Archive for November, 2017

30
Nov
17

Exhibition: ‘The Typewriter: An innovation in Writing’ at SFO Museum (SFOM), San Francisco International Airport

Exhibition dates: 13th May 2017 – 28th January 2018

Location: Terminal 2 Departures – Level 2 – Post-Security

 

'The Typewriter: An innovation in Writing'

Solomon D. Butcher. 'Portrait of Professor C.W. Roush, principal of the Broken Bow Business College, and his stenographer, Miss Mable Holcomb' 1903

 

Solomon D. Butcher
Portrait of Professor C.W. Roush, principal of the Broken Bow Business College, and his stenographer, Miss Mable Holcomb
1903
Collection of Nebraska State Historical Society

NB. Note the use of Remington Standard Typewriter No. 6

 

 

I LOVE TYPEWRITERS!

They may be obsolete technology, but boy do they have great design and so much style.

What a collection of machines… so many rare models in this exhibition.

Portable typewriters, folding typewriters, QWERTY keyboards (still with us), and the names: Royal Deluxe, Torpedo, and the Corona No. 3 Special. It sounds like a cigar, but that’s the one I would take home. Plus the Oliver Typewriter Company “Oliver 3” … the one with “wings” in the installation photographs of the first case.

A marvellous collection so well brought together in this exhibition. Congratulations to all involved.

Marcus

.
Many thankx to Daniel Calderon, Chad Anderson and the SFO Museum for allowing me to publish the photographs and text in the posting. Please click on the photographs for a larger version of the image.

@SFOMuseum #TheTypewriter

 

Installation view of the exhibition ‘The Typewriter: An Innovation in Writing’ at the SFO Museum, San Francisco International Airport

Installation view of the exhibition ‘The Typewriter: An Innovation in Writing’ at the SFO Museum, San Francisco International Airport

 

Installation views of the exhibition The Typewriter: An Innovation in Writing at the SFO Museum, San Francisco International Airport

 

Installation view of the exhibition ‘The Typewriter: An Innovation in Writing’ at the SFO Museum, San Francisco International Airport

 

Installation view of the exhibition The Typewriter: An Innovation in Writing at the SFO Museum, San Francisco International Airport with the Sholes & Glidden Type Writer (left) and Remington Standard No. 12 (second left)

 

Sholes & Glidden Type Writer 1875

 

Sholes & Glidden Type Writer
1875
E. Remington & Sons
Ilion, New York
Anonymous lender

 

 

Sholes & Glidden Type Writer

The Sholes & Glidden Type Writer ushered in a new era of communication technology. Invented by Christopher Latham Sholes (1819-90) with assistance from Samuel Soulé (1830-75) and Carlos Glidden (1834-77) in Milwaukee, Wisconsin, it was the first commercially produced typewriter with hinged type-bars and a four-row keyboard. In 1873, the Type Writer introduced “QWERTY,” a keyboard layout named for the first six letters at the top-left row of letter keys. Organised to prevent type-bars from clashing and jamming prototype machines, QWERTY was mechanically suited to the Sholes & Glidden and not necessarily designed for efficient typing. Contemporary computers, tablets, and smart phones share the QWERTY keyboard layout.

 

Remington Standard No. 12 1927

 

Remington Standard No. 12
1927
Remington Typewriter Company
Ilion, New York
Type-O-Meter conversion c. 1938
General Coin Automatic Co. San Francisco
Collection of Joe Welch American Antique Museum

 

 

Industry

Advances in industry and business made the typewriter both possible and indispensable. Early typewriter factories combined recently developed processes such as steel stamping and zinc plating with aluminum, cast iron, vulcanite, and other new materials into their assembly lines. At the same time, typewriters created massive amounts of paperwork to support increased organisation and communication in manufacturing and business. By the 1930s, the typewriter was such a commercial success that even coin-operated conversions were offered.

 

Installation view of the exhibition ‘The Typewriter: An Innovation in Writing’ at the SFO Museum, San Francisco International Airport

 

Installation view of the exhibition The Typewriter: An Innovation in Writing at the SFO Museum, San Francisco International Airport with the Hammond 1b (left) and Crandall New Model (centre)

 

Hammond 1b c. 1890

 

Hammond 1b
c. 1890
The Hammond Typewriter Company
New York
Anonymous lender

 

 

Type-shuttles

During the 1880s, a multitude of patents for new typewriter designs were introduced. One of the most innovative was invented by James B. Hammond (1839-1913), a Civil War correspondent who became frustrated as news press staff misinterpreted and incorrectly printed his handwritten reports. While too late for wartime use, Hammond’s typewriter was one of the most enduring non-type-bar designs. Patented in 1880, it featured a curved, piano-style keyboard and printed via a type-shuttle. On a Hammond, when a key is pressed the type mechanism rotates into place and is struck by a hammer, making the impression between paper and ink ribbon.

 

Crandall New Model c. 1890

 

Crandall New Model
c. 1890
Crandall Machine Company
Groton, New York
Courtesy of Steve Soboroff

 

 

Type-sleeves

A defining advantage of the rotating type mechanism was its adaptability. In contrast to the array of hinged type-bars found on more conventional machines, a type-shuttle or type-sleeve could be changed to convert from one language to another. Hundreds of options were available, from foreign languages to scientific applications. Patented in 1879, the Crandall was the first production typewriter that printed via a type-sleeve. Ornately decorated with mother-of-pearl inlays, it featured six rings of type moulded around a cylinder that rotated into place and swung directly onto the paper. Much like the IBM Selectric of the 1960s, type-sleeves for the Crandall were available in a variety of fonts.

 

Installation view of the exhibition ‘The Typewriter: An Innovation in Writing’ at the SFO Museum, San Francisco International Airport

 

Installation view of the exhibition The Typewriter: An Innovation in Writing at the SFO Museum, San Francisco International Airport with the Victor Type Writer (left), Blickensderfer No. 5 (centre left) and Corona No. 3 Special (right)

 

Odell Type Writer No. 4 c. 1900 (left) and Victor Type Writer 1889-92 (right)

 

Odell Type Writer No. 4
c. 1900
Farquhar & Albrecht
Chicago
Anonymous lender

Victor Type Writer
1889-92
Tilton Manufacturing Company
Boston
Anonymous lender

 

 

Index Typewriters

In the 1890s, the cost of a new, full-size typewriter was more than the average American earned in one month. Index typewriters were a simpler and more affordable alternative. Available at a fraction of the price and manufactured in a variety of designs, they were the earliest portable writing machines. The Odell was a popular, linear-index typewriter that printed upper-and lower-case characters through a sliding index coupled to shift and selector keys. The innovative wheel-index Victor typewriter printed from type attached to the ends of strips arranged in a daisy-wheel pattern, much like the IBM Wheelwriter a century later.

 

Blickensderfer No. 5 1902 (left) and Corona No. 3 Special 1929 (right)

 

Blickensderfer No. 5
1902
Blickensderfer Manufacturing Company
Stamford, Connecticut
Collection of The Museum of American Heritage

Corona No. 3 Special
1929
L.C. Smith & Corona Typewriters, Inc.
Groton, New York
Collection of History San José

 

 

Early Portables

George C. Blickensderfer (1850-1917) introduced the first portable typewriter with a full keyboard in 1893. Designed around an easily changeable type-wheel that rotated and struck the platen to print, the Blickensderfer was quite popular and could accommodate over one-hundred foreign language and scientific applications through a variety of type-wheels. The next revolutionary portable was the Corona 3, first patented as the Standard Folding Typewriter in 1904. This front-stroke machine featured a three-row, double-shift keyboard with a carriage that folded forward for maximum portability.

 

 

The typewriter is one of the great inventions of the modern world. A marvel of industrial engineering and ingenuity, it revolutionised communication and was an essential tool for countless writers. To comprehend the typewriter’s impact, consider a world where typing did not exist and handwriting was the main form of non-verbal communication. Until refillable fountain pens were introduced in 1884, handwriting was a cumbersome process accomplished with pens dipped in ink. The ease and speed of communication on paper increased dramatically when typewriters became available in the late 1800s. Typewriting was efficient, created clear and legible documents, and easily produced multiple copies using carbon paper.

During the early 1900s, offices staffed by typists, bookkeepers, and clerks made the desktop typewriter indispensable. Inventions such as the telephone, telegraph, and railroad allowed business and manufacturing to grow exponentially, and extensive office organisation was required to keep pace. Countless agencies worldwide created professional offices based on principles of scientific management. Daily tasks were clearly defined for each employee, and working structures mirrored arrangements between foremen and workers on factory floors, with office personnel organised by hierarchies and job specialisation.

From local repair shops to international corporations, offices of all sizes employed typists trained in touch-typing techniques based on keyboard memorisation. The largest typing pools, staffed by legions of women entering the workforce for the first time, offered low wages for monotonous work in expansive, factory-like rooms. As businesses reorganised into smaller, specialised departments, typing environments improved. Secretaries played an instrumental role in this modern office system. Often trained as entry-level typists, they were promoted through the ranks to draft letters, take dictation, and work in liaison with managers and staff.

Although it has fallen out of widespread use, typewriter technology remains foundational in digital devices such as the computer, smart phone, and tablet. Modern typing is translated directly from typewriting, with the keyboard layout of most digital devices rooted in typewriter development. Nicknamed “QWERTY” for the first six letters at the top-left of the keyboard, this layout was not developed to promote efficient typing or for ergonomic reasons. In 1873, QWERTY was introduced to alleviate clashing and jamming of type-bars on the Type Writer, the first commercially produced writing machine with a four-row keyboard.

In recent years, a renewed interest in typewriting has brought many of these classic machines back into focus. While some writers never left their trusty Royal desktops and Olympia portables, other enthusiasts have discovered the typewriter as a creative outlet in an era defined by endless streams of information. Unlike computers, typewriters translate ideas directly onto paper through an audible rhythm of keys and swinging type-bars. There is no delete function to shroud errors, and a well-edited typescript illustrates a creative process through handwritten notations and corrections typed over in ink. Today, collectors and writers all over the world value the timeless aesthetics and utility of the typewriter. This exhibition traces a history of typewriter technology and innovation through more than a century of design, from early writing machines to modern portables and Asian typewriters with thousands of characters.

Thank you to the following lenders for making this exhibition possible: California Typewriter, Computer History Museum, History San José, Joe Welch American Antique Museum, Mickey McGowan, Thomas S. Mullaney, Timothy S. Mundorff, Museum of American Heritage, Peter Smith, Steve Soboroff, Nick Tauriainen, and Janine Vangool.

Text from the SFO Museum website © 2017 by San Francisco Airport Commission. All rights reserved.

 

Installation view of the exhibition ‘The Typewriter: An Innovation in Writing’ at the SFO Museum, San Francisco International Airport

 

Installation view of the exhibition The Typewriter: An Innovation in Writing at the SFO Museum, San Francisco International Airport with Orson Welles’ Underwood Standard Portable Typewriter

 

Underwood Standard Portable Typewriter with hand-lettered case 1926

 

Underwood Standard Portable Typewriter with hand-lettered case
1926
previously owned by Orson Welles (1915-85)
Underwood Typewriter Company
New York
Courtesy of Steve Soboroff

 

 

Orson Welles

On October 30, 1938, radio listeners across America were driven into a state of panic. That night, the Mercury Theater of the Air presented “War of the Worlds,” a radio show by theatre actor Orson Welles (1915-85). An adaptation of the science fiction novel by H.G. Wells (1866-1946), it detailed scenes of a Martian invasion that thousands of listeners mistook for the real thing. Seven years before the broadcast, Welles, at age sixteen, had travelled to Europe and found work at the Gate Theatre in Dublin, Ireland, after convincing the theatre manager he was a vacationing member of the Theatre Guild. Welles returned to the States for a stint on Broadway, and worked for supplemental income in radio as the voice of “The Shadow.” His most famous project was Citizen Kane, a controversial, yet critically acclaimed motion picture based loosely on the life of newspaper baron William Randolph Hearst (1863-1951).

 

Installation view of the exhibition ‘The Typewriter: An Innovation in Writing’ at the SFO Museum, San Francisco International Airport

 

Installation view of the exhibition The Typewriter: An Innovation in Writing at the SFO Museum, San Francisco International Airport with the Corona Standard with Animal Keyboard bottom right

 

Corona Standard with Animal Keyboard 1936

 

Corona Standard with Animal Keyboard
1936
L.C. Smith & Corona Typewriters, Inc.
Groton, New York
Anonymous lender

 

 

Corona Standard with Animal Keyboard

In the mid-1930s, L.C. Smith & Corona offered an “Animal Keyboard” option on their popular Silent, Sterling, and Standard portable typewriters. Marketed to teach children to type, these rare, Depression-era machines included a set of finger rings that corresponded with illustrated animals on the keys. Keyboard columns were colour-coordinated to the finger rings and featured animals such as bluebirds, bear cubs, kittens, and bunny rabbits. An illustrated play book was included, and colour-coordinated keyboards were also offered without animal keys as instructional devices for older children.

 

Installation view of the exhibition ‘The Typewriter: An Innovation in Writing’ at the SFO Museum, San Francisco International Airport

 

Installation view of the exhibition The Typewriter: An Innovation in Writing at the SFO Museum, San Francisco International Airport with the Japanese Typewriter at centre left

 

Japanese Typewriter 1940

 

Japanese Typewriter
1940
Nippon Typewriter Co., Ltd.
Tokyo & Osaka, Japan
Courtesy of Thomas S. Mullaney

 

 

The Japanese Typewriter

Kanji, or Japanese character writing, is based on Chinese script and shares many meanings and definitions. Officially published in the Jōyō Kanji, around 2,000 Chinese-based characters are listed for use in conjunction with a distinct, Japanese kana alphabet. In 1915, Japanese printer and inventor Kyota Sugimoto (1882-1972) patented a typewriter that printed in both Chinese and Japanese. Manufactured by the Nippon Typewriter Company, the machine featured a large, sliding tray with room for 2,450 individual type-slugs. A moving carriage assembly mounted over the tray contained the typing mechanism. To operate, the typist positioned the tray and carriage along an x-y axis to select a type-slug, and depressed a button to retrieve, ink, and print.

 

Installation view of the exhibition ‘The Typewriter: An Innovation in Writing’ at the SFO Museum, San Francisco International Airport

 

Installation view of the exhibition The Typewriter: An Innovation in Writing at the SFO Museum, San Francisco International Airport with the Royal Quiet De Luxe at left

 

Royal Quiet De Luxe 1949

 

Royal Quiet De Luxe
1949
Royal Typewriter Company, Inc.
Hartford, Connecticut
Courtesy of California Typewriter

 

 

Modern Portables

After the Second World War, typewriter manufacturers that had converted to arms production returned to the typewriter business. Much like the automobile industry, most “new” models were mechanically similar, and at times identical, to pre-war machines – re-introduced with catchy names in updated bodies, colours, and trim packages. Based on their first portable of 1926, post-war Royals added trademark features from standard Royal desktop machines such as “Touch Control” to adjust key sensitivity, and “Magic Margin” to automatically control page margins. With a restyled case by industrial designer Henry Dreyfuss (1904-72), the Quiet De Luxe was offered in an array of bright, mid-century colours, including a custom-order, gold-plated option also given as a prize for student writing contests.

 

Installation view of the exhibition ‘The Typewriter: An Innovation in Writing’ at the SFO Museum, San Francisco International Airport

 

Installation view of the exhibition The Typewriter: An Innovation in Writing at the SFO Museum, San Francisco International Airport with the Olympia SM7 at centre

 

Olympia SM7 1962

 

Olympia SM7
1962
Olympia Werke AG
Wilhelmshaven, West Germany
Courtesy of Nick Tauriainen

 

 

European Portables

European typewriter companies also ramped up production in the late 1940s. Some of the finest machines were made in West Germany by Olympia, who first manufactured four-bank portables in the 1930s. With the partition of Germany after the Second World War, Olympia relocated from Erfurt in Soviet-controlled, East Germany to Wilhelmshaven in the Western Zone and introduced the SM series of portables. Known for their sharp and snappy typing action, Olympia’s SM series were popular with students and literary writers worldwide.

 

Installation view of the exhibition ‘The Typewriter: An Innovation in Writing’ at the SFO Museum, San Francisco International Airport

 

Installation view of the exhibition The Typewriter: An Innovation in Writing at the SFO Museum, San Francisco International Airport with the Olivetti Valentine at left

 

Olivetti Valentine 1969

 

Olivetti Valentine
1969
Ing. C. Olivetti & Co., SpA
Barcelona, Spain
Collection of Computer History Museum

 

 

Olivetti Design

Founded in 1908 by Camillo Olivetti (1868-1943) and succeeded by his son Adriano Olivetti (1901-60) thirty years later, Ing. C. Olivetti & Co. is associated with design more than any other typewriter company. Within a framework termed the “Olivetti style,” good design was central to all levels of production and advertising, and even extended to the factory floor and lifestyle of its workers. The Valentine is perhaps the most iconic Olivetti typewriter, envisioned by designer Ettore Sottsass (1917-2007) as an inexpensive and simple-yet-stylish portable. Based mechanically on the mid-1960s Lettera 32, the Valentine came in bright, pop-art colours and included an ABS plastic case that doubled as a waste-paper bin.

