Posts Tagged ‘The Metropolitan Museum of Art

09
Feb
14

Exhibition: ‘Jewels by JAR’ at The Metropolitan Museum of Art, New York

Exhibition dates: 20th November 2013 – 9th March 2014

.

Can you imagine 400 of these fabulous works together in one exhibition… so much restrained, cultured bling all in one place!

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

.

.

JAR. 'Poppy Brooch' 1982

.

JAR 
Poppy Brooch 
1982
Diamond, tourmalines, and gold
Private collection
Photograph by Katharina Faerber. Courtesy of JAR, Paris

.

JAR. 'Zebra Brooch' 1987

.

JAR
Zebra Brooch
1987
Agate, diamonds, a sapphire, silver, and gold
Private collection
Photograph by Katharina Faerber. Courtesy of JAR, Paris

.

JAR. 'Butterfly Brooch' 1994

.

JAR
Butterfly Brooch
1994
Sapphires, fire opals, rubies, amethyst, garnets, diamonds, silver and gold
Private collection
Photograph by Katharina Faerber. Courtesy of JAR, Paris

.

JAR. 'Colored Balls Necklace' 1999

.

JAR
Colored Balls Necklace
1999
Rubies, sapphires, emeralds, amethysts, spinels, garnets, opals, tourmalines, aquamarines, citrines, diamonds, silver, and gold
Private collection
Photograph by Jozsef Tari. Courtesy of JAR, Paris

.

JAR. 'Lilac Brooches' 2001

.

JAR
Lilac Brooches
2001
Diamonds, lilac sapphires, garnets, aluminum, silver, and gold
Private collection
Photograph by Jozsef Tari. Courtesy of JAR, Paris

.

JAR. 'Geranium brooch' 2007

.

JAR 
Geranium brooch 
2007
Diamonds, aluminum, silver, and gold
Private collection
Photograph by Jozsef Tari. Courtesy of JAR, Paris

.

JAR. 'Tulip Brooch' 2008

.

JAR
Tulip Brooch
2008
Rubies, diamonds, pink sapphires, garnets, silver, gold, and enamel
Private collection
Photograph by Jozsef Tari. Courtesy of JAR, Paris

.

.

“Jewels by JAR at The Metropolitan Museum of Art will feature more than 400 works by renowned jewelry designer Joel A. Rosenthal, who works in Paris under the name JAR. The exhibition will be the first retrospective in the United States of his work and the first retrospective at the Metropolitan Museum devoted to a contemporary artist of gems.

Growing up in the Bronx, New York, Rosenthal spent much of his early life visiting the museums in the city, stirring in him a passion for art, history, and all things beautiful that has stayed with him throughout his life. Rosenthal left New York to attend Harvard University and moved to Paris shortly after his graduation in 1966. It was in Paris that Rosenthal met Pierre Jeannet – the other half of the JAR story.

Rosenthal and Jeannet spent much time at antique shops, museums, galleries, and auction houses learning about antique jewelry, diamonds, pearls, and colored stones. In 1973, they opened a needlepoint shop on the rue de l’Université. For Rosenthal needlepoint meant painting, mainly flowers, on a white canvas and playing with the palette of the colors of the wools. But the passion for jewelry was there and he wanted to “play with stones,” as he later explained. The needlepoint shop lasted only 11 months, but during this period Rosenthal was encouraged by others to re-design clients’ jewels and turned his attention once again, and more fully, to jewelry. In 1976, Rosenthal moved back to New York to work at Bulgari but returned to Paris and decided to open his own jewelry business under his initials, JAR.

JAR opened in 1978 on the Place Vendôme. At the start, it was run by a team of only two – Rosenthal and Jeannet. The clientele broadened from local Parisians to a range of international clients, and in 1987, Rosenthal and Jeannet relocated JAR to a larger space next door to their original shop – the same space from which they operate today. As they worked more and more with exceptional stones, they expanded the team to include the few exceptional craftsmen still specializing in this field.

JAR makes jewels that fulfill an aesthetic rather than commercial ambition. A particular skill of the JAR team is selecting stones for their color compatibility, complementary range, or contrast. Rosenthal, who once said, “we are not afraid of any materials,” uses metals as strong as platinum and as lightweight as aluminum as bases for his designs. He reintroduced the use of silver in fine jewelry making and blackened the metal to enhance the color of the stones and the shine of the diamonds. The color and the shading of his pavé technique became a signature, as did the diamond thread work.

Rosenthal experiments with a variety of forms, designs, and themes. Two significant and recurring themes in his work are flowers and butterflies, which often appear in the form of brooches. Rosenthal’s flowers are not shaped regularly, but rather capture the role of chance in nature – be it in the form of a bud, a flower in full bloom, or a falling petal. Each JAR piece is unique and three-dimensional.

Jeannet summarizes Rosenthal’s process this way: “At every step of the making of a piece, he checks and corrects. And if at the end his eye is not happy, we destroy the piece. But the piece, finished, is not yet at home; his last look is to see that the jewel has gone to the right lady. Then he sighs, his work is done.”

Press release from The Metropolitan Museum of Art website

.

JAR. 'Hoop Earrings' 2008 and 2010

.

JAR 
Top:
Hoop Earrings 
2008
Rubies, sapphires, diamonds, silver, and gold

Bottom:
Hoop Earrings 
2010
Spinels, diamonds, silver, and gold

Both: Private collection
Photograph by Jozsef Tari. Courtesy of JAR, Paris

.

JAR. 'Bracelet' 2010

.

JAR
Bracelet
2010
Diamonds, silver, and platinum
Private collection
Photograph by Jozsef Tari. Courtesy of JAR, Paris

.

JAR. 'Camellia Brooch' 2010

.

JAR
Camellia Brooch
2010
Rubies, pink sapphires, diamonds, silver, and gold
Private collection
Photograph by Jozsef Tari. Courtesy of JAR, Paris

.

JAR. 'Multicolored Handkerchief Earrings' 2011

.

JAR
Multicolored Handkerchief Earrings
2011
Sapphires, demantoid and other garnets, zircons, tourmalines, emeralds, rubies, fire opals, spinels, beryls, diamonds, platinum, silver, and gold
Private collection
Photograph by Jozsef Tari. Courtesy of JAR, Paris

.

JAR. 'Earrings' 2011

.

JAR
Earrings
2011
Emeralds, oriental pearls, diamonds, and platinum
Private collection
Photograph by Jozsef Tari. Courtesy of JAR, Paris

.

JAR. 'Cameo and Rose Petal Brooch' 2011

.

JAR
Cameo and Rose Petal Brooch
2011
Rubies, diamonds, silver, gold
Private collection
Photograph by Jozsef Tari. Courtesy of JAR, Paris

.

JAR. 'Raspberry Brooch' 2011

.

JAR
Raspberry Brooch
2011
Rubies, diamonds, bronze, silver, gold, and platinum
Collection of Sien M. Chew
Photograph by Jozsef Tari. Courtesy of JAR, Paris

.

.

The Metropolitan Museum of Art
1000 Fifth Avenue at 82nd Street
New York, New York 10028-0198
T: 212-535-7710

Opening hours:
Tuesday – Thursday: 9.30 am – 5.30 pm*
Friday and Saturday: 9.30 am – 9.00 pm*
Sunday: 9.30 am – 5.30 pm*
Closed Monday (except Met Holiday Mondays**), Thanksgiving, Christmas, and New Year’s Day

The Metropolitan Museum of Art website

LIKE ART BLART ON FACEBOOK

Back to top

23
Jan
14

Exhibition: ‘Everyday Epiphanies: Photography and Daily Life Since 1969′ at The Metropolitan Museum of Art, New York

Exhibition dates: 25th June 2013 – 26th January 2014

.

Epiphany: a moment in which you suddenly see or understand something in a new or very clear way.

Stephen Shore’s photographs seem the most insightful epiphanies in this posting, picturing as they do “what he ate, the rest stops he visited, the people he met.” In other words, the wor(l)d as he saw it.

Marcus

.
Many thankx to The Metropolitan Museum of Art, New York for allowing me to publish the photographs in the posting. Please click on the photographs for a larger version of the image.

.

“With the unspoken rules that exhibitions in the Met’s contemporary photography gallery must be drawn exclusively from the museum’s permanent collection and be organized as surveys of the period from the late 1960s to the present, it’s no wonder that these long running shows are often so broad that their themes seem to dissolve into edited collections of everything. The newest selection of images is tied up under the umbrella of “everyday epiphanies”, a construct that implies a delight in the ordinary, the quotidian, or the familiar, but in fact, reaches outward beyond these routine boundaries to works that have a wide variety of conceptual underpinnings and points of view. With some effort, it’s possible to follow the logic of why each piece has been included here, but when seen together, the diversity of the works on view diminishes the show’s ability to deliver any durable insights… The works that function best inside this theme are those that capture moments of unexpected, elemental elegance, often as a result of the way the camera sees the world.”

.
Loring Knoblauch on the Collector Daily website August 14, 2013

.

.

John Baldessari (American, born National City, California, 1931) 'Hands Framing New York Harbor' 1971

.

John Baldessari (American, born National City, California, 1931)
Hands Framing New York Harbor
1971
Gelatin silver print
25.4 x 18.0 cm (10 x 7 1/16 in.)
Purchase, The Horace W. Goldsmith Foundation Gift, through Joyce and Robert Menschel, 1992
Shunk-Kender © Roy Lichtenstein Foundation

.

Martha Rosler (American) 'Semiotics of the Kitchen' (still) 1975

.

Martha Rosler (American)
Semiotics of the Kitchen (still)
1975
Video
Purchase, Henry Nias Foundation Inc. Gift, 2010
Courtesy Electronic Arts Intermix (EAI), New York

.

Jan Groover (American, 1943-2012) 'Untitled' 1980

.

Jan Groover (American, 1943-2012)
Untitled
1980
Platinum print
19.0 x 24.0 cm. (7 1/2 x 9 7/16 in.)
David Hunter McAlpin Fund, 1981
The Metropolitan Museum of Art
© Jan Groover

.

Carrie Mae Weems (American, born 1953) 'Untitled (Man Smoking)' 1990

.

Carrie Mae Weems (American, born 1953)
Untitled (Man Smoking)
1990
From the Kitchen Table Series
Gelatin silver print
Image: 71.8 × 71.8 cm (28 1/4 × 28 1/4 in.)
Courtesy of the artist and Jack Shainman Gallery, New York

.

Erica Baum (American, born New York, 1961) 'Buzzard' 2009

.

Erica Baum (American, born New York, 1961) 
Buzzard
2009
Inkjet print
22.9 x 22.9 cm (9 x 9 in.)
Purchase, Marian and James H. Cohen Gift, in memory of their son, Michael Harrison Cohen, 2012
The Metropolitan Museum of Art
© Erica Baum

.

.

“Since the birth of photography in 1839, artists have used the medium to explore subjects close to home – the quotidian, intimate, and overlooked aspects of everyday existence. Everyday Epiphanies: Photography and Daily Life Since 1969, an exhibition of 40 works at The Metropolitan Museum of Art, presents photographs and videos from the last four decades that examine these ordinary moments. The exhibition features photographs by a wide range of artists including John Baldessari, Philip-Lorca diCorcia, Fischli & Weiss, Jan Groover, Robert Gober, Nan Goldin, Elizabeth McAlpine, Gabriel Orozco, David Salle, Robert Smithson, Stephen Shore, and William Wegman, as well as videos by Martha Rosler, Ilene Segalove, Brandon Lattu, and Svetlana and Igor Kopytiansky.

Daily life, as it had been lived in Western Europe and America since the 1950s, was called into question in the late 1960s by a counterculture that rebelled against the prior “cookie-cutter” lifestyle. Everything from feminism to psychedelic drugs to space exploration suggested a nearly infinite array of alternative ways to perceive reality; and artists and thinkers in the ’60s and ’70s proposed a “revolution of everyday life.” A four-part work by David Salle from 1973 exemplifies the artist’s flair for piquant juxtaposition at an early stage in his career. In depicting four women in bathrobes standing before their respective kitchen windows in contemplative states, Salle goes against the grain of feminist orthodoxy – revealing a penchant for courting controversy that he would expand in his later paintings; pasted underneath the black-and-white images of the women are brightly colored labels of their preferred coffee brands, with the arbitrarily differentiated brands signifying an insufficient substitute for true freedom in the postwar era. Martha Rosler’s bracingly caustic video Semiotics of the Kitchen and Ilene Segalove’s wistfully funny The Mom Tapes complete a trio of works investigating the role of women in a rapidly changing society.

In the 1980s, artists’ renewed interest in conventions of narrative and genre led to often highly staged or produced images that hint at how even our deepest feelings are mediated by the images that surround us. In the wake of the economic crash of the late 1980s, photographers focused increasingly on what was swept under the carpet – the repressed and the taboo. Sally Mann’s Jesse at Five (1987) depicts the artist’s daughter as the central figure, half-dressed, dolled-up, and posed like an adult. Mann often created these frank images of her children and caused some controversy during the culture wars of the late 1980s and early 1990s. However, her photographs of her children are remarkable for the artist’s assured handling of a potentially explosive subject with equanimity and grace.

During the following decade, artists created photographs and videos that confused the real and the imaginary in ways that almost eerily predicted the epistemological quandaries posed by the digital revolution. Meanwhile, a trio of recently made works by Erica Baum, Elizabeth McAlpine, and Brandon Lattu combine process and product in novel ways to comment obliquely on the shifting sands of how we come to know the world in our digital age.”

Press release from The Metropolitan Museum of Art website

.

Jean-Marc Bustamante (French, born 1952) 'Untitled' 1997

.

Jean-Marc Bustamante (French, born 1952) 
Untitled
1997
Chromogenic print
40 x 59 cm (15 3/4 x 23 1/4 in.)
Purchase, The Horace W. Goldsmith Foundation Gift, through Joyce and Robert  Menschel, 1999
The Metropolitan Museum of Art
© Jean-Marc Bustamante

.

Nan Goldin (American, born 1953) 'Heart-Shaped Bruise, NYC' 1980

.

Nan Goldin (American, born 1953)
Heart-Shaped Bruise, NYC
1980
Silver dye bleach print
50.8 x 60.96 cm (20 x 24 in.)
Purchase, The Horace W. Goldsmith Foundation Gift, through Joyce and Robert  Menschel, 2001
The Metropolitan Museum of Art
© Nan Goldin, Courtesy Matthew Marks Gallery, New York

.

Larry-Sultan-Portrait-of-My-Father-with-Newspaper-1988,-chromogenic-print-WEB

.

Larry Sultan (American, 1946-2009)
My Father Reading the Newspaper
1989
Chromogenic print
Stewart S. MacDermott Fund, 1991
© Larry Sultan

.

Gabriel Orozco (Mexican, born 1962) 'Caja vacia de zapatos' (Empty shoebox) 1993

.

Gabriel Orozco (Mexican, born 1962)
Caja vacia de zapatos (Empty shoebox)
1993
Silver dye bleach print
31.8 x 46.4 cm. (12 1/2 x 18 1/4 in.)
Gift of the artist, 1995
The Metropolitan Museum of Art
© Gabriel Orozco

.

Gabriel Orozco (Mexican, born Jalapa Enriquez, 1962) 'Vitral' 1998

.

Gabriel Orozco (Mexican, born Jalapa Enriquez, 1962)
Vitral
1998
Silver dye bleach print
40.6 x 50.8 cm (16 x 20 in.)
Purchase, The Judith Rothschild Foundation Gift, 1999
© Gabriel Orozco

.

Stephen Shore (American, born 1947) 'Oklahoma City, Oklahoma' July 9, 1972

.

Stephen Shore (American, born 1947)
Oklahoma City, Oklahoma
July 9, 1972
From the series American Surfaces
Chromogenic print
Gift of Weston J. Naef, 1974
© Stephen Shore

.
As a teenager in the 1960s, Shore was one of two in-house photographers at Andy Warhol’s Factory. During his first cross-country photographic road trip, Shore adopted the catholic approach of his mentor, accepting into his art everything that came along – what he ate, the rest stops he visited, the people he met. He then processed his color film as “drugstore prints”, the imprecise, colloquial term for the kind of amateur non-specialized snapshots that filled family photo albums. The entire series of 229 prints was shown for the first time in 1974 and acquired by the Metropolitan from that exhibition.

.

Stephen Shore (American, born 1947) 'West Palm Beach, Florida' January 1973

.

Stephen Shore (American, born 1947)
West Palm Beach, Florida
January 1973
From the series American Surfaces
Chromogenic print
Gift of Weston J. Naef, 1974
© Stephen Shore

.

Stephen Shore (American, born 1947) 'Clovis, New Mexico' 1974

.

Stephen Shore (American, born 1947)
Clovis, New Mexico
1974
From the series American Surfaces
Chromogenic print
Gift of Weston J. Naef, Jr., 1974
The Metropolitan Museum of Art
© Stephen Shore

.

.

The Metropolitan Museum of Art
1000 Fifth Avenue at 82nd Street
New York, New York 10028-0198
T: 212-535-7710

Opening hours:
Tuesday – Thursday: 9.30 am – 5.30 pm*
Friday and Saturday: 9.30 am – 9.00 pm*
Sunday: 9.30 am – 5.30 pm*
Closed Monday (except Met Holiday Mondays**), Thanksgiving, Christmas, and New Year’s Day

The Metropolitan Museum of Art website

LIKE ART BLART ON FACEBOOK

Back to top

31
Dec
13

Exhibition: ‘Julia Margaret Cameron’ at The Metropolitan Museum of Art, New York

Exhibition dates: 9th August 2013 – 5th January 2014

.

