Posts Tagged ‘Jeff Wall

17
Aug
14

Exhibition: ‘People In A River Landscape: August Sander And The Photography Of The Present From The Lothar Schirmer Collection’ at the Pinakothek der Moderne, Munich

Exhibition dates: 2nd April – 24th August 2014

 

What a fascinating exhibition this looks to be… I wish I could see it!
Quite a few Sander photographs I have never seen before in the posting.
Sander is another photographer that would be near the top of my list.

Marcus

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

 

 

August Sander. 'Stadtwald [Urban Forest]' c. 1938

 

August Sander
Stadtwald [Urban Forest]
c. 1938
Gelatin silver print
23 x 29 cm
Lothar Schirmer Collection, Munich
© The Photographic Collection, SK Stiftung Kultur – August Sander Archive, Cologne, VG Bild-Kunst, Bonn 2014

 

August Sander. 'Children in the city' 1930

 

August Sander
Children in the city
1930
Gelatin silver print
21.3 x 26 cm (sheet)
Lothar Schirmer Collection, Munich
© The Photographic Collection, SK Stiftung Kultur – August Sander Archive, Cologne, VG Bild-Kunst, Bonn 2014

 

August Sander. 'Alter Posthof in Bacharach' 1926

 

August Sander
Alter Posthof in Bacharach
1926
Gelatin silver print
15.3 x 21.4 cm
Lothar Schirmer Collection, Munich
© The Photographic Collection, SK Stiftung Kultur – August Sander Archive, Cologne, VG Bild-Kunst, Bonn 2014

 

Sander-Die-Familie-WEB

 

August Sander
Die Familie in der Generation
1912
Gelatin silver print
21.5 x 28.6 cm
Lothar Schirmer Collection, Munich
© The Photographic Collection, SK Stiftung Kultur – August Sander Archive, Cologne, VG Bild-Kunst, Bonn 2014

 

August Sander. 'Deutz Bridge, Rhine in winter' 1937

 

August Sander
Deutz Bridge, Rhine in winter
1937
Gelatin silver print
Lothar Schirmer Collection, Munich
© The Photographic Collection, SK Stiftung Kultur – August Sander Archive, Cologne, VG Bild-Kunst, Bonn 2014

 

August Sander. 'The Rhine near Boppard, Osterspey' 1938

 

August Sander
The Rhine near Boppard, Osterspey
1938
Gelatin silver print
22.9 x 29.3 cm
Lothar Schirmer Collection, Munich
© The Photographic Collection, SK Stiftung Kultur – August Sander Archive, Cologne, VG Bild-Kunst, Bonn 2014

 

Andreas Gursky. 'The Rhine II' 1999

 

Andreas Gursky
The Rhine II
1999
Chromogenic print
1564 x 3083 mm

 

August Sander. 'View from the Mülheim Bridge, Sunrise' 1938

 

August Sander
View from the Mülheim Bridge, Sunrise
1938
Gelatin silver print
Lothar Schirmer Collection, Munich
© The Photographic Collection, SK Stiftung Kultur – August Sander Archive, Cologne, VG Bild-Kunst, Bonn 2014

 

 

August Sander’s epochal cycle People of the 20th Century is considered one of the most important works in the history of art and photography of the last century.

Sander’s photographic typology of German society did not only fascinate artists, writers and philosophers of that period but, at the same time, formed an important point of reference for the artistic concept contemporary photographers had of themselves. This is also reflected in the Munich publisher Lothar Schirmer’s photographic collection, the starting point of which was a group of some 80 works by Sander comprising not only portraits, but also landscapes and urban pictures, acquired in the early 1970s.

This batch of works, acquired from the artist’s estate back in the 1970s, comprises not only more than 40 originals of Sander’s famous portraits, including masterpieces such as the Stammmappe focussing on farmers in Westerwald, the portrait of the artist Heinrich Hoerle in the austere style of New Objectivity and Handlanger, with its impressive visual directness, but also a rare group of lesser known Rhineland landscapes and vedute of Cologne from the 1930s. Precisely the last two groups of works mentioned are enduring proof that Sander’s vision of an equally authentic and veritable document of the times was not only to be limited to people within their social and societal structure but should also include their immediate surroundings, the landscape and the urban environment – an aspect that, for a long time, was given little attention in analyses of the photographer’s work since his death in April, fifty years ago.

In view of the undisputed importance of Sander’s portraits, it is surpising that a more extensive selection of the photographer’s work is only now to be seen in the exhibition People in a River Landscape – and that in Munich too, although there were in fact a number of links between the artist and the city. Sander’s pioneering photography book, Antlitz der Zeit, was published in 1929 by the Munich-based Kurt Wolff Verlag; one year later, his works were to be seen in the exhibition Das Lichtbild – one of the rare presentations of Sander’s works anywhere before 1933; and in the 1960s and ’70s his extensive estate was stored not far from Munich.

Sander’s photographs from this collection will be exhibited for the first time in their entirety and be displayed in dialogue with works by contemporary artists such as Bernd and Hilla Becher, Andreas Gursky, Thomas Ruff, Cindy Sherman, Thomas Struth and Jeff Wall. The selection will be extended by a rare group of extraordinary photographs taken in Berlin by Heinrich Zille in the late 19th /early 20th century and enlarged by Thomas Struth almost 100 years later.

The exhibition presents a both representative and focussed cross section of Sander’s photographic oeuvre. At the same time it shows the medium of photography in a wider perspective by placing individual groups of works by Sander in dialogue with those of contemporary artists. Starting with a typology by Bernd and Hilla Becher, whose encyclopaedically structured work can be regarded as an immediate successor to Sander’s photographic credo, the selection – supplemented by works from the holdings of the Sammlung Moderne Kunst – includes Andreas Gursky’s Rhine picture, urban views by Thomas Struth and Jeff Wall and portraits by Thomas Ruff and Cindy Sherman, among others. The interplay between the past and the present, between small-format, black-and-white prints and colour images the size of large canvases, between austere documentary works and staged and digitally processed pictures, not only illustrates the immediate relevance of Sander’s concept, far beyond any temporal or formal distinctions, but also how photography has become established as an artistic form of expression in its own right within the context of contemporary art. This topic will be explored in greater depth in the accompanying series of lectures Why Photography Matters, at which the artists Hilla Becher and Thomas Struth, as well as the art historians Wolfgang Kemp and Michael Fried will be speaking. As a modest homage to another historical precursor, the exhibition finishes with a rare group of photographs of Berlin by Heinrich Zille taken at the turn of the century, which Thomas Struth enlarged and reinterpreted in 1985 using the original negatives.”

Press release from the Pinakothek der Moderne website

 

Jeff Wall. 'The Thinker' 1986

 

Jeff Wall
The Thinker
1986
Large-format slides in lightbox
216 x 229 cm
Lothar Schirmer Collection, Munich
Courtesy of the artist
© Jeff Wall

 

August Sander. 'Handlanger [Odd-job man]' 1928

 

August Sander
Handlanger [Odd-job man]
1928
Gelatin silver print
43.0 x 28.5 cm
Lothar Schirmer Collection, Munich
© The Photographic Collection, SK Stiftung Kultur – August Sander Archive, Cologne, VG Bild-Kunst, Bonn 2014

 

Cindy Sherman. 'Untitled #127' 1983

 

Cindy Sherman
Untitled #127
1983
© Cindy Sherman / Courtesy Schirmer/Mosel München

 

August Sander. 'The Architect [Hans Poelzig]' 1929

 

August Sander
The Architect [Hans Poelzig]
1929
Gelatin silver print
40 x 29.8 cm
Lothar Schirmer Collection, Munich
© The Photographic Collection, SK Stiftung Kultur – August Sander Archive, Cologne, VG Bild-Kunst, Bonn 2014

 

Thomas Ruff. 'Portrait (T. Ruff)' [Selfportrait] 1987

 

Thomas Ruff
Portrait (T. Ruff) [Selfportrait]
1987
C-Print/Diasec
210 x 165 cm
© VG Bild-Kunst, Bonn 2014

 

August Sander. 'Der erdgebundene Mensch' [The Earthbound Human] 1910

 

August Sander
Der erdgebundene Mensch [The Earthbound Human]
1910
Gelatin silver print
29.2 x 23.1 cm
Lothar Schirmer Collection, Munich
© The Photographic Collection, SK Stiftung Kultur – August Sander Archive, Cologne, VG Bild-Kunst, Bonn 2014

 

August Sander. 'Bauernpaar - Zucht und Harmonie' [Peasant Couple - Breeding and Harmony] 1912

 

August Sander
Bauernpaar – Zucht und Harmonie [Peasant Couple - Breeding and Harmony]
1912
Gelatin silver print
29.5 x 23.1 cm
Lothar Schirmer Collection, Munich
© The Photographic Collection, SK Stiftung Kultur – August Sander Archive, Cologne, VG Bild-Kunst, Bonn 2014

 

Thomas Struth. 'Alte Pinakothek, Self-portrait, Munich' 2000

 

Thomas Struth
Alte Pinakothek, Self-portrait, Munich
2000
© Thomas Struth / Courtesy Schirmer/Mosel München

 

August Sander. 'Painter [Heinrich Hoerle]' 1928

 

August Sander
Painter [Heinrich Hoerle]
1928
Gelatin silver print
59.3 x 47.7 cm
Lothar Schirmer Collection, Munich
© The Photographic Collection, SK Stiftung Kultur – August Sander Archive, Cologne, VG Bild-Kunst, Bonn 2014

 

 

Pinakothek der Moderne
Barer Strasse 40
Munich

Opening hours:
Daily except Monday 10am – 6pm
Thursday 10am – 8pm

Pinakothek der Moderne website

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28
Jul
14

Exhibition: ‘Jeff Wall: Tableaux, Pictures, Photographs, 1996-2013′ at Stedelijk Museum Amsterdam

Exhibition dates: 1st March – 3rd August 2014

 

What an absolutely beautiful space to show your work. Can you just imagine what you would create if you had the chance!

