06
Oct
10

Exhibition: ‘Beyond COLOR: Color in American Photography, 1950-1970’ at Bruce Silverstein Gallery, New York

Exhibition dates: 15th September – 23rd October 2010

.

Many thankx to Yvonne Gomez and the Bruce Silverstein Gallery for allowing me to publish the photographs in the posting. Please click on the photographs for a larger version of the image.

.

.

.

Arthur Siegel
‘Untitled’, from the Series ‘In Search of Myself’
1951, printed c. 1950s
Dye transfer print mounted to board
Signed, initialed and dated by Adam Siegel on mount verso
6 7/8 X 10 inches
© Arthur Siegel, courtesy of Bruce Silverstein Gallery, NY

.

.

Harry Callahan (1912-1999)
‘New York’
1955 printed c. 1970s
Dye transfer print
Signed on recto
14 X 10 1/4 inches
© Harry Callahan, courtesy of Bruce Silverstein Gallery, NY

.

.

Inge Morath
‘Ghost Town, Goldfield, Nevada’
1960, printed later
Archival pigment print
Edition of 11
Estate stamp on verso
13 X 17 1/2 inches
© Inge Morath / Magnum Photos

.

.

Marvin Newman
‘Coney Island I’
1953, printed 2010
Archival inkjet print
Signed and dated on verso
Edition of 10
13 X 19 inches
© Marvin Newman, courtesy of Bruce Silverstein Gallery, NY

.

.

“Bruce Silverstein Gallery is pleased to present, Beyond COLOR: Color in American Photography, 1950-1970, a re-examination of a pivotal period in photography’s short history, when the artistic relevance of color in fine art photography had yet to be determined. The exhibition unites works for the first time by many of the “first generation” practitioners of color photography including artists Marie Cosindas, Arthur Seigel, Harry Callahan, Eliot Porter, Saul Leiter, Marvin E. Newman, Pete Turner, Ruth Orkin and Ernst Haas. Other highlights include images exhibited for the first time by Magnum’s first female member, Inge Morath, as well as a special slide projection of color images by Garry Winogrand, images that were never printed by the artist. Beyond COLOR attempts to reclaim this moment of photographic history that only today has begun to receive critical attention.

After the conclusion of World War II, innovations in technology combined with the public’s desire to “see the world as it is” resulted in an explosion in the usage of color imagery by the mass media. By 1951, commercial color television broadcasting had begun, and in 1954, half of all American films were made in color. In the early 1960’s color imagery was so prevalent that National Geographic magazine introduced a new era when it became the first major American periodical to print an all-color issue. While color photography during this period was widely embraced by mass culture – advertising and journalism – it continued to suffer from second-class status in the fine art world when compared with images in black & white. For most in the fine art establishment, black & white photography represented the medium of choice, steeped in a century-old tradition it was easily accessible and affordable to artists, and possessed known archival stability. For this reason, few artists chose to work in color and even fewer produced finished prints. Although color works had begun to selectively appear in museum exhibitions, most notably at the Museum of Modern Art, where single artist exhibitions of works by Eliot Porter (1943), Ernst Haas (1962) and Marie Cosindas (1966) were displayed, academic and institutional attention and support for this new technology was scant.

Over the past forty years, work in color created by artists during this formative period has received little attention. Most critical analysis through writings and exhibitions have focused on color work created during the 1970’s and 1980’s after the now famous Museum of Modern Art exhibition, Photographs by William Eggleston (1976), curated by John Szarkowski. This MoMA exhibition set the groundwork for defining a new purpose for color photography – one that focused more on the conceptual implications of the photograph and its creation, and away from the formalistic attributes of the image as well as the attention to color itself. The effects of Eggleston’s exhibition and Szarkowski’s essay reverberate to this day.

With a certain distance from this era when color photography was new – its place in the art world no longer a question – this exhibition offers a crucial consideration of works created during this period and encourages a new perspective on the significance of these artists’ contributions to the history of photography.”

Text from the Bruce Silverstein Gallery website

.

.

Marie Cosindas
‘Amy, Boston’
1965, printed c. 2010
Archival inkjet print
Signed, titled and dated on verso
11 3/4 X 16 1/2 inches
© Marie Consindas, courtesy of Bruce Silverstein Gallery, NY

.

.

Pete Turner
‘Cigarette Butts’
1963, printed early 1970s
Unique dye transfer print
Signed, titled and dated on recto
30 X 40 inches
© Pete Turner, courtesy of Bruce Silverstein Gallery, NY

.

.

Ruth Orkin
‘Famous Malted Milk, NYC’
c. 1950, printed 2010
Archival inkjet print
Estate stamp on verso
Edition of 15
11 X 14 inches
ROR-00008-SP
© Ruth Orkin, courtesy of Bruce Silverstein Gallery, NY

.

.

Ernst Haas (1921-1986)
‘Route 66, Albuquerque, New Mexico, USA’
1969, printed later
Chromogenic print mounted to board
Estate stamp on verso
30 X 40 inches
EHA-00898-SP
© Ernst Haas, courtesy of Bruce Silverstein Gallery, NY

.

.

Bruce Silverstein Gallery
535 West 24th Street
New York, NY 10011
[P] 212-627-3930
[F] 212-691-5509

Opening hours:
Tuesday – Saturday
10am – 6pm

Bruce Silverstein Gallery website

Bookmark and Share


1 Response to “Exhibition: ‘Beyond COLOR: Color in American Photography, 1950-1970’ at Bruce Silverstein Gallery, New York”


  1. 1 Barnaby
    October 7, 2010 at 12:40 pm

    Nice photos! I’m glad your still blogging about all these good artists I’ve never heard of before.


Leave a Reply

Fill in your details below or click an icon to log in:

WordPress.com Logo

You are commenting using your WordPress.com account. Log Out / Change )

Twitter picture

You are commenting using your Twitter account. Log Out / Change )

Facebook photo

You are commenting using your Facebook account. Log Out / Change )

Google+ photo

You are commenting using your Google+ account. Log Out / Change )

Connecting to %s


Marcus Bunyan black and white archive: ‘Études’ 1994

Join 2,181 other followers

Follow Art_Blart on Twitter
Art Blart on Pinterest

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.

October 2010
M T W T F S S
« Sep   Nov »
 123
45678910
11121314151617
18192021222324
25262728293031

Archives

Categories


%d bloggers like this: