Like the my earlier posting on the exhibition ‘Caravaggio – Bacon’ at Gallery Borghese, Rome, what an inspired curatorial decision this is. I would have never have thought to have brought Bacon and Moore together, but the synergy between the two artists work is undeniable.
Personally, I don’t think that Moore is as immobile and measurable as Radoslaw Kudlinski states in the quotation below: while rooted in anthropological concerns his anthropomorphic “nightmares” have a heft and gravitas that move you, not physically, but in the pit of your stomach. Look at the open mouth of Reclining Figure (1951, below) and tell me you are not drawn down into the bowls of the soul through the pointed tit of mother earth. Tactile, yes. Immobile and measurable, NO!
Moore moves you from within. His roots are from an ancient and emotional landscape, one of decay, time and change. His works are like embryonic sacs, pushing out at you from different points. The holes in his work are like looking into a black hole. The spaces he creates with his sculptures DENY a perfect formal economy, for they are really awkward images that impinge on a space. Never stationary, his sculptures move you from within in the most powerful way. A perfect counterbalance to the external, cinematic rambunctiousness of Bacon.
Dr Marcus Bunyan
Many thankx to the Art Gallery of Ontario for allowing me to publish the photographs in the posting. Please click on the photographs for a larger version of the image.
“While Moore’s figures are sustaining themselves entirely from within, Bacon’s are disengaged fugitives from history. Bacon is already “after” when Moore is still “before.”
And while Moore’s nightmares are still rooted in anthropological concerns – corporeal and measurable – Bacon’s subject is a phantom without a name, without a past, because a collectivised subject is only and always an abstract fragment of a person.
But we need Moore’s confrontation with Bacon. Moore is a guardian of our sanity. His forms are stationary – despite the refined movement of all their structural lines, and their impeccable pronunciation of architectural tempo, as well as their perfect formal economy, they are going nowhere.
And because of Moore’s immobility, tactility and measurability, I welcome his presence with relief. He defends us from Bacon’s radical, cinematic mobility, forever escaping our grasp.
Bacon’s state of convulsive stasis is an illusion, because looking at his canvas you have an impression that between the two or three takes, there are more frames, as in a movie, trapped in the same space. There is also a sense that this trapping of multiplicity is not a conscious choice, but the consequence of there being nowhere else to go.
Bacon is the scandal of the flesh, the existential strip-tease – even a post-flesh, post-body concept of a person. He is a fugitive, and his natural state is motion, appearance and disappearance. He belongs to non-materiality, to cyberspace – and this is his paradox, because together with the sensuality of his pictorial matter, the materiality of subject is gone. That’s why Bacon is so relevant today.”
Radoslaw Kudlinski. “Serious Scary: Francis Bacon and Henry Moore in Toronto,” on the Canadian Art website, May 7, 2014 [Online] Cited 05/07/2014. No longer available online. Used under fair use conditions for the purposes of education and research
The tortured British painter Francis Bacon, whose triptych recently set a new record for the most expensive artwork ever sold at auction, makes his Canadian debut this spring at the Art Gallery of Ontario (AGO) alongside rarely-seen works by the British sculptor Henry Moore in the exhibition Francis Bacon & Henry Moore: Terror and Beauty. Featuring more than 130 artworks, including paintings, sculptures, drawings, photographs and archival materials, the exhibition explores the two artists’ shared fascination with the human form in relation to the violence of the Second World War and other key events of the 20th century.
Although they were neither friends nor collaborators, Bacon (b. 1909) and Moore (b. 1898) were contemporaries who shared an obsession with expressing themes of violence, trauma and conflict, both social and personal. Drawing on the artists’ personal experiences during the London Blitz and other conflicts, the exhibition examines how confinement and angst fostered their extraordinary creativity and unique visions. Bacon, whose dark depictions of human torment have inspired several characters in popular culture, including the appearance of Heath Ledger’s Joker in The Dark Knight, was a sado-masochist who sought to process the trials of humanity through his canvases. Moore, a British war artist, was one of the most renowned sculptors of his time. His works evoke endurance and stability, but when considered in light of his wartime experience, they read as an effort to rebuild and redeem the fragile human psyche and body.