 

Installation photographs

Installation view of the exhibition ‘The Typewriter: An Innovation in Writing’ at the SFO Museum, San Francisco International Airport

Installation view of the exhibition ‘The Typewriter: An Innovation in Writing’ at the SFO Museum, San Francisco International Airport

Ray Bradbury

Installation view of the exhibition ‘The Typewriter: An Innovation in Writing’ at the SFO Museum, San Francisco International Airport

John Lennon

Installation view of the exhibition ‘The Typewriter: An Innovation in Writing’ at the SFO Museum, San Francisco International Airport

Tennessee Williams

Installation view of the exhibition ‘The Typewriter: An Innovation in Writing’ at the SFO Museum, San Francisco International Airport

Ernest Hemingway

Installation view of the exhibition ‘The Typewriter: An Innovation in Writing’ at the SFO Museum, San Francisco International Airport

Installation view of the exhibition ‘The Typewriter: An Innovation in Writing’ at the SFO Museum, San Francisco International Airport

Installation view of the exhibition ‘The Typewriter: An Innovation in Writing’ at the SFO Museum, San Francisco International Airport

Installation view of the exhibition ‘The Typewriter: An Innovation in Writing’ at the SFO Museum, San Francisco International Airport

Installation view of the exhibition ‘The Typewriter: An Innovation in Writing’ at the SFO Museum, San Francisco International Airport

Installation views of the first display case

Installation view of the exhibition ‘The Typewriter: An Innovation in Writing’ at the SFO Museum, San Francisco International Airport

Installation view of the exhibition ‘The Typewriter: An Innovation in Writing’ at the SFO Museum, San Francisco International Airport

Installation view of the exhibition ‘The Typewriter: An Innovation in Writing’ at the SFO Museum, San Francisco International Airport

Installation view of the exhibition ‘The Typewriter: An Innovation in Writing’ at the SFO Museum, San Francisco International Airport

Installation views of a second display case

Installation view of the exhibition ‘The Typewriter: An Innovation in Writing’ at the SFO Museum, San Francisco International Airport

Installation view of the exhibition ‘The Typewriter: An Innovation in Writing’ at the SFO Museum, San Francisco International Airport

Installation view of the exhibition ‘The Typewriter: An Innovation in Writing’ at the SFO Museum, San Francisco International Airport

Installation view of the exhibition ‘The Typewriter: An Innovation in Writing’ at the SFO Museum, San Francisco International Airport

Installation views of a third display case

Installation view of the exhibition ‘The Typewriter: An Innovation in Writing’ at the SFO Museum, San Francisco International Airport

Installation view of the exhibition ‘The Typewriter: An Innovation in Writing’ at the SFO Museum, San Francisco International Airport

Installation view of the exhibition ‘The Typewriter: An Innovation in Writing’ at the SFO Museum, San Francisco International Airport

Installation view of the exhibition ‘The Typewriter: An Innovation in Writing’ at the SFO Museum, San Francisco International Airport

Installation views of a fourth display case

 

 

SFO Museum 
San Francisco International Airport
P.O. Box 8097
San Francisco, CA 94128 USA
T: 650.821.6700

SFO Museum website

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26
Nov
17

Text / Exhibition: ‘The Unflinching Gaze: photo media and the male figure’ at the Bathurst Regional Art Gallery, New South Wales

Exhibition dates: 14th October – 3rd December, 2017

Curator: Richard Perram OAM

 

 

Todd Fuller and Amy Hill (Australia, 1988-; Australia, 1988-) 'They're Only Words'  2009

 

Todd Fuller and Amy Hill (Australia, 1988-; Australia, 1988-)
They’re Only Words
2009
Film, sound duration: 2:42 mins
Courtesy the artists and May Space, Sydney

 

 

I must congratulate curator and gallery Director, Richard Perram OAM and the Bathurst Regional Art Gallery for putting on such a fine exhibition, worthy of many a large gallery in a capital city. An incredible achievement, coming at the same time as Latrobe Regional Art Gallery put on the recent René Magritte exhibition. All power to these regional galleries. Now on with the show…

 

Show and tell

The male body. The female body. The trans body. The gay body. Etc. etc. etc. …
The male gaze. The female gaze. The trans gaze. The gay gaze. Etc. etc. etc. …

I did my Dr of Philosophy, all four and a half years of it, on the history of photography and its depiction of the male body so I know this subject intimately. It is such a complicated subject that after all of time, nothing is ever certain, everything is changeable and fluid.

To start, the definition of masculinity that I used as a determination for the term in my PhD is included as the first quotation below. The quotation is followed by others – on the optic experience and the creation of body image; on body image and our relation to other people; on the anxiety caused by the crisis of looking as it intersects with the crisis of the body; and how we can overcome the passivity of objective truth (accepting dominant images in this case, as they are presented to us) through an active struggle for subjective truth, or an acceptance of difference. A further, longer quote in the posting by Chris Schilling examines Ernst Goffman’s theories of body, image and society in which Goffman states that the body is characterised by three main features: firstly, that the body as material property of individuals; secondly, that meanings attributed to the body are determined by ‘shared vocabularies of body idiom’ such as dress, bearing, movements and position, sound level, physical gestures such as waving and saluting, facial decorations, and broad emotional expressions; and thirdly; that the body plays an important role in mediating the relationship between people’s self-identity and their social identity. These quotations just start to scratch the surface of this very complicated, negotiated social area.

What we can say is this: that masculinity is always and forever a construct; that male body image is always and forever a further construct built on the first construct; and that photo media images of the male body are a construct, in fact a double or triple construct as they seek to capture the surface representation of the previous two conditions.

What strikes me with most of the photographs in this posting is that they are about a constructed “performance” of masculinity, performances that challenge cultural signifiers of mainstream and marginalised aspects of Western patriarchal culture. In most the masculine subject position is challenged through complex projections of masculinity, doubled through the construction of images. In fact, spectatorship is no longer male and controlling but polymorphous and not organised along normative gender lines.

Thus, these artists respond to four defined action problems in terms of representation of body usage: “… control (involving the predicability of performance); desire (whether the body is lacking or producing desire); the body’s relation to others (whether the body is monadic and closed in on itself or dyadic and constituted through either communicative or dominating relations with others); and the self-relatedness of the body (whether the body associates and ‘feels at home’ in itself, or dissociates itself from its corporeality).”1 Further, four ideal types of body usage can be defined in terms of these action problems: the disciplined body where the medium is regimentation, the model of which is the rationalisation of the monastic order; the mirroring body where the medium is consumption, the model of which is the department store; the dominating body where the medium is force, the model of which is war; and the communicative body where the medium is recognition, the model of which could be shared narratives, communal rituals (such as sex) and caring relationships.2

As Chris Schilling observes, “The boundaries of the body have shifted away from the natural and on to the social, and the body now has ‘a thoroughly permeable “outer layer” through which the reflexive project of the self and externally formed abstract systems enter.” In other words, masculinity and male figure can be anything to any body and any time in any context. The male body can be prefigured by social conditions. But the paradox is, the more we know masculinity and the male body, the more knowledge we have, the more we can alter and shape these terms, the less certain we are as to what masculinity and the male body is, and how or if it should be controlled. Taking this a step further, Schilling notes that the photographic image of the body itself has become an abstract system/symbolic token which is traded without question, much as money is, without the author or participants being present.3 You only have to look into some of the gay chats rooms to know this to be true!

The most difficult question I had to ask myself in relation to this exhibition was, what is it to be male? Such a question is almost impossible to answer…

Is being male about sex, a penis, homosociality, homosexuality, heterosexuality, friendship, braveness, dominance, perversity, fantasy, love, attraction, desire, pleasure, Ockerism, respect, loyality, spirituality, joy, happiness etc. etc. It is all of these and more besides. And this is where I find some most of these images to be just surface representations of deeper feelings: I just like dressing in drag; I like pulling a gun on someone; I like holding a knife next to my penis to make my phallus and my armoured body look “butch”. It’s as though the “other”, our difference from ourselves (and others), has been normalised and found wanting. I want to strip them away from this performative, normalising aspect. Most of these photographs are male figures dressed up to the nines, projecting an image, a surface, to the outside world (even though the performative tells us a great deal about the peculiarities of the human imagination). I want them to be more essential, not just a large penis dressed up for show. Only in the image Untitled [Auschwitz victim] (Nd, below), where the performance for the camera and the clothing the man is wearing is controlled by others – does some sense of an inner strength of a male come through. In times of unknown horror and dire circumstances, this man stares you straight in the eye with a calm presence and inner composure.

For me personally, being male is about a spiritual connection – to myself, to the earth and to the cosmos. I hope it is about respect for myself and others. Of course I use the systems above as a projection of myself into the world, as to who I am and who I want people to see through my image. But there is so much more to being male than these defined, representational personas. This is not some appeal to, as David Smail puts it, “a simple relativity of ‘truths'” (anything to anybody at anytime in any context), nor a essentialist reductionism to a “single truth” about our sense of being, but an appeal for a ‘non-finality’ of truth, neither fixed nor certain, that changes according to our values and what we understand of ourselves, what it is to be male. This understanding requires intense, ongoing inner work, something many males have no desire to undertake…

Dr Marcus Bunyan

Word count: 1,230

  1. Chris Schilling, The Body and Social Theory, Sage Publications, London, 1993, p.95.
  2. Ibid., p. 95.
  3. Ibid., p. 183.

.
Many thankx to Director Richard Perram, Assistant Curator Julian Woods and the Bathurst Regional Art Gallery for allowing me to publish the photographs in the posting. Please click on the photographs for a larger version of the image.

 

 

“The category of “masculinity” should be seen as always ambivalent, always complicated, always dependent on the exigencies (necessary conditions and requirements) of personal and institutional power … [masculinity is] an interplay of emotional and intellectual factors – an interplay that directly implicates women as well as men, and is mediated by other social factors, including race, sexuality, nationality, and class … Far from being just about men, the idea of masculinity engages, inflects, and shapes everyone.”

.
Berger, Maurice; Wallis, Brian and Watson, Simon. ‘Constructing Masculinity’. Introduction. New York: Routledge, 1995, pp. 3-7.

 

“We choose and reject by action … Nietzsche calls the body ‘Herrschaftsgebilde’ (creation of the dominating will). We may say the same about body-image. Since optic experience plays such an enormous part in our relation to the world, it will also play a dominating role in the creation of the body-image. But optic experience is also experience by action. By actions and determinations we give the final shape to our bodily self. It is a process of continual active development.” (My underline)

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Schilder, Paul. ‘The Image and Appearance of The Human Body’. New York: International Universities Press, 1950, pp. 104-105.

 

“Body images should not exist in isolation. We desire the relation of our body-images to the body-images of all other persons, and we want it especially concerning all sexual activities and their expression in the body-image. Masturbation is specifically social. It is an act by which we attempt to draw the body-images of others, especially in their genital region, nearer to us.”

.
Schilder, Paul. ‘The Image and Appearance of The Human Body’. New York: International Universities Press, 1950, p. 237.

 

“As the French critic Maurice Blanchot wrote, “The image has nothing to do with signification, meaning, as implied by the existence of the world, the effort of truth, the law and the brightness of the day. Not only is the image of an object not the meaning of that object and of no help in comprehending it, but it tends to withdraw it from its meaning by maintaining it in the immobility of a resemblance that it has nothing to resemble” … It is this severance of meaning and its object, this resemblance of nothing, that the crisis of looking intersects with the crisis of the body. In contemporary culture we promote the body as infinitely extendable and manageable. Indeed, we mediate this concept through the permeation of the photographic image in popular culture – through advertising and dominant discourse that place the young, beautiful, erotic body as the desirable object of social attention. This is a body apparently conditioned by personal control (moral concern). But the splitting apart of image and meaning pointed to by Blanchot suggests that such control is illusory. There is no single truth; there are only competing narratives and interpretations of a world that cannot be wholly, accurately described.” (My underline)

.
Blanchot, Maurice. ‘The Gaze of Orpheus’. New York: Barrytown, 1981, p. 85, quoted in Townsend, Chris. ‘Vile Bodies: Photography and the Crisis of Looking’. Munich: Prestel, 1998, p. 10.

 

“Where objective knowing is passive, subjective knowing is active – rather than giving allegiance to a set of methodological rules which are designed to deliver up truth through some kind of automatic process [in this case the construction of the male figure through the image], the subjective knower takes a personal risk in entering into the meaning of the phenomena to be known … Those who have some time for the validity of subjective experience but intellectual qualms about any kind of ‘truth’ which is not ‘objective’, are apt to solve their problem by appealing to some kind of relativity. For example, it might be felt that we all have our own versions of the truth about which we must tolerantly agree to differ. While in some ways this kind of approach represents an advance on the brute domination of ‘objective truth’, it in fact undercuts and betrays the reality of the world given to our subjectivity. Subjective truth has to be actively struggled for: we need the courage to differ until we can agree. Though the truth is not just a matter of personal perspective, neither is it fixed and certain, objectively ‘out there’ and independent of human knowing. ‘The truth’ changes according to, among other things, developments and alterations in our values and understandings … the ‘non-finality’ of truth is not to be confused with a simple relativity of ‘truths’.” (My underline).

.
Smail, David. ‘Illusion and Reality: The Meaning of Anxiety’. London: J.M. Dent & Sons, 1984, pp. 152-153.

 

 

 

Installation view of the exhibition 'The Unflinching Gaze: photo media and the male figure' at the Bathurst Regional Art Gallery

Installation view of the exhibition 'The Unflinching Gaze: photo media and the male figure' at the Bathurst Regional Art Gallery

Installation view of the exhibition 'The Unflinching Gaze: photo media and the male figure' at the Bathurst Regional Art Gallery

Installation view of the exhibition 'The Unflinching Gaze: photo media and the male figure' at the Bathurst Regional Art Gallery

Installation view of the exhibition 'The Unflinching Gaze: photo media and the male figure' at the Bathurst Regional Art Gallery

 

Installation views of the exhibition The Unflinching Gaze: photo media and the male figure at the Bathurst Regional Art Gallery, New South Wales
Photos: Sharon Hickey Photography

 

 

“In line with current thinking the exhibition posits masculinity, and gender itself, as a kind of performance – a social construct that is acquired rather than biologically determined.

This idea has its limits, with most people happy to accept anatomy as destiny. Nevertheless, there is much we view as ‘natural’ that might be more accurately described as ‘cultural’. In an exceptional catalogue essay, Peter McNeil refers to Jonathan Ned Katz’s book, The Invention of Heterosexuality, which notes that the term “heterosexual” was first published in the United States in 1892. This is a remarkably late entry for a concept often viewed as a cornerstone of social orthodoxy.

A condition doesn’t require a word to make it a reality but it sure helps. Wittgenstein’s famous dictum: “The limits of my language are the limits of my world,” reminds us of the power of naming and categorisation.

To establish anything as an unquestionable norm is to stigmatise other views as abnormal. From the perception of abnormality comes the fear and hatred that surfaced during a same-sex marriage postal survey that revealed more about political cowardice than it did about Australian social attitudes. Although Perram has no qualms about celebrating gay sexuality his chief concern is to encourage a broader, more inclusive understanding of masculinity. …

One of the most striking moments in Perram’s show is a juxtaposition of Mapplethorpe’s 1983 portrait of gay porn star, Roger Koch, aka Frank Vickers, wearing a wig, bra and fishnets, his hands clasped demurely over his groin. The feminine coyness is at odds with Vickers’s musclebound torso and biceps which are fully on display in his self-portrait of the same year, along with his semi-erect penis.

The photos may be two versions of camp but the comparison shows how an individual’s sexual identity can be reconfigured with the appropriate props and body language. In the case of performance artist, Leigh Bowery, captured in a series of photos by Fergus Greer, the play of fantasy transcended the simple binary opposition of male and female, to create monstrous hybrids that question the limits of what it is to be human.”

John McDonald. “The Unflinching Gaze,” November 24, 2017

 

Tony Albert (Australia, 1981-) 'Brother (Our Past)' 2013

Tony Albert (Australia, 1981-) 'Brother (Our Present)' 2013

Tony Albert (Australia, 1981-) 'Brother (Our Future)' 2013

 

Tony Albert (Australia, 1981-)
Brother (Our Past) 2013
Brother (Our Present) 2013
Brother (Our Future) 2013
Pigment on paper, edition of 3 150 x 100 cm each
Courtesy UTS Art, Corrigan Collection

 

Andy Warhol (United States, 1928-1987) 'Blow Job' [still] 1964

 

Andy Warhol (United States, 1928-1987)
Blow Job [still]
1964
16mm film, black and white, silent duration: 41 min at 16 frames per second
© 2017 The Andy Warhol Museum, Pittsburgh, PA, a museum of Caregie Institute. All rights reserved

 

 

Robert Wilson (United States, 1941-) 'Brad Pitt'  2004

 

Robert Wilson (United States, 1941-)
Brad Pitt
2004
Video portrait, looped
Dimensions variable
Courtesy the artist and the Byrd Hoffman Water Mill Foundation, New York

 

 

Peter Elfes (Australia, 1961-) 'Brenton [Heath-Kerr] as Tom of Finland' 1992

 

Peter Elfes (Australia, 1961-)
Brenton [Heath-Kerr] as Tom of Finland
1992
Cibachrome print
51 x 40.6 cm
Courtesy the artist © Peter Elfes

 

Casa Susanna Attributed to Andrea Susan '(Lee in white dress)' 1961

 

Casa Susanna
Attributed to Andrea Susan
(Lee in white dress)
1961
Digital copy from colour photographs
Collection of Art Gallery of Ontario, purchased with funds generously donated by Martha LA McCain 2015
© Art Gallery of Ontario
Photo: Ian Lefebvre

 

Nikki Johnson (United States, 1972-) 'David Amputation Fetishist' 2007

 

Nikki Johnson (United States, 1972-)
David Amputation Fetishist
2007
Digital print (from a set of images)
Courtesy the artist

 

Luke Parker (Australia 1975-) 'Double hanging' 2005

 

Luke Parker (Australia 1975-)
Double hanging
2005
Photograph, cotton thread, pins
15 x 40cm
Courtesy the artist and 55 Sydenham Rd

 

Gregory Collection. 'Mr Cullen & Mr Gornall' Date unknown

 

Gregory Collection
Mr Cullen & Mr Gornall
Date unknown
Digital copy from scanned negative
Courtesy the Bathurst Historical Society

 

 

Two hundred photos and videos by sixty two leading artists (twenty four Australian and thirty eight international) will be exhibited at Bathurst Regional Art Gallery (BRAG) from Saturday 14 October until Sunday 3 December 2017.

Curated by BRAG Director Richard Perram OAM, an openly gay man, The Unflinching Gaze: photo media and the male figure surveys how the male figure has been depicted by Australian and international artists in photo media over the last 140 years. It includes historic and contemporary fine art photography and film, fashion photography, pop videos and homoerotic art. Images range from the beautiful to the banal to the confounding.

Key artists in the exhibition include iconic American artists Robert Mapplethorpe, Andy Warhol, and avant-garde theatre director Robert Wilson with a video portrait of Brad Pitt; European artists such as Eadweard Muybridge, and Baron Wilhelm Von Gloeden; and historic and contemporary Australian artists including Beaufoy Merlin and Charles Bayliss, Max Dupain, Deborah Kelly, William Yang, Gary Carsley, Owen Leong and Liam Benson. Works have been sourced from Australian and international collections, including a major loan of 60 works from the Leslie-Lohman Museum of Gay and Lesbian Art, New York.

The exhibition brings an unflinching gaze to how concepts of humanity and the male figure are intertwined and challenged. Themes include the Pink Triangle, which deals with the persecution, torture and genocide of homosexuals in concentration camps during World War II to those in Chechyna today; and the AIDS crisis in the 1980s.

The Unflinching Gaze exhibition is a unique opportunity for audiences in the Bathurst Region to access a world class photo-media exhibition, says Richard Perram OAM. The Unflinching Gaze not only deals with aesthetic concerns but also engages the community in a discussion around social issues. BRAG is working with local Bathurst LGBTI community groups to ensure that one of the most important outcomes of the exhibition will be to inform and educate the general Bathurst community and support and affirm the Bathurst LGBTI community.

The Unflinching Gaze: photo media and the male figure is a Bathurst Regional Art Gallery exhibition in partnership with Leslie Lohman Museum of Gay and Lesbian Art, New York. Curated by Richard Perram OAM. This exhibition is supported by the Dobell Exhibition Grant, funded by the Sir William Dobell Art Foundation and managed by Museums & Galleries of NSW.