Marcus

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

 

 

Installation view of 'Jeff Wall: Tableaux, Pictures, Photographs, 1996-2013' at Stedelijk Museum Amsterdam

Installation view of 'Jeff Wall: Tableaux, Pictures, Photographs, 1996-2013' at Stedelijk Museum Amsterdam

Installation view of 'Jeff Wall: Tableaux, Pictures, Photographs, 1996-2013' at Stedelijk Museum Amsterdam

Installation view of 'Jeff Wall: Tableaux, Pictures, Photographs, 1996-2013' at Stedelijk Museum Amsterdam

 

Installation views of Jeff Wall: Tableaux, Pictures, Photographs, 1996-2013 at Stedelijk Museum Amsterdam
Photos: Gert Jan van Rooij

 

Jeff Wall. 'Volunteer' 1996

 

Jeff Wall
Volunteer
1996
Gelatine silverprint
221.5 x 313 x 5cm
Courtesy of the artist

 

Jeff Wall. 'The Flooded Grave' 1998-2000

 

Jeff Wall
The Flooded Grave
1998-2000
Transparency in lightbox
225.5 x 282 x 25 cm
Courtesy of the artist

 

Jeff Wall. 'Invisible man by Ralp Ellison, The Prologue' 1999-2000

 

Jeff Wall
Invisible man by Ralp Ellison, The Prologue
1999-2000
Transparency in lightbox
174 x 250 x 25cm
Courtesy of the artist

 

 

“Jeff Wall: Tableaux, Pictures, Photographs, 1996-2013 presents recent work in color and black and white, and features the new, previously unseen diptych Summer Afternoons (2013). It is the first major photography exhibition to be presented at the Stedelijk following its reopening in 2012.

Since the 1980s, Wall has produced critically acclaimed work in the form of color transparencies backlit by fluorescent light strips and presented in lightboxes. He was one of the first artists to make photographs on a large scale. The standard lightbox was created for the primary purpose of outdoor advertising. In Wall’s work, this medium became a platform for his figurative tableaux, street scenes and interiors, landscapes and cityscapes. Wall explores themes such as the relationships between men and women and the boundary between metropolis and nature. He offers social commentary on violence and cultural miscommunication, and conjures seductive nightmarish fantasies and personal memories. These scenes provide the basis for photographic reconstructions of Wall’s experience. They derive their inherent suspense from a combination of extreme realism and sometimes elaborate artifice.

The exhibition hinges on the year 1996, which marked a turning point in Wall’s production: It was the first year that he produced black-and-white prints on paper. More immediately than the lightboxes, the black-and-white photographs suggest new relations of his work to documentary themes and aesthetics. But Wall also orchestrates the content of these images, employing tools borrowed from filmmaking. Wall sees photographs as autonomous, independent images and, strictly speaking, all his works are created using photographic means. At the same time, he analyzes and expands the visual language of photography by adding elements from painting, cinema, theater. In choosing his themes, Wall deconstructs common ideas and assumptions, including those relating to his own work. He has, for instance, also shot many “unstaged” images.

Curator Hripsimé Visser said: “Jeff Wall is first and foremost an ‘artist’s artist,’ he is well- known and much loved by other artists, as well as critics. With this exhibition, the Stedelijk hopes to create broader public awareness of Jeff Wall as one of the artists who uniquely and enduringly defined photography as a fine art medium. Wall’s work is classic, yet entirely contemporary at the same time. His themes are both commonplace and tension-filled. What at first seems straightforward and intelligible is also complex and enigmatic. Wall carefully selects his mode of display to be produced with an incredible eye for detail. The large scale of the images is a natural, integral feature of the work.”

Jeff Wall himself chose the title of this exhibition. It is a reference to the layers that can be found in his work. He says, “‘Tableau’ refers to the free-standing, autonomous object we look at from a distance, often when it is hanging on the wall in front of us. ‘Picture’ relates to that special and isolated image within the entire spectrum of image production available in a culture. And ‘photograph’ identifies it in the technical sense, and as medium, distinct from other ways of making tableaux or pictures.” Wall aims to present each photo as an independent, unique image, intended to be seen hanging on a wall, not as reproductions in a book. As such, Wall arranged this presentation to give each individual artwork the space it needs. The monumental scale of the work encourages viewers to experience the space that is evoked in the images. At the same time, the themes and formal and stylistic qualities of the different images prompt viewers to draw comparisons between them.

The exhibition will fan out across the Stedelijk’s former Hall of Honor, two adjacent gallery spaces in the historic building, and the Van den Ende Foundation Gallery in the new wing of the museum. Jeff Wall: Tableaux Pictures Photographs 1996-2013 was curated by Hripsimé Visser, in close collaboration with the artist and in collaboration with Kunsthaus Bregenz, Austria, and the Louisiana Museum of Modern Art, Humlebaeck, Denmark. The exhibition will travel to both museums.

Jeff Wall grew up in Vancouver and studied at the University of British Columbia and at the Courtauld Institute of Art in London. Since the late 1970s, he has been considered one of the art world’s most innovative contemporary photographers. His work has been the subject of recent solo exhibitions at the Pinakothek der Moderne, Munich (2013), the Museum of Modern Art, New York (2007), and Tate Modern, London (2005), among others. The Stedelijk Museum first presented Wall’s work in 1985.”

Press release from the Stedelijk Museum Amsterdam website

 

Jeff Wall. 'Overpass' 2001

 

Jeff Wall
Overpass
2001
Transparency in lightbox
214 x 273.5 x 25cm
Courtesy of the artist

 

Jeff Wall. 'In Front of a Nightclub' 2006

 

Jeff Wall
In Front of a Nightclub
2006
Transparency in lightbox
226 x 360 x 30 cm
Courtesy of the artist

 

Jeff Wall. 'Knife Throw' 2008

 

Jeff Wall
Knife Throw
2008
Ink-jet-print
195 x 267 x 5cm
Courtesy of the artist

 

Jeff Wall. 'Boy Falls From Tree' 2010

 

Jeff Wall
Boy Falls From Tree
2010
Colour photograph
234.3 x 313.7 x 5.1 cm
Courtesy of the artist

 

Jeff Wall. 'Boxing' 2011

 

Jeff Wall
Boxing
2011
Colour photograph
222.9 x 303.5 x 5.1 cm
Courtesy of the artist

 

 

 

Stedelijk Museum Amsterdam
Museumplein 10

Opening hours:
Daily 10 am – 6 pm
Thursday 10 am – 10 pm

Stedelijk Museum Amsterdam website

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05
Mar
13

Review: ‘Jeff Wall Photographs’ at The Ian Potter Centre: NGVA, National Gallery of Victoria, Melbourne

Exhibition dates: 30th November 2012 – 17th March 2013

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“My work is a reconstruction and reconstruction is a philosophical activity. If I can create a drama that has philosophical meaning, that’s fine, or sometimes, it is not from meaning but a reconstruction of a feeling. It is best to capture in a photograph a feeling, an emotion, a look, a memory, a perception or a relationship.”

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Jeff Wall

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Stressed at the seams

The excruciating “conversation” between Jeff Wall and Thomas Demand in The Great Hall at the National Gallery of Victoria on November 28th 2012 seemed to run on interminably, yielding a couple of tiny gems but also a lot of leaden debate. I had higher hopes of the solo exhibition by Jeff Wall at NGV Australia. In some ways I was not disappointed, in other ways Wall’s calculating fields of existence certainly didn’t move my soul with any great conviction.

