Melbourne

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National Gallery of Victoria website

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Dr Marcus Bunyan

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

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