Posts Tagged ‘Boxing open-hand

04
Jun
11

Exhibition: ‘Helios: Eadweard Muybridge in a Time of Change’ at the San Francisco Museum of Modern Art (SFMOMA)

Exhibition dates: 26th February – 7th June, 2011

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While rightly famous for his work on animal locomotion it is the first group of photographs in this posting that shine most brightly. It is often overlooked how magnificent a photographer Eadweard Muybridge was and what a brilliant eye he had. The top three photographs, especially the first one, are knockouts – radiant jewels in which the tensional points of the composition and the atmosphere of the scene are captured magnificently. I also love the use of human figures to give scale to the scene.

It is rare to find Eadweard Muybridge photographs other than his locomotion studies on the Internet (do a search under Google and see for yourself!), so it is a particular pleasure to post these photographs. It is something I have been wanted to do for quite a while now and finally it has come to pass; earlier iterations of this exhibition had few press images so I must heartily thank the San Francisco Museum of Modern Art (SFMOMA) for allowing me to publish the photographs in the posting. Please click on the photograph for a larger version of the image.

Marcus

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Eadweard Muybridge
Ruins of a Church, Antigua, Guatemala
1875
albumen print
Collection Centre Canadien d’Architecture/Canadian Centre for Architecture, Montreal

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Eadweard Muybridge
The Ramparts, Funnel Rock, Hole in the Wall, Pyramid, Sugar Loaf, Oil House, and Landing Cove on Fisherman’s Bay, South Farallon Island (4150)
1871
albumen print
U.S. Coast Guard Historian’s Office

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Eadweard Muybridge
Ruins of the Church of San Domingo, Panama
1875
albumen print
image courtesy The Board of Trustees, National Gallery of Art, Washington

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Eadweard Muybridge
Bridge on the Porto Bello, Panama
1875
albumen print
Department of Special Collections, Charles E. Young Research Library, UCLA

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Eadweard Muybridge
Tenaya Canyon. Valley of the Yosemite. From Union Point. No. 35
1872
albumen print
Collection National Gallery of Art, Washington, DC

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Eadweard Muybridge
First-Order Lighthouse at Punta de los Reyes, Seacoast of California, 296 Feet Above Sea (4136)
1871
albumen print
U.S. Coast Guard Historian’s Office

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Eadweard Muybridge
Pi-Wi-Ack. Valley of the Yosemite. (Shower of Stars) “Vernal Fall.” 400 Feet Fall. No. 29
1872
albumen print
Collection San Francisco Museum of Modern Art; gift of Jeffrey Fraenkel and Frish Brandt

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From February 26 through June 7, 2011, the San Francisco Museum of Modern Art (SFMOMA) will showcase the first-ever retrospective examining all aspects of artist Eadweard Muybridge’s pioneering photography. Helios: Eadweard Muybridge in a Time of Change brings together more than 300 objects created between 1857 and 1893, including Muybridge’s only surviving zoopraxiscope – an apparatus he designed in 1879 to project motion pictures. Originally organized by Philip Brookman, Corcoran Gallery of Art chief curator and head of research, the San Francisco presentation is organized by SFMOMA Associate Curator of Photography Corey Keller.

Helios: Eadweard Muybridge in a Time of Change includes numerous vintage photographs, albums, stereographs, lantern slides, glass negatives and positives, patent models, zoopraxiscope discs, proof prints, notes, books, and other ephemera. The works have been brought together from 38 different collections and include a number of Muybridge’s photographs of Yosemite Valley, including dramatic waterfalls and mountain views from 1867 and 1872; images of Alaska and the Pacific coast; an 1869 survey of the Central Pacific and Union Pacific Railroads in California, Nevada, and Utah; pictures from the Modoc War, pictures from Panama and Guatemala; and urban panoramas of San Francisco. The exhibition also includes examples from Muybridge’s experimental series of sequential stop-motion photographs such as Attitudes of Animals in Motion (1881) and his later masterpiece Animal Locomotion (1887).

The exhibition is organized in a series of thematic sections that present the chronology of Muybridge’s career, the evolution of his unique sensibility, the foundations of his experimental approach to photography, and his connections to other people and events that helped guide his work. The sections include: Introduction: The Art of Eadweard Muybridge (1857-1887); The Infinite Landscape: Yosemite Valley and the Western Frontier (1867-1869); From California to the End of the Earth: San Francisco, Alaska, the Railroads, and the Pacific Coast (1868-1872); The Geology of Time: Yosemite and the High Sierra (1872); Stopping Time: California at the Crossroads of Perception (1872-1878); War, Murder, and the Production of Coffee: the Modoc War and the Development of Central America (1873-1875); Urban Panorama (1877-1880); The Horse in Motion (1877-1881); Motion Pictures: the Zoopraxiscope (1879-1893); and Animal Locomotion (1883-1893).

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Muybridge and San Francisco

Best known for his groundbreaking studies of animals and humans in motion, Muybridge (1830-1904) was also an innovative and successful landscape and survey photographer, documentary artist, inventor, and war correspondent. Born in Kingston upon Thames, England, in 1830, Muybridge immigrated to the United States around 1851. He worked as a bookseller in New York and San Francisco and returned to London in 1860 following a serious injury. Muybridge learned photography in Britain and by 1867 returned to the United States, where began his career as a photographer in San Francisco. He gained recognition through innovative landscape photographs, which showed the grandeur and expansiveness of the American West. Between 1867 and 1871, these were published under the pseudonym “Helios.”

Muybridge spent most of his career in San Francisco and Philadelphia during a time of rapid industrial and technological growth. In the 1870s he developed new ways to stop motion with his camera. Muybridge’s legendary sequential photographs of running horses helped change how people saw the world. His projected animations inspired the early development of cinema, and his revolutionary techniques produced timeless images that have profoundly influenced generations of photographers, filmmakers, and visual artists.”

Press release from the San Francisco Museum of Modern Art (SFMOMA) website

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Eadweard Muybridge
Savings and Loan Society, Clay Street (340)
1869
albumen stereograph
Collection of Leonard A. Calle

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Eadweard Muybridge
Contemplation Rock, Glacier Point (1385)
1872
albumen stereograph
Collection of California Historical Society

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Eadweard Muybridge
Group of Indians (489)
1868
albumen stereograph
Collection of Leonard A. Walle

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Eadweard Muybridge
The Brandenburg Album of Bradley & Rolufson “Celebrities” and Muybridge Photographs, page 104
1874
albumen prints
Iris & B. Gerald Cantor Center for Visual Arts at Stanford University, Museum Purchase Fund, 1972.9.104

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Eadweard Muybridge
Cockatoo; flying. Plate 759
1887
collotype
Corcoran Gallery of Art, Washington, D.C.

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Eadweard Muybridge
Boxing; open-hand. Plate 340
1887
collotype
Corcoran Gallery of Art, Washington, D.C.

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Eadweard Muybridge
Horses. Running. Phryne L. Plate 40
1879
from The Attitudes of Animals in Motion, 1881
albumen print
image courtesy The Board of Trustees, National Gallery of Art, Washington, Gift of Mary and Dan Solomon

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Eadweard Muybridge
Studies of Foreshortenings. Horses. Running. Mahomet. Plates 143-144
1879
from The Attitudes of Animals in Motion, 1881
albumen print
Chrysler Museum of Art, Norfolk, VA

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Eadweard Muybridge
Leland Stanford, Jr. on his pony “Gypsy” – Phases of a Stride by a Pony While Cantering
1879
collodion positive on glass
Wilson Centre for Photography

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Eadweard Muybridge
General view of experiment track, background and cameras, Plate F
1881
from The Attitudes of Animals in Motion, 1881
albumen print
courtesy Special Collections, Stanford University Libraries

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San Francisco Museum of Modern Art (SFMOMA)
151 Third Street (between Mission + Howard)
San Francisco CA 94103

Opening hours:
Monday – Tuesday 11:00 a.m. – 5:45 p.m.
Wednesday Closed
Thursday 11:00 a.m. – 8:45 p.m.
Friday – Sunday 11:00 a.m. – 5:45 p.m.

San Francisco Museum of Modern Art 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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