Archive for March, 2014

30
Mar
14

Photographic archive: ‘The Gibson archive’ at the Royal Museums Greenwich (RMG)

March 2014

 

The Gibsons of Scilly. 'The Aksai' 1875

 

The Gibsons of Scilly
The Aksai
1875

 

 

2 November 1875 – steamer Aksai (Russia) sailed into White Island, St Martin’s in thick fog while bound for Odessa from Cardiff with coal. The captain and crew of thirty-nine were saved by the Lady of the Isles. Citation: Larn, Richard (1992). Shipwrecks of the Isles of Scilly. Nairn: Thomas & Lochar.

 

 

“Other men have taken fine shipwreck photographs, but nowhere else in the world can one family have produced such a consistently high and poetic standard of work.”

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John Fowles

 

“This is the greatest archive of the drama and mechanics of shipwreck we will ever see – a thousand images stretching over 130 years, of such power, insight and nostalgia that even the most passive observer cannot fail to feel the excitement or pathos of the events they depict.”

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Rex Cowan

 

 

Dear readers, this gem of a posting will have to last you all of this week as it took such a long time to research, clean the images and assemble the post. I hope you enjoy the fruits of my labour.

These are superb photographs obtained in the most trying of conditions, forming an artistic practice that spans generations and epochs.

As the text below notes, “At the very forefront of early photojournalism, John Gibson and his descendants were determined to be first on the scene when these shipwrecks struck. Each and every wreck had its own story to tell with unfolding drama, heroics, tragedies and triumphs to be photographed and recorded – the news of which the Gibsons would disseminate to the British mainland and beyond.”

This is the most glorious archive of shipwreck photographs that the world has even known and this posting brings together the largest selection of these photographs available on the Internet at the moment, in one place. I have to send a big thank you to the Press Office of the Royal Museums Greenwich (RMG) for sending me all these photographs and allowing me to post them on Art Blart. Unfortunately, because they had just been purchased from the auction house Sotheby’s, there was no information about each image, just the title of the ship. So I have spent hours researching the ships in this posting and cleaning up the scans that were sent to me, some of which were in a poor state. All the text comes from the Internet and if I have forgotten to credit someone I apologise in advance. I have included detailed close-ups of certain images to emphasise the drama, the calamity and the presence and inherent curiosity of onlookers.

The hours spent researching has all be worthwhile because the photographs are magnificent. Atmospheric, ghostly, tinged with loss, tragedy, heroism and the “presence” of these (mostly) sailing ships, these photographs are both memorials and romantic photographic ruins to the age of steam and sail. My favourite has to be the ghostly Flying Dutchman-esque The Glenbervie (1902, below), but for tragedy and poignancy you can’t go past the recumbent body of The Jeanne Gougy (1962, below), framed so beautifully by the artist in the horizontal, by just seen rocks.

But how can you pick just one or two? Each photograph has its own mystery, its own fiction, for as Susan Sontag observes, “Photographs, which cannot themselves explain anything, are inexhaustible invitations to deduction, speculation and fantasy.” In the case of these photographs we can only speculate as to the specific circumstances that led to the occurrence of each wreck (decisions made, or not), the set of circumstances and actions which are evidenced by the time freeze of these photographs, one end product of the performative act. Although they deny interconnectedness and continuity in the actual (conferring on each moment the character of a mystery), they enable interconnectedness and continuity in the imagination of the viewer for we can vividly imagine being on these ships as they are wrecked at sea.

What was interesting with this posting is that the images did not come with captions, just the name of the ship. My imagination was left free to roam, to scour the image for clues, to make up stories about what had happened until I did the research and the text based, “real” story emerged – the words becoming a means by which the viewer can decode the photographic evidence before them. Even though they were rushed to newspapers and magazines to impart news of the accident, I still prefer the fantasy of the image over the informational addendum, for this is what gives these images their power. Here, technology and the mistakes of man yield to the power of nature and you can only imagine how it would have been.

While the back story may add context of time, place, loss and heroism it is the beautiful isolation of these wrecked ships of the sea and their paradoxical nestling close in to the bosom of the earth, holding them fast, that will forever provide intimate fascination.

Dr Marcus Bunyan

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Many thankx to the Royal Museums Greenwich (RMG) for allowing me to publish the photographs in the posting. Please click on the photographs for a larger version of the image.

 

 

The Gibsons of Scilly. 'The Bay of Panama' 1891

 

The Gibsons of Scilly
The Bay of Panama
1891

 

 

SV Bay of Panama (British): The sailing ship was wrecked under Nare Head, near St Keverne, Cornwall, United Kingdom, during a great blizzard. The ship carried jute from Calcutta; 18 of those on board died but 19 were saved. Noall, C. (1969?) Cornish Shipwrecks Illustrated. Truro: Tor Mark Press; p. 15

Barque, built in 1883, 4 masts (equipped with floors and lower deck beams of iron. The forecastle was 37 ft long and the poop 54 ft. Rigged with double top- and top gallant sails and royal sails)

Built by the Belfast shipping firm of Hartland and Wolff in 1883, the Bay of Panama was described by everyone who saw her as probably the finest sailing ship afloat. With her steel hull, and four square-rigged masts, she was a very fast and beautiful ship of 2282 tons. But strength and good looks are no guarantee, and during March 1891 the Bay of Panama met up with the worst blizzard Cornwall had suffered for over two hundred years. It was to prove no contest. Because of her speed, the Bay of Panama was used on the Calcutta run, and on November 18th 1890 she left that port bound for Dundee loaded with a cargo of 13000 bales of jute.

For four months she sailed swiftly towards England until one morning during the early part of March 1891, she approached the Cornish coast in rapidly deteriorating weather. The Captain knew all about the dangers of a lee shore, but because of the bad visibility he was uncertain as to his exact position. He could see that the weather was unlikely to get any better, and he even thought that there might be some snow. After weighing up all the risks he decided to heave to, take some depth soundings, and generally take stock of his position. It was a decision that was to cost him his ship, and his life. Only a few hours later, in the early afternoon, a blizzard, the worst for over two centuries, swept into the West Country and engulfed the Bay of Panama.

Bay of Panama
Posted on July 4, 2007 Peter Mitchell

 

The Gibsons of Scilly. 'SS Blue Jacket' 1898

 

The Gibsons of Scilly
SS Blue Jacket
1898

 

 

SS Blue Jacket (United Kingdom) November 1898: She was unaccountably wrecked on a clear night a few yards from the Longships lighthouse, Lands End, Cornwall. The crew were saved by the Sennen lifeboat. Noall, C. (1969?) Cornish Shipwrecks Illustrated. Truro: Tor Mark Press; p. 21.

Stuck fast – and surely a classic example of the expression – on the 
Longships lighthouse rocks off Land’s End, December 9th, 1898. This 
tramp was in ballast from Plymouth to Cardiff. The captain went below 
to his cabin – and his wife – at 9.30 p.m., leaving the mate on watch. 
He was woken near midnight by a tremendous crash, and came on deck 
to find his listing ship brilliantly illuminated by the lighthouse only a few yards away. Captain, wife and crew took to their boats and were picked 
up by the Sennen lifeboat. How the mate managed to play moth to this
 gigantic candle – the weather was poor, but provided at least two miles’ 
visibility – has remained a mystery. The Blue Jacket sat perched in this
 ludicrous position for over a year.

John Fowles. Shipwreck. 1975

 

The Gibsons of Scilly. 'The Minnehaha' 1874

 

The Gibsons of Scilly
The Minnehaha
1874

 

The Gibsons of Scilly. 'The Minnehaha' 1874

 

The Gibsons of Scilly
The Minnehaha
1874

 

 

The Minnehaha was shipwrecked in 1874 as it travelled from Peru to Dublin. It was carrying guano to be used as fertiliser and struck Peninnis Head rocks when the captain lost his way. The ship sank so quickly that some men were drowned in their berths, ten died in total including the captain.

On 18 January 1874, while travelling from Callao, Peru to Dublin, the 845-ton four-masted barque Minnehaha carrying guano was wrecked off Peninnis Head, St Mary’s, Isles of Scilly. Her pilot mistook the St Agnes light for the Wolf Rock and thought they were passing between the Isles of Scilly and the Wolf. Shortly after she struck a rock off Peninnis Head  and the vessel sunk at once with some of the crew being drowned in their berths. Those on deck climbed into the rigging, and as the tide rose the ship was driven closer to land, and some managed to climb onto the shore over the jib boom. The master, pilot and eight crew drowned.

 

The Gibsons of Scilly. 'The Mohegan'
 1898

 

The Gibsons of Scilly
The Mohegan

1898

 

 

The Mohegan struck the Manacles, October 14th, 1898. One of the most dreaded of all reefs, 
the Manacles (from the Cornish ‘maen eglos’, rocks of the church, a reference 
to the landmark of St Keverne’s tower) stand east of the Lizard promontory, 
in a perfect position to catch shipping on the way into Falmouth – and before 
Marconi ‘Falmouth for orders’ (as to final North European destination) was
 the commonest of all instructions to masters abroad. But the Mohegan was
 outward bound, and hers is one of the most mysterious of all Victorian sea-disasters.
 She was a luxury liner on only her second voyage, from Tilbury to New York.
 Somewhere off Plymouth a wrong course was given. A number of people on shore 
realised the ship was sailing full speed (13 knots) for catastrophe; a coastguard
 even fired a warning rocket, but it came too late. The great ship struck just as 
the passengers were sitting down to dinner. She sank in less than ten minutes,
 and 106 people were drowned, including the captain and every single deck officer,
 so we shall never know how the extraordinary mistake, in good visibility, was made.
 The captain’s body was washed up headless in Caernarvon Bay three months later.
 Most of the dead were buried in a mass grave at St. Keverne.

John Fowles. Shipwreck. 1975

 

The Gibsons of Scilly. 'MV Poleire' 1970

 

The Gibsons of Scilly
MV Poleire
1970

 

 

The MV Poleire was a Cypriot motor vessel of some 2300 tons. In April 1970 she was on a voyage from Ireland to Gdynia in Poland carrying a cargo of zinc ore when she struck the Little Kettle Rock, which lies just north west of Tresco. There was a thick fog when she struck, and although less than a mile from the Round Island light house, her master failed to hear the fog signal. The sea was flat calm so all the crew managed to get off safely. Within a week the Poleire broke in two and sank.

MV Poleire
Posted on July 4, 2007 Peter Mitchell

 

The Gibsons of Scilly. 'The Jeanne Gougy' 1962

 

The Gibsons of Scilly
The Jeanne Gougy
1962

 

 

The Jeanne Gougy, a French fishing trawler (built 1948) ran aground on the 3rd November 1962. Several crew were rescued by Sergeant Eric Smith from a Whirlwind Mk 10 helicopter when he was winched down to the wheelhouse despite it being submerged by breaking waves. He was awarded a George Medal for his rescues.

“The dramatic but tragic shipwreck in which eleven men died and the rescue of the rest of the crew of the Jean Gougy, occurred on November 3rd 1962. The French trawler out of Dieppe, was bound for the fishing grounds of the southern Irish coast when it went aground on the north side of Lands End. At 05.20h, the Sennen Coxswain was contacted by the coastguard who informed him of the trawler’s situation. The firing of the maroons at Sennen Cove awoke two young Royal Marines from their deep sleep, bivouacking as they were, on the flat concrete platform that then existed not far from the lifeboat station at Sennen Cove. The reserve lifeboat on temporary duty at the station was launched as the two marines slowly dozed off back to sleep.

The lifeboat took approximately one hour to reach the scene at Lands End. A parachute flare was fired and the trawler could be seen lying on her side on rocks at the foot of the cliff. A very heavy swell prevailed after the storm. It was impossible for the lifeboat to get any closer than a hundred yards. An L.S.A team at the top of the cliff had fired several lines over the trawler, but the crew could not secure them as the trawler was completely submerged by the heavy swell. Several men were washed out of the wheelhouse. At 8.15h a helicopter from Chivener arrived and, together with the lifeboat, carried out a search of the area. The lifeboat found two seamen and the helicopter one. They were all dead. At 9.00h the helicopter left for Penzance to land a body and to then refuel at Culdrose Naval Air Base near Helston.

“I had awoken with a start at the explosions around me, mistakenly in my stupor believing it was already bonfire night, which of course was two days away. I went back to sleep. Waking sometime later my climbing partner and I packed our equipment and proceeded to walk from Sennen Cove where we had been climbing the previous day, over to Lands End for another days climbing. As we approached Lands End, we noticed people standing on the northern headland. On arriving at approximately midday, we walked over to the zawn beneath us, into which a policeman was peering. There on it’s side was a trawler and looking up at us and waving were many trapped people in the wheelhouse.

Turning to the policeman I said “If my mate and I rope down this side of the zawn (there is a tidal platform, a ledge there), we can set up a belay station, throw our other rope in through the broken wheelhouse window and one by one pull those guys to the cliff below us” (the tide was going out). “Go away” was his curt reply. And so we walked away. In the next four hours, eight more fisherman lost their lives. The outcome could have been so very different.”

As there appeared to be no one left alive on the Jean Gougy the lifeboat had made for Newlyn to land two bodies, it being impossible to return to Sennen Cove due to the tide. At noon however a woman watching from the top of the cliff top saw a man’s hand waving inside the wheelhouse and heard him calling. The coastguards fired a line over the trawler and a man, clinging to the edge of the wheelhouse as the vessel was now completely on her side, struggled to grasp it. He was prevented by heavy waves. Eventually he secured the line and was hauled to safety in the breeches buoy. Three others being rescued afterwards by the same means. The helicopter, on being recalled, hovered over the ship and lowered a crewman who saved two more seamen. These six had survived by breathing trapped air in pockets at the wheelhouse and forecastle. On learning of these developments, the Penlee lifeboat Soloman Browne launched at 12.45h and arrived three-quarters of an hour later. The Sennen lifeboat also returned to the scene at 15.45h. With the helicopter they again searched the area but with no success. It was later learned that the trawler carried a crew of 18, 11 of whom lost their lives, including the skipper.

Sergeant E.C. Smith of the R.A.F who was lowered to the trawler to save the two injured men received the George Medal and also the Silver Medal of the Societe Nationale des Hospitaliers Sauveteurs Bretons. The stirring events connected with this shipwreck, which received extensive press and television coverage, provided an excellent illustration for the public of the manner of work the three principle sea rescue services provided in this country, and of the cooperation existing between them.”

Millenium Moments – The Jean Gougy – A personal recollection by Dennis Morrod on the guidinglight.org.uk website [Online] Cited 25/02/2014. No longer available online.

 

The Gibsons of Scilly. 'Jeune Hortense' 1888

 

The Gibsons of Scilly
Jeune Hortense
1888

 

 

The French brigantine Jeune Hortense was swept on to the beach when she came into Mount’s Bay to land the body of a Fowey man who had died in France. The schooner wrecked at Long Rock, Cornwall. The Penzance lifeboat, having been brought by carriage to the beach near Marazion, rescued four crew.

Stranded near St Michael’s Mount, May lyth, 1888. The foreground
 carriage is for the Penzance lifeboat

 

The Gibsons of Scilly. 'The Mildred' 1912

 

The Gibsons of Scilly
The Mildred
1912

 

 

The Mildred was traveling from Newport to London when it got stuck in dense fog and hit rocks at Gurnards Head at midnight on the 6th April 1912. Captain Larcombe and his crew of two Irishmen, one Welshman and a Mexican rowed into St. Ives as their ship was destroyed by the waves.

“The British barquentine Mildred, Newport for London with basic slag, struck under Gurnards Head at midnight on the 6th April 1912, whilst in dense fog. She swung broadside and was pounding heavily when Captain Larcombe, the mate, two Irishmen, one Welshman and a Mexican from Vera Cruz rowed into St. Ives at 6am. They later returned in a pilot gig but the Mildred was already going to pieces. The Mildred, Cornish built and owned, was launched in 1889.”

 

The Gibsons of Scilly. 'SS Tripolitania' 1912

 

The Gibsons of Scilly
SS Tripolitania
1912

 

 

SS Tripolitania Italian cargo ship (built 1897) ran aground on the 26th December 1912. Driven ashore in a Westerly gale, she beached and attempts were made to refloat her over the coming months on a spring tide. This was unsuccessful and she was eventually scrapped.

“Boxing Day 1912 was remembered by the advent of a south westerly gale, the full force of which was experienced at the Loe Bar, the stretch of shingle and sand separating the Loe Pool from the sea near Porthleven. This Italian Steamer Tripolitania was 2,297 tons. She became firmly embedded and despite strenuous efforts to release her from this perilous position, she was broken up and shipped as scrap from local Porthleven. It has been stated that about £8,000 had been expended on trying to save her. Many tons of sand and shingle were removed in an attempt to free the Tripolitania in the Loe Bar Sands and a great expense was incurred to try and salvage the ship. Tugs stood by for the attempt on the full tide on the morrow, but a storm arose during the night and embedded the vessel even firmer than before. After this incident hopes for refloating her were abandoned and she was broken up for scrap iron. One man was drowned and his body was never recovered.”

Anon. “Tripolitania,” on the Helston History website Nd

 

 

Royal Museums Greenwich (RMG) today acquired a world renowned and nationally significant collection of photographic and archive material. The Gibson archive presents one of the most graphic and emotive depictions of shipwrecks, lifesaving and its aftermath produced in the nineteenth and twentieth centuries. The material was acquired at the Sotheby’s Travel, Atlases, Maps and Natural History Sale.

The archive of dramatic and often haunting images, assembled over 125 years (1872 to 1997) by four generations of the Gibson family, records over 200 wrecks – the ships, heroic rescues, survivors, burials and salvage scenes – off the treacherous coastline of Cornwall and the Isles of Scilly. The acquisition of this collection comprising of over 1360 glass and film negatives, complements the Museum’s existing, extensive historic photography collection, and creates an unprecedented opportunity for the Museum to further examine and explore the story of life at sea and the dangers experienced by seafarers through research, education and display projects.

John Gibson (1827-1920) founded the family photographic business in the 1860s and took his first photograph of a wreck in 1869. He apprenticed his two sons Alexander (1857-1944) and Herbert (1861-1937), who perfected the art of photographing wrecks, creating perhaps some of the most remarkable and evocative images of misadventure at sea. Among the items included in the collection is the ledger the Gibson brothers kept when taking the photographs, which contains records of the telegraph messages sent from Scilly and is full of human stories of disaster, courage and survival. Having secured the archive RMG will initially conserve, research and digitize the collection, leading to a number of exhibitions to tour regional museums and galleries, especially those in the South West of England.

Lord Sterling of Plaistow, Chairman of the Royal Museums Greenwich, said: “The acquisition of this remarkable archive will enable us to create a series of exhibitions that will travel across the country, starting with the South West. I am very pleased that the National Maritime Museum has been able to secure this wonderful collection for the nation, and I know that the Gibson family are delighted that their family archive will remain and be displayed in this country.”