Curated for the AGO by Dan Adler, associate professor of art history at York University, Francis Bacon and Henry Moore: Terror and Beauty is the first Canadian exhibition of Bacon’s work and includes rarely seen Moore pieces, from both the AGO collection and elsewhere. Moore’s works are a cornerstone of the AGO collection, and pairing them with those by Francis Bacon sets them in a new light. The exhibition also presents more than 30 archival photographs by acclaimed German-born British photographer Bill Brandt. Loans for the exhibition have also been secured from several institutions, including MoMA, Tate Britain and the Museum of Contemporary Art, Chicago.
Exhibition dates: Tuesday 22nd July – Saturday 26th, July, 2014
Opening: Tuesday 22nd July 6-8pm
Nite Art: Wednesday 23rd July until 11pm Artists represented: Philip Potter, John Storey, John Englart, Barbara Creed, Ponch Hawkes, Rennie Ellis Curators: Dr Marcus Bunyan and Nicholas Henderson Catalogue essays: Professor Dennis Altman (below) and Dr Marcus Bunyan (Being (t)here)
Five days, that’s all you’ve got! Just five days to see this fabulous exhibition. COME ALONG TO THE OPENING (Tuesday 22nd July 6-8pm) or NITE ART, the following night!
The exhibition Out of the closets, into the streets: gay liberation photography 1971-73 pictures the very beginning of the gay liberation movement in Australia through the work of Philip Potter, John Storey, John Englart, Barbara Creed, Ponch Hawkes and Rennie Ellis. The exhibition examines for the first time images from the period as works of art as much as social documents. The title of the exhibition is a slogan from the period.
As gay people found their voice in the early 1970s artists, often at the very beginning of their careers, were there to capture meetings in lounge rooms, consciousness raising groups and street protests. The liberation movement meant ‘being there’, putting your body on the line. “It was a key feature of the new left that this embodied politics couldn’t stop in the streets: that is, the public arena as conventionally understood. ‘Being there’ politically also applied to households, classrooms, sexual relations, workplaces and the natural environment.”1
Curated by Dr Marcus Bunyan and Nicholas Henderson and with catalogue essays by Professor Dennis Altman (below) and Dr Marcus Bunyan (Being (t)here: Gay Liberation Photography in Australia 1971-73), the show is a stimulating experience for those who want to be inspired by the history and art of the early gay liberation movement in Australia.
The exhibition coincides with AIDS 2014: 20th International AIDS Conference (20-25 July 2014) and Nite Art which occurs on the Wednesday night (23rd July 2014). The exhibition will travel to Sydney to coincide with the 14th Australia’s Homosexual Histories Conference in November at a venue yet to be confirmed.
Dr Marcus Bunyan
1/ Connell, Raewyn. “Ours is in colour: the new left of the 1960s,” in Carolyn D’Cruz and Mark Pendleton (eds.,). After Homosexual: The Legacies of Gay Liberation. Perth: UWA Publishing, 2013, p. 43.
Many thankx to all the artists for allowing me to publish the photographs in the posting. Please click on the photographs for a larger version of the image.
This exhibition chronicles a very specific time in several Australian cities, the period when lesbians and gay men first started demonstrating publicly in a demand to be accorded the basic rights of recognition and citizenship. Forty years ago to be homosexual was almost invariably to lead a double life; the great achievement of gay liberation was that a generation – although only a tiny proportion of us were ever Gay Liberationists – discovered that was no longer necessary.
The Archives have collected an extraordinary range of materials illustrating the richness of earlier lesbian and gay life in Australia, but this does not deny the reality that most people regarded homosexuality as an illness, a perversion, or a sin, and one for which people should be either punished or cured. It is revealing to read the first avowedly gay Australian novel, Neville Jackson’s No End to the Way [published in 1965 – in Britain – and under a pseudonym] to be reminded of how much has changed in the past half century.
Gay Liberation had both local and imported roots; the Stonewall riots in New York City, which sparked off a new phase of radical gay politics – when ‘gay’ was a term understood to embrace women, men and possibly transgender – took place in June 1969. They were barely noticed at the time in Australia, where a few people in the civil liberties world, most of them not homosexual, had started discussing the need to repeal anti-sodomy laws.