Press release from the Bathurst Regional Art Gallery (BRAG)

 

American & Australian Photographic Company (Beaufoy Merlin & Charles Bayliss) 'Mssrs. Bushley & Young' Nd

 

American & Australian Photographic Company
(Beaufoy Merlin & Charles Bayliss)
Mssrs. Bushley & Young
Nd
Digital reproductions from glass photo negatives, quarter plate
From the Collections of the State Library of NSW

 

Horst P. Horst (Germany; United States, 1906-1996) 'Male Nude I NY' 1952

 

Horst P. Horst (Germany; United States, 1906-1996)
Male Nude I NY
1952
Silver gelatin print
25.4 x 20.3 cm
Leslie-Lohman Museum of Gay & Lesbian Art, gift of Ricky Horst

 

Liam Benson (Australia, 1980-) 'The Crusader' 2015

Liam Benson (Australia, 1980-) 'The Executioner' 2015

Liam Benson (Australia, 1980-) 'The Terrorist' 2015

 

Liam Benson (Australia, 1980-)
The Crusader 2015
The Executioner 2015
The Terrorist 2015
Inkjet print on cotton rag paper, edition of 5 90 x 134 cm
Photograph by Alex Wisser
Courtesy of the artist and Artereal Gallery

 

 

George Platt Lynes (United States, 1907-1955) 'Blanchard Kennedy' 1936

 

George Platt Lynes (United States, 1907-1955)
Blanchard Kennedy
1936
Gelatin silver photograph
23 x 18.2 cm
National Gallery of Australia, Canberra. Purchased 1981

 

Christopher Makos (United States, 1948-) 'Altered Image: One Photograph of Andy Warhol' 1982

 

Christopher Makos (United States, 1948-)
Altered Image: One Photograph of Andy Warhol
1982
Gelatin silver photograph
50.6 x 40.8 cm each
National Gallery of Australia, Canberra. Purchased 1982

 

Robert Mapplethorpe (United States, 1946-1989) 'Helmut, N.Y.C. (from X Portfolio)' 1978

 

Robert Mapplethorpe (United States, 1946-1989)
Helmut, N.Y.C. (from X Portfolio)
1978
Selenium toned silver gelatin print
19.7 x 19.7 cm
Leslie-Lohman Museum of Gay & Lesbian Art, Foundation Purchase
© Robert Mapplethorpe Foundation. Used by permission

 

Robert Mapplethorpe (United States, 1946-1989) 'Roger Koch aka Frank Vickers: From the "Roger" Series' 1983

 

Robert Mapplethorpe (United States, 1946-1989)
Roger Koch aka Frank Vickers: From the “Roger” Series
1983
Gelatin silver photo
48.9 x 38.1 cm
Leslie-Lohman Museum of Gay & Lesbian Art, Founders Gift
© Robert Mapplethorpe Foundation. Used by permission

 

 

Body, image and society

“Goffman’s approach to the body is characterised by three main features. First, there is a view of the body as material property of individuals. In contrast to naturalistic views … Goffman argues that individuals usually have the ability to control and monitor their bodily performances in order to facilitate social interaction. Here, the body is associated with the exercise of human agency, and it appears in Goffman’s work as a resource which both requires and enables people to manage their movements and appearances.

Second, while the body is not actually produced by social forces, as in Foucault’s work, the meanings attributed to it are determined by ‘shared vocabularies of body idiom’ which are not under the immediate control of individuals (E. Goffman, Behaviour In Public Places: Notes on the Social Organisation of Gatherings, The Free Press, New York, 1963, p.35). Body idiom is a conventionalized form of non-verbal communication which is by far the most important component of behaviour in public. It is used by Goffman in a general sense to refer to ‘dress, bearing, movements and position, sound level, physical gestures such as waving and saluting, facial decorations, and broad emotional expressions’ (Goffman, 1963:33). As well as allowing us to classify information given off by bodies, shared vocabularies of body idiom provide categories which label and grade hierarchically people according to this information. Consequently, these classifications exert a profound influence over ways in which individuals seek to manage and present their bodies.

The first two features of Goffman’s approach suggest that human bodies have a dual location. Bodies are the property of individuals, yet are defined as significant and meaningful by society. This formulation lies at the core of the third main feature of Goffman’s approach to the body. In Goffman’s work, the body plays an important role in mediating the relationship between people’s self-identity and their social identity. The social meanings which are attached to particular bodily forms and performances tend to become internalized and exert a powerful influence on an individuals sense of self and feelings of inner worth.

Goffman’s general approach to the body is revealed through his more specific analyses of the procedures involved in what he terms the ‘interaction order’. Goffman conceptualises the interaction order as somehow autonomous sphere of social life (others include the economic sphere) which should not be seen as ‘somehow prior, fundamental, or constitutive of the shape of macroscopic phenomena’ (Goffman, 1983:4). His analysis of this sphere of life demonstrates that intervening successfully in daily life, and maintaining a single definition in the face of possible disruptions, requires a high degree of competence in controlling the expressions, movements and communications of the body.” (Goffman, 1969).

Schilling, Chris. The Body and Social Theory. London: Sage Publications, 1993, pp.82-83.

 

Owen Leong (Australia, 1979-) 'Resistance Training' 2017

 

Owen Leong (Australia, 1979-)
Resistance Training
2017
Archival pigment print on cotton paper, edition of 5 + 2 AP
120 x 120 cm
Courtesy the artist and Artereal Gallery, Sydney Commissioned by BRAG for The Unflinching Gaze: photo media & the male figure with funds from BRAGS Inc. (Bathurst Regional Art Gallery Society Inc.)

 

Owen Leong (Australia, 1979-) 'Milk Teeth' 2014

 

Owen Leong (Australia, 1979-)
Milk Teeth
2014
Archival pigment print on cotton paper, edition of 5 + 2Ap
120 x 120cm
Courtesy of the artists and Artereal Gallery Sydney

 

Samuel J Hood (Australia, 1872-1953) 'The 9th Field Brigade' 24/2/1938

 

Samuel J Hood (Australia, 1872-1953)
The 9th Field Brigade (four images)
24/2/1938 (Liverpool, NSW)
Photo negative (copied from original nitrate photograph) 35mm
From the Collections of the State Library of NSW

 

Anthony Sansone (Italy; United States, 1905-1987) 'Untitled' 1935

 

Anthony Sansone (Italy; United States, 1905-1987)
Untitled
1935
Bromide print
24.1 x 18.9 cm
Leslie-Lohman Museum of Gay & Lesbian Art, gift of David Aden Gallery

 

Fergus Greer (United Kingdom, 1961-) 'Leigh Bowery, Session V' Look 27 February 1992

 

Fergus Greer (United Kingdom, 1961-)
Leigh Bowery, Session V
Look 27 February 1992
Digital reproduction
Courtesy Fergus Greer

 

Fergus Greer (United Kingdom, 1961-) 'Leigh Bowery, Session VII' Look 34, June 1994

 

Fergus Greer (United Kingdom, 1961-)
Leigh Bowery, Session VII
Look 34, June 1994
Digital reproduction
Courtesy Fergus Greer

 

Unknown American. 'Vintage photograph from the Closeted History/Wunderkamera' Nd

 

Unknown American
Vintage photograph from the Closeted History/Wunderkamera
Nd
Tintypes, paper photographs
Collection of Luke Roberts

 

Frank Vickers (United States, 1948-1991) 'Untitled (self-portrait)' 1983

 

Frank Vickers (United States, 1948-1991)
Untitled (self-portrait)
1983
Silver gelatin print
17.8 x 12.4 cm
Leslie-Lohman Museum of Gay & Lesbian Art, Founders’ gift

 

Baron Wilhelm von Gloeden (Germany; Italy, 1856-1931) 'Untitled' c. 1910

 

Baron Wilhelm von Gloeden (Germany; Italy, 1856-1931)
Untitled
c. 1910
Albumen silver print
20.3 x 15.2 cm
Leslie-Lohman Museum of Gay and Lesbian Art, Founders’ gift

 

Andy Warhol (United States, 1928-1987) 'Untitled (Victor Hugo's Penis)' Date unknown

 

Andy Warhol (United States, 1928-1987)
Untitled (Victor Hugo’s Penis)
Date unknown
Polaroid
8.5 x 10.5 cm
Collection of Byrd Hoffman Water Mill Foundation

 

Gary Carsley (Australia 1957-) 'YOWL' [still] 2017

 

Gary Carsley (Australia 1957-)
YOWL [still]
2017
Single Channel HD Video on Layered A3 Photocopy substrate
360 x 247 cms
Duration 4.32 min
Videography Ysia Song, Soundscape Tarun Suresh, Art Direction Shahmen Suku

 

Royale Hussar (Basil Clavering and John Parkhurst) 'Queens Guard 3' 1959-60

 

Royale Hussar (Basil Clavering and John Parkhurst)
Queens Guard 3
1959-60
Digital print from original negative

 

William Yang (1943- ) ''Allan' from the monologue 'Sadness'' 1992

 

William Yang (1943- )
‘Allan’ from the monologue ‘Sadness’
1992
19 gelatin silver photographs in the monologue
51.0 x 41.0 each sheet
Photograph: William Yang/Bathurst Regional Art Gallery

 

A photograph from the Sadness series, which depicts the slow death of his sometime lover, Allan Booth.

 

Unknown photographer. 'Untitled [Auschwitz victim]' Nd

 

Unknown photographer
Untitled [Auschwitz victim]
Nd

 

This prisoner was sent to Auschwitz under Section 175 of the German Criminal Code, which criminalised homosexuality.
Photograph: Bathurst Regional Art Gallery

 

“The picture may have been taken by Wilhelm Brasse who was born on this date, 3 December in 1917, who became known as the “photographer of Auschwitz concentration camp”, though he was one of several, including Alfred Woycicki , Tadeusz Myszkowski, Józef Pysz, Józef Światłoch, Eugeniusz Dembek, Bronisław Jureczek, Tadeusz Krzysica, Stanisław Trałka, and Zdzisław Pazio whom the Camp Gestapo kept alive for the job of recording thousands of photographs of their fellow prisoners, supervised by Bernhard Walter, the head of Erkenundienst.

The photographs themselves present a transgression of the subject’s own self-image. The carte-de-visite format forces a confrontation of the victim (which in this situation, they are) with themselves in a visual interrogation, by placing a profile and a three-quarter view either side of a frontal mug shot. The final image seems to depict the subject beholden to a higher authority.

Brasse had been arrested in 1940, at age 23, for trying to leave German-occupied Poland and sent to KL Auschwitz-Birkenau where because he had been a Polish professional photographer in his aunt’s studio his skills were useful. Brasse has estimated that he took 40,000 to 50,000 “identity pictures” from 1940 until 1945.

Brasse and another prisoner Bronisław Jureczek preserved the photographs when in January 1945, during the evacuation of the camp, they were ordered to burn all of the photographs. They put wet photo paper in the furnace first and followed by such a great number of photos and negatives that the fire was suffocated. When the SS-Hauptscharfürer Walter left the laboratory, Brasse and Jureczek swept undestroyed photographs from the furnace, scattering them in the rooms of the laboratory and boarding up the door to the laboratory. 38,916 photographs were saved.”

James McCardle. “Ghosts,” on the On This Day in Photography website 03/12/2017

 

M. P. Rice. 'American poet Walt Whitman and his 'rebel soldier friend', Pete Doyle' Walt Whitman and Peter Doyle, Washington DC. c. 1865

 

M. P. Rice
American poet Walt Whitman and his ‘rebel soldier friend’, Pete Doyle
Walt Whitman and Peter Doyle, Washington DC.
c. 1865
Charles E. Feinberg Collection, Library of Congress
Photograph: Library of Congress/Library of Congress/Bathurst Regional Art Gallery

 

 

“The first extant photo of Whitman with anyone else, here Peter Doyle, Whitman’s close friend and companion in Washington. Doyle was a horsecar driver and met Whitman one stormy night in 1865 when Whitman, looking (as Doyle said) “like an old sea-captain,” remained the only passenger on Doyle’s car. They were inseparable for the next eight years.”

 

 

Bathurst Regional Art Gallery (BRAG)
70 -78 Keppel St
Bathurst NSW 2795

Opening hours:
Tues to Sat 10am – 5pm
Sundays 11am – 2pm

Bathurst Regional Art Gallery website

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22
Nov
17

Display: ‘Stan Firm inna Inglan’ at Tate Britain, London

November 2017

 

James Barnor (born 1929) 'Mike Eghan at the BBC Studios, London' 1967, printed 2010

 

James Barnor (born 1929)
Mike Eghan at the BBC Studios, London
1967, printed 2010
Gelatin silver on paper
Gift of Eric and Louise Franck London Collection 2013

 

 

This was the best photography exhibition which wasn’t an exhibition – because it was a “display” – that I saw on my recent trip to Europe.

Why was it the best? Because this is what strong, insightful photography can do: it can capture life; it can document different cultures; and it can be a powerful agent for social change.

I remember London in the 1970s. I lived in Clapham (Claiff-ham Heights) and Stockwell (we called it St. Ockwell) near Brixton at the time. I remember the Brixton riot of 1981, as I was living in my little room down the road, as the cars burnt and the buildings were smashed. “Brixton in South London was an area with serious social and economic problems. The whole United Kingdom was affected by a recession by 1981, but the local African-Caribbean community was suffering particularly high unemployment, poor housing, and a higher than average crime rate.” (Wikipedia) People felt oppressed by recession, racism, the police, and by the establishment, for this was the era of Margaret Thatcher and her bullies. But as these photographs show, there was such a vibrant sense of community in these areas as they sought to ‘stand firm in England’ because it was their home.

It is our great privilege that we have the images of this very talented group of photographers who documented Black communities in London during this time: Raphael Albert, Bandele ‘Tex’ Ajetunmobi, James Barnor, Colin Jones, Neil Kenlock, Dennis Morris, Syd Shelton and Al Vandenberg. And I find it heartening that all of these photographers were documenting their community at the same time. The African-Caribbean diaspora is part of the genetic makeup of the UK and multiculturalism, from where ever it emanates, should be valued in societies around the world. It enriches contemporary culture through an understanding and acceptance of difference.

Against racism; against fascism; against discrimination. For freedom from oppression and the right to be heard.

Marcus

PS. There were no media images so I took iPhone installation photographs of the display, so please excuse any reflection of the gallery in the images. I have cleaned and balanced them as much as possible.

.
All installation shots are © Dr Marcus Bunyan.

 

James Barnor

 

 

James Barnor (born 1929)
Drum Cover Girl Erlin Ibreck, London
1966, printed 2010
C-print on paper
Gift of Eric and Louise Franck London Collection 2013

 

 

“The picture of a young woman leaning against a shiny grey Jaguar was taken in Kilburn, north London, in 1966. The pastel minidress, heavy fringe and costume jewellery feel instantly familiar as belonging to the era, but while we’re used to seeing a pallid Twiggy or Penelope Tree striding about London in fashion shoots from the same time, we rarely see images in which the model is black.

The pictures shown here of young women with 1960s-style beehives and miniskirts were shot as fashion stories for Drum , an influential anti-apartheid magazine based in Johannesburg, and Africa’s first black lifestyle magazine. …

Erlin Ibreck, the model in the main photograph who was 19 at the time, remembers Barnor asking her to pose in Trafalgar Square while flocks of excited pigeons landed on her. ‘I was more nervous about the pigeons than people around us who were staring.’

Some of the models were professional, but Ibreck was someone Barnor spotted in a bus queue at Victoria station. Ibreck was living in Cheshire but visiting her sister, who lived in London. Barnor asked if she would like to be photographed for Drum magazine and eventually she agreed.

Encouraged by Barnor, Ibreck enrolled at the Lucie Clayton modelling school in Manchester, but finding work as a black model in the 1960s was not easy.

‘It was very tough as there were very few black models,’ she says. ‘I was selected by Lucie Clayton to model De Beers diamonds – a South African company, and this was during apartheid. When they discovered that I was black De Beers cancelled the booking and chose a white model.

‘That booking would have enhanced my career, so it was a very painful experience to have been rejected on the basis of my colour. This experience made me realise what I was up against.’ After two years Ibreck gave up modelling and moved to New York.”

Although Barnor says he wasn’t consciously attempting to chronicle ‘black culture’ in England, and was simply taking photographs of things that interested him and the readers of Drum , the effect was, none the less, an optimistic suggestion that these cosmopolitan young African women were part of the exciting new, multicultural society in London that people were talking about.

Barnor’s memories of the time seem to be largely positive, and he says he doesn’t remember experiencing any overt racism. ‘I moved in enlightened circles so I did not have to put up with most of what other black people had to go through, though I did notice when I sat on a bus many people didn’t want to sit next to me.’

Kate Salter. “Colour me beautiful: James Barnor’s photographs for Drum magazine,” on the Telegraph website 07 December 2010 [Online] Cited 08/10/2017

 

James Barnor (born 1929) 'Wedding Guests, London' 1960s, printed 2010

 

James Barnor (born 1929)
Wedding Guests, London
1960s, printed 2010
Gelatin silver on paper
Gift of Eric and Louise Franck London Collection 2013

 

James Barnor (born 1929) 'Eva, London' 1960s, printed 2010

 

James Barnor (born 1929)
Eva, London
1960s, printed 2010
Gelatin silver on paper
Gift of Eric and Louise Franck London Collection 2013

 

Stan Firm

 

 

 

This display brings together works from the 1960s and 1970s by eight photographers who documented Black communities in London: Raphael Albert, Bandele ‘Tex’ Ajetunmobi, James Barnor, Colin Jones, Neil Kenlock, Dennis Morris, Syd Shelton and Al Vandenberg.

The photographs reveal the many and varied experiences of individuals who travelled from the Caribbean region and West Africa to live in London, from everyday family life to political engagement. They show people as they respond to, react against and move beyond the racial tension and exclusion that were part of life for Black communities in the British capital. The title of the display, ‘Stan Firm inna Inglan’, is taken from the poem It Dread inna Inglan by Linton Kwesi Johnson, who in the 1970s gave a voice and poetic form to the Afro-Caribbean diaspora and its resistance in the face of racism. The poem expresses in Jamaican patois (creole) the resolve of African, Asian and Caribbean immigrants to ‘stand firm in England’, asserting the determination of Black British communities to remain in Britain and declare it as their rightful home.

The work of most of the photographers has gained prominence in recent years through the research and curatorial work of Autograph ABP, which was established in London in 1988 to advocate the inclusion of historically marginalised photographic practices. All works in the display have been gifted to the Tate collection and form part of the Eric and Louise Franck London Collection, an important collection of photography which was assembled over more than 20 years.

This display has been curated by Elena Crippa, Allison Thompson and Susana Vargas Cervantes. Alison and Susana worked at Tate as part of the Brooks International Fellowship programme for three months in 2016, fully funded by the Rory and Elizabeth Brooks Foundation and in partnership with the Delfina Foundation.

Text from the Tate Britain website

 

Dennis Morris

 

Dennis Morris. ''Mother's Pride', Hackney' 1976, printed 2012

 

Dennis Morris
‘Mother’s Pride’, Hackney
1976, printed 2012
Gelatin silver print on paper
Gift of Eric and Louise Franck London Collection 2016

 

Dennis Morris. 'Young Gun, Hackney' 1969, printed 2012

 

Dennis Morris
Young Gun, Hackney
1969, printed 2012
Gelatin silver print on paper
Gift of Eric and Louise Franck London Collection 2016

 

Bandele Ajetunmobi (1921-1994) 'Couple Kissing, Whitechapel, London' 1960s, printed 2012

 

Bandele Ajetunmobi (1921-1994)
Couple Kissing, Whitechapel, London
1960s, printed 2012
Gelatin silver print on paper
Gift of Eric and Louise Franck London Collection 2016

 

 

“Bandele Ajetunmobi – widely known as Tex – took photographs in the East End for almost half a century, starting in the late forties. He recorded a tender vision of interracial camaraderie, notably as manifest in a glamorous underground nightlife culture yet sometimes underscored with melancholy too – creating poignant portraits that witness an almost-forgotten era of recent history.