Items acquired today at auction:

  • 585 Glass plate negatives (214: 12 x 10 in: 8 x 6 in) housed in 16 original wooden boxes and one cardboard box
  • 407 Glass plate copy negatives (6½ x 4¾ in) in 4 cardboard boxes
  • 179 Glass plate negatives (4¼ x 3¼ in)
  • 198 film negatives (5 x 4 in) in three boxes
  • 335 cut film negatives (various sizes) and 39 (35mm) film negatives
  • 97 original photographs of shipwrecks (silver prints, 12 x 10 in)
  • Manuscript ledger by Alexander and Herbert Gibson on the shipwrecks of Cornwall and the Isles of Scilly
  • A collection of books by John Fowles, John Arlott, John Le Carré, and Rex Cowan on the Gibsons of Scilly, together with newspaper and magazine articles

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Text from the Royal Museums Greenwich (RMG) website

 

Founder John Gibson bought his first camera 150 years ago

 

Founder John Gibson bought his first camera 150 years ago

 

Alexander Gibson was invited by his father John into the business in 1865

 

Alexander Gibson was invited by his father John into the business in 1865

 

Herbert Gibson was taken on by his father as an apprentice and went on to run the business

 

Apprentice: Herbert Gibson was taken on by his father as an apprentice and went on to run the business

 

James Gibson took over the business after the death of his father Herbert

 

James Gibson took over the business after the death of his father Herbert

 

Frank Gibson spent time learning about new technology and techniques to help advance the family business

 

Frank Gibson spent time learning about new technology and techniques to help advance the family business

 

 

“The Gibson family originated from the Isle of Scilly and have 300 years of family history. John Gibson acquired his first camera whilst abroad around 150 years ago when photography was still mainly reserved for the wealthiest members of society. He had to go to sea from a young age to supplement the income from a small shop on St Mary’s run by his widowed mother. Making ends meet on St Mary’s was a constant struggle and he learned to use the camera and set up a photography studio in Penzance.

Around 1866 he returned to St Mary’s with his family and he was assisted in his photography by his sons Alexander and Herbert in the studio shed in the back garden of their home. Both Herbert and Alexander learned the art of photography at their father’s knee and Alexander was to become one of the most remarkable characters in Scilly. He had a passion for archaeology, architecture and folk history. He took endless pictures of ruins, prehistoric remains, and artefacts not just in Scilly but all over Cornwall.

Herbert by contrast was a quiet man, a competent photographer and a sound businessman. There can be no doubt that without his steadying influence, the business aspect of their photography might not have survived Alexander’s more flamboyant approach. Frank spent some time working for photographers in Cornwall learning about new technology. But Frank returned to Scilly in 1957 and worked in partnership with his father for two years.

After this time it was apparent that they could not work together and James retired to Cornwall and sold the business to Frank. Under Frank’s stewardship the business expanded. He produced postcards and sold souvenirs to supplement the photography, and opened another shop. Scilly is always in the news and there is always demand for pictures by the press.

James Gibson was, in fact, the most qualified of all the photographers. He was an Associate of the Royal Photographic Society and won various medals and awards through his lifetime. He was an adventurous photojournalist as well as a jobbing photographer. Today, the family runs a souvenir shop which sells books and postcards and they are currently digitising 150 years of photographs.”

 

“The family’s famous shipwreck photography began in 1869, on the historic occasion of the arrival of the first Telegraph on the Isles of Scilly. At a time when it could take a week for word to reach the mainland from the islands, the Telegraph transformed the pace at which news could travel. At the forefront of early photojournalism, John became the islands’ local news correspondent, and Alexander the telegraphist – and it is little surprise that the shipwrecks were often major news.

On the occasion of the wreck of the 3500-ton German steamer, Schiller in 1876 when over 300 people died, the two worked together for days – John preparing newspaper reports, and Alexander transmitting them across the world, until he collapsed with exhaustion. Although they often worked in the harshest conditions, travelling with hand carts to reach the shipwrecks – scrambling over treacherous coastline with a portable dark room, carrying glass plates and heavy equipment – they produced some of the most arresting and emotive photographic works of the nineteenth and twentieth centuries.”

Text from Wills Robinson. “Gibson family’s photos chart a century of Cornish shipwrecks,” on the Mail Online website 21/10/2013

 

James Gibson at work

 

James Gibson at work

 

The Gibsons of Scilly. 'SS City of Cardiff' 1912

 

The Gibsons of Scilly
SS City of Cardiff
1912

 

 

21 March – City of Cardiff (United Kingdom) wrecked at Nanjizal, two miles south of Land’s End. The Sennen Life-Saving Apparatus Team took the crew off by breeches buoy. Citation: Corin, J.; Farr, G. (1983). Penlee Lifeboat. Penzance: Penlee & Penzance Branch of the Royal National Lifeboat Institution. p. 120.

The steamer City of Cardiff pictured trapped on rocks with steam still coming out of the chimney, it was washed ashore by a strong gale in March 1912 at Nanjizel. The Captain, his wife and son, and the crew were all rescued but the vessel was left a total wreck. British ship built 1906, the City of Cardiff was en route from Le Havre, France, to Wales in 1912 when it was wrecked in Mill Bay near Land’s End. All of the crew were rescued.

 

The Gibsons of Scilly. 'SS City of Cardiff' 1912

 

The Gibsons of Scilly
SS City of Cardiff
1912

 

The Gibsons of Scilly. 'SS City of Cardiff' (detail) 1912

 

The Gibsons of Scilly
SS City of Cardiff
1912

 

The Gibsons of Scilly. 'SS City of Cardiff' (detail) 1912

 

The Gibsons of Scilly
SS City of Cardiff (detail)
1912

 

The Gibsons of Scilly. 'Brinkburn' 1898

 

The Gibsons of Scilly
Brinkburn
1898

 

 

“The steamer Brinkburn, belonging to Messrs. Harris and Dixon, of London, from Galverton for Havre, with cotton, ran ashore on the Maiden Bower, Isles of Scilly, on Thursday at midnight during dense fog. The crew of 30 took to their lifeboats and landed in safety. The Brinkburn is a total wreck.” 15/12/1898

 

The Gibsons of Scilly. 'SS Schiller' 1875

 

The Gibsons of Scilly
SS Schiller
1875

 

 

SS Schiller was a 3,421 ton German ocean liner, one of the largest vessels of her time. Launched in 1873 she plied her trade across the Atlantic Ocean, carrying passengers between New York and Hamburg for the German Transatlantic Steam Navigation Line. She became notorious on 7 May 1875, when while operating on her normal route she hit the Retarrier Ledges in the Isles of Scilly, causing her to sink with the loss of most of her crew and passengers, totalling 335 fatalities.

Captain Thomas needed to slow due to poor visibility in thick sea fog as she entered the English Channel, and was able to calculate that his ship was in the region of the Isles of Scilly, and thus within range of the Bishop Rock lighthouse which would provide him with information about his position. To facilitate finding the islands and the reefs which surround them, volunteers from the passengers were brought on deck to try to find the light. These lookouts unfortunately failed to see the light, which they were expecting on the starboard quarter, when in fact it was well to port (nautical). This meant that the Schiller was sailing straight between the islands on the inside of the lighthouse, leaving the ship heading towards the Retarrier Ledges.

The Schiller grounded on the reef at 10pm, sustained significant damage, but not enough in itself to sink the large ship. The captain attempted to reverse off the rocks, pulling the ship free but exposing it to the heavy seas which were brewing, which flung the liner onto the rocks by its broadside three times, stoving in the hull and making the ship list dangerously as the lights died and pandemonium broke out on deck as passengers fought to get into the lifeboats.

It was at these boats that the real disaster began, as several were not seaworthy due to poor maintenance and others were destroyed, crushed by the ship’s funnels which fell amongst the panicked passengers. The captain attempted to restore order with his pistol and sword, but as he did so, the only two serviceable lifeboats were launched, carrying 27 people, far less than their full capacity. These boats eventually made it to shore, carrying 26 men and one woman.

On board the ship the situation only became worse, as breakers washed completely over the wreck. All the women and children on board, over 50 people, were hurried into the deck house to escape the worst of the storm. It was there that the greatest tragedy happened, when before the eyes of the horrified crew and male passengers, a huge wave ripped off the deck house roof and swept the occupants into the sea, killing all inside. The wreck continued to be pounded all night, and gradually those remaining on board were swept away or died from exposure to cold seas, wind and resulting hypothermia, until the morning light brought rescue for a handful of survivors.

The recognised manner of signalling disaster at sea was by the firing of minute guns, carried on all ships for signalling purposes. Unfortunately, it had become the custom in the islands to fire a minute gun as your ship passed safely through the area, and so the firing of the Schiller’s guns failed to produce hoped for rescue. Such an operation at night and in the dark would have been near impossible anyway with such high seas, and thus it was not until the first light that rescue craft began arriving.

St Agnes pilot gig, the O and M, was summoned to investigate multiple cannon shots. Her crew discovered the mast of the sinking Schiller. The O and M rowed to pick up five survivors before returning to St Agnes for assistance. Steamers and ferries from as far away as Newlyn, Cornwall, assisted the rescue operation.

Of her original 254 passengers and 118 crew, there were 37 survivors. The death toll, 335, made the disaster one of the worst in British history.

Text from the Wikipedia website

 

 

“An exceptional collection of shipwreck photographs taken by four generations of the Gibson family was bought at a Sotheby’s auction yesterday by the Royal Museums Greenwich (RMG) for £122,500 ($195,645) including buyer’s premium. The archive contains more than 1,100 glass plate negatives, more than 500 film negatives and 97 original print photographs of shipwrecks off the coasts of Cornwall and the Isles of Scilly. They make the perfect complement to the RMG’s pre-existing collection of historic maritime photography.

For 125 years, starting with patriarch John Gibson, a seaman who became a professional photographer in 1860, the Gibson family braved shoals, waves and sand to capture haunting scenes of shredded ships, dramatic rescues, cargo salvage and burials of people who fell victim to the treacherous coastal waters of southwest England. John’s sons Herbert and Alexander joined the business in 1865 and their talents would come to define the Gibson archive and its exceptional high quality. The first wreck they photographed was in 1869 when the telegraph had just arrived on the Isles of Scilly.

These were not simple point and shoot operations. It was dangerous, highly physical labour. On the occasion of the wreck of the 3500-ton German steamer, Schiller, in 1876 when over 300 people died, the two brothers worked together for days – [Herbert] preparing newspaper reports, and Alexander transmitting them across the world, until he collapsed with exhaustion. Although they were working in difficult conditions, travelling with a cart or boat to reach the shipwrecks – and scrambling over rocky crags and sand dunes with a portable dark room, carrying fragile glass plates and heavy equipment – they produced some of the most arresting and emotive photographic images of shipwrecks produced in the nineteenth and twentieth centuries.

They were pioneers. This was at a time when most photography was still firmly wedded to the studio portrait. The equipment was so bulky and fragile that climbing over crags hauling not just the camera and plates but a freaking dark room would be inconceivable to most people. That the Gibsons pulled it off is amazing in and of itself; that they also created images of such beauty and emotional resonance makes the archive little short of miraculous.

The Gibson family business is still going strong on the Isles of Scilly, although they’ve added souvenir and wholesale postcard sales to the professional photography. Sandra Gibson, John’s great-great granddaughter, runs it now with her husband Pete. The family decided it was time to sell the archive rather than let it continue to languish in boxes.”

Author John Le Carré, who used some Gibson photographs in his books, visited the business, then run by Frank, Sandra’s father, in 1997. I love his description of the archive:

“We are standing in an Aladdin’s cave where the Gibson treasure is stored, and Frank is its keeper. It is half shed, half amateur laboratory, a litter of cluttered shelves, ancient equipment, boxes, printer’s blocks and books. Many hundreds of plates and thousands of photographs are still waiting an inventory. Most have never seen the light of day. Any agent, publisher or accountant would go into free fall at the very sight of them.”

Now that National Maritime Museum has the pictures, we can all go into free fall at the very sight of them, and the family can be sure it will be archived properly and shared with the world. The museum plans to use the archive to study the dangers of the seafaring life and to display this invaluable record as widely as possible.”

Press release from the Royal Museums Greenwich (RMG)

 

The Gibsons of Scilly. 'River Lune' 1879

 

The Gibsons of Scilly
River Lune
1879

 

 

River Lune struck in fog and at night just south of Annet (Scillies), July 27th, 1879 – the same day as the Maipu. The master later blamed a faulty
 chronometer, since he had believed himself fifteen miles to the west.
 The ship heeled and sunk aft in the first ten minutes. The crew took 
to their boats, but returned in daylight to collect their belongings. 
This barque was only eleven years old. She broke up soon afterwards.

John Fowles. Shipwreck. 1975

 

The Gibsons of Scilly. 'The Punta' 1955

 

The Gibsons of Scilly
The Punta
1955

 

The Gibsons of Scilly. 'SV Seine' 1900

 

The Gibsons of Scilly
SV Seine
1900

 

The Gibsons of Scilly. 'SV Seine' (detail) 1900

 

The Gibsons of Scilly
SV Seine (detail)
1900

 

 

The French ship, the barque SV Seine (built in 1899) was on her way to Falmouth with a cargo of nitrate when she ran into a gale off Scilly on Decermber 28, 1900. She ran ashore in Perran Bay, Perranporth, Cornwall, but thankfully all crew members were rescued with Captain Guimper reported as the last man to leave the ship before she was broken up in the next flood tide.

Ran ashore in Perran Bay (Perranporth), December 28th, 1900. This beautiful ship was a French ‘bounty clipper’ – so called because a government subsidy to French ship-owners allowed them to build for elegance rather than more mundane qualities. The crew got off in heavy seas. By dawn the next day she was dismasted and on her beam-ends, and broke up on the next flood-tide. Two weeks later the hulk of this celebrated barque was bought for only £42.

 

The Gibsons of Scilly. 'SV Albert Wilhelm' 1886

 

The Gibsons of Scilly
SV Albert Wilhelm
1886

 

 

SV Albert Wilhelm 1886, a German brig was lost 16 October 1886 Lelant.
The Albert Wilhelm, Lelant, 1886, a 202 ton German Brig travelling from the Isle of Man to Fowey.

 

The Gibsons of Scilly. 'MV Cita' 1997

 

The Gibsons of Scilly
MV Cita
1997

 

 

The German owned 300ft merchant vessel the Cita, sunk after it pierced its hull and ran aground in gale-force winds en route from Southampton to Belfast in March 1997. The mainly Polish crew of the stricken vessel were rescued a few hours after the incident by the RNLI and the wreck remained on the rock ledge for several days before slipping off into deeper water.

On 26 March 1997, the 300-ft merchant vessel MV Cita pierced its hull when running aground on rocks off the south coast of the Isles of Scilly in gale-force winds en route from Southampton to Belfast. The incident happened just after 3 am when the German-owned, Antiguan-registered 3,000 tonne vessel hit Newfoundland Point, St Mary’s. The mainly Polish crew of the stricken vessel were rescued a few hours after the incident by St Mary’s Lifeboat, RNLB Robert Edgar with the support of a H-3 Sea King rescue helicopter from RNAS Culdrose. They sailed to the UK mainland on board the Scillonian III later that afternoon. Many containers were washed up on the rocks and beaches of the Isles of Scilly, and many were found in the Celtic Sea, travelling as far as Cornwall.

Text from the Wikipedia website

 

The Gibsons of Scilly. 'The Glenbervie' 1902

 

The Gibsons of Scilly
The Glenbervie
1902

 

 

The Glenbervie, which was carrying a consignment of pianos and high quality spirits crashed into rocks Lowland Point near Coverack, Cornwall, in January 1902 after losing her way in bad weather. The British owned barque was laden with 600 barrels of whisky, 400 barrels of brandy and barrels of rum. All 16 crewmen were saved by lifeboat.

The Glenbervie, The Lizard, 1902, travelling from the Thames to West Africa spirits and pianos. Struck on the Manacles and went aground near Lowland Point, December 1901. The crew were saved in heavy seas by the Coverack lifeboat. The old wreckers must have groaned in their uneasy graves when they heard that this cargo was officially salvaged, since it contained over a thousand cases and barrels of spirits. There was also a valuable consignment of grand pianos on board, which were all ruined. The Glenbervie was launched in 1866; she was first a tea-clipper, then had many years in the Canada trade. She normally made three trips a year, between the thawing and the freezing of the St Lawrence, on this latter run.

 

The Gibsons of Scilly. 'SV Granite State / Slate' 1895

 

The Gibsons of Scilly
SV Granite State / Slate
1895

 

 

American three-masted sailing ship built in 1877 ran aground near Porthcurno 4th November 1895.

On 3rd November 1895 this American sailing ship arrived in Falmouth with a cargo of wheat from the River Plate. Given orders to discharge in Swansea she sailed on the 4th November and whilst attempting to round Lands End, struck the Lee Ore rock of the Runnel Stone. Taken in tow by the Cardiff tug Elliot and Jeffrey she was beached in the shallows of Porthcurno. She rapidly settled, and when the wheat began to swell and the hatches burst under the pressure, she was abandoned. She broke up soon afterwards in a winter gale.

Struck on the Runnel Stone, three miles south-east of Land’s End, November 4, 1895. This fine Yankee windjammer was making for Swansea from Falmouth. A navigation error by the mate seems to have been the cause of disaster. She was hauled off by a tug, but had to be towed to the nearest sandy bay, Porthcurno. She settled rapidly, and when the cargo of wheat began to swell the crew took to boats. The Granite Slate was soon afterwards destroyed completely by a gale.

 

The Gibsons of Scilly. 'SV Granite State / Slate' (detail) 1895

 

The Gibsons of Scilly
SV Granite State / Slate (detail)
1895

 

The Gibsons of Scilly. 'The Hansy' 1911

 

The Gibsons of Scilly
The Hansy
1911

 

 

Wreck of the Norwegian full-rigger Hansy, Housel Bay, The Lizard, Cornwall, November 1911.

3 November – 1497 ton sailing ship Hansy (Norway) of Fredrikstad was wrecked at Housel Bay on the eastern side of the Lizard. Three men were saved by the Lizard lifeboat (Royal National Lifeboat Institution) and the rest along with the Captain’s family were taken off by rocket apparatus. She was bound for Sydney with building material and her cargo of steel and timber was washed up for weeks afterwards and used in many of the local cottages. One in Church Cove now bears her name. (Wikipedia)

“Wrecked in Housel Bay near the Lizard Point, November 13th, 1911. 
Sailing from Sweden to Melbourne with timber and pig-iron, she missed stays 
while trying to come about in a gale. The crew were brought ashore by 
breeches-buoy. Two days later a salvage party boarded – to find a pair of
 goats lying happily in a seaman’s bunk. Local fishermen did a thriving trade 
in timber for weeks afterwards; and the iron pigs are fished up for ballast 
to this day. The Scottish-built Hansy (formerly Aberfoyle) had had an 
unhappy history. In 1890 the bulk of the crew jumped ship in Australia,
 after a bad voyage out – only to be returned on board following a fortnight 
in jail. Jail must have been more agreeable, for eight men jumped ship again 
at the next port of call. In 1896 a steamer found the Aberfoyle drifting helplessly
 off Tasmania. The captain had been swept overboard, the first mate had
 committed suicide by leaping into the sea and the rest had given up hope.
 Similar stories of low morale – and often of insane bitterness between
 officers and crew – are manifold.”