The first posting of a new year, and finally I get to do a posting on one of the greatest photographers of all time. Nobody has ever taken portraits like JMC before or since. What a unique vision, different from everyone else: “directed light, soft focus, and long exposures that allowed the sitters’ slight movement to register in her pictures, instilling them with a sense of breath and life.”

The portrait of Sir John Herschel (April 1867, below) is one of the most famous portraits in the history of photography. What a magnificent achievement, to capture the spirit of this human being on a glass plate… “Our Julia” as a friend of mine lovingly calls her. It’s funny how everyone takes her to their heart.

Marcus

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

.

.

Julia Margaret Cameron (English, 1815-1879) 'Sappho' 1865

.

Julia Margaret Cameron (English, 1815-1879)
Sappho
1865
Albumen silver print from glass negative
The Rubel Collection, Purchase, Jennifer and Joseph Duke and Anonymous Gifts, 1997
The Metropolitan Museum of Art (1997.382.39)

.

Mary Hillier, a beautiful young house servant at Dimbola, Cameron’s home in Freshwater, was often pressed into photographic service, frequently in the role of the Virgin Mary. She managed to assume her various guises in a remarkably unselfconscious way, projecting both gentleness and strength of character. Hillier is also the model for Cameron’s Sappho, a profile portrait in the Florentine Quattrocento style, perhaps inspired by the chromolithographic reproductions of Italian paintings distributed by the Arundel Society, of which Cameron was a member. The image has great presence, so much so that Cameron decided to print it even though she broke the negative. Precisely what the picture has to do with the Greek poet of Lesbos is unclear, especially since Cameron inscribed another print of the same image Adriana. The titles of two close variants reveal that, by looking left instead of right, Hillier was apparently transformed from Sappho into Dora or, when photographed from one step further back, Clio. Although Cameron often set out to portray a certain ideal, she also titled pictures after the fact, sometimes because the image seemed to embody the character of a certain literary or biblical figure, but sometimes, one suspects, quite simply because there was more of a market for images of the Virgin, Sappho, or Christabel than for portraits of the photographer’s niece or a parlor maid from the Isle of Wight.

.

Julia Margaret Cameron (English, 1815-1879) 'The Mountain Nymph Sweet Liberty' 1866

.

Julia Margaret Cameron (English, 1815-1879)
The Mountain Nymph Sweet Liberty
1866
Albumen silver print from glass negative
Harris Brisbane Dick Fund, 1941
The Metropolitan Museum of Art (41.21.15)

.

In Cameron’s The Mountain Nymph Sweet Liberty, Miss Keene, an arresting model about whom we know nothing but her last name, stares directly at the camera (and, by extension, at the viewer), her hair loose and her eyes open wide. Filling the frame, she seems to step out of the picture. The photograph takes its title from John Milton’s poem L’Allegro, a celebration of life’s pleasures:

Come, and trip it as you go
On the light fantastic toe;
And in thy right hand lead with thee
The mountain nymph, sweet Liberty.

.
Cameron sent the photograph to her friend, the renowned scientist Sir John Herschel, who wrote back, “That head of the ‘Mountain Nymph Sweet liberty’ (a little farouche & égarée [timid and distraught] by the way, as if first let loose & half afraid that it was too good to last) is really a most astonishing piece of high relief. She is absolutely alive and thrusting out her head from the paper into the air. This is your own special style.” Herschel seized upon the photograph’s most striking quality, its startling sense of presence and of psychological connection with the viewer.

.

Julia Margaret Cameron (English, 1815-1879) 'Zoe, Maid of Athens' 1866

.

Julia Margaret Cameron (English, 1815-1879)
Zoe, Maid of Athens
1866
Albumen silver print from glass negative
The Rubel Collection, Purchase, Lila Acheson Wallace, Ann Tenenbaum and Thomas H. Lee, and Muriel Kallis Newman Gifts, 1997
The Metropolitan Museum of Art (1997.382.38)

.

Here Cameron photographed May Prinsep, her sister’s adopted daughter. By allowing Prinsep’s slight movement and by intentionally softening the focus, Cameron instilled a sense of breath and soul in this living apparition, for the true subject of her photograph was a poetic evocation of love and longing. “Maid of Athens, ere we part, / Give, oh, give me back my heart!” begin the verses composed by Lord Byron as he departed Greece in 1810. In the poem that inspired Cameron, Byron swore “By those tresses unconfined, / Wooed by each Aegean wind; / By those lids whose jetty fringe / Kiss thy soft cheeks’ blooming tinge; / By those wild eyes like the roe, / Zoë mou sas agapo [My life, I love you].”

.

Julia Margaret Cameron (English, 1815-1879) 'Christabel' 1866

.

Julia Margaret Cameron (English, 1815-1879)
Christabel
1866
Albumen silver print from glass negative
Harris Brisbane Dick Fund, 1941
The Metropolitan Museum of Art (41.21.26)

.

“Yea, she doth smile, and she doth weep,
Like a youthful hermitess,
Beauteous in a wilderness.”
.
Samuel Taylor Coleridge

.
Coleridge’s unfinished poem “Christabel” (1816) tells the story of a young woman debased by sorcery. A dark poem, full of rolling fog and lesbian innuendo, “Christabel” was the kind of tale that appealed to the Victorian palate – a soup of sexual transgression and moral repair. Cameron rarely made portraits of women; rather, when she photographed them, they appeared as representations of some biblical, mythological, or literary figure. Cameron’s niece, May Prinsep, who would later marry Hallam Tennyson, son of the poet laureate, appears here as the ethereal Christabel before her corruption. Cameron’s long exposure time and distinct soft-focus technique lend the work its idealizing gravitas even while, paradoxically, intensifying the realistic presence of the individual before the lens. For all her “high art” aspirations, Cameron was always quick to note that her images were “from life.”

.

Julia Margaret Cameron (English, 1815-1879) '[Kate Keown]' 1866

.

Julia Margaret Cameron (English, 1815-1879)
[Kate Keown]
1866
Albumen silver print from glass negative
Gilman Collection, Purchase, Jennifer and Joseph Duke Gift, 2005
The Metropolitan Museum of Art (2005.100.265)

.

In spring and summer 1866, having purchased a new, larger camera capable of making twelve-by-fifteen-inch negatives, Cameron produced a series of twelve “life-sized heads,” including this angelic study of tender sorrow somewhat in the style of Botticelli. Throughout her work, poetic truth was valued above photographic truthfulness. She conveyed a sense of life and breath and of honest emotion through careful lighting, her models’ slight movement during long exposures, a shallow depth of field, and softness of focus. “My first successes in my out-of-focus pictures were a fluke,” Cameron wrote. “That is to say, that when focusing and coming to something which, to my eye, was very beautiful, I stopped there instead of screwing on the lens to the more definite focus which all other photographers insist on.” In so doing, she gave the feeling of both flesh and spirit without, in Rejlander’s words, “an exaggerated idea of the bark of the skin.”

.

10._Mrs.-Herbert-Duckworth-WEB

.

Julia Margaret Cameron (British (born India), Calcutta 1815 – 1879 Kalutara, Ceylon)
Mrs. Herbert Duckworth
1867
Albumen silver print from glass negative
32.8 x 23.7 cm (12 15/16 x 9 5/16 in.)
Gilman Collection, Purchase, Alfred Stieglitz Society Gifts, 2005

.

This portrait of Julia Jackson, which is usually trimmed to an oval, suggests an antique cameo carved in deep relief. Its success lies partly in its subject’s actual beauty and partly in the way the photographer modeled it to suggest Christian and classical ideals of purity, strength, and grace. The photograph was made the year Julia married Herbert Duckworth. Three years later she was a widow and the mother of three children.
Her second marriage, in 1878, to the great Victorian intellectual Sir Leslie Stephen, produced the painter Vanessa Bell and the writer Virginia Woolf. In her novel To the Lighthouse (1927), Virginia portrayed her mother as the searching, sensitive Mrs. Ramsay, ever suspended in thought. “She bore about with her, she could not help knowing it, the torch of her beauty; she carried it erect into any room that she entered.”

.

Julia Margaret Cameron (English, 1815-1879) 'Alice Liddell / Pomona' 1872

.

Julia Margaret Cameron (English, 1815-1879)
Alice Liddell / Pomona
1872
Albumen silver print from glass negative
David Hunter McAlpin Fund, 1963
The Metropolitan Museum of Art (63.545)

.

Alice Liddell (1852-1934) – who, as a child, was Lewis Carroll’s muse and frequent photographic model – posed for Cameron a dozen times in August and September 1872. Against a dense background of foliage and bedecked with flowers, the twenty-year-old Liddell was photographed by Cameron as the embodiment of fruitful abundance, Pomona, Roman goddess of gardens and fruit trees.

.

.

“One of the greatest portraitists in the history of photography, Julia Margaret Cameron (1815-1879) blended an unorthodox technique, a deeply spiritual sensibility, and a Pre-Raphaelite-inflected aesthetic to create a gallery of vivid portraits and a mirror of the Victorian soul. Julia Margaret Cameron, on view at The Metropolitan Museum of Art beginning August 19, 2013, is the first New York City museum exhibition devoted to Cameron’s work in nearly a generation and the first ever at the Met. The showing of 35 works is drawn entirely from the Metropolitan’s rich collection, including major works from the Rubel Collection acquired in 1997 and the Gilman Collection acquired in 2005. The exhibition is made possible by The Hite Foundation, in memory of Sybil Hite.

When she received her first camera in December 1863 as a Christmas gift from her daughter and son-in-law, Cameron was 48, a mother of six, and a deeply religious, well-read, somewhat eccentric friend of many notable Victorian artists, poets, and thinkers. “From the first moment I handled my lens with a tender ardour,” she wrote, “and it has become to me as a living thing, with voice and memory and creative vigour.” Condemned by some contemporaries for sloppy craftsmanship, she purposely avoided the perfect resolution and minute detail that glass negatives permitted, opting instead for carefully directed light, soft focus, and long exposures that allowed the sitters’ slight movement to register in her pictures, instilling them with a sense of breath and life.

The exhibition features masterpieces from each of her three major bodies of work: portraits of men “great thro’ genius” including the poet Alfred, Lord Tennyson, scientist Sir John Herschel, and philosopher Thomas Carlyle; women “great thro’ love” including relatives, neighbors, and household staff, often titled as literary, historical, or biblical subjects; and staged groupings such as her illustrations for Tennyson’s Idylls of the King, her Annunciation in the style of Perugino, or her depiction of King Lear and his daughters. Julia Margaret Cameron is organized by Malcolm Daniel, Senior Curator in the Department of Photographs at The Metropolitan Museum of Art.”

Press release from The Metropolitan Museum of Art website

.

Julia Margaret Cameron (English, 1815-1879) 'Philip Stanhope Worsley' 1866

.

Julia Margaret Cameron (English, 1815-1879)
Philip Stanhope Worsley
1866
Albumen silver print from glass negative
Gilman Collection, Purchase, The Horace W. Goldsmith Foundation Gift through Joyce and Robert Menschel, 2005
The Metropolitan Museum of Art (2005.100.27)

.

On February 21, 1866, Cameron wrote to Henry Cole, director of the South Kensington Museum, “I have been for 8 weeks nursing poor Philip Worsley on his dying bed… The heart of man cannot conceive a sight more pitiful than the outward evidence of the breaking up of his whole being.” An Oxford-educated poet who translated the Odyssey and part of the Iliad into Spenserian verse, Worsley died of tuberculosis at the age of thirty the following May. Cameron’s portrait, made the year of his death, vividly conveys the intensity of Worsley’s intellectual life and something of its tragedy. To her subject’s hypnotic gravity she added intimations of sacrifice, engulfing the dying poet in dramatic darkness.

.

Julia Margaret Cameron (English, 1815-1879) 'Alfred, Lord Tennyson' July 4, 1866

.

Julia Margaret Cameron (English, 1815-1879)
Alfred, Lord Tennyson
July 4, 1866
Albumen silver print from glass negative
The Rubel Collection, Purchase, Lila Acheson Wallace, Michael and Jane Wilson, and Harry Kahn Gifts, 1997
The Metropolitan Museum of Art (1997.382.36)

.

When Cameron’s husband retired in 1848 from the Calcutta Council of Education and the Supreme Council of India, they moved to England, settling first in Tunbridge Wells, near Charles’s old friend the poet Henry Taylor, and later in Putney Heath, near the poet laureate Alfred, Lord Tennyson and his wife. For Cameron, these men were not merely friends and neighbors, but also intellectual, spiritual, and artistic advisors. In 1860, while her husband was in Ceylon checking on the family coffee plantations, Cameron visited the Tennysons’ new home at Freshwater on the Isle of Wight and promptly purchased two cottages next door, which she joined together as the new family home. Cameron’s friendship and determination knew no bounds – indeed, her kindness could be overbearing at times. It took three years of pleading before Cameron convinced Tennyson (who jokingly referred to her models as “victims”) to sit for his portrait.

.

Julia Margaret Cameron (English, 1815-1879) 'Sir John Herschel' April 1867

.

Julia Margaret Cameron (English, 1815-1879)
Sir John Herschel
April 1867
Albumen silver print from glass negative
The Rubel Collection, Promised Gift of William Rubel
The Metropolitan Museum of Art (L.1997.84.6)

.

No commercial portrait photographer of the period would have portrayed Herschel as Cameron did here, devoid of classical columns, weighty tomes, scientific attributes, and academic poses – the standard vehicles for conveying the high stature and classical learning that one’s sitter possessed (or pretended to possess). To Cameron, Herschel was more than a renowned scientist; he was “as a Teacher and High Priest,” an “illustrious and revered as well as beloved friend” whom she had known for thirty years. Naturally, her image of him would not be a stiff, formal effigy. Instead, she had him wash and tousle his hair to catch the light, draped him in black, brought her camera close to his face, and photographed him emerging from the darkness like a vision of an Old Testament prophet.

.

Julia Margaret Cameron (British (born India), Calcutta 1815 - 1879 Kalutara, Ceylon) 'A Study' 1865-66

.

Julia Margaret Cameron (British (born India), Calcutta 1815 – 1879 Kalutara, Ceylon)
A Study
1865-66
Albumen silver print from glass negative
34.4 x 26.4 cm. (13 9/16 x 10 3/8 in.)
Bequest of James David Nelson, in memory of Samuel J. Wagstaff Jr., 1990

.

This image, also titled After Perugino / The Annunciation, is one of more than 130 religiously themed images inspired by Cameron’s deep Christian devotion and her artistic admiration of Italian painting of the early Renaissance. Such photographs adhere to traditional iconography only in the broadest sense. Here, for example, Cameron follows the precedent of paintings of the Annunciation in which the angel Gabriel presents a lily – symbol of purity – to the Virgin Mary. More important, however, Cameron’s sincerity of sentiment imbues her work with an aura of devotion and claims for it a place equal to sacred art of the past.

.

Julia Margaret Cameron (English, 1815-1879) 'The Parting of Lancelot and Guinevere' 1874

.

Julia Margaret Cameron (English, 1815-1879)
The Parting of Lancelot and Guinevere
1874
Albumen silver print from glass negative
David Hunter McAlpin Fund, 1952
The Metropolitan Museum of Art (52.524.3.10)

.

In 1874 Tennyson asked Cameron to make photographic illustrations for a new edition of his Idylls of the Kings, a recasting of the Arthurian legends. Responding that both knew that “it is immortality to me to be bound up with you,” Cameron willingly accepted the assignment. Costuming family and friends, she made some 245 exposures to arrive at the handful she wanted for the book. Ultimately – and predictably – she was unhappy with the way her photographs looked reduced in scale and translated into wood engravings, and she chose to issue a deluxe edition, at her own risk, that included a dozen full size photographic prints in each of two volumes.

.

Julia Margaret Cameron (English, 1815-1879) 'King Lear and his Three Daughters' 1872

.

Julia Margaret Cameron (English, 1815-1879)
King Lear and his Three Daughters
1872
Albumen silver print from glass negative
Bequest of Maurice B. Sendak, 2013
The Metropolitan Museum of Art (2013.159.3)

.

The three Liddell sisters – Lorina, Elizabeth, and Alice – posed with the photographer’s husband playing the tragically deceived King Lear in one of Cameron’s few Shakespearean compositions. Goneril and Regan whisper false flattery in the aging king’s ear while the truly devoted but disinherited Cordelia – here unadorned and dressed in white – stands before him, an embodiment of disillusioned innocence.

.

.

The Metropolitan Museum of Art
1000 Fifth Avenue at 82nd Street
New York, New York 10028-0198
T: 212-535-7710

Opening hours:
Tuesday – Thursday: 9.30 am – 5.30 pm*
Friday and Saturday: 9.30 am – 9.00 pm*
Sunday: 9.30 am – 5.30 pm*
Closed Monday (except Met Holiday Mondays**), Thanksgiving, Christmas, and New Year’s Day

The Metropolitan Museum of Art website

LIKE ART BLART ON FACEBOOK

Back to top

30
Aug
13

Exhibition: ‘Photography and the American Civil War’ at the Metropolitan Museum of Art, New York

Exhibition dates: 2nd April – 2nd September 2013

BE WARNED, LIKE “INCIDENTS OF WAR”, THIS POSTING IS DISTURBING AND NOT FOR THE FAINT HEARTED!

.

It was, indeed, a ‘harvest of death.’ . . . Such a picture conveys a useful moral: It shows the blank horror and reality of war, in opposition to its pageantry. Here are the dreadful details! Let them aid in preventing such another calamity falling upon the nation.”

.
“Before the war, a child three years old, would sell in Alexandria, for about fifty dollars, and an able-bodied man at from one thousand to eighteen hundred dollars. A woman would bring from five hundred to fifteen hundred dollars, according to her age and personal attractions.” 

.
Alexander Gardner

.

.

There are some very poignant and disturbing photographs in this posting. The youth of some of the combatants (Private Wood sits against a blank wall in a photographer’s studio. He is sixteen years old and will not see seventeen. An orphan, he joined Company H in Social Circle, Georgia, on July 3, 1861, and before the end of the year died of pneumonia in a Richmond hospital). The sheer brutality and pointlessness of war. Bloated and twisted bodies, inflated like balloons. Starved and beaten human beings.

And yet, you look at the photograph “Slave Pen” – the office of those ‘Dealers in Slaves’ now guarded by Union soldiers – or the photograph of Wilson, Branded Slave from New Orleans and the photograph of the anonymous African American soldier fighting for the Union cause directly below and you understand just one of the reasons that this was such a bloody conflict: it was about the right of all men to be free, to throw off the bonds of servitude.

To be replaced all these years later by another corrupted power – the power of government, the power of government to surveil its people at any and all times. The power of money, the military and the gun.

Praise be the land of the free.

.
Dr Marcus Bunyan for the Art Blart blog

.

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

.

.

Alexander Gardner (American, born Scotland, 1821-1882) 'Ruins of Gallego Flour Mills, Richmond' 1865

.

Alexander Gardner (American, born Scotland, 1821-1882)
Ruins of Gallego Flour Mills, Richmond
1865
Albumen silver prints from glass negatives
The Metropolitan Museum of Art, Harris Brisbane Dick Fund, 1933
© The Metropolitan Museum of Art, New York

.

In 1861, at the outset of the Civil War, the Confederate government moved its capital from Montgomery, Alabama, to Richmond, Virginia, to be closer to the front and to protect Richmond’s ironworks and flour mills. On April 2, 1865, as the Union army advanced on Richmond, General Robert E. Lee gave the orders to evacuate the city. A massive fire broke out the following day, the result of a Confederate attempt to destroy anything that could be of use to the invading Union army. In addition to consuming twenty square blocks, including nearly every building in Richmond’s commercial district, it destroyed the massive Gallego Flour Mills, situated on the James River and seen here. Alexander Gardner, Mathew B. Brady’s former gallery manager, then his rival, made numerous photographs of the “Burnt District” as well as this dramatic panorama from two glass negatives. The charred remains have become over time an iconic image of the fall of the Confederacy and the utter devastation of war.

.

A-display-of-three-photographs-of-American-Civil-War-soldiers-in-the-exhibition-WEB

.

A display of three photographs of American Civil War soldiers in the exhibition, “Photography and the American Civil War” April 1, 2013 at The Metropolitan Museum of Art in New York. The three albumen silver prints are all by Gayford & Speidel, “Private Christopher Anderson, Company F, 108th Regiment, U.S. Colored Infantry, January-May 1865″ (L), “Private Louis Troutman, Company F, 108th Regiment, U.S. Colored Infantry, January-May 1865″, (C) and “Private Gid White, Company F, 108th Regiment, U.S. Colored Infantry, January-May 1865″, (R).
AFP PHOTO/Stan HONDA

.

Unknown Artist. 'Union Private, 11th New York Infantry (Also Known as the 1st Fire Zouaves)' May-June 1861

.

Unknown Artist
Union Private, 11th New York Infantry (Also Known as the 1st Fire Zouaves)
May-June 1861
One-sixth plate ambrotype
Michael J. McAfee Collection
© The Metropolitan Museum of Art, New York

.

This melancholy young volunteer was a member of the Eleventh New York Infantry, an early war regiment organized in New York City in May 1861. Primarily composed of volunteers from the city’s many fire companies, the men were also known as the First Fire Zouaves. Along with other volunteer units, the Eleventh helped capture Alexandria, Virginia on May 24, 1861, just a day after the state formally seceded from the Union.

.

Unknown Artist. 'Union Private, 11th New York Infantry (Also Known as the 1st Fire Zouaves)' May-June 1861 (detail)

.

Unknown Artist
Union Private, 11th New York Infantry (Also Known as the 1st Fire Zouaves) (detail)
May-June 1861
One-sixth plate ambrotype
Michael J. McAfee Collection
© The Metropolitan Museum of Art, New York

.

4.-A-Harvest-of-Death-WEB

.

Timothy H. O’Sullivan (American, born Ireland, 1840-1882)
A Harvest of Death, Gettysburg, Pennsylvania
July 1863
Printer: Alexander Gardner (American, Glasgow, Scotland 1821-1882 Washington, D.C.)
Publisher: Alexander Gardner (American, Glasgow, Scotland 1821-1882 Washington, D.C.)
Albumen silver print from glass negative
17.8 × 22.5 cm (7 × 8 7/8 in.)
Gilman Collection, Museum Purchase, 2005

.

This photograph of the rotting dead awaiting burial after the Battle of Gettysburg is perhaps the best-known Civil War landscape. It was published in Gardner’s Photographic Sketch Book of the War (1866), the nation’s first anthology of photographs. The Sketch Book features ten photographic plates of Gettysburg – eight by Timothy H. O’Sullivan, who served as a field operator for Alexander Gardner, and two by Gardner himself. The extended caption that accompanies this photograph is among Gardner’s most poetic: “It was, indeed, a ‘harvest of death.’ . . . Such a picture conveys a useful moral: It shows the blank horror and reality of war, in opposition to its pageantry. Here are the dreadful details! Let them aid in preventing such another calamity falling upon the nation.”

.

Timothy H. O'Sullivan (American, born Ireland, 1840-1882) Alexander Gardner, printer. 'Field Where General Reynolds Fell, Gettysburg, July 1863' 1863

.

Timothy H. O’Sullivan (American, born Ireland, 1840-1882)
Alexander Gardner, printer
Field Where General Reynolds Fell, Gettysburg, July 1863
1863
Plate 37 in Volume 1 of Gardner’s Photographic Sketch Book of the War
Albumen silver print from glass negative
The Metropolitan Museum of Art, Gilman Collection, Purchase, Ann Tenenbaum and Thomas H. Lee Gift, 2005
© The Metropolitan Museum of Art, New York

.

This photograph of the aftermath of the Battle of Gettysburg appears in the two-volume opus Gardner’s Photographic Sketch Book of the War (1865-66). Gardner’s publication is egalitarian. Offended by Brady’s habit of obscuring the names of his field operators behind the deceptive credit “Brady,” Gardner specifically identified each of the eleven photographers in the publication; forty-four of the one hundred photographs are credited to Timothy O’Sullivan. Gardner titled the plate Field Where General Reynolds Fell, Battlefield of Gettysburg. But the photograph, its commemorative title notwithstanding, relates a far more common story: six Union soldiers lie dead, face up, stomachs bloated, their pockets picked and boots stolen. As Gardner described the previous plate, aptly titled The Harvest of Death, this photograph conveys “the blank horror and reality of war, in opposition to its pageantry.”

.

Unknown Artist. 'Captain Charles A. and Sergeant John M. Hawkins, Company E, “Tom Cobb Infantry,” Thirty-eighth Regiment, Georgia Volunteer Infantry' 1861-62

.

Unknown Artist
Captain Charles A. and Sergeant John M. Hawkins, Company E, “Tom Cobb Infantry,” Thirty-eighth Regiment, Georgia Volunteer Infantry
1861-62
Quarter-plate ambrotype with applied color
David Wynn Vaughan Collection
Photo: Jack Melton

.

The vast majority of war portraits, either cased images or cartes de visite, are of individual soldiers. Group portraits in smaller formats are more rare and challenged the field photographer (as well as the studio gallerist) to conceive and execute an image that would honor the occasion and be desirable – saleable – to multiple sitters. For the patient photographer, this created interesting compositional problems and an excellent opportunity to make memorable group portraits of brothers, friends, and even members of different regiments.

In this quarter-plate ambrotype, Confederate Captain Charles Hawkins of the Thirty-eighth Regiment, Georgia Volunteer Infantry, on the left, sits for his portrait with his brother John, a sergeant in the same regiment. They address the camera and draw their fighting knives from scabbards. Charles would die on June 13, 1863, in the Shenandoah Valley during General Robert E. Lee’s second invasion of the North. John, wounded at the Battle of Gaines’s Mill in June 1862, would survive the war, fighting with his company until its surrender at Appomattox.

.

Reed Brockway Bontecou (American, 1824-1907) 'Union Private John Parmenter, Company G, Sixty-seventh Pennsylvania Volunteers' June 21, 1865

.

Reed Brockway Bontecou (American, 1824-1907)
Union Private John Parmenter, Company G, Sixty-seventh Pennsylvania Volunteers
June 21, 1865
Albumen silver print from glass negative
5.7 x 9.1 cm (2 1/4 x 3 9/16 in.)
Collection Stanley B. Burns, M.D.

.

In this remarkable carte de visite, Private Parmenter lies unconscious from anesthesia on an operating table at Harewood Hospital in Washington, D.C. To save his patient’s life, Doctor Bontecou amputated the soldier’s wounded, ulcerous foot. Before the discovery of antibiotics, gangrene was a dreaded and deadly infection that greatly contributed to the high mortality rate of soldiers during the Civil War.

.

Andrew Joseph Russell (American, 1830-1902) 'Slave Pen, Alexandria, Virginia' 1863

.

Andrew Joseph Russell (American, 1830-1902)
Slave Pen, Alexandria, Virginia
1863
Albumen silver print from glass negative
The Metropolitan Museum of Art, Gilman Collection, Purchase, The Horace W. Goldsmith Foundation Gift, through Joyce and Robert Menschel, 2005
© The Metropolitan Museum of Art, New York

.

Better known for his later views commissioned by the Union Pacific Railroad, A. J. Russell, a captain in the 141st New York Infantry Volunteers, was one of the few Civil War photographers who was also a soldier. As a photographer-engineer for the U.S. Military Railroad Con struction Corps, Russell’s duty was to make a historical record of both the technical accomplishments of General Herman Haupt’s engineers and the battlefields and camp sites in Virginia. This view of a slave pen in Alexandria guarded, ironically, by Union officers shows Russell at his most insightful; the pen had been converted by the Union Army into a prison for captured Confederate soldiers.

Between 1830 and 1836, at the height of the American cotton market, the District of Columbia, which at that time included Alexandria, Virginia, was considered the seat of the slave trade. The most infamous and successful firm in the capital was Franklin & Armfield, whose slave pen is shown here under a later owner’s name. Three to four hundred slaves were regularly kept on the premises in large, heavily locked cells for sale to Southern plantation owners. According to a note by Alexander Gardner, who published a similar view, “Before the war, a child three years old, would sell in Alexandria, for about fifty dollars, and an able-bodied man at from one thousand to eighteen hundred dollars. A woman would bring from five hundred to fifteen hundred dollars, according to her age and personal attractions.” 

Late in the 1830s Franklin and Armfield, already millionaires from the profits they had made, sold out to George Kephart, one of their former agents. Although slavery was outlawed in the District in 1850, it flourished across the Potomac in Alexandria. In 1859, Kephart joined William Birch, J. C. Cook, and C. M. Price and conducted business under the name of Price, Birch & Co. The partnership was dissolved in 1859, but Kephart continued operating his slave pen until Union troops seized the city in the spring of 1861.

.

Andrew Joseph Russell (American, 1830-1902) 'Slave Pen, Alexandria, Virginia' 1863 (detail)

.

Andrew Joseph Russell (American, 1830-1902)
Slave Pen, Alexandria, Virginia (detail)
1863
Albumen silver print from glass negative
The Metropolitan Museum of Art, Gilman Collection, Purchase, The Horace W. Goldsmith Foundation Gift, through Joyce and Robert Menschel, 2005
© The Metropolitan Museum of Art, New York

.

Unknown Artist, after an 1860 carte de visite by Mathew B. Brady. 'Presidential Campaign Medal with Portraits of Abraham Lincoln and Hannibal Hamlin' 1860

.

Unknown Artist, after an 1860 carte de visite by Mathew B. Brady
Presidential Campaign Medal with Portraits of Abraham Lincoln and Hannibal Hamlin
1860
Tintypes in stamped brass medallion
The Metropolitan Museum of Art, Purchase, The Overbrook Foundation Gift, 2012
© The Metropolitan Museum of Art, New York

.

.

“More than 200 of the finest and most poignant photographs of the American Civil War have been brought together for the landmark exhibition Photography and the American Civil War, opening April 2 at The Metropolitan Museum of Art. Through examples drawn from the Metropolitan’s celebrated holdings of this material, complemented by exceptional loans from public and private collections, the exhibition will examine the evolving role of the camera during the nation’s bloodiest war. The “War between the States” was the great test of the young Republic’s commitment to its founding precepts; it was also a watershed in photographic history. The camera recorded from beginning to end the heartbreaking narrative of the epic four-year war (1861-1865) in which 750,000 lives were lost. This traveling exhibition will explore, through photography, the full pathos of the brutal conflict that, after 150 years, still looms large in the American public’s imagination.

At the start of the Civil War, the nation’s photography galleries and image purveyors were overflowing with a variety of photographs of all kinds and sizes, many examples of which will be featured in the exhibition: portraits made on thin sheets of copper (daguerreotypes), glass (ambrotypes), or iron (tintypes), each housed in a small decorative case; and larger, “painting-sized” likenesses on paper, often embellished with India ink, watercolor, and oils. On sale in bookshops and stationers were thousands of photographic portraits on paper of America’s leading statesmen, artists, and actors, as well as stereographs of notable scenery from New York’s Broadway to Niagara Falls to the canals of Venice. Viewed in a stereopticon, the paired images provided the public with seeming three-dimensionality and the charming pleasure of traveling the world in one’s armchair.

Photography and the Civil War will include: intimate studio portraits of armed Union and Confederate soldiers preparing to meet their destiny; battlefield landscapes strewn with human remains; rare multi-panel panoramas of the killing fields of Gettysburg and destruction of Richmond; diagnostic medical studies of wounded soldiers who survived the war’s last bloody battles; and portraits of Abraham Lincoln as well as his assassin John Wilkes Booth. The exhibition features groundbreaking works by Mathew B. Brady, George N. Barnard, Alexander Gardner, and Timothy O’Sullivan, among many others. It also examines in-depth the important, if generally misunderstood, role played by Brady, perhaps the most famous of all wartime photographers, in conceiving the first extended photographic coverage of any war. The exhibition addresses the widely held, but inaccurate, belief that Brady produced most of the surviving Civil War images, although he actually made very few field photographs during the conflict. Instead, he commissioned and published, over his own name and imprint, negatives made by an ever-expanding team of field operators, including Gardner, O’Sullivan, and Barnard.

The exhibition will feature Gardner’s haunting views of the dead at Antietam in September 1862, which are believed to be the first photographs of the Civil War seen in a public exhibition. A reporter for the New York Times wrote on October 20, 1862, about the images shown at Brady’s New York City gallery: “Mr. Brady has done something to bring home to us the terrible reality and earnestness of war. If he has not brought bodies and laid them in our dooryards and along the streets, he has done something very like it… Here lie men who have not hesitated to seal and stamp their convictions with their blood – men who have flung themselves into the great gulf of the unknown to teach the world that there are truths dearer than life, wrongs and shames more to be dreaded than death.”

Approximately 1,000 photographers worked separately and in teams to produce hundreds of thousands of photographs – portraits and views – that were actively collected during the period (and over the past century and a half) by Americans of all ages and social classes. In a direct expression of the nation’s changing vision of itself, the camera documented the war and also mediated it by memorializing the events of the battlefield as well as the consequent toll on the home front.

Among the many highlights of the exhibition will be a superb selection of early wartime portraits of soldiers and officers who sat for their likenesses before leaving their homes for the war front. In these one-of-a-kind images, a picture of American society emerges. The rarest are ambrotypes and tintypes of Confederates, drawn from the renowned collection of David Wynn Vaughan, who has assembled the country’s premier archive of Southern portraits. These seldom-seen photographs, and those by their Northern counterparts, will balance the well-known and often-reproduced views of bloody battlefields, defensive works, and the specialized equipment of 19th-century war.

The show will focus special attention on the remarkable images included in the two great wartime albums of original photographs: Gardner’s Photographic Sketch Book of War and George N. Barnard’s Photographic Views of Sherman’s Campaign, both released in 1866. The former publication includes 100 views commissioned, sequenced, and annotated by Alexander Gardner. This two-volume opus provides an epic documentation of the war seen through the photographs of 11 artists, including Gardner himself. It features 10 plates of Gettysburg, including Timothy O’Sullivan’s A Harvest of Death, Gettysburg, and Gardner’s Home of a Rebel Sharpshooter, Gettysburg, both of which are among the most well-known and important images from the early history of photography. The second publication includes 61 large-format views by a single artist, George N. Barnard, who followed the army campaign of one general, William Tecumseh Sherman, in the final months of the war – the “March to the Sea” from Tennessee to Georgia in 1864 and 1865. The exhibition explores how different Barnard’s photographs are from those in Gardner’s Sketch Book, and how distinctly Barnard used the camera to serve a nation trying to heal itself after four long years of war and brother-versus-brother bitterness.