Initially, I was impressed perhaps even a little overwhelmed by the spacious hang, the placement of the mainly large, light box illuminated photographs and non light box photographs dotted amongst the galleries emphasising the inter-relationship between the images. The work in the exhibition includes large set-piece constructions, outdoor photographs of found environments, small, intimate conceptual works full of angles and colour and more recent ink jet print work. These “installations that happen to have photos in them” (Wall’s description) reflect the gigantism prevalent in much contemporary photography. In these large mise-en-scène you cannot fail to be impressed by the control the artist displays in the formal nature of their construction, the still-life tableaux representing the artist’s intention in a rather cold and remote way. As can be seen from the structural analysis of Polishing (1988) by Dr James McArdle and J.S.B. below, Wall is very clever in how he structures his shape-shifting photographs, how he seduces the eye into believing that everything is plausible within the formalist pictorial plane. But as McArdle observes,

“[His] formalism remains empty of connection to the subject, Wall denying any narrative representation… His distancing of the subject, his leaning on typecast (such as in the chicken plucking image) can be summed up in his method: staging, directing, controlling that sucks the real life out of the imagery and re-inflates it with bombast.”1

From his early, prissy double self-portrait to his laughing at, not with, the menial labourers in Dressing poultry (2007, below), the set-piece work does seem full of bombast (possessing a pompous and grandiloquent language; an obsolete material used for padding), but perhaps bombast is related to that standard postmodern language, irony. It certainly is a language where Wall denies any inherent narrative, where there is a “dis-identification of the figures in the pictures which becomes part of the aesthetic of the picture.”2 Wall says he is just depicting the figures, that they just become an effect of depiction (or representation, in other words). In this way Wall conditions our awareness of [this particular] space due only in part to their scale (McArdle). This grandiloquence, coupled with the luminance of the light box which creates the luminescence of the image, dazzles the eye but on closer inspection is a perhaps a psychological hall of mirrors. The shattering of this constructed illusion can be seen in the “seaminess” of the photographs. The media image of A view from an apartment (2004-05, below) gives it away: all trace of the join that is present in most of Wall’s large transparencies has been removed, when compared to my detail photograph of the image in the actual exhibition. The join gives lie, line, to the truth that here are photographs that we can believe in. The illusion becomes stressed at the seams but again, perhaps this join is just a trope that Wall has developed to compliment his visual language. Certainly, there is no reason why such large transparencies could not be printed in one piece and at a million dollars a pop he could surely talk to the manufacturer.

Scholars have noted that the phrase ‘Emperor’s new clothes’ has become a standard metaphor for anything that smacks of pretentiousness, pomposity, social hypocrisy, or hollow ostentatiousness and this is the case here. These photographs are like the Emperor’s new clothes, so caught up are we in the brilliance of their display we fail to notice that there is not much going on in terms of the actual “life” of the image (other than subsuming the life of up to 70 digital images to make one still, cold image). Wall’s photographs as performance, his theatre of disruption where the artist seeks to upset the veneer of the ordinary to blur the boundaries between what is probable or improbable, are undone by their existential isolation. I felt little empathy for any of the people in Wall’s tableaux vivants or for their imagined, non-narrative realities as Wall would have it. Perhaps I wasn’t meant to or, to be kinder, perhaps this is the strategy.

There was one exception: Untangling (1994, below) which is a cracker of an image. All the psychological and existential meaning comes pouring out here: an underground cave (Jung’s cave archetype, symbol of the unconscious), the male sitters profound mood of introspection, the skein of tangled rope which may represent the source of the Gordian Knot, used as a metaphor for an intractable problem (disentangling an “impossible” knot) – although I prefer the analogy of the Ouroboros, the snake devouring its own tail which often represents self-reflexivity or cyclicality, especially in the sense of something constantly re-creating itself, the eternal return, which emphasises the relationship between a person’s mind and their experience of reality, how the psyche shapes the environment in which they act, and the untangling of consciousness.

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While his work was cutting edge in the late 1980s – 1990s, containing something in the work that brought him to notice, today it evidences a cultural and visual aesthetic that already seems completely outdated (the Pet Shop Boys on a bad hair day). Through staring at a constructed atemporal reality – like a man dreaming, caught in a no-time – Wall has created a form of look but don’t touch voyeurism, a slightly bombastic narcissism based on the photographers’ own power. But perhaps this is the point. Perhaps the qualities that I have criticized in the artist’s work are the very qualities the he is pursuing. Wall might want a don’t touch voyeurism for example – possibly deny it even exists or give it another name – so that the work interrogates some aspect of alienation without ever naming it. This can be seen in his construction of the photograph Polishing where he represents a mundane act in a cheap hotel room, raising the performance up to the altar of high art while hiding its anomalous philosophical and physical distortions.

I think Wall is a clever person wanting to be contradictory and clever.

To some people the qualities evidenced in Wall’s photographs can be seen to be quite admirable: today we shouldn’t (always) have to seek resolution or meaning. But when Wall says in the quote at the top of this posting that his work is a “reconstruction of a feeling” then I wonder where this feeling has gone, or whether it existed in the first place, for reconstruction is a very strange word to use with regard to feelings.

While the artist can control the uniqueness of a particular image seen from the point of view of production, intention and encounter3 what he cannot control is the interpretation of his images by the viewer. With this in mind (very apt) this is what I don’t get from these images: they lack for me is the quality of being lyrical, an artist’s expression of emotion in an imaginative and beautiful way. The stress seams present in his photographs, be they physical (the actual print) or psychological (photographs like Doorpusher or A view from an apartment) don’t allow me emotional access to the work. Aiming for an investigation into the existential nature of being and the philosophical reconstruction of a feeling, Wall ends up stressed at the seams (even un/seamed, un/scene, un/seen) and leaves me spatially and emotionally unmoved.

Dr Marcus Bunyan for the Art Blart blog

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

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Jeff Wall Canadian 1946- 'A view from an apartment' 2004-05

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Jeff Wall Canadian 1946-
A view from an apartment
2004-05
Transparency in light box 1/2
167.0 x 244.0 cm
Tate, London Purchased with assistance from the American Fund for the Tate Gallery and Tate Members, 2006
© Jeff Wall

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Jeff Wall Canadian 1946- 'A view from an apartment' 2004-05 (detail)

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Jeff Wall Canadian 1946-
A view from an apartment (detail)
2004-05
Photograph: Marcus Bunyan

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Jeff Wall Canadian 1946- 'Polishing' 1998

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Jeff Wall Canadian 1946-
Polishing
1998
Transparency in light box, 1/2
162.0 x 207.0 cm State Art Collection, Art Gallery of Western Australia Purchased with assistance from the Art Gallery of Western Australia Foundation, 1999
© Jeff Wall

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Jeff Wall 'Polishing' skewing

Image Dr James McArdle

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Jeff Wall 'Polishing' skewing

Image J.S.B.

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Structural analysis of Jeff Wall’s Polishing (1998)

“There is a perceptual discomfort in viewing this image on the wall that is not apparent in the desk-top experience of it. I’m referring to a weird skewing of the perspective of the room. Wall has tilted the monorail of his 8×10 camera down toward the corner of the room, making the left hand wall of the bathroom lean uncomfortably, more than does the patched join of the wall panels to the right. He has then shifted the lens left, thus positioning the one vertical (right behind the figure) to the right of centre. The bathroom door, draped with a towel, looks as if it is hanging off its hinges, at variance with the top of the entrance door which remains horizontal. Conventionally, an architectural photographer would square everything and Wall does that in Doorpusher which though shot from an extremely oblique angle employs a radical drop-front to correct the verticals.”

Dr James McArdle

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“”Firstly, the floor is not straight in the image. You can see how in my edit, I have rotated the image a little to make the floor straight: (you can see how much by the break in the picture rail see red arrow). JW being tricky and skilled. Now the amount of lean in wall could almost be achieved just by a camera pointing down. No weird camera movements – this is almost familiar. But the door leans more than the wall! Next, note the degree of convergence in blue lines compared to green lines. Therefore the blue angle is emphasized – somehow. Note different hang of towel in magenta compared to blue – therefore edited ~ somehow!

The grid is good because as an initial observation it shows how much distortion we are viewing. But it makes it difficult to see that the floor is not level. When the floor is straightened the lean on the left wall is not as much as it seemed. Wait! Things do splay out when the camera is pointed down – so maybe there is no Photoshop in this at all? But there is – the angles have been emphasised a bit (I believe digitally) and there are puns in the angle of the towel (sloping at a different angle) and the buttons on the couch (not sloping out at all).

Lets play with this a bit more. So just tilt the camera to slope the floor and emphasise the lean by using the tilt to straighten the verticals on one side - and now make this a bit stronger in Photoshop. And by judicious use of the furniture placement the slope of the floor can be partly hidden. I can imagine Jeff Wall saying to a crowd that there is no Photoshop in this – it’s just camera placement (including a tilt in the whole camera) and without duplicating the scene I can’t be sure – but I think he has stressed in Photoshop some things that are already there. Digital enhancement.

Finally we can say that the formal qualities of this image are a play upon what has been initially offered by the camera. Initially: The walls are sloping! So is it just optics, or camera angle or Photoshop? It’s all three but not as much Photoshop as initially thought. The floor is not straight, the camera angle has been changed and there has been some digital emphasis.”

J.S.B. (author of The Well Tempered View Camera)

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Many thankx to Dr James McArdle for the initial gridded image from the posting “Perspective blow up,” on his Camera/Eye blog (January 21st, 2013) where he argues that the skewing is all done with tilting and shifting of an 8 x 10 image view camera to the analysis by J.S.B in which he argues that the skewing is partially done through the architecture (the set), the camera and some Photoshop tweeking.