In 1947, at twenty-six years old, he stowed away on a boat from Nigeria – where he found himself an outcast on account of the disability he acquired from polio as a child – and in East London he discovered the freedom to pursue his life’s passion for photography, not for money or reputation but for the love of it.

He was one of Britain’s first black photographers and he lived here in Commercial St, Spitalfields, yet most of his work was destroyed when he died in 1994 and, if his niece had not rescued a couple of hundred negatives from a skip, we should have no evidence of his breathtaking talent. …

“He did all this photography yet he didn’t do it to make money, he did it for pleasure and for artistic purposes. He was doing it for art’s sake.He had lots of books of photography and he studied it. He was doing it because those things needed to be recorded. You fall in love with a medium and that’s what happened to him. He spent all his money on photography. He had expensive cameras, Hasselblads and Leicas. My mother said, ‘If you sold one, you could make a visit to Nigeria.’ But he never went back, he was probably a bit of an outcast because of his polio as a child and it suited him to be somewhere people didn’t judge him for that. …

He used to do buying and selling from a stall in Brick Lane. When he died, they found so much stuff in his flat, art equipment, pens, old records and fountain pens. He had a very good eye for things. Everybody knew him, he was always with his camera and they stopped him in the street and asked him to take their picture. He was able to take photographs in clubs, so he must have been a trusted and respected figure. Even if the subjects are poor, they are strutting their stuff for the camera. He gave them their pride and I like that.” (Victoria Loughran)

The Gentle Author . “Bandele “Tex” Ajetunmobi, Photographer,” on the Spitalfields Life website December 2, 2013 [Online] Cited 08/10/2017

 

Bandele Ajetunmobi (1921-1994) 'East End, London' c. 1975, printed 2012

 

Bandele Ajetunmobi (1921-1994)
East End, London
c. 1975, printed 2012
C-print on paper
Gift of Eric and Louise Franck London Collection 2016

 

Al Vandenberg

 

 

Al Vanbenberg (1932-2012) 'Untitled' c. 1975-80

 

Al Vanbenberg (1932-2012)
Untitled
c. 1975-80
From the series On a Good Day
Gelatin silver print on paper
Gift of Eric and Louise Franck London Collection 2013

 

Al Vanbenberg (1932-2012) 'Untitled' c. 1975-80

 

Al Vanbenberg (1932-2012)
Untitled
c. 1975-80
From the series On a Good Day
Gelatin silver print on paper
Gift of Eric and Louise Franck London Collection 2013

 

Al Vanbenberg (1932-2012) 'Untitled' c. 1975-80

 

Al Vanbenberg (1932-2012)
Untitled
c. 1975-80
From the series On a Good Day
Gelatin silver print on paper
Gift of Eric and Louise Franck London Collection 2013

 

Colin Jones

 

Colin Jones From the series 'The Black House, 571 Holloway Road, London' 1976, printed 2012

Colin Jones From the series 'The Black House, 571 Holloway Road, London' 1976, printed 2012

Colin Jones From the series 'The Black House, 571 Holloway Road, London' 1976, printed 2012

Colin Jones From the series 'The Black House, 571 Holloway Road, London' 1976, printed 2012

Colin Jones From the series 'The Black House, 571 Holloway Road, London' 1976, printed 2012

Colin Jones From the series 'The Black House, 571 Holloway Road, London' 1976, printed 2012

 

Colin Jones (born 1936)
From the series The Black House, 571 Holloway Road, London
1976, printed 2012
Gelatin silver print on paper
Gift Eric and Louise Franck London Collection 2016

 

Syd Shelton

 

Syd Shelton (born 1947) 'Southhall Carnival against the Nazis' 1979, printed 2012

 

Syd Shelton (born 1947)
Southhall Carnival against the Nazis
1979, printed 2012
Gelatin silver print on paper
Gift Eric and Louise Franck London Collection 2016

 

Syd Shelton (born 1947) 'Jubilee Street, Stepney, London' 1977, printed 2012

 

Syd Shelton (born 1947)
Jubilee Street, Stepney, London
1977, printed 2012
Gelatin silver print on paper
Gift Eric and Louise Franck London Collection 2016

 

Syd Shelton (born 1947) 'Bagga (Bevin Fagan), Hackney, East London' 1979, printed 2012

 

Syd Shelton (born 1947)
Bagga (Bevin Fagan), Hackney, East London
1979, printed 2012
Gelatin silver print on paper
Gift Eric and Louise Franck London Collection 2016

 

Syd Shelton (born 1947) 'Skinheads, Petticoat Lane, East London' 1979, printed 2012

 

Syd Shelton (born 1947)
Skinheads, Petticoat Lane, East London
1979, printed 2012
Gelatin silver print on paper
Gift Eric and Louise Franck London Collection 2016

 

Syd Shelton (born 1947) 'Anti racist Skinheads, Hackney, London' 1979, printed 2012

 

Syd Shelton (born 1947)
Anti racist Skinheads, Hackney, London
1979, printed 2012
Gelatin silver print on paper
Gift Eric and Louise Franck London Collection 2016

 

Neil Kenlock

 

Neil Kenlock (born 1950) 'The Bailey Sisters in Clapham' c. 1970, printed 2010

 

Neil Kenlock (born 1950)
The Bailey Sisters in Clapham
c. 1970, printed 2010
Gelatin silver print on paper
Presented by Tate Members 2013 and forming part of the Eric and Louise Franck London Collection

 

Neil Kenlock (born 1950) 'Demonstration outside Brixton Library' 1972, printed 2010

 

Neil Kenlock (born 1950)
Demonstration outside Brixton Library
1972, printed 2010
Gelatin silver print on paper
Presented by Tate Members 2013 and forming part of the Eric and Louise Franck London Collection

 

Neil Kenlock (born 1950) ''Keep Britain White' graffiti, Balham' 1972, printed 2010

 

Neil Kenlock (born 1950)
‘Keep Britain White’ graffiti, Balham
1972, printed 2010
Gelatin silver print on paper
Presented by Tate Members 2013 and forming part of the Eric and Louise Franck London Collection

 

Raphael Albert

 

Raphael Albert (1935-2009) 'The Golden Chip, Hammersmith, London' c. 1970, printed 2012

 

Raphael Albert (1935-2009)
The Golden Chip, Hammersmith, London
c. 1970, printed 2012
Gelatin silver print on paper
Gift Eric and Louise Franck London Collection 2016

 

Raphael Albert (1935-2009) 'Hammersmith, London' 1960s, printed 2012

 

Raphael Albert (1935-2009)
Hammersmith, London
1960s, printed 2012
Gelatin silver print on paper
Gift Eric and Louise Franck London Collection 2016

 

Raphael Albert (1935-2009) 'The Harder They Come, Hammersmith Apollo' c. 1972, printed 2012

 

Raphael Albert (1935-2009)
The Harder They Come, Hammersmith Apollo
c. 1972, printed 2012
Gelatin silver print on paper
Gift Eric and Louise Franck London Collection 2016

 

Raphael Albert (1935-2009) 'Holley posing at Blythe Road, London' c. 1974, printed 2012

 

Raphael Albert (1935-2009)
Holley posing at Blythe Road, London
c. 1974, printed 2012
Gelatin silver print on paper
Gift Eric and Louise Franck London Collection 2016

 

 

Tate Britain
Millbank, London SW1P 4RG
United Kingdom
Phone: +44 20 7887 8888

Opening hours:
10.00 am – 18.00 pm daily

Tate Britain website

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17
Nov
17

Exhibition: ‘Wayne Sorce: Urban Color’ at Joseph Bellows Gallery, La Jolla, California

Exhibition dates: 21st October – 30th November 2017

 

Wayne Sorce. 'Vinegar Hill, New York' 1985

 

Wayne Sorce
Vinegar Hill, New York
1985
Digital chromogenic print
20 x 24 inches

 

 

These remind me very strongly of the 1970s urban Americana colour work of Stephen Shore. Most of them are successful, well seen, well photographed colour images that evince a certain period in the American cultural landscape.

When they work – as in the formal Vinegar Hill, New York (1985, above) or the more abstract Vinegar Hill, New York (1985, below); the colourful, planar Varick Street, New York (1984); the duo-chromatic L.B. Oil, New York (1984); the magnificently shadowed, geometric Halsted Street, Chicago (1978); and my particular favourite (because of the light), Under the EL, Chicago (1978) – they work superbly. When they don’t work – as in Blankets, New York (1986) or Barbers, New York (1985) – they feel a bit flat.

It’s so hard to put a body of photographs together where each image is strong (but not necessarily the same) as the next and they form a holistic group. Most photographers can put together four images well enough, but the skill is to be able to narrativise a larger body of work, and then do that over a longer period of time. I believe that over the lifetime of a photographic artist, you can count on the fingers of two hands the truly memorable images they will make, if they are lucky. Other images are valuable in their own right…. while others should be quietly singed.

Marcus

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Many thankx to the Mike and Joseph Bellows Gallery for allowing me to publish the photographs in the posting. Please click on the photographs for a larger version of the image.

 

Wayne Sorce. 'Vinegar Hil, New York' 1985

 

Wayne Sorce
Vinegar Hill, New York
1985
Digital chromogenic print
20 x 24 inches

 

Wayne Sorce. 'Varick Street, New York' 1984

 

Wayne Sorce
Varick Street, New York
1984
Digital chromogenic print
20 x 24 inches

 

Wayne Sorce. 'Halsted Street, Chicago' 1978

 

Wayne Sorce
Halsted Street, Chicago
1978
Digital chromogenic print
20 x 24 inches

 

Wayne Sorce. 'L.B. Oil, New York' 1984

 

Wayne Sorce
L.B. Oil, New York
1984
Digital chromogenic print
20 x 24 inches

 

Wayne Sorce. 'Spiral Fire Escape, Chicago' 1975

 

Wayne Sorce
Spiral Fire Escape, Chicago
1975
Digital chromogenic print
20 x 24 inches

 

Wayne Sorce. 'No Left, Vinegar Hill' 1988

 

Wayne Sorce
No Left, Vinegar Hill
1988
Digital chromogenic print
20 x 24 inches

 

Wayne Sorce. 'Dave's Restaurant, New York' 1984

 

Wayne Sorce
Dave’s Restaurant, New York
1984
Digital chromogenic print
20 x 24 inches

 

Wayne Sorce. 'El Platform, Chicago' 1978

 

Wayne Sorce
EL Platform, Chicago
1978
Digital chromogenic print
20 x 24 inches

 

Wayne Sorce. 'Bee Gee's, New York' 1984

 

Wayne Sorce
Bee Gee’s, New York
1984
Digital chromogenic print
20 x 24 inches

 

Wayne Sorce. 'Fort Dearborn Coffee, Chicago' 1977

 

Wayne Sorce
Fort Dearborn Coffee, Chicago
1977
Digital chromogenic print
20 x 24 inches

 

Wayne Sorce. 'East Chicago' 1977

 

Wayne Sorce
East Chicago
1977
Digital chromogenic print
20 x 24 inches

 

Wayne Sorce. 'Chock Full of Nuts, New York' 1984

 

Wayne Sorce
Chock Full of Nuts, New York
1984
Digital chromogenic print
20 x 24 inches

 

 

Joseph Bellows Gallery is pleased to announce its upcoming solo exhibition,Wayne Sorce: Urban Color. The exhibition will open on October 21st and continue through November 30th, 2017. In conjunction with Sorce’s exhibition will be a group show relating to the city as subject.

Urban Color will present a remarkable selection Sorce’s large-scale colour photographs of urban environments taken in the late 1970’s and early 1980’s in both Chicago and New York City. His urban landscapes describe with a formal exactitude, the light, structures, and palette of these cities within a certain era. For Sorce, the urban landscape is both still and transitory; people appear in the photographs as both inhabitants of the city, as well as sculptural forms relating to a larger composed scene.

Sorce’s photographs are held within the collections of the Art Institute of Chicago, the George Eastman Museum, the Armand Hammer Museum of Art, National Museum of American Art, at the Smithsonian Institution, and the Museum of Modern Art. Complementing Sorce’s exhibition will be a collection of photographs by his contemporaries that describe the city as subject. Work by Bob Thall, George Tice, Bevan Davies, Grant Mudford, and others will be included.

Press release from the Joseph Bellows Gallery

 

Wayne Sorce. 'Under the EL, Chicago' 1978

 

Wayne Sorce
Under the EL, Chicago
1978
Digital chromogenic print
24 x 20 inches

 

Wayne Sorce. 'Blankets, New York' 1986

 

Wayne Sorce
Blankets, New York
1986
Digital chromogenic print
24 x 20 inches

 

Wayne Sorce. 'Barbers, New York' 1985

 

Wayne Sorce
Barbers, New York
1985
Digital chromogenic print
24 x 20 inches

 

Wayne Sorce. 'Greyhound Station' c. 1970's

 

Wayne Sorce
Greyhound Station
c. 1970’s
Digital chromogenic print
24 x 20 inches

 

 

Joseph Bellows Gallery
7661 Girrard Avenue
La Jolla, California
Phone: 858 456 5620

Opening hours:
Tuesday – Friday, 10am – 5pm, and Saturday by appointment

Joseph Bellows Gallery website

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12
Nov
17

Review: ‘René Magritte: The Revealing Image, Photos and Films’ at the Latrobe Regional Art Gallery, Victoria

Exhibition dates: 19th August – 19th November 2017

Chief Curator: Xavier Canonne

 

René Magritte (1898-1967) 'Flirtatiousness (La coquetterie), René Magritte at the Jardin des Plantes, photo-booth photo' 1929

 

René Magritte (1898-1967)
Flirtatiousness (La coquetterie), René Magritte at the Jardin des Plantes, photo-booth photo
1929
Original photograph
43.2 x 33.2 cm (framed)
Private collection, Courtesy Brachot Gallery, Brussels

 

 

Extending the possibilities of the universe

When the chicken is not an egg (and vice versa)

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They sent me 10 media images… and I could not get a handle on this exhibition. They sent me the superlative catalogue… and still I could not visualise this exhibition in my mind. Only by going and actually seeing this impressive exhibition in the beautifully refurbished spaces of Latrobe Regional Gallery do you really begin to understand its sangfroid – that Magritte’s photographs are a hyper-reality take on the mystery of the everyday, accomplished by the artist altering the very conception of what a photograph is.

Please note, I have included several juxtapositions in this posting which illuminate the pairing of photograph and small reproductions of Magritte’s painting in various sections of the exhibition for which I did not have the media images. This is because the reader can not get a good idea of the exhibition otherwise, and so I use these images under “fair use” conditions for the purposes of academic review, and to ensure that someone who cannot actually see the exhibition can begin to understand its import.

Small, often tiny photographs, usually no more than 2.5″ x 4″, are double mounted (which adds to the concentrated focus on the image) in black frames. Collectively, these images possess a certain aura and intensity while individually they exude a wonderful presence. Some photographs are toned, some not; some have irregular edges (as though cut from something else, some other fabric of time), others have deckled, wavy edges. Some photographs are cabinet cards, others carte-de-visite, or gelatin silver. Some of the photographs are so small, for example one titled The Earthquake (1942), and Dissuasion (1937) that you can hardly make out what is going on in the image. But then between these two small images is a slightly larger photograph titled The Feast of Stones (1942) where René Magritte, Paul Magritte and Marcel Mariën are eating bricks! There are portraits of friends and wives, there are serendipitous photographs or, more often, elaborately staged performances for the camera. They form an impressive body (which isn’t a body) in the gallery space.

Throughout the gallery some of the small photographs are printed large on canvas and these add a vital counterpoint for the eye, amongst the ocean of small images. Further, the exhibition then “…assists the viewer in connecting the images with Magritte’s art by hanging alongside small reproductions of key paintings framed in gilt baroque frames.” Small reproductions of some of Magritte’s paintings are housed in elaborate, wide, heavy gold frames hung between some of the small photographs, but the reproductions are poor and the elaborateness of the frames quite overrides the reproductions themselves. This is a jarring note in an otherwise excellent exhibition. The scale of the reproductions sets up a correlation between the physicality of the small photographs and that of the paintings which in reality does not exist. The paintings are much bigger and their surface texture – their flattened almost non-existent brushstrokes – are totally lacking in the reproductions. While there are only two Magritte paintings in institutional collections in Australia (The Lovers (1928) at the National Gallery of Australia and In praise of dialectics (1937) at the National Gallery of Victoria), this exhibition cried out for at least a couple of “real” Magritte paintings amongst the photographs, so that the difference and similarities of aura and physicality could be compared between the two. Whether a loan of both paintings was too expensive in terms of insurance and security I am unsure, but they needed to be there.

One of the first juxtapositions in the exhibition is a reproduction of Magritte’s painting The Lovers (1928) which is sequenced with his photograph, The Bouquet (1937) and a still from Sergei Eisenstein’s film Battleship Potemkin (1925) in which sailors, comrades all, are covered in a tarpaulin and just about to be shot. While most juxtapositions of photograph and painting in the exhibition illuminate the symbiotic relationship that existed between both (did the photograph influence the painting or was it the other way round? when the photograph exists as an art work in its own right but challenges through a twisting of reality the very notion of a documentary photography, are the chicken and the egg, the painting and the photograph, existentially linked?), this initial juxtaposition seems a little forced. Indeed, in the excellent beautifully produced catalogue the principal curator (Xavier Canonne), notes that the juxtapositions, “… are suppositions based on an interplay of analogies. If Magritte was aware of them, he would no doubt have rejected them, preferring to see them as fortuitous coincidences. It nonetheless remains that the universe of the mind is full of borrowings whose origin often remains unsuspected; exemplars buried in memory crop back up and recompose themselves through association.” Perhaps this was not the best example to begin the exhibition, with a painting of two people attempting to kiss each other through their grey cloth linked to comrades about to get shot.

After the grounding of the first two tranches of photographs, ‘A family album’ and ‘A family resemblance’, the exhibition takes flight with the remaining sections of the exhibition, beginning with the section ‘Resembling a painter’ in which the staged photographs “show how Magritte often tended to parody his work as a painter.” Here Magritte’s painting Attempting the Impossible (1928) is sequenced with a photograph of Magritte painting Attempting the Impossible (1928) and the photograph Love (1928) in which the artist pretends to paint his wife “in the flesh”, only this time she is clothed. As Xavier Canonne observes, “The painter permanently questioned reality, playing on its possibilities…” and the photographs do just that, resulting in “a different way of conceiving of photography, without trick shots or manipulation, of offering… a multiplying effect, an extension of what would otherwise have been merely a documentary image. Beyond the mise-en-abyme implemented by the interplay of the painting and its ‘model’, this photograph goes beyond the notion of document to lay claim to that of an intrinsic work.”