Among the most extraordinary, if shocking, photographs in the exhibition are the portraits by Dr. Reed Brockway Bontecou of wounded and sick soldiers from the war’s last battles. Drawn from a private medical teaching album put together by this Civil War surgeon and head of Harewood Hospital in Washington, D.C., and on loan from the celebrated Burns Archive, the photographs are notable for their humanity and their aesthetics. They recall Walt Whitman’s words from 1865, that war “was not a quadrille in a ball-room. Its interior history will not only never be written, its practicality, minutia of deeds and passions, will never be suggested.” Bontecou’s medical portraits offer a glimpse of what the poet thought was not possible.

In addition to providing a thorough analysis of the camera’s incisive documentation of military activity and its innovative use as a teaching tool for medical doctors, the exhibition explores other roles that photography played during the war. It investigates the relationship between politics and photography during the tumultuous period and presents exceptional political ephemera from the private collection of Brian Caplan, including: a rare set of campaign buttons from 1860 featuring original tintype portraits of the competing candidates; a carved tagua nut necklace featuring photographic portraits of Confederate President Jefferson Davis and two members of his cabinet; and an extraordinary folding game board composed of photographic likenesses of President Lincoln and his generals. The show also includes an inspiring carte de visite portrait of the abolitionist and human rights activist Sojourner Truth. A former slave from New York State, she sold photographs of herself to raise money to educate emancipated slaves, and to support widows, orphans, and the wounded. And finally the exhibition includes the first photographically illustrated “wanted” poster, a printed broadside with affixed photographic portraits that led to the capture John Wilkes Booth and his fellow conspirators after the assassination of President Lincoln in April 1865.”

Press release from the Metropolitan Museum of Art website

.

Unknown, American. '[Broadside for the Capture of John Wilkes Booth, John Surratt, and David Herold]' April 20, 1865

.

Unknown, American
[Broadside for the Capture of John Wilkes Booth, John Surratt, and David Herold]
Artist: Alexander Gardner (American, Glasgow, Scotland 1821-1882 Washington, D.C.)
Photography Studio: Silsbee, Case & Company (American, active Boston)
Photography Studio: Unknown
April 20, 1865
Ink on paper with three albumen silver prints from glass negatives
Sheet: 60.5 x 31.3 cm (23 13/16 x 12 5/16 in.) Each photograph: 8.6 x 5.4 cm (3 3/8 x 2 1/8 in.)
Collages
Gilman Collection, Purchase, The Horace W. Goldsmith Foundation Gift, through Joyce and Robert Menschel, 2005

.

On the night of April 14, 1865, just five days after Lee’s surrender to Grant at Appomattox, John Wilkes Booth shot Lincoln at the Ford Theatre in Washington, D.C. Within twenty-four hours, Secret Service director Colonel Lafayette Baker had already acquired photographs of Booth and two of his accomplices. Booth’s photograph was secured by a standard police search of the actor’s room at the National Hotel; a photograph of John Surratt, a suspect in the plot to kill Secretary of State William Seward, was obtained from his mother, Mary (soon to be indicted as a fellow conspirator), and David Herold’s photograph was found in a search of his mother’s carte-de-visite album. The three photographs were taken to Alexander Gardner’s studio for immediate reproduction. This bill was issued on April 20, the first such broadside in America illustrated with photographs tipped onto the sheet.
The descriptions of the alleged conspirators combined with their photographic portraits proved invaluable to the militia. Six days after the poster was released Booth and Herold were recognized by a division of the 16th New York Cavalry. The commanding officer, Lieutenant Edward Doherty, demanded their unconditional surrender when he cornered the two men in a barn near Port Royal, Virginia. Herold complied; Booth refused. Two Secret Service detectives accompanying the cavalry, then set fire to the barn. Booth was shot as he attempted to escape; he died three hours later. After a military trial Herold was hanged on July 7 at the Old Arsenal Prison in Washington, D.C.
Surratt escaped to England via Canada, eventually settling in Rome. Two years later a former schoolmate from Maryland recognized Surratt, then a member of the Papal Guard, and he was returned to Washington to stand trial. In September 1868 the charges against him were nol-prossed after the trial ended in a hung jury. Surratt retired to Maryland, worked as a clerk, and lived until 1916.

.

Attributed to McPherson & Oliver (American, active New Orleans and Baton Rouge, Louisiana, 1860s) 'The Scourged Back' April 1863

.

Attributed to McPherson & Oliver (American, active New Orleans and Baton Rouge, Louisiana, 1860s)
The Scourged Back
April 1863
Albumen silver print from glass negative
8.7 x 5.5 cm (3 7/16 x 2 3/16 in.)
International Center of Photography, Purchase, with funds provided by the ICP Acquisitions Committee, 2003

.

Gordon, a runaway slave seen with severe whipping scars in this haunting carte-de-visite portrait, is one of the many African Americans whose lives Sojourner Truth endeavored to better. Perhaps the most famous of all known Civil War-era portraits of slaves, the photograph dates from March or April 1863 and was made in a camp of Union soldiers along the Mississippi River, where the subject took refuge after escaping his bondage on a nearby Mississippi plantation.

On Saturday, July 4, 1863, this portrait and two others of Gordon appeared as wood engravings in a special Independence Day feature in Harper’s Weekly. McPherson & Oliver’s portrait and Gordon’s narrative in the newspaper were extremely popular, and photography studios throughout the North (including Mathew B. Brady’s) duplicated and sold prints of The Scourged Back. Within months, the carte de visite had secured its place as an early example of the wide dissemination of ideologically abolitionist photographs.

.

J. W. Jones (American, active Orange, Massachusetts, 1860s) 'Emaciated Union Soldier Liberated from Andersonville Prison' 1865

.

J. W. Jones (American, active Orange, Massachusetts, 1860s)
Emaciated Union Soldier Liberated from Andersonville Prison
1865
Albumen silver print from glass negative
Image: 9 x 5.5 cm (3 9/16 x 2 3/16 in.)
Brian D. Caplan Collection

.

Most soldiers who survived Andersonville Prison were marked for life. This portrait of an unidentified former prisoner is one of many that document the intense cruelty of prison life during the Civil War. It would be another eighty years, at the end of World War II, before anyone would see comparable pictures of man’s inhumanity to man.

.

George Wertz (American, active Kansas City, Missouri, 1860s) 'Private William Henry Lord, Company I, Eleventh Kansas Volunteer Cavalry' 1863-65

.

George Wertz (American, active Kansas City, Missouri, 1860s)
Private William Henry Lord, Company I, Eleventh Kansas Volunteer Cavalry
1863-65
Albumen silver print from glass negative
8.4 x 5.6 cm (3 5/16 x 2 3/16 in.)
W. Bruce and Delaney H. Lundberg Collection

.

Private William Henry Lord, a cavalryman, sits alert and ready for the next ride. A yet unmuddied enlistee from “Bleeding Kansas,” the last state to enter the Union before Fort Sumter, Lord was in the Eleventh Kansas Volunteer Cavalry; he was wounded in the shoulder in October 1864 but rejoined his company and was mustered out in September 1865.

.

Unknown. 'March from Annapolis to Washington, Robert C. Rathbone, Sergeant Major, Seventh Regiment, New York Militia' April 24, 1861

.

Unknown 
March from Annapolis to Washington, Robert C. Rathbone, Sergeant Major, Seventh Regiment, New York Militia
April 24, 1861
Albumen silver print from glass negative
8.9 x 5.4 cm (3 1/2 x 2 1/8 in.)
Michael J. McAfee Collection

.

The Seventh Regiment, New York Militia was among the first military groups to leave for Washington, D.C., after Lincoln’s call to arms in April 1861. In or near Annapolis, en route to the nation’s capital, Sergeant Major Rathbone posed for his portrait. He annotated his likeness with enough information to suggest that this image might be the first (identifiable) photograph of a soldier made after the fall of Fort Sumter. Representative of thousands of similar portraits, this study of an officer seen against a blank wall with just a hint of a studio column is typical of the simplicity of the earliest war pictures.

Note the stand just visible behind Sergeant Major Rathbone’s feet to brace the sitter for the long exposures necessary.

.

Mathew B. Brady (American, near Lake George, New York 1823?–1896 New York) 'General Robert E. Lee' 1865

.

Mathew B. Brady (American, near Lake George, New York 1823?–1896 New York)
General Robert E. Lee
1865
Albumen silver print from glass negative
14 × 9.3 cm (5 1/2 × 3 11/16 in.)
Gilman Collection, Museum Purchase, 2005

.

Confederate General Robert E. Lee surrendered his army to Union General Ulysses S. Grant at Appomattox Court House, Virginia, on April 9, 1865. The Civil War was over. If not whole, the nation was at least reunited, and the slow recovery of Reconstruction could begin. As soon as he heard that Lee had left Appomattox and returned to Richmond, Mathew B. Brady headed there with his camera equipment. The Lees’ Franklin Street residence had survived the fires that had devastated many of the commercial sections of the city. Through the kindness of Mrs. Lee and a Confederate colonel, Brady received permission to photograph the general on April 16, 1865, just two days after President Lincoln’s assassination. Brady’s portrait of General Lee holding his hat, on his own back porch, is one of the most reflective and thoughtful wartime likenesses. The fifty-eight-year-old Confederate hero poses in the uniform he had worn at the surrender. It would be Brady’s last wartime photograph.

.

Charles Paxson (American, active New York, 1860s) 'Wilson, Branded Slave from New Orleans' 1863

.

Charles Paxson (American, active New York, 1860s)
Wilson, Branded Slave from New Orleans
1863
Albumen silver print from glass negative
8.4 x 5.3 cm (3 5/16 x 2 1/16 in.)
Private Collection, Courtesy of William L. Schaeffer

.

On January 30, 1864, to fan the anti-slavery cause and promote the sale of abolitionist photographs, Harper’s Weekly published this carte de visite and three others as wood engravings. The newspaper also included stirring bibliographies of the emancipated slaves. The editors noted that Wilson Chinn was about sixty years old. His former master, Volsey B. Marmillion, a sugar planter near New Orleans, “was accustomed to brand his negroes, and Wilson has on his forehead the letters ‘V.B.M.’”

.

Gayford & Speidel (Active Rock Island, Illinois, 1860s) 'Private Louis Troutman, Company F, 108th Regiment, U.S. Colored Infantry' January-May 1865

.

Gayford & Speidel (Active Rock Island, Illinois, 1860s)
Private Louis Troutman, Company F, 108th Regiment, U.S. Colored Infantry
January-May 1865
Albumen silver print from glass negative
8.8 x 5.4 cm (3 7/16 x 2 1/8 in.)
Thomas Harris Collection

.

Samuel Masury (American, 1818-1874) 'Frances Clalin Clayton' 1864-66

.

Samuel Masury (American, 1818–1874)
Frances Clalin Clayton
1864-66
Albumen silver print from glass negative
9.4 x 5.6 cm (3 11/16 x 2 3/16 in.)
Buck Zaidel Collection

.

Frances Clayton is an exception – a woman who served in the Union army by disguising herself as a man. In a popular carte de visite collected by soldiers at the end of the war, she poses here as Jack Williams and suggestively holds the handle of a cavalry sword between her crossed legs. The facts of her life story and military service are difficult to confirm, but it is believed that she served in the Missouri cavalry (or infantry) beside her husband, who died at the Battle of Stones River in late December 1862.

.

Reed Brockway Bontecou (American, 1824-1907) 'Private Samuel Shoop, Company F, 200th Pennsylvania Infantry' April-May 1865

.

Reed Brockway Bontecou (American, 1824-1907)
Private Samuel Shoop, Company F, 200th Pennsylvania Infantry
April-May 1865
Albumen silver print from glass negative
18.9 × 13.1 cm (7 7/16 × 5 3/16 in.)
Gift of Stanley B. Burns, M.D. and The Burns Archive, 1992

.

The last great battle of the Civil War was the siege of Petersburg, Virginia – a brutal campaign that led to Confederate General Robert E. Lee’s surrender on April 9, 1865. Samuel Shoop, a twenty-five-year-old private in Company F of the 200th Pennsylvania Volunteers, received a gunshot wound in the thigh at Fort Steadman on the first day of the campaign (March 25) and was evacuated to Harewood Hospital in Washington, D.C. His leg was amputated by Dr. Reed Brockway Bontecou, surgeon in charge, who also made this clinical photograph. It was intended, in part, to serve as a tool for teaching fellow army surgeons and is an extremely rare example of the early professional use of photography in America.

.

George N. Barnard (American, 1819-1902) 'Bonaventure Cemetery, Four Miles from Savannah' 1866

.

George N. Barnard (American, 1819-1902)
Bonaventure Cemetery, Four Miles from Savannah
1866
Albumen silver print from glass negative
34 x 26.4 cm (13 3/8 x 10 3/8 in.)
Gilman Collection, Purchase, Ann Tenenbaum and Thomas H. Lee Gift, 2005

.

Unknown. 'Sojourner Truth, "I Sell the Shadow to Support the Substance"' 1864

.

Unknown
Sojourner Truth, “I Sell the Shadow to Support the Substance”
1864
Albumen silver print from glass negative
Carte-de-visite
The Metropolitan Museum of Art, Purchase, Alfred Stieglitz Society Gifts, 2013
© The Metropolitan Museum of Art, New York

.

Sojourner Truth (c. 1797 – November 26, 1883) was the self-given name, from 1843 onward, of Isabella Baumfree, an African-American abolitionist and women’s rights activist. Truth was born into slavery in Swartekill, Ulster County, New York, but escaped with her infant daughter to freedom in 1826. After going to court to recover her son, she became the first black woman to win such a case against a white man. Her best-known extemporaneous speech on gender inequalities, “Ain’t I a Woman?”, was delivered in 1851 at the Ohio Women’s Rights Convention in Akron, Ohio. During the Civil War, Truth helped recruit black troops for the Union Army; after the war, she tried unsuccessfully to secure land grants from the federal government for former slaves (Wikipedia)

.

Mathew B. Brady (American (born Ireland), 1823/24-1896 New York) Edward Anthony (American, 1818-1888) 'Abraham Lincoln' February 27, 1860

.

Mathew B. Brady (American (born Ireland), 1823/24-1896 New York)
Edward Anthony (American, 1818-1888)
Abraham Lincoln
February 27, 1860
Albumen silver print from glass negative
Carte-de-visite
The Meserve-Kunhardt Foundation

.

Three months before his nomination as the Republican Party candidate for president, Abraham Lincoln went East, stopping in New York City on February 27, 1860, to give a speech at the Cooper Institute (now the Cooper Union for the Advancement of Science and Art). Many considered Lincoln’s powerful antislavery lecture as his most important to date. The closing words spurred his audience and the country at large: “Let us have faith that right makes might, and in that faith, let us, to the end, dare to do our duty as we understand it.”

Earlier in the day he sat for this portrait at Mathew B. Brady’s gallery on Broadway and Tenth Street, just a few blocks from the lecture hall. Although his visit to the studio could not have lasted long, the result of this first of many portrait sessions with Brady was a simple but powerful image that would alter the visual landscape during the upcoming election. In a single exposure on a silver-coated sheet of glass, Brady captured the odd physiognomy of the man who would change the course of American history.

.

Unknown. '[Private James House with Fighting Knife, Sixteenth Georgia Cavalry Battalion, Army of Tennessee]' 1861-62?

.

Unknown
[Private James House with Fighting Knife, Sixteenth Georgia Cavalry Battalion, Army of Tennessee]
1861-62?
Ambrotype
Sixth-plate; ruby glass
David Wynn Vaughan Collection
Image: Jack Melton

.

This portrait of a cavalryman is an excellent example of a well-armed Confederate soldier. Private House wears a slouch hat and a checked battle shirt seen through the gaps in a modified woolen shell jacket with tabbed button closures. He brandishes his fighting knife and for quick use has half removed a pocket revolver from its belted holster. Perhaps the most frightening weapons in House’s personal arsenal may be his focused stare and his set jaw.

16th Cavalry Battalion was assembled in May, 1862, at Big Shanty, Georgia, and was composed of six companies. It served in East Tennessee and Southwest Virginia and took part in the engagements at Blue Springs, Bean’s Station, Cloyd’s Mountain, and Marion. In January, 1865, the battalion merged into the 13th Georgia Cavalry Regiment. Lieutenant Colonels F.M. Nix and Samuel J. Winn, and Major Edward Y. Clarke were its commanding officers.

.

Unknown. '[Private James House with Fighting Knife, Sixteenth Georgia Cavalry Battalion, Army of Tennessee]' 1861-62? (detail)

.

Unknown
[Private James House with Fighting Knife, Sixteenth Georgia Cavalry Battalion, Army of Tennessee] (detail)
1861-62?
Ambrotype
Sixth-plate; ruby glass
David Wynn Vaughan Collection
Image: Jack Melton

.

Unknown, American. 'Union Sergent John Emery' 1861-65

.

Unknown, American
Union Sergent John Emery
1861-65
Tintype
Plate: 8.9 x 6.4 cm (3 1/2 x 2 1/2 in.)
Case: 10 × 8.9 cm (3 15/16 × 3 1/2 in.)
The Horace W. Goldsmith Foundation Fund, through Joyce and Robert Menschel, 2012

.

The only details presently known about this handsome, young Union sergeant wearing a striped bowtie and an imported English snake belt buckle derive from a small paper note found behind the portrait inside the thermoplastic case: “Uncle John Emery / brother of / Lucy King / buried at E. Concord / died in 1876 / buried at back in right corner.”