John Fowles. Shipwreck. 1975

 

 

Royal Museums Greenwich (RMG)

The National Maritime MuseumQueen’s HouseRoyal Observatory and Cutty Sark are normally open 10.00-17.00 seven days a week.

Royal Museums Greenwich (RMG) website

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26
Mar
14

Exhibition: ‘Hans Gedda’ at the Nationalmuseum at Konstakademien, Stockholm

Exhibition dates: 5th December 2013 – 30th March 2014

 

Hans Gedda. 'Unknown man' c. 1995

 

Hans Gedda (Swedish, b. 1942)
Unknown man
c. 1995
Cecilia Heisser/Nationalmuseum
© Hans Gedda

 

 

A photographer who I previously have known very little about….

Excellent portraits, with strong use of close up, chiaroscuro and diagonal, horizontal and vertical elements within the picture frame. The camera is usually positioned on the same level or just below the proponent – never shooting down on the person – which gives the portraits a monumental feel. The tight cropping and framing of the face by hands and arms is magnificent (for example, the hands and arms of Sara Lidman, 1967 below; and the hand resting under the chin of Hans Alfredson, Reprint 2012 below), as is the positioning of the body within the picture frame, Self Portrait as The White Clown (Reprint 2012, below). The attitude of the body, as in the portrait of photographer Rolf Winquist (Reprint 2012, below), adds an element of psychological enquiry into the presence that the artist evokes from his sitters.

Marcus

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

 

 

Hans Gedda. 'Carl XVI Gustaf, King of Sweden' 1996

 

Hans Gedda (Swedish, b. 1942)
Carl XVI Gustaf, King of Sweden
1996
Nationalmuseum, Swedish National Portrait Gallery
Hans Thorwid/Nationalmuseum
© Hans Gedda

 

Hans Gedda. 'Niklas Ek, dancer, actor' Reprint 2012

 

Hans Gedda (Swedish, b. 1942)
Niklas Ek, dancer, actor
Nd, reprint 2012
Gelatin silver print
60.5 x 50.5cm
Nationalmuseum, Swedish National Portrait Gallery
Erik Cornelius/Nationalmuseum
© Hans Gedda

 

 

Niklas Ek, born 1943, is a Swedish premiere dancer. He is the son of actor Anders Ek and choreographer Birgit Cullberg and brother of the director Mats Ek and actor Malin Ek. He has been active in the Cullberg Ballet and the Royal Opera.

 

Hans Gedda. 'Angela Davis' c. 1972

 

Hans Gedda (Swedish, b. 1942)
Angela Davis
c. 1972
Cecilia Heisser/Nationalmuseum
© Hans Gedda

 

 

Angela Yvonne Davis (born January 26, 1944) is an American political activist, scholar, and author. She emerged as a nationally prominent counterculture activist and radical in the 1960s, as a leader of the Communist Party USA, and had close relations with the Black Panther Party through her involvement in the Civil Rights Movement despite never being an official member of the party. Prisoner rights have been among her continuing interests; she is the founder of Critical Resistance, an organisation working to abolish the prison-industrial complex. She is a retired professor with the History of Consciousness Department at the University of California, Santa Cruz, and is the former director of the university’s Feminist Studies department.

Her research interests are in feminism, African-American studies, critical theory, Marxism, popular music, social consciousness, and the philosophy and history of punishment and prisons. Her membership in the Communist Party led to Ronald Reagan’s request in 1969 to have her barred from teaching at any university in the State of California. She was tried and acquitted of suspected involvement in the Soledad brothers’ August 1970 abduction and murder of Judge Harold Haley in Marin County, California. She was twice a candidate for Vice President on the Communist Party USA ticket during the 1980s.

Text from the Wikipedia website

 

Hans Gedda. 'Tomas Tranströmer' 2006

 

Hans Gedda (Swedish, b. 1942)
Tomas Tranströmer
2006
Nationalmuseum, Swedish National Portrait Gallery
Erik Cornelius/Nationalmuseum
© Hans Gedda

 

 

Tomas Gösta Tranströmer (born 15 April 1931) is a Swedish poet, psychologist and translator. His poems capture the long Swedish winters, the rhythm of the seasons and the palpable, atmospheric beauty of nature. Tranströmer’s work is also characterised by a sense of mystery and wonder underlying the routine of everyday life, a quality which often gives his poems a religious dimension. Indeed, he has been described as a Christian poet.

Tranströmer is acclaimed as one of the most important Scandinavian writers since the Second World War. Critics have praised his poetry for its accessibility, even in translation.His poetry has been translated into over 60 languages. He is the recipient of the 1990 Neustadt International Prize for Literature and the 2011 Nobel Prize in Literature.

Text from the Wikipedia website

 

Hans Gedda. 'Fantini, clown' Nd

 

Hans Gedda (Swedish, b. 1942)
Fantini, clown
Nd
Cecilia Heisser/Nationalmuseum
© Hans Gedda

 

Hans Gedda. 'Nelson Mandela' 1990

 

Hans Gedda (Swedish, b. 1942)
Nelson Mandela
1990
Cecilia Heisser/Nationalmuseum
© Hans Gedda

 

Hans Gedda. 'Tove Jansson' 1967

 

Hans Gedda (Swedish, b. 1942)
Tove Jansson
1967
Cecilia Heisser/Nationalmuseum
© Hans Gedda

 

 

Tove Marika Jansson (Finland; 9 August 1914 – 27 June 2001) was a Swedish-speaking Finnish novelist, painter, illustrator and comic strip author. For her contribution as a children’s writer she received the Hans Christian Andersen Medal in 1966. Brought up by artistic parents, Jansson studied art from 1930 to 1938 in Stockholm, Helsinki and then Paris. Her first solo art exhibition was in 1943.

At the same time, she was writing short stories and articles for publication, as well as creating the graphics for book covers and other purposes. She continued to work as an artist for the rest of her life, alongside her writing. Jansson is best known as the author of the Moomin books for children. The first such book, The Moomins and the Great Flood, appeared in 1945, though it was the next two books, Comet in Moominland and Finn Family Moomintroll, published in 1946 and 1948 respectively, that brought her fame. Starting with the semi-autobiographical Bildhuggarens dotter (Sculptor’s Daughter) in 1968, she wrote six novels and five books of short stories for adults.

Text from the Wikipedia website

 

Hans Gedda. 'Evert Taube, author, singer, artist' Reprint 2012

 

Hans Gedda (Swedish, b. 1942)
Evert Taube, author, singer, artist
Reprint 2012
Gelatin silver print
60.5 x 50.5 cm
Nationalmuseum, Swedish National Portrait Gallery
Erik Cornelius/Nationalmuseum
© Hans Gedda

 

 

Evert Taube (1890 – 1976) was a Swedish author, artist, composer and singer. He is widely regarded as one of Sweden’s most respected musicians and the foremost troubadour of the Swedish ballad tradition in the 20th century.

 

“On 5 December, an exhibition on the life and work of photographer Hans Gedda will open at Nationalmuseum. Close to 140 works will be on show in this retrospective covering the period from the 1950s to the present day. Gedda’s celebrated portraits of Angela Davis, Andy Warhol and Nelson Mandela will appear alongside famous Swedes such as Olof Palme, Birgit Nilsson and Jonas Gardell.

Hans Gedda (born 1942) has long been recognised as one of Sweden;s most notable photographers. The coming retrospective will feature some 140 works: a mix of portraits, still lifes and semi-documentary images. The sliding scale on which the various genres are classified invites questions such as what constitutes a portrait, and what makes it different from other motifs. The featured works will cover Gedda’s long and productive artistic career from the 1950s to date.

Hans Gedda displayed a precocious talent for photography, making his artistic debut while still a teenager. The exhibition will therefore include several early works never previously exhibited. It will then trace Gedda’s ongoing development, from his student days with Teddy Aarni in Eskilstuna through the period he spent as assistant to Rolf Winquist at Ateljé Uggla. Gedda’s breakthrough came in 1967 with his portraits of Sara Lidman and Tove Jansson. As one of the dominant components of Gedda’s oeuvre, portraits will make up a major part of the exhibition. Visitors will encounter well-known images of Angela Davis, Andy Warhol, Nelson Mandela and famous Swedes such as Olof Palme, Birgit Nilsson and Jonas Gardell. In these portrayals, time and space are non-existent; everything is pared down. Examples of closeness and distance alike can be seen. One of the most innovative works is a portrait of King Carl XVI Gustaf.

Gedda has worked as a commercial photographer all his life, frequently changing perspectives and using the same models in his artistic projects. His pictures of older men with colourful personalities were created in parallel with jeans advertisements. Another example is Gedda’s circus images, commissioned by Cirkus Scott, which mix portrait photography with semi-documentary photojournalism. Since these are among the most fascinating of Gedda’s works, separate sections will be dedicated to them. As far as self-portraits are concerned, Gedda has employed a variety of motifs as reflections of himself. He has appeared both as a white clown and as a still life in the form of scrap metal parts. In this way, he continues to experiment to this day with a sliding scale covering a number of genres such as portraiture, nature studies and still life…

To coincide with the exhibition, a lavishly illustrated catalogue will be published in Swedish and English. It will contain two essays by Magnus Olausson and Eva-Lena Karlsson, the exhibition curators, which will draw extensively on numerous conversations with Gedda.

The exhibition will open on 5 December 2013 in Nationalmuseum’s temporary venue at Konstakademien, Fredsgatan 12, Stockholm, and will run until 30 March 2014.

Press release from the Nationalmuseum website

 

Hans Gedda. 'Addi, the White-Face Clown' c. 1967

 

Hans Gedda (Swedish, b. 1942)
Addi, the White-Face Clown
c. 1967
Cecilia Heisser/Nationalmuseum
© Hans Gedda

 

Hans Gedda. 'Andy Warhol' 1976

 

Hans Gedda (Swedish, b. 1942)
Andy Warhol
1976
Cecilia Heisser/Nationalmuseum
© Hans Gedda

 

Hans Gedda. 'Cornelis Vreeswijk' 1984

 

Hans Gedda (Swedish, b. 1942)
Cornelis Vreeswijk
1984
Nationalmuseum, Swedish National Portrait Gallery
Cecilia Heisser/Nationalmuseum
© Hans Gedda

 

 

Cornelis Vreeswijk (8 August 1937 – 12 November 1987) was a singer-songwriter, poet and actor born in IJmuiden in the Netherlands. He emigrated to Sweden with his parents in 1949 at the age of twelve. He was educated as a social worker and hoped to become a journalist, but became increasingly involved in music, performing at events for students. His idiosyncratic humour and social engagement is still gaining him new fans. Cornelis Vreeswijk is often considered as one of the most influential and successful troubadours in Sweden. In 2010 a Swedish drama film, called Cornelis, was made about his life. It was directed by Amir Chamdin.

 

Hans Gedda. 'Still Life' Nd

 

Hans Gedda (Swedish, b. 1942)
Still Life
Nd
Cecilia Heisser/Nationalmuseum
© Hans Gedda

 

Hans Gedda. 'Jonas Gardell' c. 1992

.

Hans Gedda
Jonas Gardell
c. 1992
Cecilia Heisser/Nationalmuseum
© Hans Gedda

 

 

Jonas Gardell (born 2 November 1963 in Enebyberg, Stockholm County), is a Swedish novelist, playwright, screenwriter and comedian. He is the brother of religion scholar Mattias Gardell. He is well known for his books and plays in all of Scandinavia and has also published in Norway, Denmark, Finland, and Iceland.

 

Hans Gedda. 'Man with a Cigarette and Stick' 1995-97

 

Hans Gedda (Swedish, b. 1942)
Man with a Cigarette and Stick
1995-97
Cecilia Heisser/Nationalmuseum
© Hans Gedda

 

Hans Gedda. 'Ove Ekberg' 1955

 

Hans Gedda (Swedish, b. 1942)
Ove Ekberg
1955
Cecilia Heisser/Nationalmuseum
© Hans Gedda

 

Hans Gedda. 'Sara Lidman' 1967

 

Hans Gedda (Swedish, b. 1942)
Sara Lidman
1967
Cecilia Heisser/Nationalmuseum
© Hans Gedda

 

 

Sara Lidman (30 December 1923 – 17 June 2004) was a Swedish writer. Born in the village Missenträsk in the northern parts of Skellefteå Municipality, Lidman was raised in the Västerbotten region of northern Sweden. She studied at the University of Uppsala where her studies were interrupted by her receiving tuberculosis. She achieved her first great success with the novel Tjärdalen (The Tar Still). In this novel and in Hjortronlandet she depicts themes like alienation and loneliness. In this and her following three novels, she described the difficult conditions for poor farmers in the northern Swedish province Västerbotten during the nineteenth century.

Her innovative style was influenced by dialects and biblical language. In connection with her first four novels, she wrote a number of texts with strong political content. She engaged in protest against the Vietnam War (including traveling to North Vietnam and participating in the Russell Tribunal) and apartheid in South Africa. She also supported the miners strikes in North Sweden and was active in the Communist movement and after that in the environmentalist movement. After 1977, she wrote seven additional novels that dealt with the colonisation of northern Sweden.

Text from the Wikipedia website

 

Hans Gedda. 'Rolf Winquist, photographer' Reprint 2012

 

Hans Gedda (Swedish, b. 1942)
Rolf Winquist, photographer
Reprint 2012
Gelatin silver print
60.5 x 50.5cm
Nationalmuseum, Swedish National Portrait Gallery
Cecilia Heisser/Nationalmuseum
© Hans Gedda

 

 

The photographer Rolf Winquist (Swedish, 1910-68) was for many years the head of Ateljé Uggla, a popular studio in Stockholm. Known chiefly for its portraits, the showcase studio on Kungsgatan attracted professionals and amateurs alike. Generations of aspiring young photographers sought out Winquist. He did not provide formal instruction, preferring to give his students the opportunity to acquire knowledge and skills through practical tasks. Winquist’s artistic roots were in the pictorialism movement of the early 20th century, which sought to elevate the status of photography and gain recognition as an art form. However, Winquist did not stop there, but went on to produce experimental works of a surrealist nature as well as street photography.

Text from the Nationalmuseum website [Online] Cited 24/03/2014 no longer available online.

 

Hans Gedda. 'Hans Alfredson, author, actor, entertainer, film director' Reprint 2012

 

Hans Gedda (Swedish, b. 1942)
Hans Alfredson, author, actor, entertainer, film director
Reprint 2012
Gelatin silver print
60.5 x 50.5cm
Nationalmuseum, Swedish National Portrait Gallery
Cecilia Heisser/Nationalmuseum
© Hans Gedda

 

 

Hans Folke “Hasse” Alfredson (1931-2017) was a Swedish actor, film director, writer and comedian. He was born in Malmö, Sweden. He was known for his collaboration with Tage Danielsson (the two of them often referred to as Hasseåtage). His most celebrated contribution to their brand of humorist humanism was his ability to extemporise wildly absurd comic situations, for example in the so-called Lindeman dialogues. At the 11th Guldbagge Awards, he won the Best Director award for his 1975 film Egg! Egg! A Hardboiled Story. His 1981 film The Simple-Minded Murder was entered into the 32nd Berlin International Film Festival. He also wrote a string of books, some intensely comic in a Monty Python style, some equally intensely tragic, some a mixture of the two.

Text from the Wikipedia website

 

Hans Gedda. 'Self Portrait as The White Clown' Reprint 2012

 

Hans Gedda (Swedish, b. 1942)
Self Portrait as The White Clown
Reprint 2012
Gelatin silver print
60.5 x 50.5cm
Nationalmuseum, Swedish National Portrait Gallery
Cecilia Heisser/Nationalmuseum
© Hans Gedda

 

Hans Gedda. 'Margaretha Krook' 1971

 

Hans Gedda (Swedish, b. 1942)
Margaretha Krook
1971
Nationalmuseum, Swedish National Portrait Gallery
Cecilia Heisser/Nationalmuseum
© Hans Gedda

 

 

Margaretha Krook (15 October 1925 – 7 May 2001) was a Swedish stage and film actress. She won the Eugene O’Neill Award in 1974. In 1976, she won the Guldbagge Award for Best Actress for the film Release the Prisoners to Spring.

 

Hans Gedda. 'Max von Sydow' c. 1973

 

Hans Gedda (Swedish, b. 1942)
Max von Sydow
c. 1973
Cecilia Heisser/Nationalmuseum
© Hans Gedda

 

Hans Gedda. 'Max von Sydow' 1993

 

Hans Gedda (Swedish, b. 1942)
Max von Sydow
1993
© Hans Gedda

 

Hans Gedda. 'Ernst Hugo Järegård, Shakespeare/actor' 1993

 

Hans Gedda (Swedish, b. 1942)
Ernst Hugo Järegård, Shakespeare/actor
1993
© Hans Gedda

 

 

From 1962 Ernst Hugo Järegård was an actor in Sweden’s prominent Royal Dramatic Theatre, where he came to perform a number of much celebrated parts: his eccentric Hitler in Schweik in the Second World War by Bertolt Brecht (1963), Estragon in the legendary 1966 Dramaten-staging of Samuel Beckett’s Waiting for Godot, Thersites in Shakespeare’s Troilus and Cressida 1967, Orgon in Molière’s Tartuffe 1971, Hjalmar Ekdahl in Ingmar Bergman’s 1972 production of Ibsen’s The Wild Duck, Nero in Jean Racine’s Britannicus (1974), a spot-on portrayal of August Strindberg in play Tribadernas natt (The Night of the Tribades) by Per Olov Enquist, the title role in Richard III by Shakespeare (1980) and the extremely creepy – and slightly perverted – boss Sven in VD (“CEO”) by Stig Larsson in 1985, among others…

Järegård gained international attention when he took on the role of Doctor Helmer in Lars von Trier’s highly acclaimed mini-series Riget and Riget II (aka The Kingdom I & II). He also appeared in von Trier’s Europa. He participated in about 20 movies and 40 TV productions: aside from the Riget-series; some of his greatest roles are in the Skånska mord-series, in the 1975 Hasseåtage comedy Släpp fångarne loss, det är vår! (Release the Prisoners to Spring), in the 1962 cult movie Raggargänget, in Kådisbellan (aka The Slingshot) in 1993 and as the pompous old drag queen Ragnar Rönn in the teleplay Cheek to Cheek (written and directed by Jonas Gardell), 1997. Also in 1997 he appeared in CHOCK as the series’ host and presented each episode. Usually he would make elaborate philosophical and mystical statements regarding the plot of each episode.

For his acting work, he was awarded with the Thalia prize (1967) and the Eugene O’Neill Award (1975), two of Sweden’s finest and most prestigious theatre awards.