An example of this is Jacqueline Nonkels supervised, staged, photograph Rene Magritte painting Clairvoyance 4th October 1936 depicts Magritte painting Clairvoyance only for the painting to repeat the gesture of him painting in the photograph. Go figure – literally! Next to the small photograph is a reproduction of the painting Clairvoyance (1936) and Canonne observes that the self-portrait has become as much mise-en-abyme (placed into abyss: the visual experience of standing between two mirrors, then seeing as a result an infinite reproduction of one’s image; or the Droste effect, in which a picture appears within itself, in a place where a similar picture would realistically be expected to appear) as anything else. By subverting the documentary reality of photography it becomes something else and in so doing, becomes an intrinsic work in its own right. This transformative representation can happen within one image, or in a sequence of images, such as the pairing of the three forms of Love: the photograph Love; René Magritte painting ‘Attempting the Impossible’; and the painting Attempting the Impossible (all 1928, below). Other examples in different sections throughout the exhibition include The Oblivion Seller (1936), a small photograph from 1937 which is sequenced next to a reproduction of Magritte’s painting of his wife, Georgette (1937); or the photograph Rene Magritte and The Barbarian (1938) which is sequenced with The Flame Rekindled (1943) and a still from Ernst Moerman’s surrealist film Monsieur Fantômas (1937).

I feel that these tiny, tiny portraits are about extending the possibilities of the image through the joy of living. To play, to have fun with friends, to travel to places, to talk about ideas, about art and love and life, to debate the titles of images and paintings with comrades. In this regard, the interwar period and the avant-garde was immensely creative in terms of an investigation into the multiplicities of the world. The photographs are a reality take on the mystery of the everyday, a counterpoise to the severity and austerity of Magritte’s paintings. Paraphrasing Alfred Gell, who was recently quoted by Zara Stanhope in an essay on the cultural agency of photographs, I believe that not only do works of art “have the power to act and to influence others”1 they also have the power to act and influence each other through human agency. The production and titling of Magritte’s paintings and photographs was a collective and transformative process (undertaken with his group of friends), part of a reflective process that articulated the material conditions of a given situation (in this case, the Belgian Surrealist movement), in which the paintings and the photographs extend the possibility of being through an engagement with each other. For example, in The Death of Ghosts (1928) you really really have to look to try and understand what is going on within the picture frame. Even then, you wonder what is going on… the movement of the image, the darkness, the person lying in the background which is then linked to the painting The Apparition (1928) which uses the same silhouette of the figure, a trope that Magritte often uses when switching from photograph to canvas.

Throughout this wonderful exhibition you begin to formulate ideas as to how, firstly, the photograph is used as source material for Magritte’s art, as in the photograph for the painting Universal Gravitation (1943) where a man puts his hand through a wall (or is it the other way around, where the painting informs the photograph?) and, secondly, how the photograph is not used as a source material, but renegotiates the spatio-temporal dimensionality of the paintings. And becomes a new art work that stands by itself. And then you have to factor in the moving image: the sensibility of film, that movable feast of magic and masks, smoke and mirrors. By placing models, friends and paintings in the same photograph, Magritte’s images conflate time and space and ultimately challenge the concept of photography as a memory aid.

Finally, there is so much mystery pres(t)aged within these photographs (the titles further compounding the dissolution of reality), that the already fragile grasp of the referentiality of the image is shattered. Go travel and see this exhibition, for it was a true pleasure to spend a variable amount of time in their intimate, visceral, and intellectual, embrace.

Marcus

Word count: 1,715

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

 

  1. Alfred Gell cited in Stanhope, Zara. “Photography in Focus,” in McColm, Donna (ed.,). “Love from Paris,” National Gallery of Victoria magazine. Melbourne: September/October 2017, p. 50.

 

The Surrealists made abundant use of photography, and some even devoted themselves to it entirely. But Magritte never considered himself a ‘photographer’ – he reserved this practice for special moments and specific uses: family photos; models for paintings and advertising work; photos of paintings in progress; and scenes improvised with friends, similar to the skits he later filmed with a home movie camera. Nevertheless, Magritte’s photographs and films are closely related to his paintings and demonstrate a similar method in their grasp on reality. Far from being merely entertaining occasional images, they shed a familiar light on the painter’s thought and evidence the same investigation of the mysteries of the world.

 

 

“My paintings are … visible images which conceal nothing; they evoke mystery and, indeed, when one sees one of my pictures, one asks oneself this simple question, ‘What does that mean?’. It does not mean anything, because mystery means nothing either, it is unknowable.”

.
René Magritte

 

“For me, art is the means of evoking mystery… the mystery is the supreme thing. It’s reassuring to know that there’s mystery – to know that there is more than what one knows.”

.
René Magritte

 

“This triumphant poetry replaced the stereotyped effect of traditional painting. It is a complete rupture with the mental habits of artists imprisoned by talent, virtuosity and all the little aesthetic specialities. It is a new vision where viewers find their isolation and the silence of the world.”

“One rarely looks at images with the naked eye; a psychology, an aesthetic, a philosophy interpose themselves all in one; everything goes up in smoke. We question images before listening to them, we question them indiscriminately. Then we are surprised if the expected answer does not come.” (1944)

.
Paul Nougé

 

“Magritte’s art used images as a poet might use words; that is, in ways that new meanings, unnoticed harmonies, curious insights, subtle inflections and penetrating observations might be made. As with good poetry, they are not must made as ‘interesting’ asides, but create to feature as instances of heightened states of mind. Furthermore, like good poetry, Magritte’s images in painting, drawings, prints, films and photography have uplift. They promote thought and have an aesthetic punch that dislodges the all-too-common anaesthesia of incurious everyday life.”

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Associate Professor Ken Wach. “René Magritte: Art as a Mental Act” in René Magritte: A Guide to René Magritte, Latrobe Regional Gallery, 2017, p. 13

 

 

'René Magritte: The Revealing Image, Photos and Films' poster

Installation view of the exhibition 'René Magritte: The Revealing Image' at the Latrobe Regional Art Gallery

Installation view of the exhibition 'René Magritte: The Revealing Image' at the Latrobe Regional Art Gallery

Installation view of the exhibition 'René Magritte: The Revealing Image' at the Latrobe Regional Art Gallery

Installation view of the exhibition 'René Magritte: The Revealing Image' at the Latrobe Regional Art Gallery

Installation view of the exhibition 'René Magritte: The Revealing Image' at the Latrobe Regional Art Gallery

Installation view of the exhibition 'René Magritte: The Revealing Image' at the Latrobe Regional Art Gallery

Installation view of the exhibition 'René Magritte: The Revealing Image' at the Latrobe Regional Art Gallery

Installation view of the exhibition 'René Magritte: The Revealing Image' at the Latrobe Regional Art Gallery

Installation view of the exhibition 'René Magritte: The Revealing Image' at the Latrobe Regional Art Gallery

 

Installation views of the exhibition René Magritte: The Revealing Image at the Latrobe Regional Art Gallery
Installation photography by Benjamin Hosking

 

“And although it may not refer to a specific painting, Virtue Rewarded, a photograph taken in Brussels in 1934, preserves Magritte’s iconography for all time with a silhouette – the painter himself – in a hat and long coat in front of a suburban landscape, the recurring image of the anonymous man in Magritte’s world.” ~ Xavier Canonne

 

René Magritte (1898-1967) 'Virtue Rewarded' 1934

 

Unknown photographer
Virtue Rewarded
1934, Brussels
Original photograph

 

 

Introduction from the book

“The discovery of the photographs and films of René Magritte in the mid-1970s, more than 10 years after the painter’s death, and their subsequent appraisal and study have given us a look into a family album that reveals an intimate side of Magritte, independent of the biographical documents unearthed from his archives and those of people he was close to. This discovery has also led to an investigation of Magritte’s relationship with these ‘other images’, for which he served as creator, director and model, and of his relationship with the mediums of photography and cinema, to which, in his experience as a painter, he assigned a role of both recreation and creation.” ~ Xavier Canonne.

 

Description of the exhibition

The exhibition René Magritte: The Revealing Image, Photos and Films consists of 132 original photographs from the archives of the painter and those closest to him, presented in six sections, and eight self-made films. The photographs are organised thematically, eschewing strict chronology, each section introduced by a text, the individual photographs including a caption and a comment. They are accompanied by enlargements in the form of posters and, depending on the section, by reproductions of Magritte’s paintings or films, or by films which made an impression on him.

A Family Album

The photographs in this section, arranged chronologically, are devoted to Magritte’s family life. Snaps taken with his parents and brothers, his military service, the early years of his marriage to Georgette, their period of residence at Perreux-sur-Marne near Paris, their life in Brussels – all revealing the daily life of René Magritte.

A Family Resemblance

Organised chronologically, this section brings together photographs representing René Magritte’s other “family”, the Brussels Surrealist group with which the painter threw in his lot in 1926. Paul Nougé, Marcel Lecomte, Louis Scutenaire, Irène Hamoir, Paul Colinet, Marcel Mariën, Camille Goemans and Marthe Beauvoisin are some of the characters who feature in these compositions, in many cases improvised “photographic tableaux” bearing witness to the intimate relationship between René Magritte and his immediate circle.

The Resemblance of Painting

This third section of the exhibition consists of photographs of René Magritte at his easel, covering the years from 1917 to 1965. They show the painter with works from different periods, taken impromptu or posing, generally in a suit, in the succession of houses where he never established a workshop, preferring to paint in his living-room. Working documents or “staged” photographs, they show how Magritte often tended to parody his work as a painter.

Reproduction Permitted or Photography Enhanced

This section of the exhibition comprises paintings by Magritte placed on his easel or forming the background of portraits of him and his wife. Essential paintings, some of which have been lost, provide the painter with a stage set into which he projects himself with his wife, going beyond documentary photography.

This section also includes a series of photographs which served as models for his paintings, featuring Georgette and René Magritte, Louis Scutenaire and various close friends – photographs directly connected with his works, which are presented in the form of reproductions. Magritte used the same procedure in the short films he made between 1940 and 1960, and extracts in television format or reproductions are shown alongside the original photographs.

The Imitation of Photography. Magritte and the Cinema[tograph]

The cinema, more even than painting and to the same extent as literature, was a seminal influence of the work of René Magritte. As a child, he had been exposed to the first silent films and he tried to recreate their freshness and spontaneity in the short films he made, featuring his close friends. Magritte may still be posing in this section, but the emphasis is on entertainment.

This section of the exhibition is accompanied by extracts from his own films, presented on the TV screens, and by images from films by directors he admired, such as Louis Feuillade with his celebrated Fantômas.

The False Mirror

This title of a celebrated painting by René Magritte opens the final section of the exhibition. Consisting essentially of portraits of Magritte at different stages of his life, they sometimes depict him in dreamy mood, sometimes expressing amusement, generally with his eyes closed, focused inwards. The section also includes photographs in which the painter and his friends mask their faces or turn away from the camera lens, prolonging in photographic mode his painterly research on the caché-visible (things hidden in plain sight).

 

Section 1: A Family Album

The photographs in this section, arranged chronologically, are devoted to Magritte’s family life. Snaps taken with his parents and brothers, his military service, the early years of his marriage to Georgette, their period of residence at Perreux-sur-Marne near Paris, their life in Brussels – all revealing the daily life of René Magritte.

 

Unknown photographer. 'Georgette and René Magritte, Brussels, June 1922' 1922

 

Unknown photographer
Georgette and René Magritte, Brussels, June 1922 [on their wedding day]
1922
Original photograph
43.2 x 33.2 cm (framed)
Private collection, Courtesy Brachot Gallery, Brussels

 

Installation view of the exhibition 'René Magritte: The Revealing Image' at the Latrobe Regional Art Gallery

 

Installation view of the exhibition René Magritte: The Revealing Image at the Latrobe Regional Art Gallery with at left, Régina Bertinchamps, René Magritte’s mother by an unknown photograper, Nd; and at right, Léopold Magritte and Régina Bertinchamps, Lessines, 1898 also by an unknown photographer.

 

René Magritte (Belgium 1898-1967) 'Les Amants [The lovers]' 1928

 

René Magritte (Belgium 1898-1967)
Les Amants [The lovers]
1928
Oil on canvas
Collection of Richard S. Zeisler, New York

Reproduction in the exhibition
Published under “fair use” for the purposes of academic review

 

 

This is one of a small group of pictures painted by Magritte in Paris in 1927-28, in which the identity of the figures is mysteriously shrouded in white cloth. The group of paintings includes L’histoire centrale (The central story) 1927 (collection Isy Brachot, Brussels); L’invention de la vie (The invention of life) 1927-28 (private collection, Brussels); The lovers 1928 in the Australian National Gallery; and the similarly titled, similarly dated and similarly sized painting in the collection of Richard S. Zeisler, New York, in which the same shrouded heads of a man and a woman that appear in the Gallery’s painting attempt to kiss each other through their grey cloth integuments.

The origin of this disturbing image has been attributed to various sources in Magritte’s imagination. Like many of his Surrealist associates, Magritte was fascinated by ‘Fantômas’, the shadowy hero of the thriller series which first appeared in novel form in 1913, and shortly after in films made by Louis Feuillade. The identity of ‘Fantômas’ is never revealed; he appears in the films disguised with a cloth or stocking over his head. Another source for the shrouded heads in Magritte’s paintings has been suggested in the memory of his mother’s apparent suicide. In 1912, when Magritte was only thirteen years of age, his mother was found drowned in the river Sambre; when her body was recovered from the river, her nightdress was supposedly wrapped around her head.

Michael Lloyd & Michael Desmond. European and American Paintings and Sculptures 1870-1970 in the Australian National Gallery 1992 p.173.

Text © National Gallery of Australia, Canberra

 

Unknown photographer. 'The Bouquet (Le Bouquet), Georgette and René Magritte, Rue Esseghem, Brussels' 1937

 

Unknown photographer
The Bouquet (Le Bouquet), Georgette and René Magritte, Rue Esseghem, Brussels
1937
Original Photograph
43.2 x 33.2 cm (framed)
Private collection, Courtesy Brachot Gallery, Brussels

 

 

Section 2: A Family Resemblance

Organised chronologically, this section brings together photographs representing René Magritte’s other “family”, the Brussels Surrealist group with which the painter threw in his lot in 1926. Paul Nougé, Marcel Lecomte, Louis Scutenaire, Irène Hamoir, Paul Colinet, Marcel Mariën, Camille Goemans and Marthe Beauvoisin are some of the characters who feature in these compositions, in many cases improvised “photographic tableaux” bearing witness to the intimate relationship between René Magritte and his immediate circle.

 

Unknown photographer. 'The Hunters' Gathering (La rendez-vous de chase)' 1934

 

Unknown photographer
The Hunters’ Gathering (La rendez-vous de chase)
1934
Original photograph
27 x 33 cm (framed)
Collection Charly Herscovici, Europe

Left to right: E.L.T Mesens, René Magritte, Louis Scutenaier, André Souris and Paul Nougé
Seated: Iréne Hamoir, Marthe Beauvoisin and Georgette Magritte. Studio Joe Rentmeesters

 

Installation view of the exhibition 'René Magritte: The Revealing Image' at the Latrobe Regional Art Gallery

 

Installation view of the exhibition René Magritte: The Revealing Image at the Latrobe Regional Art Gallery with at left, René Magritte’s The Correspondance Group, 1928 (Paul Nougé, Marcel Lecomte and Camille Goemans), paired with René Magritte’s Portrait of Paul Nougé, 1927 at right.

 

René Magritte (Belgium 1898-1967) 'Portrait of Paul Nougé' 1927

 

René Magritte (Belgium 1898-1967)
Portrait of Paul Nougé
1927
Oil on canvas

Reproduction in the exhibition
Published under “fair use” for the purposes of academic review

 

Unknown photographer. 'The Extraterresterials V' (detail) 1935

 

Unknown photographer
The Extraterresterials V (detail)
1935, Brussels, Rue Esseghem

Left to right: Paul Colinet, Marcel Lecomte, Georgette and René Magritte

Published under “fair use” for the purposes of academic review

 

Unknown photographer. 'Saluting the Flag' 1935

 

Unknown photographer
Saluting the Flag
1935, Koksijde
Original photograph

Left to right: Paul Colinet, René Magritte, Louis Scutenaire, Paul Nougé, and Paul Magritte

 

 

Section 3: The Resemblance of Painting

This third section of the exhibition consists of photographs of René Magritte at his easel, covering the years from 1917 to 1965. They show the painter with works from different periods, taken impromptu or posing, generally in a suit, in the succession of houses where he never established a workshop, preferring to paint in his living-room. Working documents or “staged” photographs, they show how Magritte often tended to parody his work as a painter.

 

Unknown photographer. 'René Magritte painting The Empty Mask (Le masque vide), Le Perreuxsur-Marne' 1928

 

Unknown photographer
René Magritte painting The Empty Mask (Le masque vide), Le Perreux-sur-Marne
1928
Original photograph
32 x 38 cm (framed)
Collection Charly Herscovici, Europe

 

Unknown photographer. 'Love' 1928

 

Unknown photographer
Love
1928, Le Perreux-sur-Marne
Study for Attempting the Impossible
Original photograph

Published under “fair use” for the purposes of academic review

 

Unknown photographer. 'René Magritte painting 'Attempting the Impossible'' 1928

 

Unknown photographer
René Magritte painting ‘Attempting the Impossible’
1928, Le Perreux-sur-Marne
Original photograph

Published under “fair use” for the purposes of academic review

 

 René Magritte (1898-1967) 'Attempting the Impossible' 1928

 

René Magritte (1898-1967)
Attempting the Impossible
1928
Oil on canvas

Reproduction in the exhibition
Published under “fair use” for the purposes of academic review

 

Jacqueline Nonkels. 'René Magritte painting 'Clairvoyance'' Brussels, 4 October 1936

 

Jacqueline Nonkels
René Magritte painting ‘Clairvoyance’
Brussels, 4 October 1936
Original photograph

Published under “fair use” for the purposes of academic review

 

René Magritte (1898-1967) 'Clairvoyance' 1936

 

René Magritte (1898-1967)
Clairvoyance
1936
Oil on canvas

Reproduction in the exhibition
Published under “fair use” for the purposes of academic review

 

 

Magritte has set up his easel in the small courtyard leading to the garden on Rue Essenghem. On it sits a completed painting, Clairvoyance, which represents Magritte seated in front of a canvas, brush in hand, his face turned towards an egg resting on a table covered with a tablecloth to his left. But the painted image in this photographic model is a bird with spread wings. Magritte, in a perfect imitation – suit, palette, haircut and chair – is in turn seated in front of he painting, pretending to paint. The photograph, taken on 4 October 1936 by young Jacqueline Nonkels according to instructions and staging established by Magritte, seems as much self-portrait as mise-en-abyme. It is the result of a different way of conceiving of photography, without trick shots or manipulation, of offering… a multiplying effect, an extension of what would otherwise have been merely a documentary image. Beyond the mise-en-abyme implemented by the interplay of the painting and its ‘model’, this photograph goes beyond the notion of document to lay claim to that of an intrinsic work.

Xavier Canonne. “The Resemblance of Painting,” in René Magritte: The Revealing Image, Photos and Films. LaTrobe Regional Gallery, 2017, p. 72.