.

Unknown. '[Private Thomas Gaston Wood, Drummer, Company H, "Walton Infantry," Eleventh Regiment Georgia Volunteer Infantry]' 1861

.

Unknown 
[Private Thomas Gaston Wood, Drummer, Company H, "Walton Infantry," Eleventh Regiment Georgia Volunteer Infantry]
1861
Tintype
Plate: 6.4 x 5.1 cm (2 1/2 x 2 in.)
David Wynn Vaughan Collection

.

Private Wood sits against a blank wall in a photographer’s studio. He is sixteen years old and will not see seventeen. An orphan, he joined Company H in Social Circle, Georgia, on July 3, 1861, and before the end of the year died of pneumonia in a Richmond hospital. Wood seems proud of his shell jacket and especially his kepi, which he marked under the brim with his initials. The photographer tipped up the cap to reveal the sitter’s handiwork, but the letters are laterally reversed in the tintype. As a musician, he poses without any prop other than his uniform, the buttons touched with gold.

.

.

The Metropolitan Museum of Art
1000 Fifth Avenue at 82nd Street
New York, New York 10028-0198
T: 212-535-7710

Opening hours:
Tuesday – Thursday: 9.30 am – 5.30 pm*
Friday and Saturday: 9.30 am – 9.00 pm*
Sunday: 9.30 am – 5.30 pm*
Closed Monday (except Met Holiday Mondays**), Thanksgiving, Christmas, and New Year’s Day

The Metropolitan Museum of Art website

LIKE ART BLART ON FACEBOOK

Back to top

24
Jul
13

Exhibition: ‘At War with the Obvious: Photographs by William Eggleston’ at The Metropolitan Museum of Art, New York

Exhibition dates: 26th February – 28th July 2013

.

Eggleston photographs the obvious with such candour and vigour that simple things become something more: almost interior statements of his mind evidenced in the physicality of the photograph. He may be at war with the obvious, but these are complex thoughts told in simple, eloquent ways. They are only obvious if you know how to look for them.

The peaches thrown on the roof, the rusted speculum of ‘Wonder Bread’, the turned up shoes; the use of foreshortening, the low positioning of the camera (looking up or across at ground level), the formalism of colour, the light.

Eggleston understands the essence of each scene he photographs perfectly. The child’s eye-level view of the tricycle emphasising its gigantism will always be a favourite, as will the abstract expressionist colour field of Untitled (Greenwood, Mississippi) (1980, below). As with any virtuoso artist, Eggleston controls the tonality and mood of compositions beautifully: a case in point is Untitled (Memphis) (c. 1972, below) which will always remind me of a piece of Mozart piano music. It took me a while when I was growing up to like Mozart (as a concert pianist I loved the romantics such as Chopin and Debussy), but when you finally understand all the nuances contained in his music, when you finally grow to love him, you are just so full of admiration for his achievement.

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

*PLEASE NOTE THIS POSTING CONTAINS AN ART PHOTOGRAPH OF MALE NUDITY – IF YOU DO NOT LIKE PLEASE DO NOT LOOK, FAIR WARNING HAS BEEN GIVEN*

.

.

William Eggleston (American, born 1939) 'Untitled' 1971

.

William Eggleston (American, born 1939)
Untitled
1971
Dye-transfer print
31.1 x 47.7 cm (12 1/4 x 18 3/4 in.)
The Metropolitan Museum of Art
Purchase, Louis V. Bell, Harris Brisbane Dick, Fletcher, and Rogers Funds and Joseph Pulitzer Bequest; Elizabeth S. and Robert J. Fisher, Jennifer and Philip Maritz, and Charlotte A. and William E. Ford Gifts; The Horace W. Goldsmith Foundation Fund, through Joyce and Robert Menschel, 2012
© Eggleston Artistic Trust

.

William Eggleston (American, born 1939) 'Untitled (Mississippi)' c. 1970

.

William Eggleston (American, born 1939)
Untitled (Mississippi)
c. 1970
Dye-transfer print
25.1 x 38.3 cm (9 7/8 x 15 1/16 in)
The Metropolitan Museum of Art
Purchase, Louis V. Bell, Harris Brisbane Dick, Fletcher, and Rogers Funds and Joseph Pulitzer Bequest, and Jennifer and Philip Maritz Gift, 2012
© Eggleston Artistic Trust

.

William Eggleston (American, born 1939) 'Untitled (Sumner, Mississippi, Cassidy Bayou in Background)' 1971 (printed 1999)

.

William Eggleston (American, born 1939)
Untitled (Sumner, Mississippi, Cassidy Bayou in Background)
1971 (printed 1999)
Dye-transfer print
36.8 x 55.5 cm (14 1/2 x 21 7/8 in.)
The Metropolitan Museum of Art
Purchase, Louis V. Bell, Harris Brisbane Dick, Fletcher, and Rogers Funds and Joseph Pulitzer Bequest, and Elizabeth S. and Robert J. Fisher Gift, 2012
© Eggleston Artistic Trust

.

William Eggleston (American, born 1939) 'Untitled, from the portfolio 14 Pictures' 1974

.

William Eggleston (American, born 1939)
Untitled, from the portfolio 14 Pictures
1974
Dye-transfer print
33.1 x 48.5 cm (13 1/16 x 19 1/8 in.)
The Metropolitan Museum of Art
Purchase, Louis V. Bell, Harris Brisbane Dick, Fletcher, and Rogers Funds and Joseph Pulitzer Bequest; Elizabeth S. and Robert J. Fisher, Jennifer and Philip Maritz, and Charlotte A. and William E. Ford Gifts; The Horace W. Goldsmith Foundation Fund, through Joyce and Robert Menschel, 2012
© Eggleston Artistic Trust

.

William Eggleston (American, born 1939) 'Untitled (Louisiana)' 1980 (printed 1999)

.

William Eggleston (American, born 1939)
Untitled (Louisiana)
1980 (printed 1999)
Dye-transfer print
30.2 x 45.3 cm (11 7/8 x 17 13/16 in.)
The Metropolitan Museum of Art
Purchase, Louis V. Bell, Harris Brisbane Dick, Fletcher, and Rogers Funds and Joseph Pulitzer Bequest, Twentieth-Century Photography Fund, and Elizabeth S. and Robert J. Fisher Gift, 2012
© Eggleston Artistic Trust

.

William Eggleston (American, born 1939) 'Untitled' 1974

.

William Eggleston (American, born 1939)
Untitled
1974
Dye-transfer print
33.1 x 48.5 cm (13 1/16 x 19 1/8 in.)
The Metropolitan Museum of Art
Purchase, Louis V. Bell, Harris Brisbane Dick, Fletcher, and Rogers Funds and Joseph Pulitzer Bequest, and Jennifer and Philip Maritz Gift, 2012
© Eggleston Artistic Trust

.

William Eggleston (American, born 1939) 'Untitled (Greenwood, Mississippi)' 1980

.

William Eggleston (American, born 1939)
Untitled (Greenwood, Mississippi)
1980
Dye-transfer print
29.6 x 45.5 cm (11 5/8 x 17 15/16 in.)
The Metropolitan Museum of Art
Purchase, Louis V. Bell, Harris Brisbane Dick, Fletcher, and Rogers Funds and Joseph Pulitzer Bequest, and Jennifer and Philip Maritz Gift, 2012
© Eggleston Artistic Trust

.

.

“The American photographer William Eggleston (born 1939) emerged in the early 1960s as a pioneer of modern color photography. Now, 50 years later, he is arguably its greatest exemplar. At War with the Obvious: Photographs by William Eggleston at The Metropolitan Museum of Art presents the work of this idiosyncratic artist, whose influences are drawn from disparate if surprisingly complementary sources – from Walker Evans and Henri Cartier-Bresson in photography to Bach and late Baroque music. Many of Eggleston’s most recognized photographs are lush studies of the social and physical landscape found in the Mississippi delta region that is his home. From this base, the artist explores the awesome and, at times, the raw visual poetics of the American vernacular.

The exhibition celebrates the fall 2012 acquisition of 36 dye transfer prints by Eggleston that dramatically expanded the Metropolitan Museum’s collection of this major American artist’s work. It added the entire suite of Eggleston’s remarkable first portfolio of color photographs, 14 Pictures (1974), 15 superb prints from his landmark book, William Eggleston’s Guide (1976), and seven other key photographs that span his career.

Eggleston wrote that he was “at war with the obvious,” a statement well-represented in works such as Untitled [Peaches!] (1970) – a roadside snapshot of rocks and half-eaten fruit thrown atop a sunlit corrugated tin roof capped with a sign announcing “PEACHES!” The exhibition features a number of the artist’s signature images, including Untitled [Greenwood, Mississippi] (1980), a study that takes full advantage of the chromatic intensity of the dye-transfer color process that, until Eggleston appropriated it in the 1960s, had been used primarily by commercial photographers for advertising product photography; and Untitled [Memphis] (1970), an iconic study of a child’s tricycle seen from below. It was the cover image of the artist’s seminal book William Eggleston’s Guide, which accompanied his landmark show at the Museum of Modern Art in 1976.

As much as Eggleston was influenced by various sources, he, too, has proved influential. His inventive photographs of commonplace subjects now endure as touchstones for generations of artists, musicians, and filmmakers from Nan Goldin to David Byrne, the Coen brothers, and David Lynch.

.

William Eggleston (American, born 1939) 'Untitled (Memphis)' 1970

.

William Eggleston (American, born 1939)
Untitled (Memphis)
1970
Dye-transfer print
30.7 x 43.8 cm (12 1/16 x 17 1/4 in.)
The Metropolitan Museum of Art
Purchase, Louis V. Bell, Harris Brisbane Dick, Fletcher, and Rogers Funds and Joseph Pulitzer Bequest; Louis V. Bell Fund; Elizabeth S. and Robert J. Fisher, Jennifer and Philip Maritz, and Charlotte A. and William E. Ford Gifts, 2012
© Eggleston Artistic Trust

.

William Eggleston (American, born 1939) 'Untitled' 1974

.

William Eggleston (American, born 1939)
Untitled
1974
Dye-transfer print
33.1 x 48.5 cm (13 1/16 x 19 1/8 in.)
The Metropolitan Museum of Art
Purchase, Louis V. Bell, Harris Brisbane Dick, Fletcher, and Rogers Funds and Joseph Pulitzer Bequest, and Jennifer and Philip Maritz Gift, 2012
© Eggleston Artistic Trust

.

William Eggleston (American, born 1939) 'Untitled' 1974

.

William Eggleston (American, born 1939)
Untitled
1974
Dye-transfer print
33.1 x 48.5 cm (13 1/16 x 19 1/8 in.)
The Metropolitan Museum of Art
Purchase, Louis V. Bell, Harris Brisbane Dick, Fletcher, and Rogers Funds and Joseph Pulitzer Bequest, and Jennifer and Philip Maritz Gift, 2012
© Eggleston Artistic Trust

.

William Eggleston (American, born 1939) 'Untitled' 1974

.

William Eggleston (American, born 1939)
Untitled
1974
Dye-transfer print
33.1 x 48.5 cm (13 1/16 x 19 1/8 in.)
The Metropolitan Museum of Art
Purchase, Louis V. Bell, Harris Brisbane Dick, Fletcher, and Rogers Funds and Joseph Pulitzer Bequest, and Jennifer and Philip Maritz Gift, 2012
© Eggleston Artistic Trust

.

William Eggleston (American, born 1939) 'Untitled' 1974

.

William Eggleston (American, born 1939)
Untitled
1974
Dye-transfer print
33.1 x 48.5 cm (13 1/16 x 19 1/8 in.)
The Metropolitan Museum of Art
Purchase, Louis V. Bell, Harris Brisbane Dick, Fletcher, and Rogers Funds and Joseph Pulitzer Bequest, and Jennifer and Philip Maritz Gift, 2012
© Eggleston Artistic Trust

.

William Eggleston (American, born 1939) 'Untitled' 1983

.

William Eggleston (American, born 1939)
Untitled
1983
Dye-transfer print
37 x 56 cm (14 9/16 x 22 1/16 in.)
The Metropolitan Museum of Art
Purchase, Louis V. Bell, Harris Brisbane Dick, Fletcher, and Rogers Funds and Joseph Pulitzer Bequest, and Jennifer and Philip Maritz Gift, 2012
© Eggleston Artistic Trust

.

William Eggleston (American, born 1939) 'Untitled' c. 1972 (printed 1986)

.

William Eggleston (American, born 1939)
Untitled
c. 1972 (printed 1986)
Dye-transfer print
28.8 x 43.4 cm (11 5/16 x 17 1/16 in.)
The Metropolitan Museum of Art
Purchase, Louis V. Bell, Harris Brisbane Dick, Fletcher, and Rogers Funds and Joseph Pulitzer Bequest, and Jennifer and Philip Maritz Gift, 2012
© Eggleston Artistic Trust

.

William Eggleston (American, born 1939) 'Untitled' 1984

.

William Eggleston (American, born 1939)
Untitled
1984
Dye-transfer print
55.9 x 37.1 cm (22 x 14 5/8 in.)
The Metropolitan Museum of Art
Purchase, Louis V. Bell, Harris Brisbane Dick, Fletcher, and Rogers Funds and Joseph Pulitzer Bequest, and Jennifer and Philip Maritz Gift, 2012
© Eggleston Artistic Trust

.

William Eggleston (American, born 1939) 'Untitled (Greenwood, Mississippi)' 1970 (printed 1999)

.

William Eggleston (American, born 1939)
Untitled (Greenwood, Mississippi)
1970 (printed 1999)
Dye-transfer print
55 x 37.1 cm (21 5/8 x 14 5/8 in.)
The Metropolitan Museum of Art
Purchase, Louis V. Bell, Harris Brisbane Dick, Fletcher, and Rogers Funds and Joseph Pulitzer Bequest, and Jennifer and Philip Maritz Gift, 2012
© Eggleston Artistic Trust

.

William Eggleston (American, born 1939) 'Untitled (Memphis)' c. 1972

.

William Eggleston (American, born 1939)
Untitled (Memphis)
c. 1972
Dye-transfer print
46 x 31 cm (18 1/8 x 12 3/16 in.)
The Metropolitan Museum of Art
Purchase, Louis V. Bell, Harris Brisbane Dick, Fletcher, and Rogers Funds and Joseph Pulitzer Bequest; Louis V. Bell Fund; Elizabeth S. and Robert J. Fisher, Jennifer and Philip Maritz, and Charlotte A. and William E. Ford Gifts, 2012
© Eggleston Artistic Trust

.

William Eggleston (American, born 1939) 'Untitled (Near Jackson, Mississippi)' c. 1970 (printed 2002)

.

William Eggleston (American, born 1939)
Untitled (Near Jackson, Mississippi)
c. 1970 (printed 2002)
Dye-transfer print
60.3 x 48.9 cm (23 3/4 x 19 1/4 in.)
The Metropolitan Museum of Art
Purchase, Louis V. Bell, Harris Brisbane Dick, Fletcher, and Rogers Funds and Joseph Pulitzer Bequest; Louis V. Bell Fund; Elizabeth S. and Robert J. Fisher, Jennifer and Philip Maritz, and Charlotte A. and William E. Ford Gifts, 2012
© Eggleston Artistic Trust

.

William Eggleston (American, born 1939) 'Untitled (Memphis)' 1971 (printed 1999)

.

William Eggleston (American, born 1939)
Untitled (Memphis)
1971 (printed 1999)
Dye-transfer print
55.4 x 36.8 cm (21 13/16 x 14 1/2 in.)
The Metropolitan Museum of Art (2012.283)
Purchase, Louis V. Bell, Harris Brisbane Dick, Fletcher, and Rogers Funds and Joseph Pulitzer Bequest, Twentieth-Century Photography Fund, and Elizabeth S. and Robert J. Fisher Gift, 2012
© Eggleston Artistic Trust

.

.

The Metropolitan Museum of Art
1000 Fifth Avenue at 82nd Street
New York, New York 10028-0198
T: 212-535-7710

Opening hours:
Tuesday – Thursday: 9.30 am – 5.30 pm*
Friday and Saturday: 9.30 am – 9.00 pm*
Sunday: 9.30 am – 5.30 pm*
Closed Monday (except Met Holiday Mondays**), Thanksgiving, Christmas, and New Year’s Day

The Metropolitan Museum of Art website

LIKE ART BLART ON FACEBOOK

Back to top

21
Jan
13

Exhibition: ‘Faking It: Manipulated Photography Before Photoshop’ at The Metropolitan Museum of Art, New York

Exhibition dates at the Metropolitan Museum of Art: 11th October 2012 – 27th January 2013

.

What a fascinating subject. Having completed multiple exposure work under the black and white enlarger I can attest to how difficult it was to get a print correctly exposed. I was using multiple negatives, moving the piece of photographic paper and printing in grids. Trying to get the alignment right was quite a task but the outcomes were very satisfying. Of course today these skills have mainly been lost to be replaced by other technological skills within the blancmange that is Photoshop. Somehow it’s not the same. My admiration for an artist like Jerry Uelsmann will always remain undimmed for the undiluted joy, beauty and skill of their analogue imagery.

I will post different photographs in this exhibition from the National Gallery of Art hang when I receive them!

.
Many thankx to the The Metropolitan Museum of Art, New York for allowing me to publish the photographs in the posting. Please click on the photographs for a larger version of the image.