Text from the Wikipedia website

 

Hans Gedda. 'Self Portrait (with Cap)' 1974

 

Hans Gedda (Swedish, b. 1942)
Self Portrait (with Cap)
1974
Nationalmuseum, Swedish National Portrait Gallery
Cecilia Heisser/Nationalmuseum
© Hans Gedda

 

 

Nationalmuseum at Konstakademien
Konstakademien, Fredsgatan 12
Stockholm
Temporary exhibition space

Opening hours: (Dec 5 – Mar 30, 2014)
Mon, Wed, Fri, Sat and Sun: 10 – 18
Tues and Thurs: 10 – 20

Nationalmuseum website

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22
Mar
14

Exhibition: ‘Manzanar: The Wartime Photographs Of Ansel Adams’ at the Jundt Art Gallery, Gonzaga University, Spokane, WA

Exhibition dates: 4th January – 29th March 2014

 

Ansel Adams (American, 1902-1984) 'Birds on wire, evening, Manzanar Relocation Center' 1943

 

Ansel Adams (American, 1902-1984)
Birds on wire, evening, Manzanar Relocation Center
1943
Silver gelatin print

 

 

Just a small celebration = this is the 900th posting on Art Blart since it started…

I sifted through all the photographs of the “war relocation center” (euphemism for concentration camp) named Manzanar that Ansel Adams took – over 220 photographs on the Library of Congress website – to bring you these, the best of the bunch. Adams wasn’t a particularly good documentary photographer and it was a struggle to come up with these images, but sprinkled in with the prosaic are some absolutely stunning landscape and still life images.

What is noteworthy however, is Adams moral stance towards the unlawful incarceration of Japanese Americans, something that went against everything American citizenship is supposed to stand for. In 1944 he published a book called Born Free and Equal which protests the treatment of these American citizens. Through photography and text he showed how they suffered under a great injustice – by portraying “Japanese American internees as loyal Americans going about their lives like regular citizens, not as dangerous aliens.”

As curator Robert Flynn Johnson notes, “Adams saved his harshest attack on their unjust imprisonment for the language of his book… In the text Adams struggled with the argument that the incarceration of these citizens was not just but justified by military necessity. However, he rejected that argument, clearly and forcefully articulating his opposition to the internment. The book was not well received. Adams was called a “Jap lover” and copies of the book were burned. To fully understand the “profiles in Courage” stand Ansel Adams took by publishing Born Free and Equal while the war was still raging, one must understand the emotionally volatile nature of those times in which it was published. Adams’s strong convictions are fully apparent when one reads his forceful words while viewing his beautiful photographic imagery…”

Can you imagine what courage it must have taken to publish a book in the middle of the Second World War – with all that was going on with America and the war in the Pacific against Japan – titled Born Free and Equal, a book that lays bare the hypocrisy of democracy as only contingent on those in power. This man and his supporters have my utmost admiration. In Australia it’s a pity – no, it’s shameful – that those elected people on both sides of major politics do not possess similar fortitude. The guts to stand up for justice and freedom against the evils of incarceration and oppression when they see it staring them in the face.

Dr Marcus Bunyan

PS. What is also interesting is how Adams laid out this work for exhibition in the camp itself. The size of the prints, how they are displayed both vertically and horizontally, and how they move up and down and are not hung ‘on the line’ – plus the artefacts they are also displayed with. Fascinating stuff.

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These photographs were sourced from the Prints & Photographs Online Catalog of the Library of Congress. The online archive contains all of Ansel Adams photographs of Manzanar War Relocation Center to download in high resolution, with no known restrictions on publication. Please note: publication of these images in the posting does NOT mean that these images are in the exhibition.

 

Ansel Adams (American, 1902-1984) 'C.T. Hibino, artist, Manzanar Relocation Center' 1943

 

Ansel Adams (American, 1902-1984)
C.T. Hibino, artist, Manzanar Relocation Center
1943
Silver gelatin print

 

Ansel Adams (American, 1902-1984) 'Frank Hirosama [i.e., Hirosawa] in laboratory, Manzanar Relocation Center' 1943

 

Ansel Adams (American, 1902-1984)
Frank Hirosama [i.e., Hirosawa] in laboratory, Manzanar Relocation Center
1943
Silver gelatin print

 

 

Foreword to Born Free and Equal

“Moved by the human story unfolding in the encirclement of desert and mountains, and by the wish to identify my photography in some creative way with the tragic momentum of the times, I came to Manzanar with my cameras in the fall of 1943. For many years, I have photographed the Sierra Nevada, striving to reveal by the clear statement of the lens those qualities of the natural scene which claim the emotional and spiritual response of the people. In these years of strain and sorrow, the grandeur, beauty, and quietness of the mountains are more important to us than ever before. I have tried to record the influence of the tremendous landscape of Inyo on the life and spirit of thousands of people living by force of circumstance in the Relocation Center of Manzanar. …

I believe that the acrid splendour of the desert, ringed with towering mountains, has strengthened the spirit of the people of Manzanar. I do not say all are conscious of this influence, but I am sure most have responded, in one way or another, to the resonances of their environment. From the harsh soil they have extracted fine crops; they have made gardens glow in the firebreaks and between the barracks. Out of the jostling, dusty confusion of the first bleak days in raw barracks they have modulated to a democratic internal society and a praiseworthy personal adjustment to conditions beyond their control. The huge vistas and the stern realities of sun and wind and space symbolise the immensity and opportunity of America – perhaps a vital reassurance following the experience of enforced exodus. …

I trust the content and message of this book will suggest that the broad concepts of American citizenship, and of liberal, democratic life the world over, must be protected in the prosecution of the war, and sustained in the building of the peace to come.”

Ansel Adams, Foreword to Born Free and Equal, 1944

 

Library of Congress text

Well-known fine art and landscape photographer, Ansel Adams, took on several war-related assignments. When offering the Manzanar photos to the Library in 1965, Adams wrote in an accompanying letter, “The purpose of my work was to show how these people, suffering under a great injustice … had overcome the sense of defeat and dispair [sic] by building for themselves a vital community in an arid (but magnificent) environment.”

Summary: Photographs document the lives of Japanese Americans interned during World War II at the Manzanar Relocation Center, in Inyo County, California. There are numerous close-up and occupational portraits of individuals, including Roy Takeno, editor of the Manzanar Free Press, and photographer Tōyō Miyatake. Group portraits include families, women and children. Other photographs show people posed in their living quarters and engaged in indoor daily life such as shopping, religious services, health care, and education; more informal views portray outdoor agricultural scenes and sports and leisure activities. Landscape views feature the background mountains and desert as well as camp facilities and buildings.

Text from the Library of Congress website

 

Ansel Adams (American, 1902-1984) 'Manzanar street scene, spring, Manzanar Relocation Center' 1943

 

Ansel Adams (American, 1902-1984)
Manzanar street scene, spring, Manzanar Relocation Center
1943
Silver gelatin print

 

Ansel Adams (American, 1902-1984) 'Benji Iguchi driving tractor in field, Manzanar Relocation Center' 1943

 

Ansel Adams (American, 1902-1984)
Benji Iguchi driving tractor in field, Manzanar Relocation Center
1943
Silver gelatin print

 

 

“… that all Japanese, whether citizens or not, be placed in inland concentration camps. As justification for this, I submit that if an American born Japanese, who is a citizen, is really patriotic and wishes to make his contribution to the safety and welfare of this country, right here is his opportunity to do so, namely, by permitting himself to be placed in a concentration camp, he would be making his sacrifice. … Millions of other native-born citizens are willing to lay down their lives, which is a far greater sacrifice, of course, than being placed in a concentration camp.”

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Secretary of War Henry Stinson, January 16, 1942

 

 

The Jundt Art Museum will display Manzanar: The Wartime Photographs of Ansel Adams in the Jundt Galleries Jan. 4 through March 29. The exhibition features 50 of the renowned photographer’s images of the Japanese-American relocation camp in Manzanar, Calif. during World War II. The photographs are included in the controversial book Born Free and Equal, which protests the treatment of these American citizens. The book was published in 1944 while the war was in progress. Also included in the exhibition are various photographs, documents and other works of art that further contextualise the images. Robert Flynn Johnson, curator emeritus for the Achenbach Foundation for Graphic Arts at the Fine Arts Museums of San Francisco, curated the exhibition.

Born in San Francisco, Adams was a visionary in nature photography and wilderness preservation. He has become an environmental folk hero for his work in conservation as well as a symbol of the American West, particularly for his photographs of Yosemite National Park. Adams’ Manzanar work is a departure from his signature style of landscape photography. Most of the Manzanar photographs are portraits, views of daily life, agricultural scenes, and sports and leisure activities. The Ansel Adams photographs taken between 1943-1944 are prints made from the original negatives in the Library of Congress. They were previously exhibited in the exhibition, Born Free and Equal: An Exhibition of Ansel Adams Photographs, organised by the Fresno Metropolitan Museum of Art, History and Science in 1984.

Robert Flynn Johnson, Curator Emeritus, Achenbach Foundation for Graphic Arts, Fine Arts Museums of San Francisco, in his essay for the exhibition writes, “This exhibition recounts one of the darkest moments in the history of the United States, one that the distinguished author John hersey referred to as ‘a mistake of terrifyingly horrible proportions.’ It is a story of ignorance and prejudice, but also a story of perseverance and nobility. What happened should never be forgotten so that it should never happen again.” Johnson continues, “This is not only an art exhibition, a history lesson, or a study in race relations; it is all three. My hope is that it educates us about an unfortunate moment in our country’s history that must be better understood. It also should serve as a warning as to what can occur when emotion and fear overwhelm clarity and courage.”

Also included in the exhibition is a first edition copy of Adams’s 1944 book, Born Free and Equal; a vintage gelatin silver print by Adams titled A Photograph of Yosemite, c. 1938; three reproductions of Dorothea Lange photographing Japanese-Americans being evacuated; a watercolour painting of a camp by an internee; an original 1942 poster of the Civilian Exclusion Order that announced that Japanese-Americans were to be rounded up for imprisonment; seven original magazine covers and a poster that documents the virulent anti-Japanese attitudes present at the time; a watercolour by Henry Minakata of one of the Relocation Camps; and three original drawings by the famous artist Chiura Obata, who was imprisoned in the Topaz Camp. The exhibition, which will tour museums in the United States over the next few years, was organised by Photographic Traveling Exhibitions of Los Angeles.”

Press release from the Jundt Art Gallery website

 

Ansel Adams (American, 1902-1984) 'Manzanar from guard tower, summer heat, view SW, Manzanar Relocation Center' 1943

 

Ansel Adams (American, 1902-1984)
Manzanar from guard tower, summer heat, view SW, Manzanar Relocation Center
1943
Silver gelatin print

 

Ansel Adams (American, 1902-1984) 'Manzanar from Guard Tower, view west (Sierra Nevada in background), Manzanar Relocation Center' 1943

 

Ansel Adams (American, 1902-1984)
Manzanar from Guard Tower, view west (Sierra Nevada in background), Manzanar Relocation Center
1943
Silver gelatin print

 

 

The first morning in Manzanar when I woke up and saw what Manzanar looked like, I just cried. And then I saw the high Sierra mountain, just like my native country’s mountain, and I just cried, that’s all.” Haruko Niwa, interned at Manzanar from 1942 until 1945.

Ten war relocation centres were built in remote deserts, plains, and swamps of seven states; Arkansas, Arizona, California, Colorado, Idaho, Utah, and Wyoming. Manzanar, located in the Owens Valley of California between the Sierra Nevada on the west and the Inyo mountains on the east, was typical in many ways of the 10 camps. About two-thirds of all Japanese Americans interned at Manzanar were American citizens by birth. The remainder were aliens, many of whom had lived in the United States for decades, but who, by law, were denied citizenship.

The first Japanese Americans to arrive at Manzanar, in March 1942, were men and women who volunteered to help build the camp. On June 1 the War Relocation Authority (WRA) took over operation of Manzanar from the U.S. Army. The 500-acre housing section was surrounded by barbed wire and eight guard towers with searchlights and patrolled by military police. Outside the fence, military police housing, a reservoir, a sewage treatment plant, and agricultural fields occupied the remaining 5,500 acres. By September 1942 more than 10,000 Japanese Americans were crowded into 504 barracks organised into 36 blocks. There was little or no privacy in the barracks – and not much outside. The 200 to 400 people living in each block, consisting of 14 barracks each divided into four rooms, shared men’s and women’s toilets and showers, a laundry room, and a mess hall. Any combination of eight individuals was allotted a 20-by-25-foot room. An oil stove, a single hanging light bulb, cots, blankets, and mattresses filled with straw were the only furnishings provided.

Coming from Los Angeles and other communities in California and Washington, Manzanar’s internees were unaccustomed to the harsh desert environment. Summer temperatures soared as high as 110ºF. In winter, temperatures frequently plunged below freezing. Throughout the year strong winds swept through the valley, often blanketing the camp with dust and sand. Internees covered knotholes in the floors with tin can lids, but dust continued to blow in between the floorboards until linoleum was installed in late 1942…

Two thirds of the Japanese Americans interned at Manzanar were under the age of 18. 541 babies were born at Manzanar. A total of 11,070 Japanese Americans were processed through Manzanar. From a peak of 10,046 in September 1942, the population dwindled to 6,000 by 1944. The last few hundred internees left in November 1945, three months after the war ended. Many of them had spent three-and-a-half years at Manzanar.

Anon. “Japanese Americans at Manzanar,” on the Manzanar National Historic Site (U. S. National Park Service) website [Online] Cited 08/03/2014

 

Ansel Adams (American, 1902-1984) 'Manzanar street scene, clouds, Manzanar Relocation Center' 1943

 

Ansel Adams (American, 1902-1984)
Manzanar street scene, clouds, Manzanar Relocation Center
1943
Silver gelatin print

 

Ansel Adams (American, 1902-1984) 'Manzanar street scene, winter, Manzanar Relocation Center' 1943

 

Ansel Adams (American, 1902-1984)
Manzanar street scene, winter, Manzanar Relocation Center
1943
Silver gelatin print

 

Ansel Adams (American, 1902-1984) 'View south from Manzanar to Alabama Hills, Manzanar Relocation Center' 1943

 

Ansel Adams (American, 1902-1984)
View south from Manzanar to Alabama Hills, Manzanar Relocation Center
1943
Silver gelatin print

 

Ansel Adams (American, 1902-1984) 'View SW over Manzanar, dust storm, Manzanar Relocation Center' 1943

 

Ansel Adams (American, 1902-1984)
View SW over Manzanar, dust storm, Manzanar Relocation Center
1943
Silver gelatin print

 

 

This exhibition recounts one of the darkest moments in the history of the United States, one that the distinguished author John Hersey referred to as “a mistake of terrifyingly horrible proportions.”1 It is a story of ignorance and prejudice, but it is also a story of perseverance and nobility. What happened should never be forgotten so that it should never happen again.

 

Background

In the aftermath of the Japanese surprise attack on Pearl Harbor and the subsequent declaration of war by the United States, a wave of fear and paranoia swept the western United States and the Hawaiian Islands. Anxiety over possible invasion by Japanese forces or sabotage by fifth columnist Japanese and Japanese Americans living amongst the general American population overrode common sense in Government circles. Despite the protestations of Attorney General Francis Biddle, Interior Secretary Harold Ickes, and even F.B.I. Director J. Edgar Hoover.

President Franklin Delano Roosevelt, in the most unfortunate act of an otherwise admirable presidency, allowed public opinion and biased, racist attitudes of elements within the U.S. Army to induce him into issuing on February 19, 1942, Executive Order 9066: the forced evacuation of persons of Japanese ancestry from the West Coast. This evacuation was done despite the fact that the F.B.I. had, within three days of Pearl Harbor, rounded up and arrested 857 Germans, 147 Italians, and 1,291 Japanese (367 in Hawaii and 924 on the mainland) for subversive activities. The government did not inter Germans, Italians, nor, with few exceptions, Japanese residing in Hawaii. Instead they rounded up Japanese and Japanese Americans residing in the western United States. In the end, these individuals were interred in ten camps spread over underpopulated areas of the West and in Arkansas in the Midwest…

The act of rounding up civilians and imprisoning them in camps had occurred in earlier centuries. The term “concentration camp” was first used to describe the actions of the British against the Boers during the Second Boer War (1899-1902), but today it is indistinguishable from the horrors of the extermination camps perpetrated by the Nazis against Jews, Russians, and other victims of the Reich in World War II. American authorities euphemistically labeled the Japanese internments as “war relocation centers,” but given the harsh conditions Japanese Americans suffered, a more appropriate term might be war relocation “camps.”

Mine Okubo describes the conditions: “The camps represented a prison: no freedom, no privacy, no America. Internment camps were also guarded by U.S. military personnel and had a barbed wire perimeter.”2

 

Manzanar

The brilliant social activist photographer Dorothea Lange (1895-1965) was hired by the U.S. government in the spring of 1942 to document this forced relocation. Her assignment included the camp at Manzanar, located in the remote Owens Valley in the northern reaches of Death Valley, California. However, when her photographs were submitted, they were viewed with alarm for showing the government in a bad light; the decision was made to impound (censor) her images until the end of the war.

It was only in 1943 that Ralph Merritt, the enlightened second director at Manzanar, invited his old friend Ansel Adams to come and photograph there. By that time, the internees had settled into their lives there coping as best they could. In 1942 a confrontation with camp guards had led to shots being fired, resulting in the deaths of two internees and the wounding of nine. There were no further incidents. Some historians have criticised Adams’s photographs, comparing them to the more politicised imagery of Lange. Linda Gordon wrote,

“Ansel Adams photographed at Manzanar a year after Lange did, producing work that, by contrast, reveals much about Lange’s perspective. He tried to walk a cramped line, opposing anti-Asian racism, but avoiding identification with the opposition to the internment. Adams’s pictures, primarily portraits – surprisingly for a landscape photographer – emphasised the internees’ stoic, polite, even cheerful making the best of it. His subjects were almost exclusively happy, smiling. His goal was to establish the internees as unthreatening, Americanised, open – scrutable rather than inscrutable. By making mainly individual portraits, he masked collective racial discrimination. The resultant hiding of the internment’s violation of human rights was not an unintended consequence of this goal, but an expression of Adams’s patriotism.”3

There is no question that Lange was the stronger documentary photographer. However, Adams was working out of his comfort zone as a landscape photographer and his point was not to use his images to indict the authorities. Instead, he wished to portray the Japanese American internees as loyal Americans going about their lives like regular citizens, not as dangerous aliens. Adams saved his harshest attack on their unjust imprisonment for the language of his book, Born Free and Equal, published the following year, 1944.