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Jeff Wall Canadian 1946- 'Double Self-Portrait' 1979

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Jeff Wall Canadian 1946-
Double Self-Portrait
1979
Transparency in light box AP
172.0 x 229.0 cm
Collection of the artist
© Jeff Wall

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Jeff Wall Canadian 1946- 'Untangling' 1994, printed 2006

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Jeff Wall Canadian 1946-
Untangling
1994, printed 2006
Transparency in light box, AP
189.0 x 223.5 cm
National Gallery of Victoria, Melbourne Purchased NGV Foundation and with the assistance of NGV Contemporary, 2006
© Jeff Wall

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Jeff Wall Canadian 1946- 'Dressing poultry' 2007

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Jeff Wall Canadian 1946-
Dressing poultry
2007
Transparency in light box, 1/2
201.5 x 252.0 cm
Cranford Collection, London
© Jeff Wall

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Jeff Wall Canadian 1946- 'Adrian Walker, artist, drawing from a specimen in a laboratory in the Dept. of Anatomy at the University of British Columbia, Vancouver' 1992

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Jeff Wall Canadian 1946-
Adrian Walker, artist, drawing from a specimen in a laboratory in the Dept. of Anatomy at the University of British Columbia, Vancouver
1992
Transparency in light box, AP
119.0 x 164.0 cm
Collection of the artist
© Jeff Wall

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Jeff Wall Canadian 1946- 'A sudden gust of wind (after Hokusai)' 1993

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Jeff Wall Canadian 1946-
A sudden gust of wind (after Hokusai)
1993
Transparency in light box, unique state
229.0 x 377.0 cm
Tate, London Purchased with the assistance from the Patrons of New Art through the Tate Gallery Foundation and from the National Art Collections Fund, 1995
© Jeff Wall

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Jeff Wall Canadian 1946- 'After 'Invisible Man' by Ralph Ellison, the Prologue' 1999-2000

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Jeff Wall Canadian 1946-
After ‘Invisible Man’ by Ralph Ellison, the Prologue
1999-2000
Transparency in light box, AP
174.0 x 250.5 cm
Collection of the artist
© Jeff Wall

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Jeff Wall Canadian 1946- 'Knife throw' 2008

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Jeff Wall Canadian 1946-
Knife throw
2008
Colour photograph, AP
184.0 x 256.0 cm
Collection of the artist
© Jeff Wall

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Jeff Wall Canadian 1946- 'The Destroyed Room' 1978

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Jeff Wall Canadian 1946-
The Destroyed Room
1978
Transparency in light box, AP
159.0 x 234.0 cm
Collection of the artist
© Jeff Wall

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Jeff Wall Canadian 1946- 'Clipped branches, East Cordova St., Vancouver' 1999

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Jeff Wall Canadian 1946-
Clipped branches, East Cordova St., Vancouver
1999
Transparency in light box, AP
72.0 x 89.0 cm
Collection of the artist
© Jeff Wall

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Jeff Wall Canadian 1946- 'Diagonal Composition' 1993

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Jeff Wall Canadian 1946-
Diagonal Composition
1993
Transparency in light box, AP
40.0 x 46.0 cm
Collection of the artist
© Jeff Wall

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1. McArdle, James. Email to the author 22-01-2013

2. Wall, Jeff and Crombie, Isobel. “Jeff Wall Photographs: Knife Throw,” video on ArtDaily.org [Online] Cited 03-03-2013

3. Howarth, Sophie. “Introduction,” in Singular Images: essays on Remarkable Photographs. New York: Aperture, 2006, p.7.

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

Opening hours:
10am – 5pm
Closed Mondays

National Gallery of Victoria website

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30
Nov
12

Exhibition: ‘Jeff Wall Photographs’ at The Ian Potter Centre: National Gallery of Victoria Australia, Melbourne

Exhibition dates: 30th November 2012 – 17th March 2013

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Installation shots of the new Jeff Wall exhibition at NGV Australia. Review to follow in due course.

Many thankx to Jemma Altmeier and all the media team at NGV for all their wonderful help and congratulations to the curators, Susan van Wyk and Dr Isobel Crombie, for their restrained yet contemporary installations and for getting the exhibitions to Melbourne. They look magnificent. Well done!

Many thankx to the NGV for allowing me to publish the photographs in the posting. Please click on the photographs for a larger version of the image. All photographs © Marcus Bunyan © National Gallery of Victoria. May not be reproduced without permission.

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Installation view of 'Jeff Wall Photographs' at NGV Australia showing, at right, 'The Destroyed Room' 1978

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Installation view of Jeff Wall Photographs at NGV Australia showing, at right, The Destroyed Room 1978

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Jeff Wall Canadian 1946- 'The Destroyed Room' (detail) 1978

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Jeff Wall
Canadian 1946-
The Destroyed Room (detail)
1978
Transparency in light box, AP
159.0 x 234.0 cm
Collection of the artist © Jeff Wall

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Installation view of 'Jeff Wall Photographs' at NGV Australia showing, at left, 'The Destroyed Room' 1978, and at right, 'Double Self-Portrait' 1979

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Installation view of Jeff Wall Photographs at NGV Australia showing, at left, The Destroyed Room 1978, and at right, Double Self-Portrait 1979

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Installation view of 'Jeff Wall Photographs' at NGV Australia showing, at right, 'Double Self-Portrait' 1979

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Installation view of Jeff Wall Photographs at NGV Australia showing, at right, Double Self-Portrait 1979

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Installation view of 'Jeff Wall Photographs' at NGV Australia showing, at left, 'Doorpusher' 1984, and at right, 'Polishing' 1998

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Installation view of Jeff Wall Photographs at NGV Australia showing, at left, Doorpusher 1984, and at right, Polishing 1998

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Jeff Wall Canadian 1946- 'Polishing' (detail) 1998

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Jeff Wall
Canadian 1946-
Polishing (detail)
1998
Transparency in light box, 1/2
162.0 x 207.0 cm
State Art Collection, Art Gallery of Western Australia Purchased with assistance from the Art Gallery of Western Australia Foundation, 1999
© Jeff Wall

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Jeff Wall. 'Doorpusher' (detail) 1984

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Jeff Wall 
Doorpusher
(detail)
1984
Transparency in lightbox
2490 x 1220 mm
© Jeff Wall

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Installation view of 'Jeff Wall Photographs' at NGV Australia showing, at centre, 'Doorpusher' 1984, and at right, 'Polishing' 1998

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Installation view of Jeff Wall Photographs at NGV Australia showing, at centre, Doorpusher 1984, and at right, Polishing 1998

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Installation view of 'Jeff Wall Photographs' at NGV Australia showing, at left, 'Diagonal Composition' 1993, and at right, 'Doorpusher' 1984

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Installation view of Jeff Wall Photographs at NGV Australia showing, at left, Diagonal Composition 1993, and at right, Doorpusher 1984

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Jeff Wall Canadian 1946- 'Diagonal Composition' 1993

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Jeff Wall
Canadian 1946-
Diagonal Composition
1993
Transparency in light box, AP
40.0 x 46.0 cm
Collection of the artist © Jeff Wall

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Jeff Wall. 'Pipe Opening' (detail) 2002

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Jeff Wall
Pipe Opening (detail)
2002
Transparency in light box, AP
40.0 x 46.0 cm
Collection of the artist © Jeff Wall

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Installation view of 'Jeff Wall Photographs' at NGV Australia showing, at right, 'A view from an apartment' 2004-05

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Installation view of Jeff Wall Photographs at NGV Australia showing, at right, A view from an apartment 2004-05

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Installation view of 'Jeff Wall Photographs' at NGV Australia showing 'After 'Invisible Man' by Ralph Ellison, the Prologue' 1999-2000

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Installation view of Jeff Wall Photographs at NGV Australia showing After ‘Invisible Man’ by Ralph Ellison, the Prologue 1999-2000

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Jeff Wall Canadian 1946- 'After 'Invisible Man' by Ralph Ellison, the Prologue' 1999-2000 (detail)

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Jeff Wall
Canadian 1946-
After ‘Invisible Man’ by Ralph Ellison, the Prologue (detail)
1999-2000
Transparency in light box, AP
174.0 x 250.5 cm
Collection of the artist © Jeff Wall

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Jeff Wall Canadian 1946- 'A view from an apartment' 2004-05

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Jeff Wall
Canadian 1946-
A view from an apartment (detail)
2004-05
Transparency in light box, 1/2
167.0 x 244.0 cm Tate, London Purchased with assistance from the American Fund for the Tate Gallery and Tate Members, 2006
© Jeff Wall

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Installation view of 'Jeff Wall Photographs' at NGV Australia showing 'A sudden gust of wind (after Hokusai)' 1993

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Installation view of Jeff Wall Photographs at NGV Australia showing A sudden gust of wind (after Hokusai) 1993

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

Opening hours:
10am – 5pm
Closed Mondays

National Gallery of Victoria website

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25
Nov
12

Exhibition: ‘open spaces | secret places: composite works from the collection’ at Museum Der Moderne Salzburg

Exhibition dates: 20th October 2012 – 3rd March 2013

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Many thankx to the Museum Der Moderne Salzburg for allowing me to publish the text and photographs in the posting. Please click on the photographs for a larger version of the image.