.

.

Unidentified American artist. 'Two-Headed Man' ca. 1855

.

Unidentified American artist
Two-Headed Man
c. 1855
Daguerreotype
The Nelson-Atkins Museum of Art, Kansas City, Missouri, Gift of Hallmark Cards, Inc.

.

George Washington Wilson. 'Aberdeen Portraits No. 1' 1857

.

George Washington Wilson (Scottish, 1823-1893)
Aberdeen Portraits No. 1
1857
Albumen silver print from glass negative
The Metropolitan Museum of Art, The Horace W. Goldsmith Foundation Fund, through Joyce and Robert Menschel, 2011

.

Henry Peach Robinson. 'Fading Away' 1858

.

Henry Peach Robinson (English, 1830-1901)
Fading Away
1858
Albumen silver print from glass negatives
The Royal Photographic Society Collection at the National Media Museum, Bradford, United Kingdom

.

Unidentified artist. 'Man Juggling His Own Head' ca. 1880

.

Unidentified artist
Man Juggling His Own Head
ca. 1880
Albumen silver print from glass negative
Collection of Christophe Goeury

.

Maurice Guibert. 'Henri de Toulouse-Lautrec as Artist and Model' ca. 1900

.

Maurice Guibert (French, 1856-1913)
Henri de Toulouse-Lautrec as Artist and Model
c. 1900
Gelatin silver print
Philadelphia Museum of Art

.

F. Holland Day. 'The Vision (Orpheus Scene)' 1907

.

F. Holland Day (American, 1864-1933)
The Vision (Orpheus Scene)
1907
Platinum print
The Royal Photographic Society Collection at the National Media Museum, Bradford, United Kingdom

.

Unidentified American artist. 'Man on Rooftop with Eleven Men in Formation on His Shoulders' c. 1930

.

Unidentified American artist
Man on Rooftop with Eleven Men in Formation on His Shoulders
c. 1930
Gelatin silver print
Collection of George Eastman House, International Museum of Photography and Film, Rochester

.

Unidentified American artist. 'Dirigible Docked on Empire State Building, New York' 1930

.

Unidentified American artist
Dirigible Docked on Empire State Building, New York
1930
Gelatin silver print
The Metropolitan Museum of Art, Twentieth-Century Photography Fund, 2011

.

.

“While digital photography and image-editing software have brought about an increased awareness of the degree to which camera images can be manipulated, the practice of doctoring photographs has existed since the medium was invented. Faking It: Manipulated Photography Before Photoshop at The Metropolitan Museum of Art is the first major exhibition devoted to the history of manipulated photography before the digital age. Featuring some 200 visually captivating photographs created between the 1840s and 1990s in the service of art, politics, news, entertainment, and commerce, the exhibition offers a provocative new perspective on the history of photography as it traces the medium’s complex and changing relationship to visual truth. 

The exhibition is made possible by Adobe Systems Incorporated. 

The photographs in the exhibition were altered using a variety of techniques, including multiple exposure (taking two or more pictures on a single negative), combination printing (producing a single print from elements of two or more 
negatives), photomontage, overpainting, and retouching on the negative or print. 

In every case, the meaning and content of the camera image was significantly transformed in the process of manipulation.

Faking It is divided into seven sections, each focusing on a different set of motivations for manipulating the camera image. “Picture Perfect” explores 19th-century photographers’ efforts to compensate for the new medium’s technical limitations – specifically, its inability to depict the world the way it looks to the naked eye. To augment photography’s monochrome palette, pigments were applied to portraits to make them more vivid and lifelike. Landscape photographers faced a different obstacle: the uneven sensitivity of early emulsions often resulted in blotchy, overexposed skies. To overcome this, many photographers, such as Gustave Le Gray and Carleton E. Watkins, created spectacular landscapes by printing two negatives on a single sheet of paper – one exposed for the land, the other for the sky. This section also explores the challenges involved in the creation of large group portraits, which were often cobbled together from dozens of photographs of individuals. 

For early art photographers, the ultimate creativity lay not in the act of taking a photograph but in the subsequent transformation of the camera image into a hand-crafted picture.

“Artifice in the Name of Art” begins in the 1850s with elaborate combination prints of narrative and allegorical subjects by Oscar Gustave Rejlander and Henry Peach Robinson. It continues with the revival of Pictorialism at the dawn of the twentieth century in the work of artist-photographers such as Edward Steichen, Anne W. Brigman, and F. Holland Day. 

“Politics and Persuasion” presents photographs that were manipulated for explicitly political or ideological ends. It begins with Ernest Eugene Appert’s faked photographs of the 1871 Paris Commune massacres, and continues with images used to foster patriotism, advance racial ideologies, and support or protest totalitarian regimes. Sequences of photographs published in Stalin-era Soviet Russia from which purged Party officials were erased demonstrate the chilling ease with which the historical record could be falsified. Also featured are composite portraits of criminals by Francis Galton and original paste-ups of John Heartfield’s anti-Nazi photomontages of the 1930s.

“Novelties and Amusements” brings together a broad variety of amateur and commercial photographs intended to astonish, amuse, and entertain. Here, we find popular images of figures holding their own severed heads or appearing doubled or tripled. Also included in this light-hearted section are ghostly images by the spirit photographer William Mumler, “tall-tale” postcards produced in Midwestern farming communities in the 1910s, trick photographs by amateurs, and Weegee’s experimental distortions of the 1940s. 

”Pictures in Print” reveals the ways in which newspapers, magazines, and advertisers have altered, improved, and sometimes fabricated images in their entirety to depict events that never occurred – such as the docking of a zeppelin on the tip of the Empire State Building. Highlights include Erwin Blumenfeld’s famous “Doe Eye” Vogue cover from 1950 and Richard Avedon’s multiple portrait of Audrey Hepburn from 1967.

“Mind’s Eye” features works from the 1920s through 1940s by such artists as Herbert Bayer, Maurice Tabard, Dora Maar, Clarence John Laughlin, and Grete Stern, who have used photography to evoke subjective states of mind, conjuring dreamlike scenarios and surreal imaginary worlds. 

The final section, “Protoshop,” presents photographs from the second half of the 20th century by Yves Klein, John Baldessari, Duane Michals, Jerry Uelsmann, and other artists who have adapted earlier techniques of image manipulation – such as spirit photography or news photo retouching – to create works that self-consciously and often humorously question photography’s presumed objectivity.”

Press release from The Metropolitan Museum of Art website

.

Maurice Tabard. 'Room with Eye' 1930

.

Maurice Tabard (French, 1897-1984)
Room with Eye
1930
Gelatin silver print
The Metropolitan Museum of Art, The Elisha Whittelsey Collection, The Elisha Whittelsey Fund, 1962

.

Wanda Wulz. 'Io + gatto (Cat + I)' 1932

.

Wanda Wulz (Italian, 1903-1984)
Io + gatto (Cat + I)
1932
Gelatin silver print
The Metropolitan Museum of Art, Ford Motor Company Collection, Gift of Ford Motor Company and John C. Waddell, 1987
Alinari / Art Resource © Wanda Wulz

.

John Paul Pennebaker. 'Sealed Power Piston Rings' 1933

.

John Paul Pennebaker (American, 1903-1953)
Sealed Power Piston Rings
1933
Gelatin silver print
1934 Art and Industry Exhibition Photograph Collection, Baker Library Historical Collections, Harvard Business School, Boston, Mass.
© John Paul Pennebaker

.

George Platt Lynes. 'The Sleepwalker' 1935

.

George Platt Lynes (American, 1907-1955)
The Sleepwalker
1935
Gelatin silver print with applied media
The Metropolitan Museum of Art, Ford Motor Company Collection, Gift of Ford Motor Company and John C. Waddell, 1987
© The Estate of George Platt Lynes

.

Barbara Morgan. 'Hearst over the People' 1939

.

Barbara Morgan (American, 1900-1992)
Hearst over the People
1939
Collage of gelatin silver prints with applied media
The Nelson-Atkins Museum of Art, Kansas City, Missouri, Gift of Hallmark Cards, Inc.

.

Grete Stern. 'Dream No. 1: Electrical Appliances for the Home' 1948

.

Grete Stern (Argentinian, born Germany, 1904-1999)
Dream No. 1: Electrical Appliances for the Home
1948
Gelatin silver print
The Metropolitan Museum of Art, Twentieth-Century Photography Fund, 2012
Courtesy of Galería Jorge Mara – La Ruche, Buenos Aires

.

Erwin Blumenfeld. '"Doe Eye" Vogue cover' 1950

.

Erwin Blumenfeld
“Doe Eye” Vogue cover
1950

.

Yves Klein (French, 1928-1962) Photographed by Harry Shunk (German, 1924-2006) and János (Jean) Kender (Hungarian, 1937-2009) 'Leap into the Void' 1960

.

Yves Klein (French, 1928-1962)
Photographed by Harry Shunk (German, 1924-2006) and János (Jean) Kender (Hungarian, 1937-2009)
Leap into the Void
1960
Gelatin silver print
Purchase, The Horace W. Goldsmith Foundation Gift, through Joyce and Robert Menschel, 1992
© Yves Klein / Artists Rights Society (ARS), New York / ADAGP, Paris
Photograph Shunk-Kender © Roy Lichtenstein Foundation

.

Weegee (Arthur Fellig). 'American, 1899-1968 Draft Johnson for President' c. 1968

.

Weegee (Arthur Fellig) American, 1899-1968
Draft Johnson for President
c. 1968
Gelatin silver print
International Center of Photography, Bequest of Wilma Wilcox, 1993
Copyright Weegee/International Center of Photography/Getty Images.

.

.

Weegee (Arthur Fellig) American, 1899-1968
Judy Garland
1960
Silver gelatin photograph
Copyright Weegee/International Center of Photography/Getty Images

.

.

William Mortensen  (American, 1897–1965)
Obsession
c. 1930
Gelatin silver print
18.4 x 14.5 cm
The Elisha Whittelsey Collection, The Elisha Whittelsey Fund, 1975

.

Richard Avedon (American 1923-2004) 'Audrey Hepburn, New York, January 1967' 1967

.

Richard Avedon (American 1923-2004)
Audrey Hepburn, New York, January 1967
1967
Collage of gelatin silver prints, with applied media, mylar overlay with applied media

.

Jerry N. Uelsmann. 'Untitled' 1969

.

Jerry N. Uelsmann (American, born 1934)
Untitled
1969
Gelatin silver print
The Metropolitan Museum of Art, Twentieth-Century Photography Fund, 2011
© Jerry N. Uelsmann

.

Martha Rosler. 'Red Stripe Kitchen', from the series " House Beautiful: Bringing the War Home" 1967-72

.

Martha Rosler (American, born 1943)
Red Stripe Kitchen
1967-72, printed early 1990s
from the series “House Beautiful: Bringing the War Home”
Chromogenic print
The Metropolitan Museum of Art, Purchase, Anonymous Gift, 2002
© Martha Rosler

.

.

The Metropolitan Museum of Art
1000 Fifth Avenue at 82nd Street
New York, New York 10028-0198
T: 212-535-7710

Opening hours:
Tuesday – Thursday: 9.30 am – 5.30 pm*
Friday and Saturday: 9.30 am – 9.00 pm*
Sunday: 9.30 am – 5.30 pm*
Closed Monday (except Met Holiday Mondays**), Thanksgiving, Christmas, and New Year’s Day

The Metropolitan Museum of Art website

.
National Gallery of Art

National Mall between 3rd and 7th Streets
Constitution Avenue NW, Washington

Opening hours:
Monday – Saturday 1000 am – 5.00 pm
Sunday 11.00 am – 6.00 pm

National Gallery of Art website

LIKE ART BLART ON FACEBOOK

Back to top

27
Dec
11

Exhibition: ‘After the Gold Rush: Contemporary Photographs from the Collection’ at The Metropolitan Museum of Art, New York

Exhibition dates: 22nd March, 2011 – 2nd January, 2012

.

Many thankx to The Metropolitan Museum of Art, New York for allowing me to publish the photographs in the posting. Please click on the photographs for a larger version of the image.

.

.

.

Hans Haacke (German, born 1936)
Thank You, Paine Webber
1979
Gelatin silver print and chromogenic print
The Metropolitan Museum of Art, Purchase, Vital Projects Fund Inc. Gift, through Joyce and Robert Menschel, 2010
© Hans Haacke

.

Since the early 1970s Haacke has taken on the intertwined political and corporate forces that use cultural patronage as a smokescreen to advance interests that are often antithetical to the vitality of free speech and expression in democracies. Haacke made this work just as the strategy of appropriation – lifting an image out of its original context and re-presenting it in critical fashion - began to make waves in the New York art world of the late 1970s. Like all effective appropriation, it exposes a prior instance of borrowing – in this case, how the investment firm Paine Webber used a documentary photograph to give its annual report the veneer of social concern. The artist then pointedly contrasted it with an image from the same annual report of a beaming trio of executives in a painting-lined gallery. As a counterpoint to the protestor’s signboard, Haacke dropped in text from a different Paine Webber ad campaign to show on whose backs the “risk management” is taking place – a biting indictment, the relevance of which has only increased since the recent economic downturn.
Wall text

.

.

Jeff Wall (Canadian, born 1946)
The Storyteller
1986
Silver dye bleach transparency in light box
The Metropolitan Museum of Art, Purchase, Charlene and David Howe, Henry Nias Foundation Inc., Jennifer and Robert Yaffa, Harriet Ames Charitable Trust, and Gary and Sarah Wolkowitz Gifts, 2006
Image courtesy of the artist © Jeff Wall

.

Wall’s staged tableaux straddle the worlds of the museum and the street. His subjects are scenes of urban and suburban disarray that he witnessed firsthand – the kinds of things anyone might see while wandering around a city and its outskirts. Working like a movie director, he restages the scene using nonprofessionals as actors and presents his photographs as color transparencies in light boxes such as those of large-scale public advertisements found at airports and bus stops. The scale and ambition of his pictures – scenes of everyday life shot through with larger intimations of political struggle – equally evoke the Salon paintings of nineteenth century French painters such as Gustave Courbet and Édouard Manet, which were themselves brazen combinations of canonical and contemporary subjects.

The Storyteller is set in a barren, leftover slice of land next to a highway overpass in Vancouver, where the artist lives. Various groupings of modern urban castaways – perhaps descendants of the Native Americans who occupied the land before the arrival of Europeans – are dispersed around the hillside, a mini-catalogue of art-historical reference. Like the upside-down, half-submerged figure of Icarus in the background of Brueghel’s Landscape with the Fall of Icarus, the woman speaking and gesticulating to the two men listening at the lower left becomes the key to unifying the fractured and alienating environment from which Wall’s picture is constructed.
Wall text

.

.

Laurie Simmons (American, born 1949)
Walking Gun
1991
Gelatin silver print
The Metropolitan Museum of Art, Purchase, Anonymous Gift, 1998
© Laurie Simmons

.

The early 1990s marked the last moment when a wide swath of women artists responded to the sexism they saw as pervasive in the culture – from the rape trial of William Kennedy Smith to the Supreme Court nomination hearings for Clarence Thomas. A pioneer of set-up photography, Simmons dramatically expanded the scale of her constructed tableaux for a series of spotlighted puppet-like objects perched atop doll legs: revolvers, houses, cameras, and cakes. This armed and dangerous example refers to the old-movie cliché where a man carrying a gun is shown in shadow profile. Here, Simmons offers instead the death-dealing seductress – also familiar from film noir - in monumental miniature, a doll capable of turning on its master at a moment’s notice.
Wall text

.

.

Philip-Lorca diCorcia (American, born 1953)
Todd M. Brooks, 22 Years Old, from Denver, Colorado, $40
1991
Chromogenic print
The Metropolitan Museum of Art, Purchase, The Horace W. Goldsmith Foundation Gift, through Joyce and Robert Menschel, 1991
Image courtesy the artist and David Zwirner, New York
© Philip-Lorca diCorcia

.

.

“The Metropolitan Museum of Art will present After the Gold Rush: Contemporary Photographs from the Collection from March 22, 2011, through January 2, 2012, in the Joyce and Robert Menschel Hall for Modern Photography. Drawn entirely from the Museum’s permanent collection, the exhibition features 25 photographs dating from 1979 to the present by 15 contemporary artists.

The exhibition’s title, After the Gold Rush, is taken from a classic 1970 song by Neil Young, whose verses contrast a romanticized past with a present of squandered plenty and an uncertain future. Inspired by the recent political and economic upheavals in America and abroad, this selection juxtaposes new photographs that take the long view of the world’s current condition with prescient works from the 1980s and 1990s that remain startlingly relevant today.

This is the first occasion for the Museum to present recently acquired works by: Gretchen Bender, James Casebere, Moyra Davey, Katy Grannan, Hans Haacke, An-My Lê, Curtis Mann, Trevor Paglen, and Wolfgang Tillmans. Also featured are photographs by: Philip-Lorca diCorcia, Robert Gober, Adrian Piper, Laurie Simmons, Jeff Wall, and Christopher Williams.

After the Gold Rush begins with Hans Haacke’s Thank You, Paine Webber (1979) – the first work by this legendary provocateur of Conceptual art to enter the Metropolitan’s collection. Haacke’s biting photo-diptych is so pertinent to the recent economic downturn that it seems as if it could have been made yesterday. In this work, the artist appropriated images from the investment firm’s annual report to convey his viewpoint that big business provides a veneer of social concern to mask the brutal effects of the “risk management” they offer their clients.