In the text Adams struggled with the argument that the incarceration of these citizens was not just but justified by military necessity. However, he rejected that argument, clearly and forcefully articulating his opposition to the internment. The book was not well received. Adams was called a “Jap lover” and copies of the book were burned. To fully understand the “profiles in Courage” stand Ansel Adams took by publishing Born Free and Equal while the war was still raging, one must understand the emotionally volatile nature of those times in which it was published. Adams’s strong convictions are fully apparent when one reads his forceful words while viewing his beautiful photographic imagery…

 

Conclusion

This is not only an art exhibition, a history lesson, or a study in race relations; it is all three. My hope is that it educates us about an unfortunate moment in our country’s history that must be better understood and should serve as a warning against allowing emotion, prejudice and fear to overwhelm clarity and courage. Harold L. Ickes, the Secretary of the Interior, in his 1944 foreword to Born Free and Equal sums up the essence of this human drama,

“It has long been my belief that the greatness of America has arisen in large part out of the diversity of her peoples. Before the war, peoples of Japanese ancestry were a small but valuable element in our population. Their record of law-abiding, industrious citizenship was surpassed by no other group. Their contributions to the arts, agriculture, and science were indisputable evidence that the majority of them believed in America and were growing with America.

Then war came with the nation of their parental origin. The ensuing two and a half years have brought heartaches to many in our population. Among the causalities of war has been America’s Japanese minority. It is my hope that the wounds which it has received in the great uprooting will heal. It is my prayer that other Americans will fully realise that to condone the whittling away of the rights of any one minority group is to pave the way for us all to lose the guarantees of the Constitution.”4

Robert Flynn Johnson
Curator Emeritus
Achenbach Foundation for Graphic Arts, Fine Arts Museums of San Francisco

 

  1. John Hersey, “A Mistake of Terrifically Horrible proportions,” in Manzanar, by John Armor and peter Wright (New York Times Books, 1988)
  2. Sara Ann McGill, “Internment of Japanese Americans,” http://web.ebscohost.com/ehost/ (accessed May 3, 2010)
  3. Linda Gordon and Gary Y. Okihiro, ed., Impounded: Dorothea Lange and the Censored Images of Japanese American Internment (New York: W. W. Norton and Co., 2006), 34
  4. Ansel Adams, Born Free and Equal: The Story of Loyal Japanese-Americans (New York: U.S. Camera, 1944), 7

 

Ansel Adams (American, 1902-1984) 'Pictures and mementoes on phonograph top - Yonemitsu home, Manzanar Relocation Center' 1943

 

Ansel Adams (American, 1902-1984)
Pictures and mementoes on phonograph top – Yonemitsu home, Manzanar Relocation Center
1943
Silver gelatin print

 

Ansel Adams (American, 1902-1984) 'Roy Takeno's desk, Manzanar Relocation Center' 1943

 

Ansel Adams (American, 1902-1984)
Roy Takeno’s desk, Manzanar Relocation Center
1943
Silver gelatin print

 

Ansel Adams (American, 1902-1984) 'Manzanar museum (Ansel Adams exhibit), Manzanar Relocation Center' 1943

 

Ansel Adams (American, 1902-1984)
Manzanar museum (Ansel Adams exhibit), Manzanar Relocation Center
1943
Silver gelatin print

 

Ansel Adams (American, 1902-1984) 'Line crew at work in Manzanar, Manzanar Relocation Center' 1943

 

Ansel Adams (American, 1902-1984)
Line crew at work in Manzanar, Manzanar Relocation Center
1943
Silver gelatin print

 

 

Jundt Art Gallery
502 East Boone Avenue
Spokane, WA 99258-0001
This is the main address for Gonzaga University

Opening hours:
Monday – Saturday 10am – 4pm

Jundt Art Gallery website

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20
Mar
14

Exhibition and book launch preview: ‘THE RENNIE ELLIS SHOW’ and ‘Decadent 1980-2000’ at Monash Gallery of Art, Wheelers Hill, Melbourne

Exhibition dates: 3rd April – 8th June 2014
Exhibition and book launch: 3-5 pm Saturday 5th April 2014

 

 

Rennie Ellis. 'Fully equipped, Albert Park Beach' c.1981

 

Rennie Ellis (Australian, 1940-2003)
Fully equipped, Albert Park Beach
c.1981, printed later
Digital colour print
© Rennie Ellis Photographic Archive

 

 

I saw a digital preview of the new book Rennie Ellis – Decadent 1980-2000, shown to me by the delightful Director of the Rennie Ellis Photographic Archive, Manuela Furci – and I must say I was mighty impressed… it was absolutely, colourfully, outrageously FAB !

My god Rennie Ellis was a fantastic artist, what an eye, and what a sense of humour he imparts in his work. And in colour this time. The exhibition draws work from BOTH books – Decade 1970-1980 and Decadent 1980-2000. The colour images in the posting are from the Decadent book and are also in the exhibition. Do come along to the opening and book launch… it will be a solid gold event!

Marcus

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Many thankx to Manuel Furci and the Rennie Ellis Archive for allowing me to publish the photographs in the posting. Please click on the photographs for a larger version of the image.

 

 

“Without my photography life would be boring. Photography adds an extra dimension to my life. Somehow it confirms my place in the world”

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Rennie Ellis

 

 

Rennie Ellis. 'Berlin Party, Inflation Melbourne' c.1981

 

Rennie Ellis (Australian, 1940-2003)
Berlin Party, Inflation, Melbourne
c. 1981, printed later
Digital colour print
© Rennie Ellis Photographic Archive

 

Rennie Ellis book covers

 

Rennie Ellis Decade 1970-1980 and Decadent 1980-2000

 

 

The photographer Rennie Ellis (1940-2003) is a key figure in Australian visual culture. Ellis is best remembered for his effervescent observations of Australian life during the 1970s-90s, including his now iconic book Life is a beach. Although invariably inflected with his own personality and wit, the thousands of social documentary photographs taken by Ellis during this period now form an important historical record.

The Rennie Ellis Show highlights some of the defining images of Australian life from the 1970s and ’80s. This is the period of Gough Whitlam and Malcolm Fraser, Paul Keating and Bob Hawke; AC/DC and punk rock; cheap petrol and coconut oil; Hare Krishnas and Hookers and Deviant balls.

This exhibition of over 100 photographs provides a personal account of what Ellis termed ‘a great period of change’. Photographs explore the cultures and subcultures of the period, and provide a strong sense of a place that now seems worlds away, a world free of risk, of affordable inner city housing, of social protest, of disco and pub rock, of youth and exuberance.

Text from the MGA website

 

Rennie Ellis. 'Dining Out, Inflation' 1980

 

Rennie Ellis (Australian, 1940-2003)
Dining Out, Inflation
1980, printed later
Selenium-toned silver gelatin print
© Rennie Ellis Photographic Archive

 

Rennie Ellis. 'At the Pub, Brisbane' 1982

 

Rennie Ellis (Australian, 1940-2003)
At the Pub, Brisbane
1982, printed later
Selenium-toned silver gelatin print
© Rennie Ellis Photographic Archive

 

Exhibition and book launch preview: 'THE RENNIE ELLIS SHOW' and 'Decadent 1980-2000'

 

 

Rennie Ellis Photographic Archive website

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Rennie Ellis Photographic Archive

Level 1 / 26 Acland Street
St Kilda 3182
Victoria, Australia
Phone: +61 3 9525 3862
E: info@RennieEllis.com.au

Rennie Ellis Photographic Archive website

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Monash Gallery of Art
860 Ferntree Gully Road, Wheelers Hill
Victoria 3150 Australia
Phone: + 61 3 8544 0500

Opening hours:
Tue – Fri: 10am – 5pm
Sat – Sun: 12pm – 5pm
Mon/public holidays: closed

Monash Gallery of Art website

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16
Mar
14

Review: ‘Wildcards: Bill Henson shuffles the deck’ at Monash Gallery of Art, Wheelers Hill, Melbourne

Exhibition dates: 1st February – 30th March 2014

 

Installation photograph of 'Wildcards: Bill Henson shuffles the deck' at the Monash Gallery of Art

Installation photograph of 'Wildcards: Bill Henson shuffles the deck' at the Monash Gallery of Art

 

Installation photographs of Wildcards: Bill Henson shuffles the deck at the Monash Gallery of Art

1/ stygian gloom
2/large grouping of 14 works by Wesley Stacey

 

Unknown photographer. 'Untitled' c. 1900

 

Unknown photographer
Untitled
c. 1900
Cyanotype print
Monash Gallery of Art, City of Monash Collection
Acquired 2012

 

 

vapid [vap-id]
adjective
lacking or having lost life, sharpness, or flavour

Origin:
1650-60;  Latin vapidus;  akin to va·por [vey-per]
noun
a visible exhalation, as fog, mist, steam, smoke diffused through or suspended in the air; particles of drugs that can be inhaled as a therapeutic agent

 

 

This is an unexceptional exhibition, one that lacks jouissance in the sense of a transgressive kind of enjoyment, an investigation of the subject that gives pleasure in taking you to unexpected places. At times I felt like a somnambulist walking around this exhibition of photographs from the Monash Gallery of Art collection curated by Bill Henson, pitched into stygian darkness and listening to somewhat monotonous music. It was a not too invidious an exercise but it left me with a VAPID feeling, as though I had inhaled some soporific drug: the motion of the journey apparently not confined by a story, but in reality that story is Henson’s mainly black and white self-portrait. The photographs on the wall, while solid enough, seemed to lack sparkle. There were a couple of knockout prints (such as David Moore’s Himalaya at dusk, Sydney, 1950 below, the Untitled Cyanotype, c. 1900, above and Mark Hinderaker’s delicate portrait of Fiona Hall, 1984, below) and some real bombs (the large Norman Lindsay photographs, modern reproductions printed many times their original size were particularly nauseous) and one has to ask, were the images chosen for how they were balanced on the wall or were they chosen for content?

Henson states that there was no concept or agenda when picking the 88 photographs for this exhibition, simply his INTENSITY of feeling and intuition, his intuitive response to the images when he first saw them – to allow “their aesthetics to determine their presence… our whole bodies to experience these photographs – objects as pictures as photographs.”1 Henson responded as much as possible to the thing which then becomes an iconography (which appeals to his eye) as he asks himself, why is one brush stroke compelling, and not another? The viewer can then go on a journey in which MEANING comes from FEELING, and SENSATIONS are the primary stuff of life.

One of Henson’s preoccupations, “is an interest in the photograph as an object, in the physical presence of the print or whatever kind of technology is being used to make it.”2 He would like us to acknowledge the presence and aura (Walter Benjamin) of the photograph as we stand in front of it, responding with our whole bodies to the experience, not just our eyes. He wants us to have an intensity of feeling towards these works, responding to their presence and how he has hung the works in the exhibition. “There are no themes but rather images that appeal to the eye and, indeed, the whole body. Because photographs are first and foremost objects, their size, shape grouping and texture are as important as the images they’re recording.”3

Henson insists that there was no preconceived conceptual framework for picking these particular photographs but this is being disingenuous. Henson was invited to select images from the MGA collection with the specific idea of holding an exhibition, so this is the conceptual jumping off point; he then selected the images intuitively only to then group and arrange then intuitively/conceptually – by thinking long and hard about how these images would be grouped and hung on the wall of the gallery. I would like to believe that Henson was thinking about MUSIC when he hung this exhibition, not photography. Listen to Henson talk about the pairing of Leonie Reisberg’s Portrait of Peggy Silinski, Tasmania (c. 1976, below) and Beverley Veasey’s Study of a Calf, Bos taurus (2006, below) in this video, and you will get the idea about how he perceives these photographs relate to each other, how they transcend time and space.

This is one of the key elements of the exhibition: how Henson pushes and pulls at time and space itself through the placing of images of different eras together. The other two key elements are how the music rises and falls through the shape of the photographs themselves; and how the figures within the images are pulled towards or pushed away from you. With regard to the rise and fall, Henson manipulates the viewer through the embodiedness of both horizontal and vertical photographs, reminding me of a Japanese artist using a calligraphy brush (see the second installation image above, where the photographs move from the vertical to the square and then onto panoramic landscape). In relation to the content of the images, there seems to be a preoccupation (a story, a theme?) running through the exhibition with the body being consumed by the landscape or the body being isolated from the landscape but with the threat of being consumed by it. Evidence of this can be seen in Wesley Stacey’s Willie near Mallacoota (1979, below) where the body almost melts into the landscape and David Moore’s Newcastle steelworks (1963, below) where the kids on the bicycles are trying to escape the encroaching doom that hovers behind them.

One of the key images in the exhibition for me also reinforces this theme – a tiny Untitled Cyanotype (c. 1900, above) in which two Victorian children are perched on a bank near a stream with the bush beyond – but there are too many of this ilk to mention here: either the figures are pulled towards the front of the frame or pushed back into the encroaching danger, as though Henson is interrogating, evidencing un/occupied space. Overall, there is an element of control and lyrical balance in how he has grouped and hung these works together, the dark hue of the gallery walls allowing the photographs to exist as objects for themselves. Henson puts things next to each other in sequences and series to, allegedly, promote UNEXPECTED conversations and connections through a series of GESTURES.

As Henson notes,

“Maybe it’s the fact that the photographs have the ability to suggest some other thing and that’s what draws you in – that’s that feeling, the thing that slips away from thought. These are really the same things that apply to our meetings with any work of art, whether it’s a piece of music or a sculpture or anything else. There’s something compelling, there’s something there that sort of animates your speculative capacity, causes you to wonder. Other times, or most of the time, that’s not the case. Certainly most of the time that’s not the case with photography.”4

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For me, there was little WONDER in this exhibition, something that you would go ‘oh, wow’ at, some way of looking at the world that is interesting and insightful and fractures the plaisir of cultural enjoyment and identity. While the photographs may have been chosen intuitively and then hung intuitively/conceptually, I simply got very little FEELING, no ICE/FIRE  (as Minor White would say) – no frisson between his pairings, groupings and arrangements. It was all so predictable, so ho-hum. Everything I expected Henson to do… he did!

There were few unexpected gestures, no startling insight into the human and photographic condition. If as he says, “Everything comes to you through your whole body, not just through your eyes and ears,”5 and that photographs are first and foremost objects, their size, shape, grouping and texture as important as the images they’re recording THEN I wanted to be moved, I wanted to feel, to be immersed in a sensate world not a visible exhalation (of thought?), a vapor that this exhibition is. Henson might have painted an open-ended self-portrait but this does not make for a very engaging experience for the viewer. In this case, the sharing of a story has not meant the sharing of an emotion.

Dr Marcus Bunyan

 

  1. Interview with Bill Henson by Toby Fehily posted 01 Feb 2014 on the Art Guide Australia website [Online] Cited 18/02/2014.
  2. Ibid.,
  3. Fiona Gruber. “Review of Wildcards, Bill Henson Shuffles the Deck” on the Guardian website, Wednesday 12 February 2014 [Online] Cited 16/03/2014
  4. Fehily op. cit.,
  5. Fehily op. cit.,

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

WARNING

Aboriginal and Torres Strait Islander viewers should be aware that the following posting may contain images of deceased persons.

 

 

John Eaton. 'Sheep in clearing' c. 1920s

 

John Eaton (born United Kingdom 1881; arrived Australia 1889; died 1967)
Sheep in clearing
c. 1920s
Gelatin silver print
15.6 x 23.8cm
Monash Gallery of Art, City of Monash Collection
Donated by Janice Hinderaker through the Australian Government’s Cultural Gifts Program 2003

 

Fred Kruger. 'Queen Mary and King Billy outside their mia mia' c. 1880

 

Fred Kruger (born Germany 1831; arrived Australia 1860; died 1888)
Queen Mary and King Billy outside their mia mia
c. 1880
Albumen print
13.4 x 20.8cm
Monash Gallery of Art, City of Monash Collection acquired 2012

 

David Moore. 'Himalaya at dusk, Sydney' 1950

 

David Moore (Australia 1927-2003)
Himalaya at dusk, Sydney
1950
Gelatin silver print, printed 2005
24.5 x 34.25cm
Monash Gallery of Art, City of Monash Collection donated by the Estate of David Moore 2006
Courtesy of the Estate of David Moore (Sydney)

 

Wesley Stacey (Australia, b. 1941) 'Willie near Mallacoota' 1979

 

Wesley Stacey (Australia, b. 1941)
Willie near Mallacoota
1979
From the series Koorie set
Gelatin silver print
Monash Gallery of Art, City of Monash Collection
Donated through the Australian Government’s Cultural Gifts Program by Christine Godden 2011

Published under fair use for the purpose of art criticism

 

David Moore (Australia, 1927-2003) 'Newcastle steelworks' 1963

 

David Moore (Australia, 1927-2003)
Newcastle steelworks
1963
Gelatin silver print
Monash Gallery of Art, City of Monash Collection
Acquired 1981

Published under fair use for the purpose of art criticism

 

 

One of those preoccupations is an interest in the photograph as an object, in the physical presence of the print or whatever kind of technology is being used to make it. Part of the reason for that is that photography, more than any other medium, suffers from a mistake or misunderstanding people have when they’ve seen a reproduction in a magazine or online: they think they’re seeing the original. A certain amount of photography is made with its ultimate intention being to be seen in a magazine or online, but most photography, historically, ended up in its final form as a print – a cyanotype, or a tin type or a daguerreotype or whatever it might be.”

Interview with Bill Henson by Toby Fehily posted 01 Feb 2014 on the Art Guide Australia website [Online] Cited 18/02/2014. Used under fair use for the purpose of art criticism. No longer available online.

 

Leonie Reisberg (Australia, b. 1955) 'Portrait of Peggy Silinski, Tasmania' c. 1976

 

Leonie Reisberg (Australia, b. 1955)
Portrait of Peggy Silinski, Tasmania
c. 1976
Gelatin silver print
Monash Gallery of Art, City of Monash Collection
Donated by Janice Hinderaker through the Australian Government’s Cultural Gifts Program 2003

 

Beverley Veasey (Australia, b. 1968) 'Study of a Calf, Bos taurus' 2006

 

Beverley Veasey (Australia, b. 1968)
Study of a Calf, Bos taurus
2006
Chromogenic print
Monash Gallery of Art, City of Monash Collection
Acquired 2006

 

 

I think when you look through any collection, you’re often struck by the kind of pointlessness and banality of photography. It doesn’t matter which museum in the world you look at. It’s like, “is there any need for this thing to exist at all?”. It probably comes back to the capacity of the object, the image to suggest things, the suggestive potential rather than the prescriptive, which is a given in photography of course, the evidential authority of the medium preceding any individual reading we have of particular pictures. Maybe it’s the fact that the photographs have the ability to suggest some other thing and that’s what draws you in – that’s that feeling, the thing that slips away from thought. These are really the same things that apply to our meetings with any work of art, whether it’s a piece of music or a sculpture or anything else. There’s something compelling, there’s something there that sort of animates your speculative capacity, causes you to wonder. Other times, or most of the time, that’s not the case. Certainly most of the time that’s not the case with photography.

Interview with Bill Henson by Toby Fehily posted 01 Feb 2014 on the Art Guide Australia website [Online] Cited 18/02/2014. Used under fair use for the purpose of art criticism. No longer available online.