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Janet Cardiff / George Bures Miller
Road Trip
2004
Dia-und Audioinstallation
Fotos: Anton Bures, Ton: Janet Cardiff und George Bures Miller
15 Minuten / Loop
© Janet Cardiff/George Bures Miller / SAMMLUNG VERBUND, Wien
Courtesy the artists, Galerie Barbara Weiss, Berlin

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Anthony McCall
Line Describing a Cone
1973
16-mm-Film, s/w, ohne Ton; Installation
30 Minuten
© Anthony McCall / SAMMLUNG VERBUND, Wien
Courtesy the artist and Gagosian Gallery, Paris/London
Foto: Hank Graber, © Whitney Museum of American Art, New York

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“In the exhibition open spaces | secret places, the MUSEUM DER MODERNE SALZBURG is showing artistic positions from 1970 until today from the SAMMLUNG VERBUND. The phenomenons of the perception of spaces and places will be visualised. The first part of the exhibition is dedicated to the medium of photography. Jeff Wall stages mysterious fragments of urban environments in peripheral area. Joachim Koester, Bernd and Hilla Becher, Tom Burr, Teresa Hubbard/Alexander Birchler and David Wojnarowicz explore the fragility of the present in the light of historical changes of space and time. Louise Lawler draws our attention to places where works of art are stored and presented. Janet Cardiff/George Bures Miller stage a journey through memories as an audiovisual space of experience…

The increasing spatialization of art goes hand in hand with our life style, which has changed considerably in social and cultural terms as a result of new spatial conditions (virtual space, increased mobility). It is this fluctuating presence which seems to make us more acutely aware of our location. In the past we asked other people on the telephone “How are you?”, today we ask “Where are you?”

All text from the Museum Der Moderne Salzburg website (including below)

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Jeff Wall
The Crooked Path
1991
Grossbilddia in Leuchtkasten
Jeff Wall / SAMMLUNG VERBUND, Wien
Courtesy Jeff Wall Studio, Vancouver and Marian Goodman Gallery, New York/Paris

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Jeff Wall

Boys Cutting Through a Hedge, 2003
The Crooked Path, 1991
Forest, 2001

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For more than thirty years now, Jeff Wall has been best known for his large-format light boxes in which the colors of his giant transparencies are brilliantly illuminated. In the first few decades of his career, he was celebrated as a peintre de la vie moderne [the painter of modern life] – to use Charles Baudelaire’s term – on account of his ability to combine traditional composition with themes of modern life. For the past decade, however, he has produced a number of large format black-and-white photographs that clearly belong in the context of his affinity for traditional documentary photography or straight photography. The group of three photographs in the SAMMLUNG VERBUND shows peripheral, unimportant places, underscoring Wall’s interest in the “unofficial use of places” (Jeff Wall). In Forest two people are claiming a makeshift private territory in a forest. The Crooked Path and Boys Cutting Through a Hedge, meanwhile, show places in which people have to find their way on the other side of conventional topography.

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Joachim Koester
The Kant Walks
2003-2004
Aus der 7-teiligen Serie
C-Print
47.5 x 60.3 cm
© Joachim Koester / SAMMLUNG VERBUND, Wien
Courtesy the artist and Galerie Jan Mot, Brussels

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Joachim Koester

The Kant Walks, 2003-2004
histories, 2003-2005

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Historically and philosophically charged places form the prime themes in the photographical work of Danish artist Joachim Koester. The series The Kant Walks follows the great philosopher’s daily and precisely scheduled walks through his hometown Kaliningrad (formerly known as Königsberg), which Kant allegedly never left throughout his life. Drifting through Kaliningrad’s “psychogeography” (Joachim Koester), the artist rediscovers Kant’s walks. His photographs evoke impressions, both from the past and the present, as they visualize overgrown roads, disintegrating concrete buildings, and presumably abandoned and forgotten places.

Likewise, Koester creates a link to the past in histories. Juxtaposing historic, not less than 30 year old photographs – taken by Gordon Matta-Clark or Bernd and Hilla Becher to name just a few – with recently taken shots from the very same location evokes not one, but two “histories”: that of conceptual photography, and that of the places and events depicted.

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Bernd und Hilla Becher
Gasbehälter
1965-2001

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Bernd and Hilla Becher

Entwürfe für Typologien, aufgenommen in den 1960er-Jahren, zusammengestellt 1970-1971
Gasbehälter, 1965-2001

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Within 20th century art only a few artists have been able to combine their enduring artistic concept with an outstanding history of reception of their own work. The German photographer couple Bernd and Hilla Becher has been working strictly with documentary photography since the 1950s, and thus influences publications, exhibitions and art collections worldwide up to this day and even beyond the death of Bernd Becher in 2007, providing crucial impulses for the theory and history of art.

Ever since they started working together, Bernd and Hilla Becher were creating an inventory of industrial architecture, both in Europe and in the United States. Their black-and-white photographs depict furnaces, water towers, winding towers, factory buildings, cement and lime plants, entire mining sites as well as timbered houses. A sense of objectivity is innate to their approach to documentary photography. Bernd and Hilla Becher avoided any dramatic setting and confidently relied on the formal aesthetics of analog photography. Through strictly standardizing the photographic process, the couple created the possibility to categorize their entire work in typologies, adding a whole new and important conceptual level to their oevre.

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Tom Burr
Split
2005
Lackiertes Sperrholz, Zedernschindeln, Asphaltschindeln
285 x 248 x 157 cm
© Tom Burr / SAMMLUNG VERBUND, Wien
Courtesy the artist and Galerie NEU, Berlin

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Tom Burr

Split, 2005
Unearthing the Public Restroom, 1994

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Tom Burr addresses a long-obsolete phenomenon. In 2005, he presented a white wooden house cut in two halves, entitled Split, outside on a lawn. Burr’s house is a response to the multiple-seat outhouse from the premodern era. Despite (or perhaps because of) the cramped conditions, he sees in it the symbol of “a lost type of intimacy”, repressed by our western societies from their collective consciousness “in favor of cool, smooth, and clean porcelain surfaces.” Considering Burr’s penchant for referencing selected avant-garde works, what comes to mind in relation to this work is Marcel Duchamp’s urinal Fountaine of 1917 and certainly Matta-Clark’s bisected Splitting house, also shown in the exhibition, as well as Minimal Art. Burr stages Split with aesthetic minimalism – cool, austere, and sober. At the same time, however, he unfolds a strange associative field of uncomfortable conditions: of closeness and intimacy, shame, smell, at times even disgust. The earth toilet was common from ancient times up until the 19th century. Installing a version of it in public space today is intended to have the function of an “alien”, a foreign element. Burr’s earlier photo series Unearthing the Public Restroom of 1994 traces experiences of public access, hygiene, privacy, sexuality, criminality, and surveillance that cluster around, and in fact produce, the history of the public restroom. Crime and sexuality, particularly homosexuality, caused many of these spaces to be shut down. What interests the artist is precisely this state of non-use, of abandonment, and the ghost-like presence.

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Teresa Hubbard / Alexander Birchler
Filmstills, Odeon
2000
Aus der 4-teiligen Serie
C-Print
140 x 259 cm
© Teresa Hubbard / Alexander Birchler / SAMMLUNG VERBUND, Wien
Courtesy Teresa Hubbard / Alexander Birchler Studio, Austin, Texas

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Teresa Hubbard / Alexander Birchler

Filmstills, 2000
Arsenal, 2000

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The photo work Filmstills, created in 2000, marks a crucial step in the oeuvre of Teresa Hubbard and Alexander Birchler. Up to this work, the two Irish-Swiss artists were mainly known for their large-size photo series, such as Falling Down, Holes, or Gregor’s Room which were choreographed down to the smallest detail. Filmstills was the first work done outside the studio and on the spot. Filmstills show movie theaters in Berlin, which have been getting on in years. The Rio was closed some time ago and let go to ruin, whereas the Odeon still tries to maintain its hold against the flood of standardized movieplexes. Both shots are based on the same formal principle. A very narrow detail shows the respective main entrance with the cinema’s name written in big letters. The digital processing of the photographs as well as their sizes make the viewers perceive the cinemas as film stills or clips from a movie. In contrast to filmic illusion, here reality is fictionalized. The series Arsenal delivers melancholic interior views of the deserted premises of an abandoned independent cinema in Berlin, wherein only a female usher is still present.

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David Wojnarowicz
Arthur Rimbaud in New York
1978-1979 / 2004
Aus der 44-teiligen Serie
Gelatinesilberabzug
32.8 x 24.5 cm
© Estate of David Wojnarowicz / SAMMLUNG VERBUND, Wien
Courtesy Estate of P.P.O.W. Gallery, New York and Cabinet Gallery, London

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David Wojnarowicz
Arthur Rimbaud in New York
1978-1979 / 2004
Aus der 44-teiligen Serie
Gelatinesilberabzug
32.8 x 24.5 cm
© Estate of David Wojnarowicz / SAMMLUNG VERBUND, Wien
Courtesy Estate of P.P.O.W. Gallery, New York and Cabinet Gallery, London

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David Wojnarowicz

Arthur Rimbaud in New York, 1978-1979 / 2004

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In the summer of 1979, David Wojnarowicz a twentyfour- year old self-taught artist, borrowed a broken camera to produce a series of black-and-white photographs entitled Arthur Rimbaud in New York.