Other works in After the Gold Rush use varying degrees of artifice and photographic realism to reflect on marginalized and repressed voices. Measuring over 14 feet long and presented as a backlit transparency in a light box, The Storyteller (1986) is Jeff Wall’s signature image and is typical of his method. Working from memory, the artist uses nonprofessional actors and real locations to meticulously restage a scene of urban blight that he witnessed in his native Vancouver. Wall plays this photographic verisimilitude against compositions and figural poses indebted to French painters such as Gustave Courbet, Edouard Manet, and Georges Seurat. A comparison of Wall’s Storyteller with Courbet’s Young Ladies of the Village (1852), on view in the Museum’s galleries for Nineteenth and Early Twentieth-Century European Paintings and Sculpture, reveals parallels: in both, a keenly observed moment of telling social interaction taking place on a sloping landscape. Each artist has combined a daringly modern subject with references to earlier art.

Philip-Lorca diCorcia is another key figure in the development of staged photography. In the early 1990s, the artist created a series of works in response to the political attacks on gays and federal funding of the arts in the U.S. DiCorcia hired male hustlers to pose for their portraits out on the streets – and paid them with grant money he received from the National Endowment for the Arts. At the same moment, a wide swath of women artists addressed issues of sexism and racism: examples of this politically pointed art are represented by Laurie Simmons’ Walking Gun (1991) – a spotlighted puppet of doll legs and a revolver that seems capable of turning on its master at a moment’s notice – and Adrian Pipers 1992 work Decide Who You Are #24 (A Moving Target), which includes a childhood image of Anita Hill as part of a blistering meditation in word and image on racial politics. Such works are missives from a time not so long ago when artists regularly commented on present-day politics and culture through their art. (Because of light sensitivity, this work by Adrian Piper will be on view through Sunday, September 26.)

Although the recently made photographs in After the Gold Rush seem at first glance to be less overtly political than their predecessors, they nevertheless address vital issues about contemporary society. James Casebere’s epic vision of America, Landscape with Houses (Dutchess County, NY) #1, (2009), is based on a tabletop model that the artist spent 18 months building. The photograph shows a suburban subdivision of the kind recently ravaged by the foreclosure crisis, and its sunny sense of “Morning in America” comments ironically on the country’s future prospects. An-My Lê’s similarly sweeping five-part photographic piece Suez Canal Transit, USS Dwight Eisenhower, Egypt (2009) will also be featured. Lê is interested in the way in which U.S. armed forces come into contact with the rest of the world. This major new work – which seems at first to be a straightforward panorama of military might overseas – subtly undercuts the viewer’s expectations to question the current position of the U.S. on the global stage.

Trevor Paglen is a young artist whose works plot the “black world” of covert military operations, from telephoto images of predator drones taken from miles away, to software that follows planes used for the extraordinary rendition of suspected terrorists. Paglen’s 2008 photograph KEYHOLE IMPROVED CRYSTAL from Glacier Point (Optical Reconnaissance Satellite; USA 186) shows the ghostly white streak of an American reconnaissance satellite bisecting star trails above Yosemite’s Half Dome, a rock formation photographed in the 1860s by artists including Carleton Watkins. To make these and other photographs, Paglen collaborated with amateur astronomers who were originally trained by the U.S. government to look out for Soviet satellites during the Cold War, but turned their attention to American surveillance in recent years.

The final piece in After the Gold Rush is a suite of five recently acquired photographs from 2007-2009 by the celebrated photographer Wolfgang Tillmans. The grouping shifts focus from macro to micro: from expansive aerial views of Shanghai and Dubai to close ups that suggest the smallest increments of sustenance and regeneration. Taken together, they evoke the interconnectedness of all things and a grounding of the political in the personal as a way for an engaged yet expressive art.”

Press release from The Metropolitan Museum of Art website

.

.

Adrian Piper (American, born 1948)
Decide Who You Are #24: A Moving Target
1992
Photo-mechanical processes on three panels
The Metropolitan Museum of Art, Gift of Peter Norton Family Foundation, 1994
© Adrian Piper

.

Piper is an artist and a philosophy professor who works in a variety of media, including performance, video, sound pieces, photography, drawing, and writing. She often explores issues of autobiography, racism, and stereotyping. For her 1992 series Decide Who You Are, the artist used a triptych format in which a different appropriated photograph is flanked by an image of the “three wise monkeys” maxim advocating “See No Evil, Speak No Evil, Hear No Evil” at left, and at right a photograph of a young girl who, though not identified, is Anita Hill – who had recently been thrust into the spotlight for accusing then-nominee for Supreme Court Justice Clarence Thomas of sexual harrassment. The verse in the left panel changes in each individual work in the series, while that on the right is unchanging – what the artist once described as “a comprehensive, textbook compendium of commonly invoked litanies of denial and intimidation, from the bland to the vaguely menacing” and “a must for novices and aspiring leaders in business, politics, and culture.”
Wall text

.

.

Christopher Williams (American, born 1956)
3 White (DG’s Mr. Postman) Fourth Race, Phoenix Greyhound Park, Phoenix, Arizona, August 22, 1994
1994
Gelatin silver print
The Metropolitan Museum of Art, Purchase, Charina Foundation Inc. and Jennifer and Joseph Duke Gifts, 2003
© Christopher Williams

.

.

Robert Gober (American, born 1954)
Untitled (Detail from “1978 – 2000″)
2000
Gelatin silver print
The Metropolitan Museum of Art, Purchase, Jennifer and Joseph Duke Gift, 2002
© Robert Gober

.

.

James Casebere (American, born 1953)
Landscape with Houses (Dutchess County, NY) #1
2009
Chromogenic print
The Metropolitan Museum of Art, Purchase, Alfred Stieglitz Society Gifts, 2011
© James Casebere

.

.

Wolfgang Tillmans (German, born 1968)
Oriental Pearl
2009
Inkjet print
The Metropolitan Museum of Art, Purchase, Vital Projects Fund Inc. Gift, through Joyce and Robert Menschel, 2010
Image courtesy the artist and Andrea Rosen Gallery, New York
© Wolfgang Tillmans

.

.

The Metropolitan Museum of Art
1000 Fifth Avenue at 82nd Street
New York, New York 10028-0198
T: 212-535-7710

Opening hours:
Tuesday – Thursday: 9:30 a.m. – 5:30 p.m.*
Friday and Saturday: 9:30 a.m. – 9:00 p.m.*
Sunday: 9:30 a.m. – 5:30 p.m.*
Closed Monday (except Met Holiday Mondays**), Thanksgiving, Christmas, and New Year’s Day

The Metropolitan Museum of Art website

LIKE ART BLART ON FACEBOOK

Back to top

07
Apr
11

Exhibition: ‘Stieglitz, Steichen, Strand’ at The Metropolitan Museum of Art, New York

Exhibition dates: 10th November 2010 – 10th April, 2011

.

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

.

.


.

Alfred Stieglitz (American, 1864–1946)
Georgia O’Keeffe – Neck
1921
Palladium print
23.6 x 19.2 cm (9 5/16 x 7 9/16 in.)
The Metropolitan Museum of Art
Gift of Georgia O’Keeffe, through the generosity of The Georgia O’Keeffe Foundation and Jennifer and Joseph Duke, 1997

.

.

Alfred Stieglitz (American, 1864–1946)
Spiritual America
1923
Gelatin silver print
11.6 x 9.2 cm (4 9/16 x 3 5/8 in.)
The Metropolitan Museum of Art,
Alfred Stieglitz Collection, 1949

.

.

Edward Steichen (American, born Luxembourg, 1879–1973)
Alfred Stieglitz
1907
Autochrome
23.9 x 18 cm
The Metropolitan Museum of Art, Alfred Stieglitz Collection, 1955

.


.

Edward Steichen (American, born Luxembourg, 1879–1973)
The Little Round Mirror
1901, printed 1905
Gum bichromate over platinum print
48.3 x 33.2 cm (19 x 13 1/16 in.)
The Metropolitan Museum of Art, Alfred Stieglitz Collection, 1933

.

.

“Three giants of 20th-century American photography – Alfred Stieglitz, Edward Steichen, and Paul Strand – are featured at The Metropolitan Museum of Art, New York, through April 10, 2011, in the exhibition Stieglitz, Steichen, Strand. The diverse and groundbreaking work of these artists will be revealed through a presentation of 115 photographs, drawn entirely from the Museum’s collection. On view will be many of the Metropolitan’s greatest photographic treasures from the 1900s to 1920s, including Stieglitz’s famous portraits of Georgia O’Keeffe, Steichen’s large colored photographs of the Flatiron building, and Strand’s pioneering abstractions.

Alfred Stieglitz (1864–1946) was a photographer of supreme accomplishment and a forceful and influential advocate for photography and modern art through his gallery “291″ and his sumptuous journal Camera Work. Stieglitz also laid the foundation for the Museum’s collection of photographs. In 1928, he donated 22 of his own works to the Metropolitan; these were the first photographs to enter the Museum’s collection as works of art. In later decades he gave the Museum more than 600 photographs by his contemporaries, including Edward Steichen and Paul Strand.

Among Stieglitz’s works to be featured in this exhibition are portraits, views of New York City from the beginning and end of his career, and the 1920s cloud studies he titled Equivalents, through which he sought to arouse in the viewer the emotional equivalent of his own state of mind at the time he made the photograph, and to show that the content of a photograph was different from its subject.

The exhibition will also include numerous photographs from Stieglitz’s extraordinary composite portrait of Georgia O’Keeffe (1887–1986), part of a group of works selected for the Museum’s collection by O’Keeffe herself. Stieglitz made more than 330 images of O’Keeffe between 1917 and 1937 – of her face, torso, hands, or feet alone, clothed and nude, intimate and heroic, introspective and assertive. Through these photographs Stieglitz revealed O’Keeffe’s strengths and vulnerabilities, and almost single-handedly defined her public persona for generations to come.

Stieglitz’s protégé and gallery collaborator, Edward Steichen (1879–1973), was the most talented exemplar of the Photo-Secession, the loosely-knit group of artists founded by Stieglitz in 1902, seceding, in his words, “from the accepted idea of what constitutes a photograph,” but also from the camera clubs and other institutions dominated by a more retrograde establishment. In works such as The Pond – Moonrise (1904), made using a painstaking technique of multiple printing, Steichen rivaled the scale, color, and individuality of painting.

Steichen’s three large variant prints of The Flatiron (1904) are prime examples of the conscious effort of Photo-Secession photographers to assert the artistic potential of their medium. Steichen achieved coloristic effects reminiscent of Whistler’s Nocturne paintings by brushing layers of pigment suspended in light-sensitive gum solution onto a platinum photograph. Although he used only one negative to create all three photographs, the variable coloring enabled him to create three significantly different images that convey the chromatic progression of twilight. The Metropolitan’s three prints, all donated by Stieglitz in 1933, are the only exhibition prints of Steichen’s iconic image.

In 1908 Steichen photographed the plaster of Rodin’s sculpture of Honoré de Balzac in the open air, by the light of the moon, making several exposures as long as an hour each. In Balzac, The Silhouette – 4 A.M., the moonlight has transformed the plaster into a monumental phantom rising above the brooding nocturnal landscape. Steichen recalled that when he presented his finished prints to Rodin, the elated sculptor exclaimed, “You will make the world understand my Balzac through your pictures.”

Among the unique early-20th-century works by Stieglitz and Steichen in the Museum’s collection are Autochromes, an early process of color photography that became commercially available in 1907. Because of the delicate and light-sensitive nature of these glass transparencies, five original Autochromes by Stieglitz and Steichen will be displayed for one week only, January 25-30, 2011. During the other weeks of the exhibition, facsimiles of these Autochromes will be on view.

Stieglitz’s and Steichen’s younger contemporary, Paul Strand (1890–1976), pioneered a shift from the soft-focus aesthetic and painterly prints of the Photo-Secession to the straight approach and graphic power of an emerging modernism. Strand was introduced to Stieglitz as a high-schooler by his camera club advisor, Lewis Hine, the social reformer and photographer. He quickly became a regular visitor to “291,” where he was exposed to the latest trends in European art through groundbreaking exhibitions of works by Cézanne, Picasso, Matisse, and Brancusi.

Strand incorporated the new language of geometric abstraction into his interest in photographing street life and machine culture. His photographs from 1915-1917 treated three principal themes: movement in the city, abstractions, and street portraits. Stieglitz, whose interest in photography had waned as he grew more interested in avant-garde art, saw in Strand’s work a new approach to photography. He showed Strand’s groundbreaking photographs at 291 and devoted the entire final double issue of Camera Work (1917) to this young photographer’s work, marking a pivotal moment in the course of photography.

In From the El (1915), Strand juxtaposed the ironwork and shadows of the elevated train with the tiny form of a lone pedestrian. In 1916, he experimented with radical camera angles and photographing at close range. Among the astonishingly modern photographs he made that summer is Abstraction, Twin Lakes, Connecticut, one of the first photographic abstractions to be made intentionally. When Stieglitz published a variant of this image in Camera Work, he praised Strand’s results as “the direct expression of today.”

In the same year, Strand made a series of candid street portraits with a hand-held camera fitted with a special lens that allowed him to point the camera in one direction while taking the photograph at a 90-degree angle. Blind, his seminal image of a street peddler, was published in Camera Work and immediately became an icon of the new American photography, which integrated the humanistic concerns of social documentation with the boldly simplified forms of Modernism. As is true for most of the large platinum prints by Strand in the exhibition, the Metropolitan’s Blind, a gift of Stieglitz, is the only exhibition print of this image from the period.

Stieglitz, Steichen, Strand is organized by Malcolm Daniel, Curator in Charge of the Metropolitan Museum’s Department of Photographs, assisted by Russell Lord, Jane and Morgan Whitney Fellow in the Department of Photographs.”

Text from the Metropolitan Museum of Art website

.


.

Edward Steichen (American, born Luxembourg, 1879–1973)
The Flatiron
1904
Gum bichromate over platinum print
47.8 x 38.4 cm (18 13/16 x 15 1/8 in.)
The Metropolitan Museum of Art, Alfred Stieglitz Collection, 1933

.


.

Paul Strand (American, 1890–1976)
Blind
1916
Platinum print
34 x 25.7 cm (13 3/8 x 10 1/8 in.)
The Metropolitan Museum of Art, Alfred Stieglitz Collection, 1933

.

.

Paul Strand (American, 1890–1976)
Wild Iris, Maine
1927-28
Gelatin silver print
24.8 x 19.8 cm (9 3/4 x 7 13/16 in.)
The Metropolitan Museum of Art, Alfred Stieglitz Collection, 1955
Credit: Courtesy Aperture Foundation, Inc., Paul Strand Archive

.

.

Alfred Stieglitz (American, 1864–1946)
Looking Northwest from the Shelton, New York
1932
Gelatin silver print
24.2 x 19.2 cm (9 1/2 x 7 9/16 in.)
The Metropolitan Museum of Art, Ford Motor Company Collection
Gift of Ford Motor Company and John C. Waddell, 1987

.

.

The Metropolitan Museum of Art
1000 Fifth Avenue at 82nd Street
New York, New York 10028-0198
Information: 212-535-7710

Opening hours:
Tuesday – Thursday: 9:30 a.m. – 5:30 p.m.*
Friday and Saturday: 9:30 a.m. – 9:00 p.m.*
Sunday: 9:30 a.m. – 5:30 p.m.*
Closed Monday (except Met Holiday Mondays**), Thanksgiving, Christmas, and New Year’s Day

The Metropolitan Museum of Art website

Back to top

02
Feb
11

Exhibition: ‘Between Here and There: Passages in Contemporary Photography’ at The Metropolitan Museum of Art, New York

Exhibition dates: 2nd July 2010 – 3rd February 2011

.

My apologies for the lack of local reviews over the next five weeks. I shall be overseas. Hopefully, international postings will continue as normal as long as I can get internet connection with my laptop. Marcus

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

.

.

.

Richard Long (British, born 1945)
County Cork, Ireland
1967
Gelatin silver print
76.2 x 101.6 cm (30 x 40 in.)
The Metropolitan Museum of Art, Purchase, Vital Projects Fund Inc. Gift, through Joyce and Robert Menschel, 2010 (2010.12)
© Richard Long

.

.

Long was a key figure in recasting sculpture in two directions: inward toward the gestures of bodies in space and outward toward the creation of ephemeral works made directly in the landscape. A student of the sculptor Anthony Caro at Saint Martins College of Art, Long was well versed in the reductive quality of geometric abstraction but sought to make the form of his works even more elegantly simple and wedded to life. He would go for solitary walks in the English countryside, and at a particular place he would create elemental forms such as a line, an x shape, or a circle by walking over the ground to leave a temporary imprint. A photograph such as County Cork, Ireland – in which the shape seems to hover in the image like a flying saucer – is thus an imprint of an imprint; the form of the work is derived from the holistic relationship between the concept (idea), the action of the body (figure), and the site of his gesture (ground). It is also informed by an astute understanding of the profound links between British culture and the landscape, from prehistoric hill figures through nineteenth-century theories of the Picturesque. (Wall text from the exhibition)

.

.

VALIE EXPORT (Austrian, born 1940)
Encirclement
1976
Gelatin silver print
40.8 x 61 cm (16 1/16 x 24 in.)
Promised Gift of Thea Westreich and Ethan Wagner
© VALIE EXPORT, Courtesy Charim Gallery Vienna

.

.