 

Axel Poigant. 'Jack and his family on the Canning Stock Route' 1942

 

Axel Poigant (born United Kingdom 1906; arrived Australia 1926; died 1986)
Jack and his family on the Canning Stock Route
1942
Gelatin silver print, printed 1986
Monash Gallery of Art, City of Monash Collection
Acquired 1991

 

Tim Johson (Australia, b. 1947) 'Light performances' 1971-72

 

Tim Johson (Australia, b. 1947)
Light performances
1971-72
Gelatin silver print
Monash Gallery of Art, City of Monash Collection
Acquired 2011

 

Cherine Fahd (Australia, b. 1974) 'Alicia' 2003

 

Cherine Fahd (Australia, b. 1974)
Alicia
2003
From the series A woman runs
Gelatin silver print
Monash Gallery of Art, City of Monash Collection
Donated through the Australian Government’s Cultural Gifts Program 2011

 

Wesley Stacey (Australia, b. 1941) 'Untitled' 1973

 

Wesley Stacey (Australia, b. 1941)
Untitled
1973
From the series Friends
Gelatin silver print
Monash Gallery of Art, City of Monash Collection
Donated by Bill Bowness 2013

 

 

That was one of the things that interested me and continues to interest me about photography: how these things inhabit the world as objects. And indeed we read them not just with our eyes but with how our whole bodies read and encounter and negotiate these objects, which happen to be photographs. And that’s very much a thing that interests me in the way that I work. I feel sometimes that I only happen to make photographs myself and that it’s a means to an end… So there’s a sense in which I’m interested in these objects that happen to be photographs and the way that they inhabit the same space that our bodies inhabit. Everything comes to you through your whole body, not just through your eyes and ears – it’s a vast amount of information. Watching something get bigger as you draw closer to it, not just matters of proximity, but texture or the way objects sit in a space when they’re lit a certain way – all of this is very interesting to me, always has been.”

Interview with Bill Henson by Toby Fehily posted 01 Feb 2014 on the Art Guide Australia website [Online] Cited 18/02/2014. Used under fair use for the purpose of art criticism. No longer available online.

 

Mark Hinderaker. 'Fiona Hall' 1984

 

Mark Hinderaker (born United States of America 1946; arrived Australia 1970; died 2004)
Fiona Hall
1984
Gelatin silver print
Monash Gallery of Art, City of Monash Collection
Donated by Janice Hinderaker through the Australian Government’s Cultural Gifts Program 2003

 

Lionel Lindsay. 'Norman Lindsay and Rose Soady, Bond Street studio' c. 1909

 

Lionel Lindsay (Australia 1874-1961)
Norman Lindsay and Rose Soady, Bond Street studio
c. 1909
Gelatin silver print, printed 2000
Monash Gallery of Art, City of Monash Collection
Donated by Katherine Littlewood 2000

 

Mark Strizic. 'BHP steel mill, Port Kembla, 1959'

 

Mark Strizic (born Germany 1928; arrived Australia 1950; died 2012)
BHP steel mill, Port Kembla, 1959
1959
Gelatin silver print, printed 1999
Monash Gallery of Art, City of Monash Collection
Donated by the Bowness Family through the Australian Government’s Cultural Gifts Program 2008

 

 

Monash Gallery of Art
860 Ferntree Gully Road, Wheelers Hill
Victoria 3150 Australia
Phone: + 61 3 8544 0500

Opening hours:
Tue – Fri: 10am – 5pm
Sat – Sun: 12pm – 5pm
Mon/public holidays: closed

Monash Gallery of Art website

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14
Mar
14

Exhibition preview: ‘Out of the closets, into the streets: gay liberation photography 1971-73’ at Edmund Pearce Gallery, Melbourne

Exhibition dates: Tuesday 22nd July – Saturday 26th July, 2014

Opening: Tuesday 22nd July 6-8pm
Nite Art: Wednesday 23rd July until 11pm
Artists represented: Philip Potter, John Storey, John Englart, Barbara Creed, Ponch Hawkes, Rennie Ellis

Curated by Dr Marcus Bunyan and Nicholas Henderson

 

 

Rennie Ellis. 'Confrontation, Gay Pride Week Picnic, Botanical Gardens 1973' 1973, printed later

 

Rennie Ellis (Australian, 1940-2003)
Confrontation, Gay Pride Week Picnic, Botanical Gardens 1973
1973, printed 2014
Silver gelatin photograph
© Rennie Ellis

 

 

Five days, that’s all you’ve got! Just five days to see this fabulous exhibition, so make a note of it now in your diaries…

The exhibition Out of the closets, into the streets: gay liberation photography 1971-73 pictures the very beginning of the gay liberation movement in Australia through the work of Philip Potter, John Storey, John Englart, Barbara Creed, Ponch Hawkes and Rennie Ellis. The exhibition examines for the first time images from the period as works of art as much as social documents. The title of the exhibition is a slogan from the period.

As gay people found their voice in the early 1970s artists, often at the very beginning of their careers, were there to capture meetings in lounge rooms, consciousness raising groups and street protests. The liberation movement meant ‘being there’, putting your body on the line. “It was a key feature of the new left that this embodied politics couldn’t stop in the streets: that is, the public arena as conventionally understood. ‘Being there’ politically also applied to households, classrooms, sexual relations, workplaces and the natural environment.”1

Curated by Dr Marcus Bunyan and Nicholas Henderson and with a catalogue essay by Professor Dennis Altman, the show is a stimulating experience for those who want to be inspired by the history and art of the early gay liberation movement in Australia.

The exhibition coincides with AIDS 2014: 20th International AIDS Conference (20-25 July 2014) and Nite Art which occurs on the Wednesday night (23rd July 2014). The exhibition will travel to Sydney to coincide with the 14th Australia’s Homosexual Histories Conference in November at a venue yet to be confirmed.

Dr Marcus Bunyan

 

  1. Connell, Raewyn. “Ours is in colour: the new left of the 1960s,” in Carolyn D’Cruz and Mark Pendleton (eds.,). After Homosexual: The Legacies of Gay Liberation. Perth: UWA Publishing, 2013, p. 43.

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

 

Phillip Potter. 'Queens' 1971

 

Phillip Potter
Queens
1971, printed 2014
Digital C type print on Kodak Endura Matte
© Phillip Potter

 

 

From a series of photographs of the very first gay rights demonstration which attracts 70 people outside NSW Liberal Party headquarters in support of the pre-selection of Tom Hughes against a right wing challenge following his support for homosexual law reform.

 

Unknown artist. 'Cricket is homosexual' Melbourne, c. 1971 - 1973

 

Unknown artist
Cricket is homosexual!
Melbourne, c. 1971-1973, printed 2014
Giclee print on Hahnemuhle william turner 310gsm
© Australian Lesbian and Gay Archives

 

Barbara Creed. 'Stills from a Super 8mm film of a Women’s Liberation march' Melbourne, 1973

 

Barbara Creed (Australian, b. 1943)
Stills from a Super 8mm film of a Women’s Liberation march
Melbourne, 1973, printed 2014
Still from a Super 8mm film
Digital C type print on Kodak Endura Matte
© Barbara Creed

 

 

Still from a super 8mm movie of a Women’s Liberation march, Melbourne, 1973.

 

Barbara Creed. 'Stills from a Super 8mm film of a Women’s Liberation march' Melbourne, 1973

 

Barbara Creed (Australian, b. 1943)
Stills from a Super 8mm film of a Women’s Liberation march
Melbourne, 1973, printed 2014
Still from a Super 8mm film
Digital C type print on Kodak Endura Matte
© Barbara Creed

 

 

Still from a super 8mm movie of a Women’s Liberation march, Melbourne, 1973.

 

John Storey. 'I am a Lesbian and Beautiful' 1971, printed 2014

 

John Storey
I am a Lesbian and Beautiful
1971, printed 2014
Digital C type print on Kodak Endura Matte
© John Storey

 

 

From a series of photographs of the very first gay rights demonstration which attracts 70 people outside NSW Liberal Party headquarters in support of the pre-selection of Tom Hughes against a right wing challenge following his support for homosexual law reform.

 

Phillip Potter. 'Policeman reading 'Camp Ink' magazine' 1971

 

Phillip Potter
Policeman reading ‘Camp Ink’ magazine
1971, printed 2014
Digital C type print on Kodak Endura Matte
© Phillip Potter

 

 

From a series of photographs of the very first gay rights demonstration which attracts 70 people outside NSW Liberal Party headquarters in support of the pre-selection of Tom Hughes against a right wing challenge following his support for homosexual law reform.

 

 

Sponsored by

CPL Digital logo.
For photographic services in Australia, Art Blart highly recommends CPL Digital (03) 8376 8376 cpldigital.com.au
Art Blart logo.
Dr Marcus Bunyan and the best cultural archive in Australia sponsor this event artblart.com
ALGA logo.
The Archives actively collects and preserves lesbian and gay material from across Australia alga.org.au

 

Supported by

Edmund Peace logo.
EP is a contemporary Melbourne art space dedicated to the appreciation of photography (03) 9023 5775 edmundpearce.com.au
Rennie Ellis logo.
Rennie Ellis is an award winning photographer and writer (03) 9525 3862 www.rennieellis.com.au

 

 

AIDS 2014: 20th International AIDS Conference
20 July – 25 July 2014
Melbourne, Australia

Edmund Pearce Gallery

This gallery has now closed.

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11
Mar
14

Exhibition: ‘See the Light – Photography, Perception, Cognition: The Marjorie and Leonard Vernon Collection’ at The Los Angeles County Museum of Art (LACMA)

Exhibition dates: 27th October 2013 – 23rd March 2014

 

William Henry Fox Talbot (England, 1800-1877) 'Articles of China' c. 1844

 

William Henry Fox Talbot (English, 1800-1877)
Articles of China
c. 1844
Calotype
5 3/8 x 7 1/8 in. (13.65 x 18.1cm)
The Marjorie and Leonard Vernon Collection, gift of The Annenberg Foundation, acquired from Carol Vernon and Robert Turbin

 

 

It is a real joy to bring these beautiful images to you!

Frederick H. Evans A Sea Of Steps – Wells Cathedral (England, 1903, below) is one of my favourite photographs of all time, up there in my top 20 or so. But you wouldn’t knock back any of these for your collection, especially Imogen Cunningham’s Magnolia Blossom (1925, below) and Edward Steichen’s Three Pears & An Apple (1921, below).

Marcus

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Many thankx to The Los Angeles County 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.

 

Linnaeus Tripe (England, 1822-1902) 'The Elliot Marbles, Central Museum, Madras' India, 1858

 

Linnaeus Tripe (English, 1822-1902)
The Elliot Marbles, Central Museum, Madras
India, 1858
Albumen photograph
10 1/2 × 13 in. (26.67 × 33.02cm)
The Marjorie and Leonard Vernon Collection, gift of The Annenberg Foundation, acquired from Carol Vernon and Robert Turbin

 

Carl Christian Heinrich Kühn (Germany, active Austria, 1866-1944) 'Still Life' c. 1905

 

Carl Christian Heinrich Kühn (Germany, active Austria, 1866-1944)
Still Life
c. 1905
Bromoil print
8 1/4 × 11 1/2 in. (20.96 × 29.21cm)
The Marjorie and Leonard Vernon Collection, gift of The Annenberg Foundation, acquired from Carol Vernon and Robert Turbin
© Estate of Heinrich Kühn

 

Imogen Cunningham (United States, 1883-1976) 'Magnolia Blossom' 1925

 

Imogen Cunningham (United States, 1883-1976)
Magnolia Blossom
1925
Gelatin silver print
The Marjorie and Leonard Vernon Collection, gift of The Annenberg Foundation, acquired from Carol Vernon and Robert Turbin
© 1925, 2013 Imogen Cunningham Trust

 

Charles Harbutt (United States, New Jersey, Camden, born 1935) 'Triptych' 1978, printed 1978

 

Charles Harbutt (United States, New Jersey, Camden, born 1935)
Triptych
1978, printed 1978
Gelatin silver prints
8 x 12″
The Marjorie and Leonard Vernon Collection, gift of The Annenberg Foundation, acquired from Carol Vernon and Robert Turbin
© Charles Harbutt. All rights reserved, Courtesy Peter Fetterman Gallery

 

 

The Los Angeles County Museum of Art (LACMA) presents See the Light – Photography, Perception, Cognition: The Marjorie and Leonard Vernon Collection, an exhibition celebrating an extraordinary collection and exploring parallels between photography and the science of vision. Since the invention of photography in the late 1830s, the medium has evolved in relation to theories about vision, perception, and cognition. The exhibition takes a historical perspective, identifying correlations between photography and the science of vision during four chronological periods. See the Light is comprised of 220 works by more than 150 artists, including Ansel Adams, Julia Margaret Cameron, Imogen Cunningham, William Henry Fox Talbot, Edward Steichen, Edward Weston, Minor White, and many more.

The exhibition draws entirely from the Marjorie and Leonard Vernon Collection, a key collection within LACMA’s Wallis Annenberg Photography Department. Acquired in 2008, the collection represents the diversity of photographic processes from the medium’s invention in 1839 to the 21st century. See the Light is accompanied by a free mobile-phone multimedia tour featured on mobile.lacma.org with commentary by the Vernons’ daughter, Carol Vernon; curator Britt Salvesen; artist James Welling; expert in computational vision Pietro Perona; and others. A 208-page catalogue, published by LACMA and DelMonico Books / Prestel, includes an essay by Britt Salvesen with contributions from Todd Cronan, Antonio Damasio, Alan Gilchrist, Pietro Perona, Barbara Maria Stafford, and James Welling. A new web page features excerpts from LACMA’s Vernon Oral History Project, an ongoing series of interviews with prominent artists, curators, dealers, and scholars who worked closely with the Vernons.

“Photography is often approached from either the artistic or the technological point of view, but these two aspects of the medium have been intertwined since its invention,” said Britt Salvesen, Department Head and Curator of the Wallis Annenberg Photography Department. “As a scientific instrument, the camera operates as an infallible eye, augmenting physiological vision, and as an artist’s tool, it channels the imagination, recording creative vision. The Marjorie and Leonard Vernon Collection offers unparalleled scope to the spirit of both science and art.”

 

The Marjorie and Leonard Vernon Collection

Through a groundbreaking gift from Wallis Annenberg and the Annenberg Foundation, and with the support of Carol Vernon and Robert Turbin, LACMA acquired the Marjorie and Leonard Vernon Collection in 2008. Comprising of more than 3,600 prints by almost 700 artists, the Marjorie and Leonard Vernon Collection at LACMA constitutes one of the finest collections of photography spanning the 19th and 20th centuries. LACMA’s acquisition of this collection makes it possible for the museum to represent photography’s breadth in the context of its encyclopaedic collections.

Marjorie and Leonard Vernon were avid collectors in the Los Angeles and Southern California communities. The Vernons built their collection beginning around 1975, cultivating a group of works with global significance, with a special emphasis on West Coast photography of the early and mid-20th century. The collection grew over the years to include works by international photographers, with the earliest photographs dating from the 1840s and the latest to 2001.

 

Exhibition organisation

See the Light is organised thematically and traces the trajectory of advanced research on cognition and perception in relation to the art of photography. Four approaches within photography are identified: descriptive naturalism, subjective naturalism, experimental modernism, and romantic modernism.

Descriptive naturalism: Early advocates of photography (from the 1840s through around 1880) were eager to recruit the authority of science without sacrificing the romance of art. The notion that the camera could make a pure transcription of nature, undistorted by human error, took hold at precisely the moment with research in physiological optics revealed the complexities of the human visual system. The depiction of far-off landscapes was one of photography’s key functions in its descriptive naturalist phase, as in Carleton Watkins’s commanding views of the American West, which recorded the natural splendour of the landscape and its settlement.

Subjective naturalism: In the late 19th century, experimental psychology, a newly defined scientific discipline, addressed the progression of sensation into interpretation. At the same time, champions of artistic photography introduced the possibilities of expression, ambiguous form, and abstraction into a medium previously valued for its descriptive functions. Heinrich Kühn’s mastery of painterly techniques, for example, led to the creation of photographs on par with paintings or charcoal drawings. Ultimately Kühn’s photographs depict dreams or memories as much as physical reality.

Experimental Modernism: After World War I, photography became a key tool for avant-garde artists determined to deploy technology in a positive rather than destructive manner, thus restoring balance within the individual psyche and within society at large. The abstract works of György Kepes, influenced by Gestalt psychology, represent a European version of this tendency, which he and other emigrés brought to the United States. A later heir to this tradition is Barbara Kasten, who uses photography to explore key interests including transparency, colour, light, and structure.

Romantic Modernism: Inspired by nature, romantic modernism isolated moments of direct personal contact with the world, and explored the specific capabilities of photography. Despite an apparent divergence of art and science following World War II, photography was a site of connection. Ansel Adams believed in the artist’s unique vision, while also advocating technical precision to realise it. Concurrently, scientists were focusing on contrast perception, the neurological mechanisms by which we distinguish objects and make sense of spatial arrangements. Scientists and photographers alike had to understand the visual system and its responses to black and white.”