The Rimbaud series proposes hypothetical scenarios involving the French Symbolist outlaw poet as if he existed a century later, showing Brian Butterick, the friend and temporary lover of the artist, with a mask of Rimbaud. Arthur Rimbaud in New York tracks provocative “locations and movements.” Meatpacking district, subway, piers and Coney Island (off-season) further characterize a generally invisible marginalization reinforced by abiding unsightliness, tawdriness, and rustication. Desolate Hudson river pier warehouses or anonymous Times Square’s red-light district allude to cavalcades of outsiders whether artists, thieves, queers, young runaways, sex workers, injection drug users, the poor, or homeless. The Rimbaud series would forge links between the artist’s engagement in his own social marginality to that of peers and prior heroes, each one demonstrating the transformative potential of creative response to existential crisis.

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Louise Lawler
Not Yet Titled
2004-2005

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Louise Lawler
CS #204
1990
Cibachrom auf Polyester kaschiert
99.1 x 135.9 cm
© Louise Lawler / SAMMLUNG VERBUND, Wien
Courtesy the artist and Metro Pictures, New York

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Louise Lawler

Not Yet Titled, 2004-2005
Abbau, 2002
Not Yet Titled, 2004-2005
CS # 204, 1990
It Could Be Black and White, 1994-1996
Wall Pillow, 2010/2012

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Louise Lawler’s gaze is fixed not on a single, isolated work of art, but rather on the institutional environment in which that particular work is viewed; this, astonishingly, turns out to lend works a completely different meaning. It is the private, semi-public or public context of the gallery or the museum which constantly reshapes, redefines, and refigures a work of art. In principle, Lawler takes pictures of existing situations, in the sense that she does not rearrange the works or make any changes to their position relative to each other. She quite often adopts an off-stage stance to this end, enabling her to view an exhibition from an angle which would normally be closed to visitors.

Wall Pillow, for instance, reveals the verso of a painting, while Abbau shows the absence of art – the two nails and a spotlight shining on a bare wall are all that remains after the work itself has been removed. For what she has done is to sever the magic thread that connects the work per se to the aura it acquires through its hanging. What is evident from Not Yet Titled and CS #204, is that the artist is clearly attracted first and foremost by those works of art which she herself values highly, such as by Gordon Matta-Clark’s façades and Cindy Sherman’s self portraits. Lawler’s photographs focus on the other side of the coin of institutional art presentation. Yet for all her apparent deconstruction, one still has the feeling that she wants to “rescue” these works and in doing so restore their original dignity.

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Ulla von Brandenburg
Around
2005
16-mm-Film transferiert auf Digibeta PAL, s/w, ohne Ton
2:30 Minuten / Loop
© Ulla von Brandenburg / SAMMLUNG VERBUND, Wien
Courtesy the artist and Produzentengalerie, Hamburg

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Ulla von Brandenburg

Around, 2005

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The striking presence of female figures in Ulla von Brandenburg’s work suggests an interest in the conflicted role of nineteenth-century women and the continued complexity of the performance of gender roles and attitudes in contemporary society. Our uncertainty about the position of these women, who are frequently presented in a liminal state, and their potential vulnerability, align perfectly with von Brandenburg’s interest in shifting roles and meaning: Though commanding of attention, von Brandenburg’s female figures are often on the verge of hysteria or loss of control – a state of powerlessness that nevertheless enforces their centrality in the action taking place. The artist’s work Around, 2005 best embodies this state of deferral or ambiguity: von Brandenburg filmed a tightly packed group of figures standing in the middle of a street with their backs to the camera. As the camera travels around the group the figures shift their position so that no frontal aspect is ever revealed. A view of their faces is never revealed in this conspirative meeting. Around we go waiting for the glimpse that will reveal, well, what exactly? We are left standing in front of the projection watching this group of performers, each of us struggling to find the “right” position.

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Eleanor Antin
100 Boots
1971-1973
100 Boots in a Field, Route 101, California.
February 9, 1971, 3:30 p.m.
Aus der 51-teiligen Serie, S/W-Postkarte
11.4 x 17.7 cm
© Eleanor Antin / SAMMLUNG VERBUND, Wien
Courtesy the artist and Ronald Feldman Fine Arts, New York

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Eleanor Antin
100 Boots
1971-1973
Aus der 51-teiligen Serie, S/W-Postkarte
Eleanor Antin / SAMMLUNG VERBUND, Wien
Courtesy the artist and Ronald Feldman Fine Arts, New York

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Eleonor Antin

100 Boots, 1971–1973

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For her 51-piece installment 100 Boots Eleonor Antin positioned one hundred ordinary black rubber boots on various locations all over Southern California and consequently in New York City. She took photos, printed them on postcards and assembled a mailing list of about a thousand names – mainly artists, writers, critics, galleries, universities and museums – who received the various postcards over a period of two and a half years between 1971 and 1973. The first card, 100 Boots Facing the Sea, was mailed on the Ides of March, 1971, unannounced and without further comment. A few weeks later it was followed by 100 Boots on the Way to Church and three weeks therafter by the next one.

In a total of 51 photographs, Eleanor Antin documented the travels of the 100 Boots, her so called “hero” – from a beach close to San Diego to a church, to a bank, to the supermarket, trespassing, under the bridge, to a saloon and on their travels eastward. Finally, on May 15th, 1973 100 Boots arrived at the Museum of Modern Art in New York. By this time, 100 Boots had long become an epic visual narrative and a picaresque work of conceptual art.

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Ceal Floyer
On Air
2009
Metallbox, Plexiglas, Licht, Kabel
12.6 x 25.6 x 6.2 cm
© Ceal Floyer / SAMMLUNG VERBUND, Wien
Courtesy the artist and Esther Schipper, Berlin

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Ceal Floyer

On Air, 2009
Me/You (Love Me Tender), 2009

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The works of Ceal Floyer are minimalist and restrained. Some visitors will walk past them without even taking note of them. What the artist addresses everyday situations and activities. It is this apparent insignificance that Ceal Floyer refuses to accept, and so the conceptual strategy she pursues is interrogating our modes of perception. For her piece Me/You (Love Me Tender) from 2009, the artist installs two loudspeakers facing each other, from which the words “me” and “you” can be heard. Between them, the silence becomes palpable. The title can be read as the key to the work since it makes clear that what is heard is an excerpt from Elvis Presley’s song “Love Me Tender.” Ceal Floyer condenses love to its very essence here, namely, to the notions of “me” and “you.”

On Air (2009) is a work in which title and material are one and the same. The words “on” and “air” do not usher in the work, they are the work itself. Ceal Floyer uses the red neon letters used by radio and TV stations to signal that a live broadcast is going on and mounts them above the museum’s or gallery’s exit door. As soon as the viewer connects with the recording studio it becomes clear that this is about a shifting of our perception: We see five letters and realize that the real content of this work is what can be heard. All the sounds, voices and talks from outside the museum are put “on air” here, and the museum, the place where we have learnt to contemplate works of art in silence, pauses to listen to everyday life outside the walls of the institution.

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Gordon Matta-Clark
Splitting (b)
1974

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Gordon Matta-Clark

Conical Intersect, 1975
Splitting: Exterior, 1974
Office Baroque, 1977/2005
Untitled (Cut Drawing), 1975
Circus No. 14 (from Circus Book), 1978
Artpark, 1974

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In spring 1973 Gordon Matta-Clark presented his gallerists Holly and Horace Solomon with an unusual idea. He wanted to saw a house into two halves, and asked them if they knew of anything that might be available. As it happened, Horace Solomon had just the thing. He had bought a house in a speculative real estate deal, and it was soon to be demolished. Matta-Clark was given permission to do what he wanted with it, although it was clear that the work would not last.

Matta-Clark completely cleared the house and, taking a chain-saw and a plumb line, made two parallel incisions into the house. He then cut diagonally through one half of the foundations of house. Next, one half (weighing fifteen tons) of the house started to slope downwards until a split appeared that measured sixty centimeters at the top of the roof. Lastly, Matta-Clark sawed off the four top corners of the house. These were later exhibited as a sculpture entitled Four Corners. The whole project took about four months in total and was demolished shortly after completion. A film, a series of photographs, photomontages, and an artist’s book – all autonomous works of art in their own right – documented the process.

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Museum der Moderne Mönchsberg
Mönchsberg 32
5020 Salzburg
T: +43.662.84 22 20-403

Opening hours:
Tuesday – Sunday: 10.00 am – 6.00 pm
Wednesday: 10.00 am – 8.00 pm
Monday: closed

Museum der Moderne website

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18
Sep
12

Exhibition: ‘Lost Places. Sites of Photography’ at the Hamburger Kunsthalle, Hamburg

Exhibition dates: 8th June – 23rd September 2012

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“Fredric Jameson wrote that in the postmodern world, the subject is not alienated but fragmented. He explained that the notion of alienation presumes a centralized, unitary self who could become lost to himself or herself. But if, as a postmodernist sees it, the self is decentred and multiple, the concept of alienation breaks down. All that is left is an anxiety of identity. The personal computer culture began with small machines that captured a post-1960s utopian vision of transparent understanding. Today, the personal computer culture’s most compelling objects give people a way to think concretely about an identity crisis. In simulation, identity can be fluid and multiple, a signifier no longer points to a thing that is signified, and understanding is less likely to proceed through analysis than by navigation through virtual space.”