In her series Body Configurations, the artist had herself or female colleagues photographed in local streets, stairwells, and alleyways, contorting their bodies to mimic the harsh geometries of the city. Influenced not only by the Actionists but also by the human sculpture of Robert Morris, Export complicates the coolly inhuman systems of Minimalism by reintroducing the human body into abstraction, an intimate yet public gesture that effortlessly transmutes the personal into the political. (Wall text from the exhibition)

.

.

Doug Aitken (American, born 1968)
Passenger
1997
Chromogenic print
100.5 x 122 cm (39 9/16 x 48 1/16 in.)
The Metropolitan Museum of Art, Purchase, Alfred Stieglitz Society Gifts, 2004 (2004.223)
© Doug Aitken

.

Aitken is best known for multiscreen video installations exploring the ways in which perception and consciousness are transformed by our global, technology-driven existence. Passenger belongs to a group of still photographs made in 1997 showing planes in flight, most of which focus on the faint traceries of takeoffs and landings over desolate airport landscapes. In its emphasis on luminosity and atmosphere, this example reveals Aitken’s debt to older California artists such as James Turrell and Robert Irwin. It is also unabashedly sensual: Aitken’s high production values – reminiscent of Technicolor cinematography and glossy advertising – refer directly to the media images that unavoidably condition our responses to the world.

There is something of the sublime in Aitken’s photograph, however, in that it describes the limits of the visible while flooding the eye with color. Starting from an experience familiar to all air travelers of “two ships passing” in the ether, the artist proposes a more complex statement about the way we perceive reality – namely, that the one thing that we cannot see is ourselves seeing and thus that our understanding of the world is always partial and incomplete. (Wall text from the exhibition)

.

.

“Themes of dislocation and displacement in contemporary photography will be explored in The Metropolitan Museum of Art’s forthcoming exhibition in the Joyce and Robert Menschel Hall for Modern Photography. Drawn almost entirely from the Museum’s collection, Between Here and There: Passages in Contemporary Photography on view July 2, 2010 through February 13, 2011, will feature 22 artists whose photographic works convey a sense of a rootless or unfixed existence.

In the 1960s and 1970s, photography was often embraced by artists who had abandoned conventional art media and who were more interested in creating a work of art that took place over a period of time, in a serial progression, or in a fleeting gesture. The individual painting or sculpture was deemed insufficient to represent the fragmented experience that characterizes the modern world; thus artists showed how a work of art could take the form of a walk (Richard Long), a 20-foot-long book (Ed Ruscha), or a series of postcards outlining the precise time that the artist got up each day (On Kawara). Since the 1980s, however, the more conventional practice of creating a carefully executed, singular photograph has regained prominence in contemporary art. Works by Rineke Dijkstra, Thomas Struth, and Weng Fen embody a belief in photography’s traditional powers of description, while reflecting feelings of dislocation in our newly global society.

The exhibition also will include works by: Vito Acconci, Doug Aitken, Darren Almond, Lothar Baumgarten, Matthew Buckingham, VALIE EXPORT, Felix Gonzalez-Torres, Svetlana Kopystiansky, Bruce Nauman, Dennis Oppenheim, Allen Ruppersberg, Fazal Sheikh, Erin Shirreff, Robert Smithson, Anne Turyn, and Jeff Wall.

The first half of the exhibition shows how artists in 1960s and 1970s, working in the context of Minimal and Conceptual art, were drawn to photography for its differences from traditional art media: it was low-tech, easily reproducible, and not considered a valuable art object. Photography was also enlisted to document ephemeral works of art. Bruce Nauman and Vito Acconci, for instance, created performances that focused on the actions and movements of their bodies in space, and captured these works in photographs and videos.

Other artists, such as Robert Smithson, chose to work directly in the landscape – often in distant or inaccessible locations – and their “Earthworks” could generally be seen only through photographs. Smithson is best known for his landmark Spiral Jetty (1970) in the Great Salt Lake, Utah. For an early experiment in his Mirror Displacements series of photographs, Smithson placed small mirrors into snow drifts on the roof of his apartment building. Through dizzying shifts in scale, the artist’s 1969 study transforms a corner of his Manhattan roof into an Alpine landscape.

A student of Anthony Caro, British artist Richard Long was well versed in the reductive quality of geometric abstraction, but sought to make his works even more simple and wedded to life. He would go for solitary walks in the countryside, and at a particular place he would create elemental forms such as a line, X, or circle by walking over the ground to leave a temporary imprint. Long’s photograph County Cork, Ireland (1967) – in which a circle seems to hover over the grass like a flying saucer – is thus an imprint of an imprint, creating a holistic relationship between the concept, the action of the body, and the site of his gesture.

For her series Body Configurations, the Austrian artist VALIE EXPORT had herself and female colleagues photographed in local streets, as they contorted their bodies to mimic the harsh geometries of the city. Encirclement (1976) shows a woman lying in the street, her body elongated and arched to follow the bright red curve the sidewalk. The photograph reintroduces the human body into abstraction in an intimate yet public gesture.

Beginning in the 1980s, there was a renewed interest in photography’s historical genres and recommitment to technical skill and visual fidelity, as seen in Rineke Dijkstra’s portraits. Geopolitical displacement and cultural migration are referenced in one of Dijkstra’s most important bodies of work to date: her photographs of a Bosnian refugee girl, Almerisa. Between Here and There will feature four portraits of Almerisa that Dijkstra made between 1994 and 2000, beginning at an asylum seekers’ center in the Netherlands. Eight photographs from this series of 11 works were acquired recently by the Museum.

In both photographs and films, Doug Aitken explores the ways in which perception is transformed by our global, technology-driven existence. Aitken’s photograph Passenger (1997), taken from the window of an airplane in flight, shows another plane flying in parallel in the remote distance, illuminated by the sun setting on a slanted horizon. Aitken references sensations of being adrift in mid-air and of “two ships passing” – paths that do not quite connect, despite their proximity to each other.

Chinese artist Weng Fen explores a young generation poised at a transitional moment between China’s traditional rural society and a quickly burgeoning urbanism. Bird’s Eye View: Haikou V (2002) shows a woman – perhaps an outsider or a new arrival to the city – perched on an old wall, looking toward the new skyscrapers on the horizon, but not fully occupying the space of the past or the future. This work is part of a group of recent gifts and promised gifts of contemporary Chinese photographs to the Museum.

The exhibition comes full circle with a recently acquired video by Erin Shirreff. Roden Crater (2009) takes as its subject artist James Turrell’s legendarily inaccessible and still unfinished celestial observatory carved out of a 400,000-year-old extinct volcano. Shirreff’s mesmerizing fixed-camera view of the distant “Earthwork” shows an improbable succession of slow-moving climactic and light effects on the crater, creating a haunting meditation on the never-ending quest for resolution in life and in art.

Between Here and There: Passages in Contemporary Photography is organized by Douglas Eklund, Associate Curator in the Department of Photographs.”

Text from The Metropolitan Museum of Art website

.

.

Jeff Wall (Canadian, born 1946)
Rainfilled Suitcase
2001
Transparency in light box
Collection of Jennifer Saul and Stephen Rich, New York
© Jeff Wall

.

.

Wall’s tableaux straddle the worlds of the museum and the street. For the last three decades, the artist has created elaborately staged and meticulously rendered scenes of urban and suburban conflict and disorder that he witnessed firsthand, which were then shown as color transparencies in light boxes reminiscent of backlit advertising images seen in airports and bus stops. About 2000, Wall also began to make smaller, more elliptical photographs – isolating the kinds of details that previously would have been seen in the background of his larger, more programmatic pictures. This grimy half of an abandoned suitcase filled with old clothes and rain seems paradoxically to be both as obsessively arranged as a still life and as randomly disordered as the average flotsam and jetsam on any down-and-out street corner. (Wall text from the exhibition)

.

.

Matthew Buckingham (American, born 1963)
Canal St. Canal No. 3
2002
Chromogenic prints
The Metropolitan Museum of Art, Purchase, Vital Projects Fund Inc. Gift, through Joyce and
Robert Menschel, 2010
© Matthew Buckingham

.

.

This is the maquette for a postcard that the artist created for the group show “Nostalgia.” The postcard was sold in the shops along Canal Street accompanied by the following text beneath the image:

ABOVE: a section of Canal Street as it might look today if a 1791 proposal to build a “Venetian-style” canal connecting the Hudson and East Rivers across Lower Manhattan had been realized. The canal and an accompanying commercial harbor were meant to replace both a small stream which ran along present-day Canal Street, and the so-called Fresh Water or Collect Pond, a befouled 70-acre swamp that one New York newspaper of the day called a “shocking hole.” Instead, real-estate interests prevailed, and the stream was widened only enough to drain the pool so it could be filled in and developed. Many basements of new buildings on the landfill soon flooded, so the stream was further enlarged to increase drainage – making it, in effect, an open sewer. After much complaint about odor, and despite efforts to beautify the waterway with a tree-lined promenade, it was covered over in 1819. Flaws in this re-design kept Canal Street smelling foul for years. It is rumored that the natural spring which once fed the Fresh Water Pond still flows deep below Canal Street today.* (Wall text from the exhibition)

*Luc Sante defines nostalgia as a state of inarticulate contempt for the present combined with a fear of the future.

.

.

Weng Fen (Chinese, born 1961)
Bird’s Eye View: Haikou V
2002
Chromogenic print
50 x 62.7 cm (19 11/16 x 24 11/16 in.)
The Metropolitan Museum of Art, Gift of Ellie Warsh, 2009 (2009.539.4)
© Weng Fen

.

.

Weng Fen belongs to a generation of Chinese photographers whose principal subject is a China in the throes of physical, social, economic, and political change. His Bird’s Eye View series focuses on the elevated urbanism of cities such as Haikou, Shanghai, and Shenzhen. Many of these photographs feature schoolgirls with their backs to the camera, perched on a wall or precipice, staring at the landscape – adolescent figures on the threshold of personal transition looking out onto a landscape and a culture at a similarly transformational moment. (Wall text from the exhibition)

.

.

Rineke Dijkstra (Dutch, born 1959)
Almerisa, Asylum Seekers’ Center, Leiden, The Netherlands, March 14, 1994
1994
Chromogenic print
120 x 100 cm (47 1/4 x 39 3/8 in.)
The Metropolitan Museum of Art, Gift of Ellen Kern, 2008 (2008.661.1)
© Rineke Dijkstra

.

.

Dijkstra is best known for her portraits of teenage beachgoers in Poland, Croatia, the Ukraine, Belgium, England, and America, which convey the poignant intensity of adolescence with startling eloquence. In all her work, she is particularly drawn to subjects in a state of transition – blood-spattered matadors just minutes after bullfights, women cradling their newborns moments after delivery – and renders them with respect, attentiveness, and compassion.

Between 1994 and 2008 Dijkstra made eleven photographs of a Bosnian refugee girl named Almerisa, from her initial processing at an asylum seekers’ center in the Netherlands to her fully Westernized adulthood and motherhood. Here, the imprint of geopolitical displacement is rendered without cant and that of childhood is captured without nostalgia. Like all great portraitists, Dijkstra extracts an elemental, almost mythic quality from the irreducible individuality of her subject – of the eternal radiating from the everyday. This selection is from a recent gift to the Metropolitan of eight of the eleven portraits of Almerisa.

.

.

The Metropolitan Museum of Art
1000 Fifth Avenue at 82nd Street
New York, New York 10028-0198
Information: 212-535-7710

Opening hours:
Tuesday–Thursday: 9:30 a.m. – 5:30 p.m.*
Friday and Saturday: 9:30 a.m. – 9:00 p.m.*
Sunday: 9:30 a.m. – 5:30 p.m.*
Closed Monday (except Met Holiday Mondays**), Thanksgiving, Christmas, and New Year’s Day

The Metropolitan Museum of Art website

Bookmark and Share

30
Sep
10

Exhibition: ‘Hipsters, Hustlers, and Handball Players: Leon Levinstein’s New York Photographs, 1950-1980′ at The Metropolitan Museum of Art, New York

Exhibition dates: 8th June – 17th October 2010

.

Although taken in the same city at around the same period as the work of Helen Levitt, these photographs by Leon Levinstein have less formality in their composition and definitely possess a more eclectic style evidenced by the dissection and placement of bodies within the image frame. This is not to denigrate either artist but merely to observe how two great photographers can see the same city in totally different ways. In both previsualisation was strong, the camera freezing what is placed before the lens in a balletic display that captured “just what you see.”

Many thankx to The Metropolitan Museum of Art, New York for allowing me to publish the photographs in the posting.

.

.

.

Leon Levinstein
Handball Players, Lower East Side, NY
c.1950s – 1960s
Gelatin silver print
Purchase, The Horace W. Goldsmith Foundation Gift, through Joyce and Robert Menschel, 1987
© Howard Greenberg Gallery

.

.

Leon Levinstein
Nuclear Protest, Wall Street
1970s
Gelatin silver print
Gift of Gary Davis, 2009
© Howard Greenberg Gallery

.

.

Leon Levinstein
Street Scene: Elderly Man Walking with Cane, New York City
1970s
Gelatin silver print
Gift of Gary Davis, 2009
© Howard Greenberg Gallery

.

.

Leon Levinstein
Street Scene: Woman in Blonde Wig and Tight Dress, New York City
1960s
Gelatin silver print
Gift of Gary Davis, 2009
© Howard Greenberg Gallery

.

.

“A master of classic American street photography, Leon Levinstein (American, 1910–1988) is best known for his candid and unsentimental black-and-white figure studies made in New York City neighborhoods from Times Square and the Lower East Side to Coney Island. From June 8 through October 17, 2010, The Metropolitan Museum of Art presents Hipsters, Hustlers, and Handball Players: Leon Levinstein’s New York Photographs, 1950-1980. This exhibition, drawn exclusively from the Metropolitan’s collection, features 44 photographs that reflect Levinstein’s fearless approach to the medium. Levinstein’s graphic virtuosity – seen in raw, expressive gestures and seemingly monumental bodies – is balanced by an unusual compassion for his off-beat subjects from the demimonde.

Born in West Virginia in 1910, Levinstein moved to New York in 1946 and spent the next 35 years obsessively photographing strangers on the streets of his adopted home. Early in his career, Levinstein was quoted in Photography Annual 1955: “In my photographs I want to look at life – at the commonplace things as if I just turned a corner and ran into them for the first time.” With daring and dedication to his subject, Levinstein captured the denizens of New York City at extremely close range. He used his superb sense of composition to frame the faces, flesh, poses, and movements of his fellow city dwellers in their myriad guises: sunbathers, young couples, children, businessmen, beggars, prostitutes, proselytizers, society ladies, and characters of all stripes.

Although he was a life-long loner, Levinstein was mentored and supported by Alexey Brodovitch, artistic director of Harper’s Bazaar, and Edward Steichen, the eminent photographer and curator at The Museum of Modern Art in New York, both of whom recognized his unique talent in the medium of photography. He was also greatly influenced by workshops led by the distinguished photographer and teacher Sid Grossman.

In the 1950s and 1960s, Levinstein’s work appeared frequently in photography magazines and books alongside that of his peers, such as Robert Frank, Richard Avedon, and Diane Arbus. Nonetheless, he rarely worked on assignment, as they often did; nor did he ever produce his own book of photographs. Instead, he worked as a graphic designer and devoted his evenings and weekends to photography. In 1975, Levinstein received a grant from the Guggenheim Foundation to “photograph as wide a spectrum of the American scene as my experience and vision will allow… I want my photographs to be spontaneous rather than contrived.” Despite this recognition of his achievement, he never seemed able to fit into the commercial photography market that emerged in the 1970s and 1980s, and consequently, his powerful body of work continues to be known mainly by other photographers and by specialists in the field.”

Press release from The Metropolitan Museum of Art website

.

.

Leon Levinstein
Street Scene: Man in Boots Walking and Adjusting His Collar, New York City
c.1960s – 1970s
Gelatin silver print
Gift of Gary Davis, 2007
© Howard Greenberg Gallery

.

.

Leon Levinstein
Street Scene: Man Resting Foot on Lip of Trashcan, New York City
1970s
Gelatin silver print
Gift of Gary Davis, 2009
© Howard Greenberg Gallery

.

.

Leon Levinstein
Street Scene: Woman in Striped Dress on Stoop, New York City
1970s
Gelatin silver print
Gift of Gary Davis, 2007
© Howard Greenberg Gallery

.

.

Leon Levinstein
Street Scene: Young Man Leaning against Shopfront Window, New York City?
1972
Gelatin silver print
Gift of Gary Davis, 2008
© Howard Greenberg Gallery

.

.

The Metropolitan Museum of Art
1000 Fifth Avenue at 82nd Street
New York, New York 10028-0198
Information: 212-535-7710

Opening hours:
Monday: Closed (Except Holiday Mondays)
Tuesday – Thursday: 9:30 a.m. – 5:30 p.m.
Friday and Saturday: 9:30 a.m. – 9:00 p.m.
Sunday: 9:30 a.m. – 5:30 p.m.

The Metropolitan Museum of Art website

Bookmark and Share




Join 1,082 other followers

Follow Art_Blart on Twitter
Art Blart on Pinterest

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

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

Recent Posts

Lastest tweets

Dr Marcus Bunyan

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

July 2014
M T W T F S S
« Jun    
 123456
78910111213
14151617181920
21222324252627
28293031  

Archives

Categories


Follow

Get every new post delivered to your Inbox.

Join 1,082 other followers