 

Section 4: Reproduction Permitted or Photography Enhanced

This section of the exhibition comprises paintings by Magritte placed on his easel or forming the background of portraits of him and his wife. Essential paintings, some of which have been lost, provide the painter with a stage set into which he projects himself with his wife, going beyond documentary photography.

This section also includes a series of photographs which served as models for his paintings, featuring Georgette and René Magritte, Louis Scutenaire and various close friends – photographs directly connected with his works, which are presented in the form of reproductions. Magritte used the same procedure in the short films he made between 1940 and 1960, and extracts in television format or reproductions are shown alongside the original photographs.

 

Unknown photographer. 'The Holy Family' 1928

 

Unknown photographer
The Holy Family
1928, Le Perreux-sur-Marne
Original photograph

Published under “fair use” for the purposes of academic review

 

 

“Magritte’s photographs attest to a form of improvisation, offering a compromise between a portrait of those around him and the reproduction of his own painting by somehow effecting their merger: The Holy Family shows the painter and his wife sitting on either side of the painting The Windows of Dawn (1928), with The Obsession (1928) placed on the easel above them.”

Xavier Canonne. “Reproduction permitted or photography enhanced,” in René Magritte: The Revealing Image, Photos and Films. LaTrobe Regional Gallery, 2017, p. 98.

 

Paul Nougé (1895-1967) 'The Seers' c. 1930

 

Paul Nougé (1895-1967)
The Seers
c. 1930
Marthe Beauvoisin and Georgette Magritte

Published under “fair use” for the purposes of academic review

 

René Magritte (1898-1967) 'The Shadow and Its Shadow (L'ombre et son ombre), Georgette and René Magritte, Brussels' 1932

 

Paul Nougé attributed (1895-1967)
The Shadow and Its Shadow (L’ombre et son ombre)
1932, Brussels
Georgette and René Magritte
Original photograph
41.2 x 33.2 cm (framed)
Private collection, Courtesy Brachot Gallery, Brussels

 

“The Shadow and Its Shadow is indeed a photographic painting, an autonomous work that Magritte could also have transferred to canvas in treating the theme of the ‘hidden-invisible’.” ~ Xavier Canonne

 

René Magritte. 'Faraway looks' c. 1927

 

René Magritte (1898-1967)
Faraway looks
c. 1927
Oil on canvas

Reproduction in the exhibition
Published under “fair use” for the purposes of academic review

 

René Magritte (1898-1967) 'The Oblivion Seller '1936

 

René Magritte (1898-1967)
The Oblivion Seller (detail)
1936
Georgette Magritte
Original photograph
Cover image for the catalogue to the exhibition

Published under “fair use” for the purposes of academic review

 

René Magritte (1898-1967) 'Georgette' 1937

 

René Magritte (1898-1967)
Georgette
1937
Oil on canvas
Museé Magritte, Brussels

Painting not in exhibition but reproduced in catalogue
Published under “fair use” for the purposes of academic review

 

 

“Taken on the Belgian Coast in 1936, The Oblivion Seller (as Scutenaire aptly named it) shows a spontaneity and opportuneness completed in the mind of the painter, who often represented himself with his eyes closed, as if lost in thought. The ‘deflection’ of his snapshot of a happy moment – woman one loves at the beach on holiday – seems to prefigure certain later paintings, the nearest of which chronologically is Georgette (1937), an oval portrait that she kept her whole life… The painter permanently questioned reality, playing on its possibilities, assigning objects and beings a similar presence on film or canvas, the ‘default scene’ never quite satisfying him.”

Xavier Canonne. “Reproduction permitted or photography enhanced,” in René Magritte: The Revealing Image, Photos and Films. LaTrobe Regional Gallery, 2017, p. 106.

 

René Magritte (1898-1967) 'Universal Gravitation' 1943

 

René Magritte (1898-1967)
Universal Gravitation
1943
Oil on canvas
Private collection

Painting reproduced in exhibition
Published under “fair use” for the purposes of academic review

 

René Magritte (1898-1967) 'The Destroyer' 1943

 

René Magritte (1898-1967)
The Destroyer
1943
Louis Scutenaire
Original photograph

Published under “fair use” for the purposes of academic review

 

René Magritte (1898-1967) 'The Healer' 1937

 

René Magritte (1898-1967)
The Healer
1937
Oil on canvas
René Magritte/ Charly Herscovici c/o SABAM

Painting not in exhibition but reproduced in catalogue
Published under “fair use” for the purposes of academic review

 

René Magritte (1898-1967) 'God, The Eighth Day' 1937

 

René Magritte (1898-1967)
God, The Eighth Day
1937
Brussels, Rue Essenghem
Original photograph
René Magritte/ Courtesy Brachot Gallery, Brussels

Published under “fair use” for the purposes of academic review

 

René Magritte (1898-1967) 'The Death of Ghosts' 1928

 

René Magritte (1898-1967)
The Death of Ghosts
1928, Le Perreux-sur-Marne
Jacqueline Celcourt-Nonkels and René Magritte
René Magritte/ Courtesy Brachot Gallery, Brussels

Published under “fair use” for the purposes of academic review

 

“Although the silhouette of a man (probably Magritte) in The Death of Ghosts (1928) appears in the painting The Apparition (1928), other photos differ from the final painting, or were in turn inspired by it, the exact chronological sequence in these cases being less certain.” ~ Xavier Canonne

 

René Magritte (1898-1967) 'The Apparition' 1928

 

René Magritte (1898-1967)
The Apparition
1928
Oil on canvas
Staatsgalerie, Stutgart
René Magritte/ Charly Herscovici c/o SABAM

Painting reproduced in exhibition
Published under “fair use” for the purposes of academic review

 

René Magritte (1898-1967) 'Queen Semiramis (La reine Sémiramis)' 1947

 

René Magritte (1898-1967)
Queen Semiramis (La reine Sémiramis)
1947, Brussels
Original photograph
41.2 x 33.2 cm (framed)
Private collection, Courtesy Brachot Gallery, Brussels

 

René Magritte (1898-1967) 'Perfect Harmony' 1947

 

René Magritte (1898-1967)
Perfect Harmony
1947
Oil on canvas
René Magritte/ Charly Herscovici c/o SABAM

Painting not in exhibition but reproduced in catalogue
Published under “fair use” for the purposes of academic review

 

René Magritte (1898-1967) 'The Meeting (Le Rendez-vous), Brussels' 1938

 

René Magritte (1898-1967)
The Meeting (Le Rendez-vous)
1938, Brussels
Original photograph
43.2 x 33.2 cm (framed)
Private collection, Courtesy Brachot Gallery, Brussels

 

 

René Magritte: The Revealing Image, Photos and Films is a world-first exhibition which provides stunning insight into the life, work and thinking of René Magritte, one of the world’s most important 20th Century artists. The exhibition, to be held at Latrobe Regional Galley in Morwell, Victoria, Australia from 19 August to 19 November 2017, features 130 original photographs by and of Magritte, his family, friends and fellow artists. It also includes eight self-made films which give a behind-the-scenes view of Magritte’s world. This exhibition, staged in collaboration with the Magritte Foundation Belgium. René Magritte: The Revealing Image, Photos and Films, marks the 50th anniversary of the Belgian Surrealist’s death. After its world-premiere in Morwell, René Magritte: The Revealing Image, Photos and Films will travel to Hong Kong, North and South America, and back to Europe.

Latrobe Regional Galley director Dr Mark Themann said René Magritte: The Revealing Image, Photos and Films was an opportunity to experience an amazing assembly of intimate and insightful photographs and films, many of which have never been exhibited previously. “Magritte had a unique creative ability to enchant. He used the ordinary and the everyday to evoke the mysterious and to question our perceptions of reality,” Dr Themann said. “He is an iconic artist, whose influence on fellow artists, designers, film directors and visual culture continues to this day. It’s a magnificent opportunity to present this major international exhibition in our newly-renovated Latrobe Regional Galley in Morwell. We’re looking forward to welcoming visitors from the local region, around Australia, and the world.”

Exhibition Chief Curator Xavier Canonne said the discovery of the photographs and films of René Magritte in the mid-1970s, 10 years after the painter’s death, and their subsequent appraisal and study, had given us an even greater appreciation of Magritte as an artist. “There are a lot of connections between Magritte’s photos and films, and his famous paintings,” Mr Canonne said. “Magritte was deeply interested by the possibilities of the image. The photos and films were used as models or documents for his paintings, and as experimental fields for his research, in order to find something more – to extend the possibilities of his universe. Through this exhibition we gain a greater sense and understanding of who Magritte was, how this informed his work, and why his art is so important.”

In conjunction with the opening of René Magritte: The Revealing Image, Photos and Films a book on the exhibition by Mr Canonne has been published by Ludion, distributed globally by Thames & Hudson.

Press release from the Latrobe Regional Art Gallery

 

Section 5: The Imitation of Photography. Magritte and the Cinema[tograph]

The cinema, more even than painting and to the same extent as literature, was a seminal influence of the work of René Magritte. As a child, he had been exposed to the first silent films and he tried to recreate their freshness and spontaneity in the short films he made, featuring his close friends. Magritte may still be posing in this section, but the emphasis is on entertainment.

This section of the exhibition is accompanied by extracts from his own films, presented on the TV screens, and by images from films by directors he admired, such as Louis Feuillade with his celebrated Fantômas.

 

Unknown photographer. 'René Magritte and The Barbarian (Le Barbare)' 1938

 

Unknown photographer
René Magritte and The Barbarian (Le Barbare), London Gallery, London
1938
Original photograph
43.2 x 33.2 cm (framed)
Private collection, Courtesy Brachot Gallery, Brussels

 

René Magritte (1898-1967) 'The Flame Rekindled' 1943

 

René Magritte (1898-1967)
The Flame Rekindled
1943
Oil on canvas
Private collection

Reproduction in the exhibition
Published under “fair use” for the purposes of academic review

 

Ernst Moerman. 'Monsieur Fantômas' 1937 (film still)

 

Ernst Moerman
Monsieur Fantômas
1937
Film still

Published under “fair use” for the purposes of academic review

 

 

“These examples are suppositions based on an interplay of analogies. If Magritte was aware of them, he would no doubt have rejected them, preferring to see them as fortuitous coincidences. It nonetheless remains that the universe of the mind is full of borrowings whose origin often remains unsuspected; exemplars buried in memory crop back up and recompose themselves through association. It is more an atmosphere that is evoked here, in particular that of the silent movies, with a power of images that impressed the painter move than photographs, at a time when the silver screen, this mysterious wellspring, was as much a source of this power as the mirror.”

Xavier Canonne. “The imitation of photography. Magritte and the cinema[tograph],” in René Magritte: The Revealing Image, Photos and Films. LaTrobe Regional Gallery, 2017, p. 126.

 

Unknown photographer. 'On the Road to Texas' 1942

 

Unknown photographer
On the Road to Texas
1942, Brussels

Left to right: Agui Ubac, Irène Hamoir, Louis Scutenaire, Jacqueline Nonkels, Georgette and René Magritte

 

 

René Magritte – surrealistic home movie
Nd

Not in the exhibition

 

 

René Magritte: The Revealing Image, Photos and Films promotional video

 

 

Louis Feuillade (1873 – 1925)
Fantômas
1913

Not in the exhibition

 

 

Louis Feuillade (1873 – 1925) was a prolific and prominent French film director from the silent era. Between 1906 and 1924 he directed over 630 films. He is primarily known for the serials FantômasLes Vampires and Judex.

The Fantômas serial in 1913 was his first masterpiece, the result of a long apprenticeship – during which the series with realistic ambitions, Life as it is, played a major role. It is also the first masterpiece in what the modern critic, from both a literary and a cinematographic point of view, would later call “the fantastic realism” or the “social fantastic”. He is credited with developing many of the thriller techniques used famously by Fritz Lang, Alfred Hitchcock, and others.

The series consists of five episodes, each an hour to an hour and a half in length, which end in cliffhangers, i.e., episodes one and three end with Fantômas making a last-minute escape, the end of the second entry has Fantômas blowing up Lady Beltham’s manor house with Juve and Fandor, the two heroes, still inside. The subsequent episodes begin with a recap of the story that has gone before. Each film is further divided into three or more chapters that do not end in cliffhangers.

Text from the Wikipedia website

 

The False Mirror

This title of a celebrated painting by René Magritte opens the final section of the exhibition. Consisting essentially of portraits of Magritte at different stages of his life, they sometimes depict him in dreamy mood, sometimes expressing amusement, generally with his eyes closed, focused inwards. The section also includes photographs in which the painter and his friends mask their faces or turn away from the camera lens, prolonging in photographic mode his painterly research on the caché-visible (things hidden in plain sight).

 

Unknown photographer. 'René Magritte' 1930

 

Unknown photographer
René Magritte
1930
Original photograph

Published under “fair use” for the purposes of academic review

 

Unknown photographer. 'The Eminence Grise' 1938

 

Unknown photographer
The Eminence Grise
1938
René Magritte on the Belgian coast
Original photograph

Published under “fair use” for the purposes of academic review

 

“Again at the Belgian Coast in 1938, by now in keeping with an established ritual, Magritte, having hooked an open book to the straps of his bathing suit, turns aways from the camera (The Eminence Grise).” ~ Xavier Canonne

Éminence grise: a person who exercises power or influence in a certain sphere without holding an official position.

 

Unknown photographer. 'The Gladness of the Day' August 1935

 

Unknown photographer
The Gladness of the Day
August 1935, Lessines
Original photograph
Georgette Magritte, Louis Scutenaire, René Magritte

Published under “fair use” for the purposes of academic review

 

René Magritte (1898-1967) 'The Giant (Le Géant), Paul Nougé on the Belgian Coast' 1937

 

René Magritte (1898-1967)
The Giant (Le Géant), Paul Nougé on the Belgian Coast
1937
Private collection, Courtesy Brachot Gallery, Brussels
Original photograph
41.2 x 33.2 cm (framed)

 

 

“Paul Nougé shields his face behind a chessboard, forcing the viewer to concentrate on the details of his clothing and the pipe he holds in his hand. Scutenaire entitled this photo The Giant, an apt title for the antiportrait of the man who was the soul of the Brussels Surrealist group and never stopped calling for a self-effacement that favoured maximum freedom.” ~ Xavier Canonne

 

Paul Nougé (1895-1967), was a Belgian poet, founder and theoretician of surrealism in Belgium, sometimes known as the “Belgian Breton”. …

In November 1924 he created the journal “Correspondance”, which published 26 pamphlets up to September 1925, in collaboration with Camille Goemans and Marcel Lecomte. In July 1925 he was expelled from the party. That same year Nougé met the French surrealists, Louis Aragon, André Breton and Paul Éluard, and together they signed the tract “La Révolution d’abord et toujours” (The Revolution First and Forever), and made the acquaintance of Louis Scutenaire in 1926. September of that same year marked the drafting of the constitution of the Belgian Surrealist Group that comprised Nougé, Goemans, René Magritte, E. L. T. Mesens and André Souris.

In 1927 Nougé composed plagiarised examples of a grammar book of Clarisse Juranville, illustrated with 5 drawings by Magritte. In 1928 he founded the magazine “Distances” and wrote the poem catalogue of a fur trader that was illustrated by Magritte entitled “Le catalogue Samuel” (re-edited by Didier Devillez, Brussels, 1996). He also wrote the preface of a Magritte exhibition at the gallery “L’époque” (signed by his ‘accomplices’ Goemans, Mesens, Lecomte, Scutenaire and Souris) and delivered in January 1929 to Charleroi – a conference on the accompanying music to a concert conducted by Souris and an exhibition of Magritte (“La conférence de Charleroi”, published in 1946). Between December 1929 and February 1930 Nougé created 19 photographs, unpublished until 1968, under the title “Subversion des images”. These photographs have been displayed notably, and most recently, at the Edinburgh Art Festival 2009. In 1931 he wrote the preface to an exhibition which followed the return of Magritte to Brussels. Extracts from “Images défendues” were published in 1933 in issue number 5 of “Surréalisme au service de la Révolution”. In 1934 Nougé co-signed “L’action immédiate” in “Documents 34”, edited by Mesens. In 1935 “Le Couteau dans la plaie” (‘The Knife in the Wound’) was published and in 1936, René Magritte ou la révélation objective was published in “Les Beaux-Arts” in Brussels. In that same year, Nougé, along with Mesens, organised the exclusion of Souris from the group.

Nougé was mobilised in 1939 in Mérignac then Biarritz, during World War II, as a military nurse. In 1941 Nougé prefaced an exhibition, quickly closed by the occupying forces, of photographs by Raoul Ubac in Brussels L’expérience souveraine (The Sovereign Experience). In 1943 he published the complete text of René Magritte ou Les images défendues. In January 1944, under the pseudonym of Paul Lecharantais, he prefaced a new exhibition of Magritte that was criticised by the collaborators of nazism. In 1945 Nougé participated in the exhibition “Surréalisme” organised by the Editions La Boétie de Bruxelles gallery. In 1946 he published La Conférence de Charleroi and, under the title Élémentaires a preface for the exhibition of Magritte “Le Surréalisme en Plein Soleil” (Surrealism in Full Sunlight) at the Dietrich gallery.

Text from the Wikipedia website

 

Shunk Kender. 'René Magritte and The Likeness (La Resemblance)' about 1962

 

Shunk Kender (Harry Shunk and Janos Kender)
René Magritte and The Likeness (La Resemblance) 
(from The Eternally Obvious)
about 1962
Private collection, Courtesy Brachot Gallery, Brussels
Original photograph
41.2 x 33.2 cm

 

 

“And in the living room on Rue des Mimosas, for the photographer Skunk Kender, Magritte traded his face for a panel from The Eternally Obvious (1954), replacing his features with those of a woman’s face, here again accomplishing the transmutation of a painting by a photograph: the painter substitutes his silhouette in a three-piece suit for the fragmented woman’s body in the original painting and disappears behind his work.” ~ Xavier Canonne

 

Shunk-Kender

The photographers Harry Shunk (German, 1924-2006) and János Kender (Hungarian, 1937-2009) worked together under the name Shunk-Kender from the late 1950s to the early 1970s, based first in Paris and then in New York. Shunk-Kender photographed artworks, events, and landmark exhibitions of avant-garde movements of the era, from Nouveau réalisme to Earth art. They were connected with a vibrant art scene that they captured through portraits of artists and participated in through collaborative projects.

The roles played by the duo varied from one project to the next. In some cases, Shunk-Kender worked as documentarians, photographing Happenings and performances; in other instances, they were collaborators, acting alongside other artists to realise works of art through photography. (Text from the MoMA website)

 

Shunk Kender. 'René Magritte in front of Le sens de réalité' 1960

 

Shunk Kender (Harry Shunk and Janos Kender)
René Magritte in front of ‘Le sens de réalité’
1960
Private collection, Courtesy Brachot Gallery, Brussels
Original photograph
43.2 x 33.2 cm

 

 

Latrobe Regional Art Gallery
138 Commercial Road
Morwell, Victoria 3840
Australia

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08
Nov
17

Music: Marcus Bunyan. ‘The Only Recording’ 1977 (2017) 47 mins CD disc

November 2017

 

A recording of various pianoforte pieces in the Recital Hall of the Royal College of Music, London on the 15th November 1977. All pieces performed by Marcus Bunyan. I was 19 years old (as in the photographs below). Nobody ever believes me that I was a concert pianist. Well here is the proof!