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Sherry Turkle 1

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As we navigate these (virtual) worlds a signifier no longer points to a thing that is signified. In other words there is a split between referent and (un)known reality = a severance of meaning and its object.

“The image has nothing to do with signification, meaning, as implied by the existence of the world, the effort of truth, the law and the brightness of the day. Not only is the image of an object not the meaning of that object and of no help in comprehending it, but it tends to withdraw it from its meaning by maintaining it in the immobility of a resemblance that it has nothing to resemble.”2

Such is the case in these photographs. In their isolation each becomes the simulacra, the restaged models that are Thomas Demand’s photographs. That they do not allow any true reference to reality means that they become the image of memory in the present space. As the press release notes, “What happens to real places if a space loses its usual significance and can be experienced on a virtual plane?”

Kenneth Gergen observes,

“The current texts of the self are built upon those of preceding eras, and they in turn upon more distant forms of discourse. In the end we have no way of “getting down to the self as it is.” And thus we edge toward the more unsettling question: On what grounds can we assume that beneath the layers of accumulated understandings there is, in fact, an obdurate “self” to be located? The object of understanding has been absorbed into the world of representations.”3

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So we return to the split between referent and reality, a severance of meaning and its object in representation itself. These photographs, our Self and our world are becoming artifacts of hyperreality, of unallocated (un/all/located) space in which a unitary self/world has always been “lost.”

Dr Marcus Bunyan for the Art Blart blog

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

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Tobias Zielony (*1973)
Dirt Field
2008
(aus der Serie Trona – Armpit of America)
C-Print
56 x 84 cm
Sammlung Halke / Courtesy KOW, Berlin
© Tobias Zielony

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Beate Gütschow (*1970)
S#11
2005
Light Jet Print
180 x 232 cm
Hamburger Kunsthalle
© Beate Gütschow / VG Bild-Kunst, Bonn 2012

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Alexandra Ranner (*1967)
Schlafzimmer II (Bedroom II)
2008
Installation, Holz, Teppich, Styrodur, 
Licht, Farbe
H: 240 cm, B: 500 cm, L: 960 cm
© Alexandra Ranner, Galerie Mathias 
Güntner, Hamburg / VG Bild-Kunst, 2012

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Sarah Schönfeld (*1979)
Wende-Gelände 01
2006
C-Print
122 x 150 cm
Privatsammlung / Courtesy Galerie 
Feldbuschwiesner, Berlin
© Sarah Schönfeld

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Guy Tillim (*1962)
Apartment Building, Avenue Bagamoyo, Beira, Mozambique
2008
(aus der Serie Avenue Patrice Lumumba)
Pigmentdruck auf Papier, kaschiert auf Aluminium
91.5 x 131.5 cm
Guy Tillim / Courtesy Kuckei + Kuckei, Berlin und Stevenson, Cape Town
© Guy Tillim

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Jeff Wall (*1946)
Insomnia
1994
Cibachrome in Leuchtkasten (Plexiglas, 
Aluminium, Leuchtröhren)
174 x 214 cm
Hamburger Kunsthalle
© Jeff Wall

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“In recent years, photography has reached a new peak in artistic media. Starting with the Düsseldorf School, with artists such as Andreas Gursky, Thomas Struth, Thomas Ruff or Candida Höfer, a young generation of artists developed that adopted different approaches by which to present the subject-matter of “space” and “place” in an era of historic change and social crises. With the exhibition Lost Places, the Hamburger Kunsthalle art museum dedicates itself to these new approaches, which document a wide range of different places and living spaces and their increasing isolation through the media of photography, film and installation works.

Joel Sternfeld’s documentary photographs depict places that were crime scenes. Thomas Demand restages real crime scenes, initially as models in order to then photograph them. In turn, in her large-scale photographs, Beate Gütschow constructs cityscapes and landscapes that are reminiscent of well-known places, but that do not allow any true reference. Sarah Schönfeld illustrates “the image of memory in the present space” in her photographs. She visits old places from her GDR childhood and captures these in their present state, whereby both points in time collide. In his fictional video installation Nostalgia, Omer Fast recounts the story of illegal immigrants from three different perspectives.

In his book The collective memory, French philosopher Maurice Halbwachs pointed out the significance of “spatial images” for the memory of social communities. Today the reliable spatial contextualisation of objects and memories (also due to digital photography) is under threat, hence this pretence begins to crumble. What happens to real places if a space loses its usual significance and can be experienced on a virtual plane?

The exhibition comprises about 20 different approaches of contemporary photography and video art with many loans from museums and private collections. The exhibition features the following artists: Thomas Demand (*1964), Omer Fast (*1972), Beate Gütschow (*1970), Andreas Gursky (*1955), Candida Höfer (*1944), Sabine Hornig (*1964), Jan Köchermann (1967), Barbara Probst (*1964), Alexandra Ranner (*1967), Ben Rivers (*1972), Thomas Ruff (*1958), Gregor Schneider (*1969), Sarah Schönfeld (*1979), Joel Sternfeld (*1944), Thomas Struth (*1954), Guy Tillim (*1962), Jörn Vanhöfen (*1961), Jeff Wall (*1946) and Tobias Zielony (*1973).”

Press release from the Hamburger Kunsthalle website

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Thomas Struth (*1954)
Times Square, New York
2000
C-Print
140,2 x 176,2 cm
Courtesy Thomas Struth, Berlin
© Thomas Struth

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Jörn Vanhöfen (*1961)
Asok #797
2010
C-Print auf Aluminium
122 x 147 cm
© Jörn Vanhöfen, courtesy: Kuckei + Kuckei, 
Berlin

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Thomas Demand (*1964)
Haltestelle
2009
C-Print / Diasec
240 x 330 cm
Thomas Demand, Berlin
© Thomas Demand / VG Bild-Kunst, Bonn 2012

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Thomas Demand (*1964)
Parlament
2009
C-Print / Diasec
180 x 223 cm
Staatliche Museen zu Berlin, Nationalgalerie 2010 
erworben durch die Stiftung des Vereins der 
Freunde der Nationalgalerie für zeitgenössische Kunst
© Thomas Demand / VG Bild-Kunst, Bonn 2012

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Tobias Zielony (*1973)
Vela Azzurra
2010
(aus der Serie Vele)
C-Print
150 x 120 cm
Tobias Zielony / Courtesy und KOW, Berlin und Lia Rumma, Neapel
© Tobias Zielony

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Andreas Gursky (*1955)
Sáo Paulo Sé
2002
C-Print, Plexiglas
286 x 206 cm
Dauerleihgabe der Stiftung für die 
Hamburger Kunstsammlungen
© SHK/Hamburger Kunsthalle/bpk/ 
VG Bild-Kunst, 2012

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Andreas Gursky (*1955)
Ohne Titel XIII (Mexico)
2002
Photographie
276 x 206 cm
Dauerleihgabe der Stiftung für die 
Hamburger Kunstsammlungen
© SHK/Hamburger Kunsthalle/bpk/ VG 
Bild-Kunst, 2012

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1. Turkle, Sherry. Life on The Screen: Identity in the Age of the Internet. New York: Simon and Schuster, 1995, p.49.

2. Blanchot, Maurice. The Gaze of Orpheus. New York: Barrytown, 1981, p.85.

3. Gergen, Kenneth. The Saturated Self: Dilemmas of Identity in Contemporary Life. New York: Harper Collins, 1991, pp.121-122.

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Hamburger Kunsthalle
Glockengießerwall 20095
Hamburg
T: +49 (0) 40 – 428 131 200

Opening Hours:
Tuesdays to Sundays 10 am – 6 pm
Thursdays 10 am – 9 pm
Closed Mondays

Hamburger Kunsthalle website

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02
Aug
12

Exhibition: ‘Painting in Photography. Strategies of Appropriation’ at the Städel Museum, Frankfurt

Exhibition dates: 27th June – 23rd September 2012

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“To understand the production of art at the end of tradition, which in our lifetime means art at the end of modernism, requires, as the postmodern debate has shown, a careful consideration of the idea of history and the notion of ending. Rather than just thinking ending as the arrival of the finality of a fixed chronological moment, it can also be thought as a slow and indecisive process of internal decomposition that leaves in place numerous deposits of us, in us and with us – all with a considerable and complex afterlife. In this context all figuration is prefigured. This is to say that the design element of the production of a work of art, the compositional, now exists prior to the management of form of, and on, the picture plane. Techniques of assemblage, like montage and collage – which not only juxtaposed different aesthetics but also different historical moments, were the precursors of what is now the general condition of production.”

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“Art Byting the Dust” Tony Fry 1990

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They said that photography would be the death of painting. It never happened. Recently they thought that digital photography would be the death of analogue photography. It hasn’t happened for there are people who care enough about analogue photography to keep it going, no matter what. As the quotation astutely observes, the digital age has changed the conditions of production updating the techniques of montage and collage for the 21st century. Now through assemblage the composition may be prefigured but that does not mean that there are not echoes, traces and deposits of other technologies, other processes that are not evidenced in contemporary photography.