Press release from the LACMA website

 

Edward Steichen (Luxembourg, active United States, 1879-1973) 'Three Pears & An Apple' 1921, printed 1921

 

Edward Steichen (Luxembourg, active United States, 1879-1973)
Three Pears & An Apple
1921, printed 1921
Gelatin silver print
9 5/8 × 7 1/2 in. (24.45 × 19.05cm)
The Marjorie and Leonard Vernon Collection, gift of The Annenberg Foundation and promised gift of Carol Vernon and Robert Turbin
© The Estate of Edward Steichen

 

William Henry Fox Talbot (England, 1800-1877) 'Lace' 1841

 

William Henry Fox Talbot (England, 1800-1877)
Lace
1841
Calotype
7 1/2 × 9 1/4 in. (19.05 × 23.5cm)
The Marjorie and Leonard Vernon Collection, gift of The Annenberg Foundation and promised gift of Carol Vernon and Robert Turbin

 

Andrew Young (England, active 1870-1879) 'Plane at Aberdour, in Old Avenue' Scotland, late 1870s

 

Andrew Young (English, active 1870-1879)
Plane at Aberdour, in Old Avenue
Scotland, late 1870s
Woodbury type
9 1/8 × 7 3/8 in. (23.18 × 18.73cm)
The Marjorie and Leonard Vernon Collection, gift of The Annenberg Foundation, acquired from Carol Vernon and Robert Turbin

 

Frederick H. Evans (England, 1853-1943) 'A Sea Of Steps - Wells Cathedral' England, 1903

 

Frederick H. Evans (English, 1853-1943)
A Sea Of Steps – Wells Cathedral
England, 1903
Platinum print
9 x 7 1/4 in. (22.86 x 18.44cm)
The Marjorie and Leonard Vernon Collection, gift of The Annenberg Foundation and Carol Vernon and Robert Turbin
© Frederick H. Evans, courtesy Janet B. Stenner

 

Jaroslav Rössler (Bohemia, Havlíčkův Brod, 1902-1990) 'Still Life with Small Bowl' Czechoslovakia (now Czech Republic), 1923

 

Jaroslav Rössler (Bohemia, Havlíčkův Brod, 1902-1990)
Still Life with Small Bowl
Czechoslovakia (now Czech Republic), 1923
Gelatin silver print
8 7/8 × 9 3/8 in. (22.54 × 23.81cm)
The Marjorie and Leonard Vernon Collection, gift of The Annenberg Foundation and promised gift of Carol Vernon and Robert Turbin

 

György Kepes (Hungary, active United States, 1906-2001) 'Balance' 1942, printed 1942

 

György Kepes (Hungary, active United States, 1906-2001)
Balance
1942, printed 1942
Gelatin Silver Print
The Marjorie and Leonard Vernon Collection, gift of The Annenberg Foundation, acquired from Carol Vernon and Robert Turbin
© The György Kepes Estate

 

 

Los Angeles County Museum of Art (LACMA)
5905 Wilshire Boulevard (at Fairfax Avenue)
Los Angeles, CA, 90036
Phone: 323 857-6000

Opening Hours:
Monday, Tuesday, Thursday: noon – 8 pm
Friday: noon – 9pm
Saturday, Sunday: 11am – 8pm
Closed Wednesday

LACMA website

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07
Mar
14

Exhibition: ‘Only in England: Photographs by Tony Ray-Jones and Martin Parr’ at Media Space at Science Museum, London

Exhibition dates: 21st September 2013 – 16th March 2014

 

Tony Ray-Jones. 'Beachy Head Tripper Boat, 1967' 1967

 

Tony Ray-Jones (English, 1941-1972)
Beachy Head Tripper Boat, 1967
1967
© National Media Museum

 

 

“Be more aware of composition

Don’t take boring pictures

Get in closer

Watch camera shake

Don’t shoot too much”

.
Tony Ray-Jones from his diaries

 

 

Growing up in the 1960s we used to get taken to Butlins holiday camps (Billy Butlin founded the company, a chain of large holiday camps in the United Kingdom, to provide affordable holidays for ordinary British families). It was a great treat to be away from the farm, to be by the sea, even if the beach was made of stones. Looking back on it now you realise how seedy it was, how working class… but as a kid it was oh, so much fun!

Tony Ray-Jones photographed these environments (mainly the British at play by the sea) and their opposites – afternoon tea taken at Glyndebourne opera festival for example (Glyndebourne, 1967, below) – drawing on the tradition of great British social documentary photography by artists such as Bill Brandt. TRJ even pays homage to Brandt in one of his photographs, Dickens Festival, Broadstairs, c. 1967 (below) which echoes Brandt’s famous photograph Parlourmaid and Under-parlourmaid Ready to Serve Dinner, 1933 by changing “point of view” from up close, personal, oppressive and interior to distance, isolation, leisure/work and exterior.

Through his photographs Ray-Jones adds his own style and humour, using “a new conception of photography as a means of expression, over and above its accepted role as a recorder.” He does it all as an intimate expression of his own personality, his maverick, outsider, non-conformist self. I feel – and that is the key word with his art – that he had a real empathy with his subject matter. There is a twinkle in his eye that becomes embedded in his photographs. There is an honesty, integrity and respect for the people he is photographing, coupled with a wicked sense of humour and the most amazing photographic eye. What an eye he had!

To be able to sum up a scene in a split second, to previsualise (think), intuitively compose, frame and shoot in that twinkle of an eye, and to balance the images as he does is truly the most incredible gift, the quintessential British “decisive moment”. Look at the structural analysis of Location unknown, possibly Worthing (1967-68, below) that I have presented in a slide show. This will give you a good idea of the visual complexity of Ray-Jones’ images… and yet he makes the sum of all components seem grounded (in this case by the man’s feet) and effortless. Devon Caranicas has observed that TRJ possessed a quick wit and adeptness for reducing a complex narrative into a single frame, the photographed subjects transformed into social actors of supreme stereotypes. The first part is insightful, but social actors of supreme stereotypes? I think not, because these people are not acting, this is their life, their humanity, their time out from the hum-drum of everyday working class life. They do not pose for TRJ, it’s just how they are. Look at the musicality of the first five images in the posting – how the line rises and falls, moves towards you and away from you. Only a great artist can do that, instinctively.

I cannot express to you enough the utmost admiration I have for this man’s art. In my opinion he is one of greatest British photographers that has ever lived (Julia Margaret Cameron, William Henry Fox Talbot, Roger Fenton, Francis Bedford, Frederick H. Evans, Cecil Beaton, Peter Henry Emerson and Herbert Ponting would be but a few others that spring to mind). He photographed British customs and values at a time of change and pictured a real affection for the lives of ordinary working class people. Being one of the them, he will always hold a special place in my heart.

Dr Marcus Bunyan

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

 

 

“Although the entirety of the images from Only in England were shot throughout the politically and socially turbulent late 60’s and early 70’s both artists shy away from depicting the culture clashes that so often visually defined this period. Instead, they each opted to turn their lens onto the quintessential country side, and in doing so, pay homage to a traditional type of English life that was becoming a sort of sub-culture in itself – a way of living that was not yet touched by the encroaching globalisation, or “americanisation,” of the UK.”

September 26th, 2013 by ART WEDNESDAY [Online] Cited 05/03/2014 no longer available online

 

“Ray-Jones printed his black and white pictures small, in a dark register of tonally very dense prints. The National Media Museum has lots of these, and perhaps to devote the cavernous new space only to such small pictures would have been a mistake. Even backed up with a mass of supporting material, including the fascinating pages from Ray-Jones’ diaries, the prints would struggle to fill the space. So only the first section is devoted to about 50 beautiful little Ray-Jones vintage prints. Two whole sections have been added to the exhibition to flesh it out…

[Parr] has unfortunately chosen to print them [Ray-Jones prints] in a way quite alien to anything Ray-Jones ever made: they are printed in Parr’s own way, as larger, paler, more diffuse things in mid-tones that Ray-Jones would never have countenanced. They are printed, inevitably, by digital process…

Sadly, these Ray-Jones by Parr prints add up to an appropriation of the former by the latter: they are Martin Parr pictures taken from Tony-Ray Jones negatives, and it would have been better not to have shown them so. They are fine images, but they should have been seen in some other way: on digital screens, perhaps, or as modern post-cards. Anything to make quite explicit the clear break with Ray-Jones’ own prints. That the images they contain are very fine is not in doubt. But I take leave to question whether they “present a new way of thinking through creative use of the collections”. They are well labelled and for specialists there will be no difficulty in knowing that they are not by Ray-Jones. But for the public I am not so sure. Suddenly two-thirds of the show are in this larger, modern, digitally printed form, either by Parr himself or by Ray-Jones-through-Parr. It looks as if that is the dominant group…”

Extract from Francis Hodgson. “Two Exhibitions of Tony Ray-Jones – Two Ways of Giving Context to Photographs,” on the Photomonitor website, September 2013 Cited 05/03/2014 no longer available online

 

 

Tony Ray-Jones. 'Beauty contestants, Southport, Merseyside, 1967' 1967

 

Tony Ray-Jones (English, 1941-1972)
Beauty contestants, Southport, Merseyside, 1967 
1967
© National Media Museum

 

Tony Ray-Jones. 'Brighton Beach, West Sussex, 1966' 1966

 

Tony Ray-Jones (English, 1941-1972)
Brighton Beach, West Sussex, 1966
1966
© National Media Museum

 

Tony Ray-Jones. 'Eastbourne Carnival, 1967' 1967

 

Tony Ray-Jones (English, 1941-1972)
Eastbourne Carnival, 1967
1967
© National Media Museum

 

Tony Ray-Jones. 'Blackpool, 1968' 1968

 

Tony Ray-Jones (English, 1941-1972)
Blackpool, 1968
1968
© National Media Museum

 

Tony Ray-Jones. 'Location unknown, possibly Worthing' 1967-68

 

Tony Ray-Jones (English, 1941-1972)
Location unknown, possibly Worthing
1967-68
© National Media Museum

 

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Tony Ray-Jones Location unknown, possibly Worthing (1967-68) picture analysis by Dr Marcus Bunyan

 

 

Fascinated by the eccentricities of English social customs, Tony Ray-Jones spent the latter half of the 1960s travelling across England, photographing what he saw as a disappearing way of life. Humorous yet melancholy, these works had a profound influence on photographer Martin Parr, who has now made a new selection including over 50 previously unseen works from the National Media Museum’s Ray-Jones archive. Shown alongside The Non-Conformists, Parr’s rarely seen work from the 1970s, this selection forms a major new exhibition which demonstrates the close relationships between the work of these two important photographers.

The first ever major London exhibition of work by British Photographer, Tony Ray-Jones (1941-1972) will open at Media Space on 21 September 2013. The exhibition will feature over 100 works drawn from the Tony Ray-Jones archive at the National Media Museum alongside 50 rarely seen early black and white photographs, The Non-Conformists, by Martin Parr (1952).

Between 1966 and 1969 Tony Ray-Jones created a body of photographic work documenting English customs and identity. Humorous yet melancholy, these photographs were a departure from anything else being produced at the time. They quickly attracted the attention of the Institute of Contemporary Arts (ICA), London where they were exhibited in 1969. Tragically, in 1972, Ray-Jones died from Leukaemia aged just 30. However, his short but prolific career had a lasting influence on the development of British photography from the 1970s through to the present.

In 1970, Martin Parr, a photography student at Manchester Polytechnic, had been introduced to Ray-Jones. Inspired by him, Parr produced The Non-Conformists, shot in black and white in Hebden Bridge and the surrounding Calder Valley. This project started within two years of Ray-Jones death and demonstrates his legacy and influence.

The exhibition will draw from the Tony Ray-Jones archive, held by the National Media Museum.  Around 50 vintage prints will be on display alongside an equal number of photographs which have never previously been printed. Martin Parr has been invited to select these new works from the 2700 contact sheets and negatives in the archive. Shown alongside these are Parr’s early black and white work, unfamiliar to many, which has only ever previously been exhibited in Hebden Bridge itself and at Camerawork Gallery, London in 1981.

Tony Ray-Jones was born in Somerset in 1941. He studied graphic design at the London School of Printing before leaving the UK in 1961 to study on a scholarship at Yale University in Connecticut, US. He followed this with a year long stay in New York during which he attended classes by the influential art director Alexey Brodovitch, and became friends with photographers Joel Meyerowitz and Garry Winogrand. In 1966 he returned to find a Britain still divided by class and tradition. A Day Off – An English Journal, a collection of photographs he took between 1967-1970 was published posthumously in 1974 and in 2004 the National Media Museum held a major exhibition, A Gentle Madness: The Photographs of Tony Ray-Jones.

Martin Parr was born in Epsom, Surry in 1952. He graduated from Manchester Polytechnic in 1974 and moved to Hebden Bridge in West Yorkshire, where he established the ‘Albert Street Workshop’, a hub for artistic activity in the town. Fascinated by the variety of non-conformist chapels and the communities he encountered in the town he produced The Non-Conformists. In 1984 Parr began to work in colour and his breakthrough publication The Last Resort was published in 1986. A Magnum photographer, Parr is now an internationally renowned photographer, filmmaker, collector and curator, best-known for his highly saturated colour photographs critiquing modern life.

Only in England: Photographs by Tony Ray-Jones and Martin Parr will run at Media Space, Science Museum from 21 September 2013 – 16 March 2014. The exhibition will then be on display at the National Media Museum from 22 March – 29 June 2014. The exhibition is curated by Greg Hobson, curator of Photographs at the National Media Museum, and Martin Parr has been invited to select works from the Tony Ray-Jones archives.

Greg Hobson, curator of Photographs at the National Media Museum says, “The combination of Martin Parr and Tony Ray-Jones’ work will allow the viewer to trace an important trajectory through the history of British photography, and present new ways of thinking about photographic histories through creative use of our collections.” Martin Parr says, “Tony Ray-Jones’ pictures were about England. They had that contrast, that seedy eccentricity, but they showed it in a very subtle way. They have an ambiguity, a visual anarchy. They showed me what was possible.”

The Tony Ray-Jones archive comprises of approximately 700 photographic prints, 1700 negative sheets, 2700 contact sheets, 600 boxes of Ektachrome / Kodachrome transparencies. It also includes ephemera such as notebooks, diary pages, and a maquette of England by the Sea made by Tony Ray-Jones.

Media Space is a collaboration between the Science Museum (London) and the National Media Museum (Bradford). Media Space will showcase the National Photography Collection of the National Media Museum through a series of exhibitions. Alongside this, photographers, artists and the creative industries will respond to the wider collections of the Science Museum Group to explore visual media, technology and science.

Press release from the Science Museum website

 

Tony Ray-Jones. 'Bacup coconut dancers, 1968' 1968

 

Tony Ray-Jones (English, 1941-1972)
Bacup coconut dancers, 1968
1968
© National Media Museum

 

Tony Ray-Jones (1941-1972) 'Bournemouth, 1969' 1969

 

Tony Ray-Jones (English, 1941-1972)
Bournemouth, 1969
1969
Vintage Gelatin Silver Print
16 x 25cm (6 x 10 inches)
© National Media Museum

 

Tony Ray-Jones. 'Location unknown, possible Morecambe, 1967-68' 1967-68

 

Tony Ray-Jones (English, 1941-1972)
Location unknown, possible Morecambe, 1967-68
1967-68
© National Media Museum

 

Tony Ray-Jones (1941-1972) 'Mablethorpe, 1967' 1967

 

Tony Ray-Jones (English, 1941-1972)
Mablethorpe, 1967
1967
Vintage Gelatin Silver Print
14 x 21cm (6 x 8 inches)
© National Media Museum

 

Tony Ray-Jones. 'Ramsgate, 1967' 1967

 

Tony Ray-Jones (English, 1941-1972)
Ramsgate, 1967
1967
© National Media Museum

 

Martin Parr. 'Mankinholes Methodist Chapel, Todmorden' 1975

 

Tony Ray-Jones (English, 1941-1972)
Mankinholes Methodist Chapel, Todmorden
1975
© Martin Parr/ Magnum

 

Tony Ray-Jones. 'Cruft's Dog Show, London, 1966' 1966

 

Tony Ray-Jones (English, 1941-1972)
Cruft’s Dog Show, London, 1966
1966
© National Media Museum

 

Tony Ray-Jones. 'Dickens Festival, Broadstairs, c.1967' c.1967

 

Tony Ray-Jones (English, 1941-1972)
Dickens Festival, Broadstairs, c. 1967
c. 1967
© National Media Museum

 

Tony Ray-Jones. 'Dickens Festival, Broadstairs, c.1967' c.1967

 

Tony Ray-Jones (English, 1941-1972)
Dickens Festival, Broadstairs, c.1967
c.1967
© National Media Museum

 

Tony Ray-Jones. 'Wormwood Scrubs Fair, London, 1967' 1967

 

Tony Ray-Jones (English, 1941-1972)
Wormwood Scrubs Fair, London, 1967
1967
© National Media Museum

 

Tony Ray-Jones. 'Untitled' 1960s

 

Tony Ray-Jones (English, 1941-1972)
Untitled
1960s
© National Media Museum

 

Tony Ray-Jones. 'Trooping the Colour, London, 1967' 1967

 

Tony Ray-Jones (English, 1941-1972)
Trooping the Colour, London, 1967
1967
© National Media Museum

 

Tony Ray-Jones. 'Untitled' 1960s

 

Tony Ray-Jones (English, 1941-1972)
Untitled
1960s
© National Media Museum

 

Tony Ray-Jones. 'Glyndebourne, 1967' 1967

 

Tony Ray-Jones (English, 1941-1972)
Glyndebourne, 1967
1967
© National Media Museum

 

Tony Ray-Jones. 'Elderly woman eating pie seated in a pier shelter next to a stuffed bear, 1969' 1969

 

Tony Ray-Jones (English, 1941-1972)
Elderly woman eating pie seated in a pier shelter next to a stuffed bear, 1969
1969
© National Media Museum

 

Tony Ray-Jones. 'Blackpool, 1968' 1968

 

Tony Ray-Jones (English, 1941-1972)
Blackpool, 1968
1968
Vintage Gelatin Silver Print
21 x 14.5cm (8.25 x 5.70 ins)

 

Martin Parr. 'Tom Greenwood cleaning' 1976

 

Tony Ray-Jones (English, 1941-1972)
Tom Greenwood cleaning
1976
© Martin Parr/ Magnum

 

 

 

Media Space at Science Museum
Exhibition Road, South Kensington,
London SW7 2DD

Opening hours:
Open seven days a week, 10.00 – 18.00

Media Space at Science Museum website

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04
Mar
14

Exhibition: ‘Flesh and Metal: Body and Machine in Early 20th­-Century Art’ at the Cantor Arts Center at Stanford University

Exhibition dates: 13th November 2013 – 16th March 2014

Featured artists include Margaret Bourke-White, Constantin Brancusi, Giorgio de Chirico, Salvador Dalí, Marcel Duchamp, Germaine Krull, Fernand Léger, Wyndham Lewis, László Moholy-Nagy, Piet Mondrian, Man Ray, Alexander Rodchenko, and Charles Sheeler, among others.

 

 

Man Ray. 'Untitled (Rayograph)' 1922

 

Man Ray (American, 1890-1976)
Untitled (Rayograph)
1922
Gelatin silver print
11 15/16 x 9 3/8 in. (30.32 x 23.81cm)
Collection SFMOMA, purchase
© Man Ray Trust / Artists Rights Society (ARS), New York / ADAGP, Paris

 

 

“I am young, I am twenty years old; yet I know nothing of life but despair, death, fear, and fatuous superficiality cast over an abyss of sorrow. I see how peoples are set against one another, and in silence, unknowingly, foolishly, obediently, innocently slay one another. I see that the keenest brains of the world invent weapons and words to make it yet more refined and enduring. And all men of my age, here and over there, throughout the whole world see these things; all my generation is experiencing these things with me. What would our fathers do if we suddenly stood up and came before them and proffered our account? What do they expect of us if a time ever comes when the war is over? Through the years our business has been killing; – it was our first calling in life. Our knowledge of life is limited to death. What will happen afterwards? And what shall come out of us?”

.
Erich Maria Remarque. All Quiet on the Western Front, 1929

 

 

Many thankx to the San Francisco Museum of Modern Art (SFMOMA) and the Cantor Arts Center at Stanford University for allowing me to publish the art work in the posting. Please click on the art work for a larger version of the image.

 

 

Germaine Krull. 'Portrait of Joris Ivens, Amsterdam' c. 1928

 

Germaine Krull (1897-1985)
Portrait of Joris Ivens, Amsterdam
c. 1928
Gelatin silver print
7 3/8 x 6 1/4 in. (18.77 x 15.88cm)
Collection SFMOMA, gift of Simon Lowinsky
© Germaine Krull Estate

 

 

Germaine Krull (29 November 1897 – 31 July 1985), was a photographer, political activist, and hotel owner. Her nationality has been categorised as German, Polish, French, and Dutch, but she spent years in Brazil, Republic of the Congo, Thailand, and India. Described as “an especially outspoken example” of a group of early 20th-century female photographers who “could lead lives free from convention”, she is best known for photographically-illustrated books such as her 1928 portfolio Métal...