© Marcus Bunyan

 

  1. Haydn – Sonata No. 62 in E flat major I. Allegro
  2. Haydn – Sonata No. 62 in E flat major II. Adagio
  3. Haydn – Sonata No. 62 in E flat major III. Finale: Presto
  4. Beethoven – Sonata Op. 10 No. 3 II. Largo e mesto
  5. Chopin – Etude Op. 25 No. 1 “Aeolian Harp” in A flat major – Allegro sostenuto
  6. Debussy – Pour le Piano I. Prelude
  7. Debussy – Pour le Piano II. Sarabande
  8. Brahms – Rhapsody Op. 79 No. 1 in B minor
  9. Medtner – Marchen Op. 42 No. 2

 

 

 

 

 

 

 

 

 

 

 

 

 

Marcus Bunyan. 'The Only Recording' 1977 (2017)

 

Marcus Bunyan
The Only Recording
1977 (2017)
CD cover

 

Unknown photographer. 'Marcus Bunyan, 19 years old, Welwyn Garden City, Hertfordshire' 1977

 

Unknown photographer
Marcus Bunyan, 19 years old, Welwyn Garden City, Hertfordshire
1977
Colour photograph

 

 

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05
Nov
17

Review: ‘An unorthodox flow of images’ at the Centre for Contemporary Photography (CCP), Melbourne Part 2

Exhibition dates: 30th September – 12th November 2017

Curators: Naomi Cass and Pippa Milne

Living artists include: Laurence Aberhart, Brook Andrew, Rushdi Anwar, Warwick Baker, Paul Batt, Robert Billington, Christian Boltanski, Pat Brassington, Jane Brown, Daniel Bushaway, Sophie Calle, Murray Cammick, Christian Capurro, Steve Carr, Mohini Chandra, Miriam Charlie, Maree Clarke, Michael Cook, Bill Culbert, Christopher Day, Luc Delahaye, Ian Dodd, William Eggleston, Joyce Evans, Cherine Fahd, Fiona Foley, Juno Gemes, Simryn Gill, John Gollings, Helen Grace, Janina Green, Andy Guérif, Siri Hayes, Andrew Hazewinkel, Lisa Hilli, Eliza Hutchison, Therese Keogh, Leah King-Smith, Katrin Koenning, O Philip Korczynski, Mac Lawrence, Kirsten Lyttle, Jack Mannix, Jesse Marlow, Georgie Mattingley, Tracey Moffatt, Daido Moriyama, Harry Nankin, Jan Nelson, Phuong Ngo.

Historic photographers: Hippolyte Bayard (180-1887), Charles Bayliss (1850-1897), Bernd and Hilla Becher (Bernd Becher 1931-2007, Hilla Becher 1934-2015), Lisa Bellear (1962-2006), James E. Bray (1832-1891), Jeff Carter (1928-2010), Harold Cazneaux (1878-1953), Olive Cotton (1911-2003), Peter Dombrovskis (1995-1996), Max Dupain (1911-1992), Walker Evans (1903-1975), Sue Ford (1943-2009), Marti Friedlander (1928-2016), Kate Gollings (1943-2017), André Kertész (1894-1985), J. W. Lindt (1845-1926), W. H. Moffitt (1888-1948), David Moore (1927-2003), Michael Riley (1960-2004), Robert Rooney (1937-2017), Joe Rosenthal (1911-2006), Mark Strizic (1928 -2012), Ingeborg Tyssen (1945-2002), Aby Warburg (1866-1929), Charles Woolley (1834-1922).

 

 

J W Lindt. 'Body of Joe Byrne, member of the Kelly Gang, hung up for photography Benalla' 1880

 

(1) J W Lindt (1845-1926)
Body of Joe Byrne, member of the Kelly Gang, hung up for photography, Benalla
1880
Courtesy State Library Victoria, Pictures Collection

 

 

Thought to be the first press photograph in Australia, this shows Joe Byrne, a member of the Kelly Gang, strung up for documentation days after his death, which followed the siege at Glenrowan. Byrne is displayed for an unknown photographer and the painter Julian Ashton who is standing to the left with possibly a sketchbook under his arm. Lindt’s photograph captures not only the spectacle of Byrne’s body but the contingent of documentarians who arrived from Melbourne to record and widely disseminate the event for public edification.

 

 

Double take

I was a curatorial interlocutor for this exhibition so it was very interesting to see this exhibition in the flesh.

An unorthodox flow of images is a strong exhibition, splendidly brought to fruition by curators Naomi Cass and Pippa Milne at the Centre for Contemporary Photography (CCP), Melbourne. To be able to bring so many themes, images, ideas and people together through a network of enabling, and a network of images, is an impressive achievement.

The exhibition explores the notion of connectivity between images in our media saturated world – across context, time and space. “With a nod to networked image viewing behaviour and image sharing – in one long line – the flow also impersonates the form of a sentence.” While the viewer makes their own flows through the works on view, they must interpret the interpolation of images (much like a remark interjected in a conversation) in order to understand their underlying patterns of connection. Like Deleuze and Guattari’s horizontal rhizome theory1 – where the viewer is offered a new way of seeing: that of infinite plateaus, nomadic thought and multiple choices – here the relationship between the photograph and its beholder as a confrontation between self and other, and the dynamic relation between time, subjectivity, memory and loss is investigated … with the viewer becoming an intermediary in an endless flow of non-hierarchical images/consciousness.

In this throng of dialects, the exhibition meanders through different “sections” which are undefined in terms of their beginning and end. The starting point for this flow is the public demonstration of trauma for the edification of society (the photographs of the aftermath of the siege of Ned Kelly and his gang at Glenrowan), notably what is thought to be the first press photograph in Australia, J W Lindt’s Body of Joe Byrne, member of the Kelly Gang, hung up for photography, Benalla (1880, above), and the flow then gathers its associations through concepts such as studio work, the gaze, disruption, truth, performance and traces, to name just a few. The exhibition ceaselessly establishes connections between semiotic chains, organisations of power and contextual circumstances, moving forward and backwards in time and space, jumping across the gallery walls, linking any point to any point if the beholder so desires. In this sense (that of an expanded way of thinking laterally to create a democracy of sight and understanding), the exhibition succeeds in fostering connections, offering multiple entryways into the flow of images that proposes a new cultural norm.

For Deleuze and Guattari these assemblages (of images in this case), “… are the processes by which various configurations of linked components function in an intersection with each other, a process that can be both productive and disruptive. Any such process involves a territorialization; there is a double movement where something accumulates meanings (re-territorialization), but does so co-extensively with a de-territorialization where the same thing is disinvested of meanings.”2 Now here’s the rub (or the trade-off if you like) of this exhibition, for everything in life is a trade-off: the accumulation of new meaning that such a flow of images creates is balanced by what has been lost. Both an accumulation and disinvestment of meaning.

I have a feeling that in such a flow of images the emotion and presence of the subject has been lost, subsumed into a networked, hypermedia flow where, “images become more and more layered until they are architectural in design, until their relationship to the context from which they have grown cannot be talked about through the simple models offered by referentiality, or by attributions of cause and effect.”3 The linear perspective developed during the Renaissance and its attendant evidence of truth/objective reality (the logic of immediacy) is disrupted. It is no longer about being there, about the desire for presence, but about a logic of hypermediacy that privileges fragmentation, process, and performance. Of course, immediacy / hypermediacy are part of a whole and are not exclusionary to each other. But here contemporary art, and in particular contemporary photography, keeps coming back to the surface, redefining conceptual and aesthetic spaces.

This is where I was plainly unmoved by the whole exhibition. Conceptually and intellectually the exhibition is very strong but sequentially and, more importantly, emotionally – the flow of images failed to engage me. The dissociative association proposed – like a dissociative identity disorder – ultimately becomes a form of ill/literation, in which the images seem drained of their passion, a degenerative illness in which all images loose their presence and power. In a media saturated world what does it mean to pluck these images from a variable spatio-temporal dimensionality and sequence them together and hope they give meaning to each other? Ultimately, it’s a mental exercise of identity organisation that is pure construct.

Further, this (re)iteration is a repetition that is supposed to bring you successively closer to the solution of a problem: what is the relevance of the stream of image consciousness in contemporary society? What happens to the referentiality and presence of the individual image?

With this in mind, let us return to the first image in the flow of images, J W Lindt’s Body of Joe Byrne, member of the Kelly Gang, hung up for photography, Benalla (1880, above). Here Byrne is displayed for an unknown photographer and the painter Julian Ashton who is standing to the left with possibly a sketchbook under his arm. Amongst other things, the image is by an photographer taking a photograph of another photographer taking a photograph of the body of Joe Byrne. Immediately, the triangular relationship of camera / subject / viewer (cause and effect) is disrupted with the addition of the second photographer. There is a doubling of space and time within this one image, as we imagine the image the photographer in the photograph would have taken. And then we can see two variations of that internal photograph: Photographer unknown Joe Byrne’s Body, Benalla Gaol, 29 June
1880 (below) and William J. Burman’s Joe Byrne’s Body, Benalla Gaol, 29 June 1880 (1880, below) which 1/ appears to solve who the “photographer unknown” is (unless Burman purchase the rights to use another’s photographers’ negatives); and 2/ is a more tightly framed image than the first iteration. If you look at the top of the head in the second image the hair goes over the metal hinge of the door behind… so the photographer (the same one) has moved closer and dropped the height of the camera, so that the camera looks up more, at the body.

Other details fascinate. The ring on the left finger of Joe Byrne; his stripped shirt; the rope under his arms used to help support his weight; the rope disappearing out of picture to help string him up; and questions such as, how did they get his left hand to stay in that position? This is also, “an image of an audience as much as a portrait of the deceased … Members of the public are also documented; children, men – trackers perhaps, bearing witness to the public display of retribution that was intended to restore social order.” To the left we have what is presumably the photographers’ coat hung on a tree; a man wiping his nose with his thumb; and Aboriginal man; and a boy looking at the camera. Through his silhouette the Aboriginal man can probably be identified as Tracker Johnny, one of five trackers who helped track Ned Kelly, and we can see a portrait of him in an albumen photograph held by the Queensland Police Museum (1880, below). A picture of the ‘Other’, both outsiders, the outlaw and the Aboriginal, detailing the social order. The blurred image of the boy looking at the camera shows the length of the time exposure for the glass plate, but it is his “Janus-faced” visage that I am fascinated with… as he both looks forwards and backwards in time. Whilst most images within An unorthodox flow of images are conceptually grounded, they also evidence only one direct meaning in relationship to themselves with that network, “each one connected to those on either side,” – from point to point to point. Conversely, in this image the interpretation is open-ended, WITHIN THE ONE IMAGE. It is a network all of its own. I also remember, emotionally, the other images of the burnt out Glenrowan Inn, the place where the rails were taken up (I was there!), the bodies in the coffins, the preparation for the photograph of the Kelly Gang Armour laid out in a muddy field for documentation, and the burnt to a cinder, charred remains rescued from the ashes of the Glenrowan Inn laid out on a piece of wood. There is a physicality to these photographs, and an emotional charge, that no other photograph in this exhibition matches. I think, then, not of Joe Bryne’s lifeless body and its/the photographs morbidity, but of him as a younger man – standing legs crossed, one hand on hip, the other resting on the surface of a table, imagining his touch on that table in reality – a son, an outlaw, a living being.

I wish the curators had been braver. I wish that they had given these images more chance to breathe. I wish they had cut the number of images and sequenced them so that the space between them (what Minor White calls ice/fire, that frisson of space between two images that adds to their juxtaposed meaning) provided opportunity for a more emotional engagement with what was being presented. Yes, this is a strong exhibition but it could have been so much more powerful if the flow had not just meandered through the sentence, but cried out, and declaimed, and was quiet. Where was the punctum? Where was the life blood of the party, if only disappearing in a contiguous flow of images.

Dr Marcus Bunyan for Art Blart

 

Word count: 1,642

  1. Deleuze, Gilles and Guattari, Felix. A Thousand Plateaus: Capitalism and Schizophrenia. Minneapolis and London: University of Minneapolis Press, 1987
  2. Wood, Aylish. “Fresh Kill: Information technologies as sites of resistance,” in Munt, Sally (ed.,). Technospaces: Inside the New Media. London: Continuum, 2001, p. 166
  3. Burnett, Ron. Cultures of Vision: Images, Media, & the Imaginary. Bloomington: Indiana University Press, 1995, pp. 137-138.

.
Many thankx to the CCP for allowing me to publish the photographs in the posting. Please click on the photographs for a larger version of the image. The numbers in brackets refer to the number of the image in the field guide. The text is also taken from the field guide to the exhibition.

 

An unorthodox flow of images commences with what is known as the first press photograph in Australia and unfurls through historic, press, portraiture, popular and art photography, some in their intended material form and others as reproductions. An unbroken thread connects this line of still and moving images, each tied to those on either side through visual, conceptual, temporal, material or circumstantial links.

This is a proposition about photography now. Relationships between images are sometimes real, and sometimes promiscuous. Unorthodox brings new contexts to existing artworks whilst celebrating the materiality of real photographs, in real time and critically, honouring the shared democratic experience of the public gallery space. (Text from the CCP website)

 

J W Lindt. 'Body of Joe Byrne, member of the Kelly Gang, hung up for photography Benalla' 1880 (detail)

J W Lindt. 'Body of Joe Byrne, member of the Kelly Gang, hung up for photography Benalla' 1880 (detail)

J W Lindt. 'Body of Joe Byrne, member of the Kelly Gang, hung up for photography Benalla' 1880 (detail)

 

J W Lindt (1845-1926)
Body of Joe Byrne, member of the Kelly Gang, hung up for photography, Benalla (details)
1880
Courtesy State Library Victoria, Pictures Collection

 

photographer unknown. 'Joe Byrne's Body, Benalla Gaol, 29 June' 1880

 

(2) Photographer unknown
Joe Byrne’s Body, Benalla Gaol, 29 June
1880
Photographic print from glass plate
12 × 19.5 cm
© Collection of Joyce Evans

 

This image appears to the one of the images taken by the photographer in J. W. Lindt’s Body of Joe Byrne, member of the Kelly Gang, hung up for photography, Benalla 1880 (above)

 

William J. Burman (1814-1890) 'Joe Byrne's Body, Benalla Gaol, 29 June 1880' 1880

 

William J. Burman (1814-1890)
Joe Byrne’s Body, Benalla Gaol, 29 June 1880
1880
At 209 Bourke Street, East Melbourne 1878 – 1888
Albumen carte de visite
6.5 × 10.5 cm

 

This image appears to the one of the images taken by the photographer in J. W. Lindt’s Body of Joe Byrne, member of the Kelly Gang, hung up for photography, Benalla 1880.

 

Unknown photographer. 'Untitled [Portrait of Tracker Johnny from Maryborough District one of five trackers who helped track Ned Kelly]' c. 1880

 

Unknown photographer
Untitled [Portrait of Tracker Johnny from Maryborough District one of five trackers who helped track Ned Kelly] (detail, not in exhibition)
c. 1880
Albumen photograph
Queensland Police Museum
Non-commercial – Share Alike (cc)

 

J. E. Bray (1832-1891) 'Kelly Gang Armour' 1880

 

(3) J. E. Bray (1832-1891)
Kelly Gang Armour
1880
Albumen cabinet portrait
16.5 × 10.5 cm
© Collection of Joyce Evans

 

“As objects of contemplation, images of the atrocious can answer to several different needs. To steel oneself against weakness. To make oneself more numb. To acknowledge the existence of the incorrigible.”  ~ Susan Sontag, Regarding the Pain of Others (2003)

 

Unknown photographer. 'Place where rails were taken up by Kelly gang' 1880

 

(4) Unknown photographer
Place where rails were taken up by Kelly gang
1880
Albumen carte de visite
6.5 × 10.5 cm
© Collection of Joyce Evans

 

J. E. Bray (1832-1891) 'The Glenrowan Inn after the Kelly Siege' 1880

 

(5) J. E. Bray (1832-1891)
The Glenrowan Inn after the Kelly Siege
1880
Albumen carte de visite
6.5 × 10.5 cm
© Collection of Joyce Evans

 

J. E. Bray (1832-1891) 'Charred remains from Kelly gang siege' 1880

 

(6) J. E. Bray (1832-1891)
Charred remains from Kelly gang siege
1880
Albumen carte de visite
6.5 × 10.5 cm
© Collection of Joyce Evans

 

 

In her comments on a related photograph by Bray, Helen Ennis writes, “What you see pictured, presumably as part of the official documentation are the thoroughly blackened remains of either Dan Kelly or Steve Hart… Relatives raked what remained of the bodies… from the ashes of the Glenrowan Inn. These were then photographed before family members took them home on horseback and buried them. … [These photographs] also underscore the brutality and barbarism of the post-mortem photographs – the violence physically enacted on the body in the first instance and then visually in terms of the photographic representation.”

Helen Ennis. “Portraiture in extremis” in Photogenic Essays/Photography/CCP 2000-2004, Daniel Palmer (ed.), 2005, CCP, pp. 23-39, p 34.

 

J. E. Bray (1832-1891) 'Untitled ["McDonnell's Tavern opposite Railway Station, remains of Dan Kelly and Hart in coffins"]' 1880

 

(7) J. E. Bray (1832-1891)
Untitled [“McDonnell’s Tavern opposite Railway Station, remains of Dan Kelly and Hart in coffins”]
1880
Albumen cabinet portrait
16.5 × 10.5 cm
© Collection of Joyce Evans

 

W. E. (William Edward) Barnes (1841-1916) 'Steve Hart' (1859-1880) c. 1878

W. E. (William Edward) Barnes (1841-1916) 'Steve Hart' (1859-1880) c. 1878

 

W. E. (William Edward) Barnes (1841-1916)
Steve Hart (1859-1880) (front and verso, not in exhibition)
c. 1878
Albumen carte de visite
6.5 × 10.5 cm
© Collection of Joyce Evans

 

W. E. (William Edward) Barnes (1841-1916) 'Steve Hart' (1859-1880) c. 1878

 

W. E. (William Edward) Barnes (1841-1916)
Steve Hart (1859-1880) (not in exhibition)
c. 1878
Albumen carte de visite
State Library of Victoria

 

Piero della Francesca (1415-1492) 'Flagellation of Christ' 1455-1460

 

(9) Piero della Francesca (1415-1492)
Flagellation of Christ
1455-1460
Oil and tempera on wood, reproduced as digital print on wallpaper
58.4 × 81.5 cm, reproduced at 20 × 30 cm

 

 

The meaning of della Francesca’s Flagellation and exact identity of the three foreground figures in fifteenth century dress, is widely contested. In the context of this flow of images, the painting represents the pubic display of suffering as punishment, for the edification of society. In both J.W. Lindt’s documentary photograph and the possibly allegorical Flagellation, the broken body of Joe Byrne and that of Christ are isolated from other figures and subject of conversation and debate by gathered figures. Other formal similarities include framing of the tableau into shallow and deep space the organising role of architecture in signifying the key subject.