As photography influenced painting when it first appeared and vice versa (photography went through a period known as Pictorialism where where it imitated Impressionist painting), this exhibition highlights the influence of painting on later photography. Whatever process it takes photography has always been about painting with light – through a pinhole, through a microscope, through a camera lens; using light directly onto photographic paper, using the light of the scanner or the computer screen. As Paul Virilio observes, no longer is there a horizon line but the horizon square of the computer screen, still a picture plane that evidences the history of art and life. Vestiges of time and technology are somehow always present not matter what medium an artist chooses. They always have a complex afterlife and afterimage.

PS. I really don’t think it is a decomposition, more like a re/composition or reanimation.
PPS. Notice how Otto Steinert’s Luminogramm (1952, below), is eerily similar to some of Pierre Soulages paintings.

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

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Installation views of the exhibition Painting in Photography. Strategies of Appropriation at the Städel Museum, Frankfurt

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Otto Steinert (1915-1978)
Ein-Fuß-Gänger
1950
Gelatin silver print
28,5 x 39 cm
Courtesy Galerie Kicken Berlin
© Nachlass Otto Steinert, Museum Folkwang, Essen

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Laszlo Moholy-Nagy (1895-1946)
Photogram
ca.1923-25
Unique photogram, toned printing-out paper
12,6 x 17,6 cm
Courtesy Galerie Kicken Berlin
© Hattula Moholy-Nagy / VG Bild-Kunst, Bonn

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Robert Rauschenberg (1925-2008)
10-80-C-17 (NYC)
1980
From the series: In + Out of City Limits: New York / Boston
Gelatin silver print on fibre-based paper
58 x 73 cm
DZ BANK Kunstsammlung at the Städel Museum
© Estate of Robert Rauschenberg / VG Bild-Kunst, Bonn 2012

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Thomas Ruff (*1958)
Substrat 10
2002
C-type print
186 x 238 cm
DZ BANK Kunstsammlung
© VG Bild-Kunst, Bonn 2012

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Hiroshi Sugimoto (*1948)
Sam Eric, Pennsylvania
1978
Gelatin silver print
42.5 x 54.5 cm
Private collection, Frankfurt
© Hiroshi Sugimoto / Courtesy The Pace Gallery

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Wolfgang Tillmans (*1968)
paper drop (window)
2006
C-type print in artists frame, 145 x 200 cm
Property of Städelscher Museums-Verein e.V.
© Courtesy Galerie Buchholz, Köln / Berlin
Städel Museum, Frankfurt am Main
Acquired in 2008 with funds from the Städelkomitee 21. Jahrhundert

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Otto Steinert (1915–1978)
Luminogramm
1952
Gelatin silver print, printed ca. 1952
41,5 x 60 cm
Courtesy Galerie Kicken Berlin
© Nachlass Otto Steinert, Museum Folkwang, Essen

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“From 27 June to 23 September 2012, the Städel Museum will show the exhibition “Painting in Photography. Strategies of Appropriation.” The comprehensive presentation will highlight the influence of painting on the imagery produced by contemporary photographic art. Based on the museum’s own collection and including important loans from the DZ Bank Kunstsammlung as well as international private collections and galleries, the exhibition at the Städel will center on about 60 examples, among them major works by László Moholy-Nagy, Hiroshi Sugimoto, Wolfgang Tillmans, Thomas Ruff, Jeff Wall, and Amelie von Wulffen. Whereas the influence of the medium of photography on the “classic genres of art” has already been the subject of analysis in numerous exhibitions and publications, less attention has been paid to the impact of painting on contemporary photography to date. The show at the Städel explores the reflection of painting in the photographic image by pursuing various artistic strategies of appropriation which have one thing in common: they reject the general expectation held about photography that it will document reality in an authentic way.

The key significance of photography within contemporary art and its incorporation into the collection of the Städel Museum offer an occasion to fathom the relationship between painting and photography in an exhibition. While painting dealt with the use of photography in the mass media in the 1960s, today’s photographic art shows itself seriously concerned with the conditions of painting. Again and again, photography reflects, thematizes, or represents the traditional pictorial medium, maintaining an ambivalent relationship between appropriation and detachment.

Numerous works presented in the Städel’s exhibition return to the painterly abstractions of the prewar and postwar avant-gardes, translate them into the medium of photography, and thus avoid a reproduction of reality. Early examples for the adaption of techniques of painting in photography are László Moholy-Nagy’s (1895-1946) photograms dating from the 1920s. For his photographs shot without a camera, the Hungarian artist and Bauhaus teacher arranged objects on a sensitized paper; these objects left concrete marks as supposedly abstract forms under the influence of direct sunlight. In Otto Steinert’s (1915-1978) nonrepresentational light drawings or “luminigrams,” the photographer’s movement inscribed itself directly into the sensitized film. The pictures correlate with the gestural painting of Jackson Pollock’s Abstract Expressionism. A product of random operations during the exposure and development of the photographic paper, Wolfgang Tillmans’ (*1968) work “Freischwimmer 54″ (2004) is equally far from representing the external world. It is the pictures’ fictitious depth, transparency, and dynamics that lend Thomas Ruff’s photographic series “Substrat” its extraordinary painterly quality recalling color field paintings or Informel works. For his series “Seascapes” the Japanese artist Hiroshi Sugimoto (*1948) seems to have “emptied” the motif through a long exposure time: the sublime pictures of the surface of the sea and the sky – which either blur or are set off against each other – seem to transcend time and space.

In addition to the photographs mentioned, the exhibition “Painting in Photography” includes works by artists who directly draw on the history of painting in their choice of motifs. The mise-en-scène piece “Picture for Women” (1979) by the Canadian photo artist Jeff Wall (born in 1946), which relates to Édouard Manet’s famous painting “Un Bar aux Folies-Bergère” from 1882, may be cited as an example for this approach. The camera positioned in the center of the picture reveals the mirrored scene and turns into the eye of the beholder. The fictitious landscape pictures by Beate Gütschow (born in 1970), which consist of digitally assembled fragments, recall ideal Arcadian sceneries of the seventeenth and eighteenth centuries. The photographs taken by Italian Luigi Ghirri (1943-1992) in the studio of Giorgio Morandi (1890-1964) “copy” Morandi’s still lifes by representing the real objects in the painter’s studio instead of his paintings.

Another appropriative strategy sees the artist actually becoming active as a painter, transforming either the object he has photographed or its photographic representation. Oliver Boberg’s, Richard Hamilton’s, Georges Rousse’s and Amelie von Wulffen’s works rank in this category. For her series “Stadtcollagen” (1998-1999) Amelie von Wulffen (born in 1966) assembled drawing, photography, and painting to arrive at the montage of a new reality. The artist’s recollections merge with imaginary spaces offering the viewer’s fantasy an opportunity for his or her own associations.

The exhibition also encompasses positions of photography for which painting is the object represented in the picture. The most prominent examples in this section come from Sherrie Levine (born in 1947) and Louise Lawler (born in 1947), both representatives of US Appropriation Art. From the late 1970s on, Levine and Lawler have photographically appropriated originals from art history. Levine uses reproductions of paintings from a catalogue published in the 1920s: she photographs them and makes lithographs of her pictures. Lawler photographs works of art in private rooms, museums, and galleries and thus rather elucidates the works’ artworld context than the works as such.”

Press release from the Städel Museum website

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Sherrie Levine (*1947)
After Edgar Degas (detail)
1987
5 lithographs on hand-made paper
69 x 56 cm
DZ BANK Kunstsammlung im Städel Museum, Frankfurt
© Sherrie Levine / Courtesy Jablonka Galerie, Köln

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Louise Lawler (*1947)
It Could Be Elvis
1994
Cibachrome, varnished with shellac
74.5 x 91 cm
DZ BANK Kunstsammlung at the Städel Museum
© Courtesy of the artist and Metro Pictures, New York

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Oliver Boberg (*1965)
Unterführung [Underpass]
1997
C-type print, 75 x 84 cm
DZ BANK Kunstsammlung
© Oliver Boberg / Courtesy L.A. Galerie – Lothar Albrecht, Frankfurt

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Richard Hamilton (1922–2011)
Eight-Self-Portraits (detail)
1994
Thermal dye sublimation prints
40 x 35 cm
DZ BANK Kunstsammlung
© VG Bild-Kunst, Bonn 2012

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Wolfgang Tillmans (*1968)
Freischwimmer 54
2004
C-type in artists frame
237 x 181 x 6 cm
Städel Museum, Frankfurt am Main
© Courtesy Galerie Buchholz, Köln / Berlin
Acquired in 2008 with funds from the Städelkomitee 21. Jahrhundert
Property of Städelscher Museums-Verein e.V.

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1. Fry, Tony. “Art Byting the Dust,” in Hayward, Phillip. Culture, Technology and Creativity in the Late Twentieth Century. London: John Libbey and Company, 1990, pp.169-170.

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Städel Museum
Schaumainkai 63
60596 Frankfurt

Opening hours:
Tuesday, Friday – Sunday 10 am – 6 pm
Wednesday and Thursday 10 am – 9 pm

Städel Museum 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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