Having met Dutch filmmaker and communist Joris Ivens in 1923, she moved to Amsterdam in 1925. After Krull returned to Paris in 1926, Ivens and Krull entered into a marriage of convenience between 1927 and 1943 so that Krull could hold a Dutch passport and could have a “veneer of married respectability without sacrificing her autonomy.”

In Paris between 1926 and 1928, Krull became friends with Sonia DelaunayRobert DelaunayEli LotarAndré MalrauxColetteJean CocteauAndré Gide and others; her commercial work consisted of fashion photography, nudes, and portraits. During this period she published the portfolio Métal (1928) which concerned “the essentially masculine subject of the industrial landscape.” Krull shot the portfolio’s 64 black-and-white photographs in Paris, Marseille, and Holland during approximately the same period as Ivens was creating his film De Brug (“The Bridge”) in Rotterdam, and the two artists may have influenced each other. The portfolio’s subjects range from bridges, buildings and ships to bicycle wheels; it can be read as either a celebration of machines or a criticism of them. Many of the photographs were taken from dramatic angles, and overall the work has been compared to that of László Moholy-Nagy and Alexander Rodchenko. In 1999-2004 the portfolio was selected as one of the most important photobooks in history.

By 1928 Krull was considered one of the best photographers in Paris, along with André Kertész and Man Ray. Between 1928 and 1933, her photographic work consisted primarily of photojournalism, such as her photographs for Vu, a French magazine. Also in the early 1930s, she also made a pioneering study of employment black spots in Britain for Weekly Illustrated (most of her ground-breaking reportage work from this period remains immured in press archives and she has never received the credit which is her due for this work). Her book Études de Nu (“Studies of Nudes”) published in 1930 is still well-known today.

Text from the Wikipedia website

 

El Lissitzky. 'Untitled' c. 1923

 

El Lissitzky (Russian, 1890-1941)
Untitled
c. 1923
Gelatin silver print
9 1/2 x 7 1/4 in. (24.13 x 18.42cm)
Collection SFMOMA, gift of anonymous donors
© Estate of El Lissitzky / Artists Rights Society (ARS), New York / VG Bild-Kunst, Bonn

 

 

Lazar Markovich Lissitzky (November 23 1890 – December 30, 1941), better known as El Lissitzky, was a Russian artist, designer, photographer, typographer, polemicist and architect. He was an important figure of the Russian avant garde, helping develop suprematism with his mentor, Kazimir Malevich, and designing numerous exhibition displays and propaganda works for the Soviet Union. His work greatly influenced the Bauhaus and constructivist movements, and he experimented with production techniques and stylistic devices that would go on to dominate 20th-century graphic design.

Lissitzky’s entire career was laced with the belief that the artist could be an agent for change, later summarised with his edict, “das zielbewußte Schaffen” (goal-oriented creation). Lissitzky, of Jewish origin, began his career illustrating Yiddish children’s books in an effort to promote Jewish culture in Russia, a country that was undergoing massive change at the time and that had just repealed its antisemitic laws. When only 15 he started teaching; a duty he would stay with for most of his life. Over the years, he taught in a variety of positions, schools, and artistic media, spreading and exchanging ideas. He took this ethic with him when he worked with Malevich in heading the suprematist art groupUNOVIS, when he developed a variant suprematist series of his own, Proun, and further still in 1921, when he took up a job as the Russian cultural ambassador to Weimar Germany, working with and influencing important figures of the Bauhaus and De Stijl movements during his stay. In his remaining years he brought significant innovation and change to typography, exhibition design, photomontage, and book design, producing critically respected works and winning international acclaim for his exhibition design. This continued until his deathbed, where in 1941 he produced one of his last works – a Soviet propaganda poster rallying the people to construct more tanks for the fight against Nazi Germany. In 2014, the heirs of the artist, in collaboration with Van abbemuseum and the leading worldwide scholars, the Lissitzky foundation was established, to preserve the artist’s legacy and prepare a catalogue raisonné of the artists oeuvre.

Text from the Wikipedia website

 

Alexander Rodchenko. 'Pozharnaia lestnitsa' from the series 'Dom na Miasnitskoi' (Fire Escape, from the series House Building on Miasnitskaia Street) 1925

 

Alexander Rodchenko (Russian, 1891-1956)
Pozharnaia lestnitsa from the series Dom na Miasnitskoi (Fire Escape, from the series House Building on Miasnitskaia Street)
1925
Gelatin silver print
9 x 6 in. (22.86 x 15.24cm)
Collection SFMOMA, Accessions Committee Fund: gift of Frances and John Bowes, Evelyn Haas, Mimi and Peter Haas, Pam and Dick Kramlich, and Judy and John Webb
© Estate of Alexander Rodchenko / RAO, Moscow / VAGA, New York

 

Raoul Ubac. 'Penthésilée' 1937

 

Raoul Ubac (French, 1910-1985)
Penthésilée
1937
Gelatin silver print
15 1/2 x 11 1/4 in. (39.37 x 28.58cm)
Collection SFMOMA, gift of Robert Miller
© Artists Rights Society (ARS), New York / ADAGP, Paris

 

 

Raoul Ubac (31 August 1910, Cologne – 24 March 1985, Dieudonne, Oise) was a French painter, sculptor, photographer and engraver. Ubac’s mother’s family ran a tannery and his father was a magistrate. In his early years he traveled through some parts of Europe on foot. He originally intended to become a waterways and forestry inspector. His interest in art was aroused when he made his first visit to Paris in 1928 and met several artists, including Otto Freundlich.

After returning to Malmédy he read the Manifeste du Surréalisme (1924) by André Breton. He met that document’s author André Breton and other leading Surrealists in 1930, and dedicated himself to capturing the movement’s dream aesthetic in photography after settling in Paris, attending the first showing of Luis Buñuel’s film L’Age d’or (1931). He attended the Faculté des Lettres of the Sorbonne briefly but soon left to frequent the studios of Montparnasse. About 1933-34 he attended the Ecole des Arts Appliqués for more than a year, studying mainly drawing and photography. In the course of a visit to Austria and the Dalmatian coast in 1933, he visited the island of Hvar where he made some assemblages of stones, which he drew and photographed, for example Dalmatian Stone (1933). Disillusioned with Surrealism, Ubac abandoned photography after the Second World War in favour of painting and sculpture, and died in France in 1985.

Text from various sources

 

 

Co-organised by the San Francisco Museum of Modern Art (SFMOMA) and the Cantor Arts Center at Stanford University, Flesh and Metal: Body and Machine in Early 20th­-Century Art presents more than 70 artworks that explore a central dynamic of art making in Europe and the Americas between the 1910s and the early 1950s. On view from November 13, 2013 to March 16, 2014 at the Cantor Arts Center, the exhibition includes a rich group of paintings, sculptures, photographs, drawings, prints, and illustrated books from the collection of SFMOMA. Taken together, the works offer a fresh view of how artists negotiated the terrain between the mechanical and the bodily – two oppositional yet inextricably bound forces – to produce a wide range of imagery responding to the complexity of modern experience.

The exhibition is part of the collaborative museum shows and extensive off-site programming presented by SFMOMA while its building is temporarily closed for expansion construction. From the summer of 2013 to early 2016, SFMOMA is on the go, presenting a dynamic slate of jointly organised and traveling exhibitions, public art displays and site-specific installations, and newly created education programs throughout the Bay Area.

“We are thrilled to pair SFMOMA’s world-class collection with Stanford’s renowned academic resources,” said Connie Wolf, the John and Jill Freidenrich Director of the Cantor Arts Center. “Cantor curators and the distinguished chair of the Department of Art and Art History guided seminars specifically for this exhibition, with students examining art of the period, investigating themes, studying design and display issues, and developing writing skills. The students gained immeasurably by this amazing experience and added new research and fresh perspectives to the artwork and to the exhibition. We are proud of the results and delighted to present a unique and invaluable partnership that will enrich the Stanford community, our museum members, and our visitors.”

SFMOMA’s Curator of Photography Corey Keller concurred: “The opportunity to work with our colleagues at Stanford has been a remarkable experience both in the galleries and in the classroom. We couldn’t be prouder of the exhibition’s unique perspective on a particularly rich area of SFMOMA’s collection that resulted from our collaboration.”

 

Exhibition overview

The exhibition is organised into four thematic sections dealing with the human figure, the imagination, the urban landscape, and the object, which together reveal a range of artists’ responses to the conditions of modernity. At the beginning of the 20th century, many hailed the machine as a symbol of progress. “Speed” and “efficiency” entered the vocabularies of art movements such as Futurism (in Italy), Purism (in France), Vorticism (in England), and Constructivism (in Russia), all of which adapted the subject matter and formal characteristics of the machine. Factories and labourers were presented positively as emblems of modernity, and mechanisation became synonymous with mobility and the possibility of social improvement. Countering this utopian position were proponents of the Dada and Surrealist movements (based largely in Germany and France), who found mechanical production problematic. For many of these artists who had lived through the chaos and destruction of World War I, the machine was perceived as a threat not only to the body, but to the uniquely human qualities of the mind as well. These artists embraced chance, accident, dream, and desire as new paths to freedom and creativity, in contrast to their counterparts who maintained their faith in an industrially enhanced future.

Though art from the first half of the 20th century is often viewed as representing an opposition between the rational, impersonal world of the machine and the uncontrollable, often troubling realm of the human psyche, the work in this exhibition suggests a more nuanced tension. In fact, artists regularly perceived these polarities in tandem. The codes of the bodily and the industrial coalesce in Fernand Léger’s machine aesthetic, on view in his 1927 painting Two Women on a Blue Backgound and an untitled collage from 1925. For his “rayographs,” Man Ray made use of mass-produced objects, but deployed them in a lyrical and imaginative manner – placing them on photosensitised paper and exposing it to light. Constantin Brancusi’s The Blond Negress (1927) and Jacques Lipchitz’s Draped Woman (1919) update the tradition of the cast bronze figure by introducing impersonal geometries. And even the seemingly formulaic surfaces of Piet Mondrian’s abstract paintings eventually reveal the artist’s sensitive hand.”

Press release from SFMOMA and the Cantor Arts Center

 

Hans Bellmer. 'La mitrailleuse en état de grâce' (The Machine Gun[neress] in a State of Grace) 1937

 

Hans Bellmer (German, 1902-1975)
La mitrailleuse en état de grâce (The Machine Gun[neress] in a State of Grace)
1937
Gelatin silver print with oil and watercolour
26 x 26 in. (66.04 x 66.04cm)
Collection SFMOMA, gift of Foto Forum
© Artists Rights Society (ARS), New York / ADAGP, Paris

 

 

Hans Bellmer (13 March 1902 – 23 February 1975) was a German artist, best known for the life sized pubescent female dolls he produced in the mid-1930s. Historians of art and photography also consider him a Surrealist photographer.

Bellmer was born in the city of Kattowitz, then part of the German Empire (now Katowice, Poland). Up until 1926, he’d been working as a draftsman for his own advertising company. He initiated his doll project to oppose the fascism of the Nazi Party by declaring that he would make no work that would support the new German state. Represented by mutated forms and unconventional poses, his dolls were directed specifically at the cult of the perfect body then prominent in Germany. Bellmer was influenced in his choice of art form by reading the published letters of Oskar Kokoschka (Der Fetisch, 1925).

Bellmer’s doll project is also said to have been catalysed by a series of events in his personal life. Hans Bellmer takes credit for provoking a physical crisis in his father and brings his own artistic creativity into association with childhood insubordination and resentment toward a severe and humourless paternal authority. Perhaps this is one reason for the nearly universal, unquestioning acceptance in the literature of Bellmer’s promotion of his art as a struggle against his father, the police, and ultimately, fascism and the state. Events of his personal life also including meeting a beautiful teenage cousin in 1932 (and perhaps other unattainable beauties), attending a performance of Jacques Offenbach’s Tales of Hoffmann (in which a man falls tragically in love with an automaton), and receiving a box of his old toys. After these events, he began to actually construct his first dolls. In his works, Bellmer explicitly sexualised the doll as a young girl. The dolls incorporated the principle of “ball joint”, which was inspired by a pair of sixteenth-century articulated wooden dolls in the Kaiser Friedrich Museum.

Bellmer produced the first doll in Berlin in 1933. Long since lost, the assemblage can nevertheless be correctly described thanks to approximately two dozen photographs Bellmer took at the time of its construction. Standing about fifty-six inches tall, the doll consisted of a modelled torso made of flax fibre, glue, and plaster; a mask-like head of the same material with glass eyes and a long, unkempt wig; and a pair of legs made from broomsticks or dowel rods. One of these legs terminated in a wooden, club-like foot; the other was encased in a more naturalistic plaster shell, jointed at the knee and ankle. As the project progressed, Bellmer made a second set of hollow plaster legs, with wooden ball joints for the doll’s hips and knees. There were no arms to the first sculpture, but Bellmer did fashion or find a single wooden hand, which appears among the assortment of doll parts the artist documented in an untitled photograph of 1934, as well as in several photographs of later work.

Bellmer’s 1934 anonymous book, The Doll (Die Puppe), produced and published privately in Germany, contains 10 black-and-white photographs of Bellmer’s first doll arranged in a series of “tableaux vivants” (living pictures). The book was not credited to him, as he worked in isolation, and his photographs remained almost unknown in Germany. Yet Bellmer’s work was eventually declared “degenerate” by the Nazi Party, and he was forced to flee Germany to France in 1938. Bellmer’s work was welcomed in the Parisian art culture of the time, especially the Surrealists around André Breton, because of the references to female beauty and the sexualization of the youthful form. His photographs were published in the Surrealist journal Minotaure, 5 December 1934 under the title “Poupée, variations sur le montage d’une mineure articulée” (The Doll, Variations on the Assemblage of an Articulated Minor).

He aided the French Resistance during the war by making fake passports. He was imprisoned in the Camp des Milles prison at Aix-en-Provence, a brickworks camp for German nationals, from September 1939 until the end of the Phoney War in May 1940. After the war, Bellmer lived the rest of his life in Paris. Bellmer gave up doll-making and spent the following decades creating erotic drawings, etchings, sexually explicit photographs, paintings, and prints of pubescent girls… Of his own work, Bellmer said, “What is at stake here is a totally new unity of form, meaning and feeling: language-images that cannot simply be thought up or written up … They constitute new, multifaceted objects, resembling polyplanes made of mirrors … As if the illogical was relaxation, as if laughter was permitted while thinking, as if error was a way and chance, a proof of eternity.

Text from the Wikipedia website

 

Salvador Dalí. 'Objet Surréaliste à fonctionnement symbolique - le soulier de Gala' (Surrealist object that functions symbolically - Gala's Shoe) 1932/1975

 

Salvador Dalí (Spanish, 1904-1989)
Objet Surréaliste à fonctionnement symbolique – le soulier de Gala (Surrealist object that functions symbolically – Gala’s Shoe)
1932/1975
Shoe, marble, photographs, clay, and mixed media
48 x 28 x 14 in. (121.92 x 71.12 x 35.56 cm)
Collection SFMOMA, purchase, by exchange, through a gift of Norah and Norman Stone
© Salvador Dalí, Gala-Salvador Dalí Foundation / Artists Rights Society (ARS), New York

 

Marcel Jean. 'Le Spectre du Gardenia' (The Specter of the Gardenia) 1936/1972

 

Marcel Jean (French, 1900-1993)
Le Spectre du Gardenia (The Specter of the Gardenia)
1936/1972
Wool powder over plaster, zippers, celluloid film, and suede over wood
13 1/2 x 7 x 9 in. (34.29 x 17.78 x 22.86 cm)
Collection SFMOMA
Purchase through a gift of Dr. and Mrs. Allan Roos
© Artists Rights Society (ARS), New York / ADAGP, Paris

 

 

With zippers for eyes and a filmstrip collar around its neck, this figure composes an anxious portrait, but its tactile surface of black cloth, faded red velvet, and zippers is charged with the eroticism of imagined touch. Jean originally called this work Secret of the Gardenia after an old movie reel he discovered, along with the velvet stand, at a Paris flea market. As the artist later recalled, Surrealism’s leader André Breton “always pressed his friends to center their interest on Surrealist objects,” and “he made a certain number himself.” Chance discoveries like the movie reel and velvet stand that inspired this work provided a trove of uncanny items for Surrealists to include, combine, and transform in their works.

Text from the MoMA website [Online] Cited 01/03/2014

 

Max Ernst. 'La famille nombreuse' (The Numerous Family) 1926

 

Max Ernst (German, 1891-1976)
La famille nombreuse (The Numerous Family)
1926
Oil on canvas
32 1/8 x 25 5/8 in. (81.61 x 65.1cm)
Collection SFMOMA, gift of Peggy Guggenheim
© Artists Rights Society (ARS), New York / ADAGP, Paris

 

Giorgio de Chirico. 'Les contrariétés du penseur' (The Vexations of the Thinker) 1915

 

Giorgio de Chirico (Italian, 1888-1978)
Les contrariétés du penseur (The Vexations of the Thinker)
1915
Oil on canvas
18 1/4 x 15 in. (46.36 x 38.1cm)
Collection SFMOMA, Templeton Crocker Fund purchase
© 2013 Artists Rights Society (ARS), New York / SIAE, Rome

 

Fernand Léger. 'Deux femmes sur fond bleu' (Two Women on a Blue Background) 1927

 

Fernand Léger (French, 1881-1955)
Deux femmes sur fond bleu (Two Women on a Blue Background)
1927
Oil on canvas
36 1/2 x 23 5/8 in. (92.71 x 59.94cm)
Collection SFMOMA, fractional gift of Helen and Charles Schwab
© Artists Rights Society (ARS), New York / ADAGP, Paris

 

Constantin Brancusi. 'La Négresse blonde' (The Blond Negress) 1926

 

Constantin Brancusi (Romanian, 1876-1957)
La Négresse blonde (The Blond Negress)
1926
Bronze with marble and limestone base
70 3/4 x 10 3/4 x 10 3/4 in. (179.71 x 27.31 x 27.31 cm)
Collection SFMOMA, gift of Agnes E. Meyer and Elise S. Haas
© Artists Rights Society (ARS), New York / ADAGP, Paris

 

 

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Dr Marcus Bunyan

Dr Marcus Bunyan is an Australian artist and writer. His art work explores the boundaries of identity and place. He writes Art Blart, a photographic archive and form of cultural memory, which posts mainly photography exhibitions from around the world. He holds a Dr of Philosophy from RMIT University, Melbourne, a Master of Arts (Fine Art Photography) from RMIT University, and a Master of Art Curatorship from the University of Melbourne.

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Marcus Bunyan black and white archive: ‘Orphans and small groups’ 1994-96 Part 2

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