 

Joosep Martinson. 'Police Hostage Situation Developing at the Lindt Café in Sydney' 2014

 

(10) Joosep Martinson
Police Hostage Situation Developing at the Lindt Café in Sydney
2014
Digital print on wallpaper
20 × 30 cm

 

The scene outside the Lindt Cafe siege, caught by the photojournalist in a moment of public trauma. This bears formal resemblance to J.W. Lindt’s photograph of Joe Byrne, and even further back to Piero della Francesca.

 

Tracey Moffatt. 'I made a camera' 2003

 

(13) Tracey Moffatt
I made a camera
2003
photolithograph
38 × 43 cm, edition 201 of 750
Private collection

 

Returning to J.W. Lindt’s photograph – in particular the hooded central figure photographing Joe Byrne – Tracey Moffatt’s picturing of children role-playing calls to mind the colonial photographer’s anthropological gesture.

 

Siri Hayes. 'In the far reaches of the familiar' 2011

 

(14) Siri Hayes
In the far reaches of the familiar
2011
C-type print
88 × 70 cm, exhibition print
Courtesy the artist

 

The photographer’s hood is the photographer.

 

Janina Green. 'Self Portrait' 1996

 

(15) Janina Green
Self Portrait
1996
Digital version of a hand-coloured work in early Photoshop
44 × 60 cm
Courtesy the artist and M.33, Melbourne

 

Georgie Mattingly. 'Portrait IV' 2016

 

(16) Georgie Mattingly
Portrait IV (After Arthroplasty)
2016
Hand-tinted silver gelatin print
36 × 26 cm
Unique hand print
Courtesy the artist

 

The photographer’s hood has become a meat-worker’s protective gear, tenderly hand-coloured. [And spattered with blood ~ Marcus]

 

Lisa Hilli. 'In a Bind' 2015

 

(17) Lisa Hilli (Makurategete Vunatarai (clan) Gunantuna / Tolai People, Papua New Guinea)
In a Bind
2015
Pigment print on cotton rag
76 × 51.5 cm
Courtesy the artist

 

 

‘The woven material that hoods the artist’s identity is a reference to collected Pacific artefacts, which are usually of a practical nature. Magimagi is a plaited coconut fibre used for reinforcing architectural structures and body adornment within the Pacific. Here it emphasises the artist’s feeling of being bound by derogatory Western and anthropological labels used by museums and the erasure of Pacific bodies and narratives within public displays of Pacific materiality.’  ~ Lisa Hilli 2017, in an email to the curator

 

 

In an era of ‘tumbling’ images, An unorthodox flow of images presents visual culture in a novel way: commencing with Australia’s first press photograph, 150 images unfurl in flowing, a-historical sequences throughout the gallery. Each work is connected to the one before through formal, conceptual or material links.

An unorthodox flow of images draws upon the photographic image in its many forms, from significant historical photographs by major Australian artists, such as J.W. Lindt, Olive Cotton and Max Dupain, through to contemporary international and Australian artists, such as Tracey Moffatt, Michael Parekowhai, Christian Boltanski and Daido Moriyama. This exhibition brings early career artists into the flow, including Georgie Mattingley, Jack Mannix and James Tylor.

Celebrating the breadth of photographic technologies from analogue through to digital, including hand made prints, a hand-held stereoscope, early use of Photoshop, iPhone videos and holography, An unorthodox flow of images propels the viewer through a novel encounter with technology, art, and the act of looking. Rather than a definitive narrative, this exhibition is a proposition about relationships between images: sometimes real and sometimes promiscuous, and is inevitably open to alternative readings. Contemporary culture necessitates quick, networked visual literacy. So viewers are invited to make their own readings of this unorthodox flow.

Akin to how images are experienced in our personal lives and perhaps to how artists are influenced by the multiverse of photography, this extraordinary gathering also includes spirited incursions from other kinds of images – rare prints of grizzly 19th century photojournalism abuts contemporary video first shared on Instagram, and surrealist French cinema nestles in with Australian image-makers.

This exhibition aims to bring new contexts to existing artworks to highlight networked image-viewing behaviour, whilst honouring the materiality of real photographs, in real time and critically, honouring the shared democratic experience of the public gallery space. An unorthodox flow of images is presented as part of the 2017 Melbourne Festival.

Press release from the CCP

 

Siri Hayes. 'Plein air explorers' 2008

 

(30) Siri Hayes
Plein air explorers
2008
C-type print
108 × 135 cm, edition 4 of 6
Collection of Jason Smith

 

An artist’s studio in the landscape.

 

Robyn Stacey. 'Wendy and Brett Whiteley's Library' 2016

 

(31) Robyn Stacey
Wendy and Brett Whiteley’s Library
2016
From the series Dark Wonder
C-type print
110 × 159 cm, edition of 5 + 3 artist proofs
Courtesy the artist and Jan Manton Gallery, Brisbane

 

The landscape brought into the studio by a camera obscura. Robyn Stacey captures the perfect moment of light and clarity, in this instance, also turning the egg-object into an orb of light.

 

Pat Brassington. 'Vedette' 2015

 

(37) Pat Brassington
Vedette
2015
Pigment print
75 × 60 cm, edition of 8,
Courtesy the artist and ARC ONE Gallery, Melbourne and Bett Gallery, Hobart

 

Two orbs, a positive and a negative space.

 

Anne Noble. 'Rubys Room 10' 1998-2004

 

(38) Anne Noble
Ruby’s Room 10
1998-2004
Courtesy the artist and Two Rooms Gallery Auckland

 

Daido Moriyama. 'DOCUMENTARY '78' 1986

 

(42) Daido Moriyama
DOCUMENTARY ’78
1986
Silver gelatin print
61 × 50.8 cm
Private collection

 

Leah King-Smith. 'Untitled #3' 1991

 

(43) Leah King-Smith
Untitled #3
1991
From the series Patterns of connection
C-type print
102 × 102 cm, edition 6 of 25
Private collection

 

 

‘I was seeing the old photographs as both sacred family documents on one hand, and testaments of the early brutal days of white settlement on the other. I was thus wrestling with anger, resentment, powerlessness and guilt while at the same time encountering a sense of deep connectedness, of belonging and power in working with images of my fellow Indigenous human beings.’ ~ L King-Smith, White apron, black hands, Brisbane City Hall Gallery, 1994, p. 7. In this series, the artist superimposes the colonial portrait onto images of the subject’s own landscape, returning the dispossessed to country.

 

 

Unorthodox: a field guide

We could have started anywhere. Perhaps every image ever made connects with another image in some way. But, we have begun with what is known as the first press photograph in Australia – a grisly depiction of Kelly Gang member Joe Byrne, strung up some days after his execution, for a group of onlookers, including a group of documentarians who came in by train to record the event: a painter and several photographers. This is an image of an audience as much as a portrait of the deceased. A hooded photographer bends to his tripod, and a
painter waits in line. Perhaps a seminal moment between competing technologies of record, magnificently captured by colonial photographer, J. W. Lindt (1845-1926): this is as decisive a moment as current technology permitted. Members of the public are also documented; children, men – trackers perhaps, bearing witness to the public display of retribution that was intended to restore social order.

From here, Unorthodox draws a thread of images together, each one connected to those on either side, whether through visual, conceptual, temporal, material or circumstantial ties, or by something even more diffuse and smoky – some images just conjure others, without a concrete reason for their bond. Spanning the entire gallery space, nearly 150 images unfurl with links that move through historic, press, portraiture, popular and art photography.

You are invited to wander through CCPs nautilus galleries, and make what you will of this flow because unlike a chain of custody, there is no singular narrative or forensic link: you are invited to explore not just connections between works but to see individual works in a new light.

At the core of this exhibition is an attempt to lay bare the way that images inform and seep into everyday life, underpinning the way that we see, interpret and understand the world. With a nod to networked image viewing behaviour and image sharing – in one long line – the flow also impersonates the form of a sentence.

The act of looking. Looking is a process, informed by context – where and when we see something, and what surrounds it. Here, images are unbuckled from their original context, indeed there are no museum labels on the wall. But this is often the way when viewing images on the internet, or reproduced in books, referenced in ads, reenacted in fashion shoots, or reinterpreted by artists. The notion of reproductions within photography is slippery, made more so by the rapid circulation of images whereby we sometimes only know certain originals through their reproductions. In this exhibition, sometimes we have the original images, at others we proffer ‘reproductions’, setting out a swathe of contemporary and historical approaches to the craft of photography and video, unhampered by traditional constraints of what we can or cannot show within a non-collecting contemporary art space.

This exhibition moves through a number of notional chapters, for example visual connections can be made between orbs made by soap bubbles (no. 32, 34) and moons (no. 33); eyes (no. 40, 41, 42), gaping mouths (no. 37), the balletic body in space (no. 45); and light from orbs (no. 44, 46) and then moonlight on the ocean (no. 47), which tumbles into salty connections, with photographs exposed by the light of the moon through seawater (no. 48) connecting to an image of salt mines (no. 50), and on to salt prints (no. 51).

We have been influenced by observing how audiences view exhibitions, traversing the space, seemingly drawing connections, making their own flows through works on view. In spite of its indexicality to the world, photography is particularly open to multiple readings due to its reproducibility and its vulnerability to manipulation. A key to this permeability is the intention of the photographer, which can become opaque over time. For example, installation artist Christian Boltanski’s found photograph (no. 137) has been taken out of its time and context
so as to mean something quite different from what the photographer intended.

Importantly, due to their multiple readings, many works could be equally effective if placed in other sections of the exhibition. For example, of the many places to position Leah King-Smith’s Untitled #3 (no. 43), we have elected to locate it amongst compositions that include orbs. However, it is also a staged work; a constructed or collaged photograph; it embodies an Indigenous artist returning the colonial gaze and, due to the age of her source photograph, it represents a deceased person. And, in her own words King-Smith is responding to the trauma of settlement. ‘I was thus wrestling with anger, resentment, powerlessness… while at the same time encountering a sense of deep connectedness, of belonging and power in working with images of my fellow Indigenous human beings.’

A curious process indeed, we have been open to many repositories of images while gathering this flow – from our work with artists at CCP; to childhood memories of images and personal encounters with photography and video; to our trawling of the Internet and books; as well as conversations with writers, artists and collectors. From these stores, we have also considered which works were available in their material form, as opposed to reproductions on wallpaper, postcards and record covers. While we exhibit a broad timespan and multiple technologies, our primary desire as a contemporary art space is to create new contexts for the exhibition of contemporary photography and video.

Unorthodox is a proposition about relationships between images: sometimes real and sometimes promiscuous, and is inevitably open to alternative readings. It brings new contexts to existing artworks whilst celebrating the materiality of real photographs, in real time and critically, honouring the shared democratic experience of the public gallery space.

Naomi Cass and Pippa Milne

 

Brook Andrew. 'I Split Your Gaze' 1997

 

(62) Brook Andrew
I Split Your Gaze
1997, printed 2005
Silver gelatin print
160 × 127 cm
Private collection
Courtesy the artist and Tolarno Galleries, Melbourne; Roslyn Oxley9 Gallery, Sydney; and Galerie Nathalie Obadia, Paris and Brussels

 

Brassaï. 'Young couple wearing a two-in-one suit at Bal De La Montagne Saint-Genevieve' 1931

 

(63) Brassaï
Young couple wearing a two-in-one suit at Bal De La Montagne Saint-Genevieve
c. 1931
Gelatin silver print
Reproduced as digital print on wallpaper
23.2 × 15.9 cm, reproduced at 24.5 × 19 cm

 

William Yang. 'Alter Ego' 2000

 

(64) William Yang
Alter Ego
2000
from the series Self Portraits
Inkjet print, edition 2 of 30
68 × 88 cm
Courtesy the artist

 

Sue FORD (1943-2009) 'St Kilda' 1963

 

(65) Sue Ford (1943-2009)
Lyn and Carol
1961
Silver gelatin print, edition 3 of 5
44 × 38 cm
Courtesy Sue Ford Archive

 

Harold Cazneaux. 'Spirit of endurance' 1937

 

(76) Harold Cazneaux (1878-1953)
Spirit of Endurance
1937
Silver gelatin print
16.8 × 20.4 cm
Private collection

 

 

In the following two works, a critical change of title by the artist reveals what, alone, the eye cannot see. This photograph had already achieved iconic status as a symbol of the noble Australian landscape when, following the loss of his son who died aged 21 at Tobruk in 1941, Cazneaux flipped the negative and presented the image under the new title Spirit of Endurance. The tree is now classified on the National Trust of South Australia’s Register of Significant Trees.

 

Jeff Carter (1928-2010) 'The Eunuch, Marree, South Australia' 1964

 

(77) Jeff Carter (1928-2010)
The Eunuch, Marree, South Australia
1964
Silver gelatin print
37.5 × 27.2 cm
Private collection

 

 

Changing a title can dramatically alter the meaning of an image. This work has had several titles:

Morning Break 1964;
Dreaming in the sun at Marree, outside the towns single store 1966;
At times there is not too much to do except just sit in the sun… 1968;
‘Pompey’ a well known resident of Marree;
and finally The Eunuch, Marree, South Australia 2000

Under early titles, the photograph appeared to be a simple portrait of “Pompey”, a local Aboriginal man in Marree who worked at the town’s bakery. The final title draws viewers’ attention away from what might have seemed to be the man’s relaxed approach to life, and towards the violence enacted on Aboriginal communities in castrating young boys.

 

 

Persons Of Interest - ASIO surveillance 1949 -1980. 'Frank Hardy under awning Caption: Author Frank Hardy shelters under an awning, in the doorway of the Building Workers Industrial Union, 535 George St, Sydney, August 1955'

 

(82) Photographer undisclosed
Persons Of Interest – ASIO surveillance images
1949 -1980
‘Frank Hardy under awning Caption: Author Frank Hardy shelters under an awning, in the doorway of the Building Workers Industrial Union, 535 George St, Sydney, August 1955’
C-type prints
22 × 29 cm each
Private collection

 

The Australian Security and Intelligence Organisation (ASIO) employed photographers to spy on Australian citizens. The photographs which were annotated to indicate persons of interest, were retained by ASIO along with other forms of material gathered through espionage.

 

Luc Delahaye. 'L'Autre' 1999 (detail)

 

(85) Luc Delahaye
L’Autre (detail)
1999
Book published by Phaidon Press, London
17 × 22 cm
Private collection

 

In the footsteps of Walker Evans’ classic candid series, Rapid Transit 1956

 

David Moore (Australia 1927-2003) 'Migrants arriving in Sydney' 1966

 

(94) David Moore (1927-2003)
Migrants arriving in Sydney
1966
Silver gelatin print
35.7 × 47 cm
Private collection

 

In 2015, Judy Annear said of this famous photograph: “It’s great to consider that it’s not actually what it seems.” Years after the photo was published, it emerged that four of the passengers in it were not migrants but Sydneysiders returning home from holiday.

 

Joe Rosenthal (1911-2006) 'Raising the Flag on Iwo Jima' 1945

 

(95) Joe Rosenthal (1911-2006)
Raising the Flag on Iwo Jima
1945
Digital print on wallpaper, reproduced at 20 × 25 cm

 

While not present at the the raising of the first flag over Iwo Jima, Rosenthal witnessed the raising of the replacement flag. Some maintain that this Pulitzer Prize winning photograph was staged, while others hold that it depicts the replacement of the first flag with a larger one.

 

Charles Kerry (1857-1928) 'Aboriginal Chief' c. 1901-1907

 

(103) Charles Kerry (1857-1928)
Aboriginal Chief
c. 1901-1907
Carte de visite
13.7 × 8.5 cm
Private collection

 

No name or details are recorded of this sitter from Barron River, QLD. He was a member of the touring Wild West Aboriginal troupe, which staged corroborees, weapon skills and tableaux of notorious encounters between armed Native Police and unarmed local communities.

 

Brook Andrew. 'Sexy and Dangerous' 1996

 

(104) Brook Andrew
Sexy and Dangerous
1996
Computer-generated colour transparency on transparent synthetic polymer resin, included here as postcard of artwork
original 146.0 × 95.6 cm, included here at 15.3 × 10.5 cm
The artist is represented by Tolarno Galleries, Melbourne; Roslyn Oxley9 Gallery, Sydney; and Galerie Nathalie Obadia, Paris and Brussels

 

William Eggleston. 'Untitled (glass on plane)' 1965-1974

 

(116) William Eggleston
Untitled (glass on plane)
1965-1974
C-type print
41 × 56 cm
Private collection

 

Bill Culbert. 'Small glass pouring Light, France' 1997

 

(117) Bill Culbert
Small glass pouring Light, France
1997
Silver gelatin print, edition of 25
40.5 × 40.5 cm
Courtesy the artist and Roslyn Oxley9 Gallery, Sydney and Hopkinson Mossman Gallery, Auckland

 

Olive Cotton (Australia 1911-2003) 'Teacup ballet' 1935, printed 1992

 

(118) Olive Cotton
Teacup Ballet
1935
Silver gelatin print
35.5 × 28 cm
Courtesy Tony Lee

 

David Moore (1927–2003) 'Sisters of Charity' 1956

 

(119) David Moore (1927-2003)
Sisters of Charity
1956
Silver gelatin print
40.5 × 27.1 cm
Private collection

 

Bernd and Hilla Becher. 'Kies-und Schotterwerke (Gravel Plants)' 2006

 

(120) Bernd and Hilla Becher (Bernd Becher 1931-2007, Hilla Becher 1934-2015)
Kies-und Schotterwerke (Gravel Plants)
2006
Silver gelatin print
99 × 121 cm
Private collection

 

Max Dupain (Australian, 1911 - 1992) 'Backyard, Forster, New South Wales' 1940

 

(123) Max Dupain (Australian, 1911-1992)
Backyard, Forster, New South Wales
1940
Silver gelatin print
44 × 39 cm
Private collection

 

Joyce Evans. 'Budapest Festival' 1949

 

(138) Joyce Evans
Budapest Festival
1949
Inkjet print
7.6 × 7.6 cm
Courtesy the artist

 

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

 

(145) Jeff Wall
A sudden gust of wind (after Hokusai)
1993
Transparency on lightbox, included here as postcard of artwork
250 × 397 × 34 cm, included here at 15.3 × 10.5 cm
Artist is represented by Marian Goodman Gallery; Gagosian; and White Cube Gallery

 

Masayoshi Sukita. 'David Bowie - Heroes' 1977

 

(147) Masayoshi Sukita
David Bowie – Heroes
1977
Record cover
31 × 31 cm

 

Sukita: In gesture and gaze, Sukita’s photograph for David Bowie’s 1977 cover harks back 60 years to Weimar Republic artist, Erich Heckel’s 1917 painting, Roquairol, which is in Bowie’s art collection.

 

 

(148) Francis Alÿs
Railings (Fitzroy square)
London, 2004
4.03 min.
Francis Alÿs website

 

We posit Fitzroy Square at this point; in honour of your journey through this unorthodox flow of images.

 

 

Centre for Contemporary Photography
404 George St, Fitzroy
Victoria 3065, Australia
T: + 61 3 9417 1549

Opening Hours:
Wednesday – Saturday, 11am – 6pm
Sunday, 1pm – 5pm

Centre for Contemporary Photography website

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Dr Marcus Bunyan

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

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