Small law reform and lesbian groups had already existed, but the real foundation of an Australian gay movement came in September 1970 when Christabel Pol and John Ware announced publicly the formation of CAMP, an acronym that stood for the Campaign Against Moral Persecution but also picked up on the most used Australian term for ‘homosexual’. Within two years there were both CAMP branches in most Australian capital cities, as well as small gay liberation groups that organised most of the demonstrations illustrated in this exhibition.
The differences between gay liberation and CAMP were in practice small, but those of us in Gay Liberation prided ourselves on our radical critique, and our commitment to radical social change. CAMP, with its rather daggy social events and its stress on law reform – at a time in history when homosexual conduct between men was illegal across the country – seemed to us too bourgeois, though ironically it was CAMP which organised the first open gay political protest in Australia [immediately identified by the balloons in the Exhibition photos].
It is now a cliché to say “the sixties” came to Australia in the early 1970s, but a number of forces came together in the few years between the federal election of 1969, when Gough Whitlam positioned the Labor Party as a serious contender for power, and 1972, the “It’s Time” election, when the ALP took office for the first time in 23 years. We cannot understand how a gay movement developed in Australia without understanding the larger social and cultural changes of the time, which saw fundamental shifts in the nature of Australian society and politics.
The decision of the Menzies government in 1965 to commit Australian troops to the long, and ultimately futile war in Vietnam, led to the emergence of a large anti-war movement, capable of mobilising several hundred thousand people to demonstrate by the end of the decade. Already under the last few years of Liberal government the traditional White Australia Policy was beginning to crumble, as it became increasingly indefensible, and awareness of the brutal realities of dispossession and discrimination against indigenous Australians was developing. Perhaps most significant for a movement based on sexuality, the second wave feminist movement, already active in the United States and Britain, began challenging the deeply entrenched sexist structures of society.
To quote myself, this at least reduces charges of plagiarism: “Anyone over fifty in Australia has lived through extraordinary changes in how we imagine the basic rules of sex and gender. We remember the first time we saw women bank tellers, heard a woman’s voice announce that she was our pilot for a flight, watched the first woman read the news on television. Women are now a majority of the paid workforce; in 1966 they made up twenty-nine per cent. When I was growing up in Hobart it was vaguely shocking to hear of an unmarried heterosexual couple living together and women in hats and gloves rode in the back of the trams (now long since disappeared). As I look back, it seems to me that some of the unmarried female teachers at my school were almost certainly lesbians, although even they would have been shocked had the word been uttered.”
In Australia Germaine Greer’s book The Female Eunuch became a major best seller, and Germaine appeared [together with Liz Fell, Gillian Leahy and myself] at the initial Gay Liberation forum at Sydney University in early 1972; looking back it is ironic that a woman who has been somewhat ambivalent in her attitudes to homosexuality was part of the public establishment of the gay movement.
But the early demonstrations illustrated in this exhibition did often include sympathetic “straights” – a term that seems to have disappeared from the language – for whom gay liberation was part of a wider set of cultural issues. It is essential to recognise that while political demonstrations may seem to assert certain claims they play widely different roles for those who participate. For some of us a public protest is a form of “coming out”; indeed many people had never been public about their sexuality before they attended their first demonstration. For others a demonstration is primarily a place to find solidarity, friendship, and, if lucky, sex.
For the gay movement more than any other just to declare oneself as gay was to take an enormous step, a step that some found remarkably easy while others had to wait until late in life to discover that actually almost everyone knew anyway. I remember the now dead Sydney playwright, Nick Enright, who was one of the first people to be open about his homosexuality, and was so without any sense of difficulty; at the same time there are still people who go to great lengths to hide their sexuality even while acknowledging they would face little risk of discrimination were they not to do so
Maybe there is a parallel for people who now declare their lost Aboriginal heritage, unsure how they will be regarded but aware that this is crucial to their sense of self. Every generation has its own version of coming out stories, this exhibition hones in on that time in our national history when everything seemed in flux, and gay liberation seemed a small part of creating a brave new world in which old hierarchies and restraints would disappear.
Looking back at the photos creates a certain nostalgia – we all look so young, so sure that we were changing the world, though in reality most of us were putting on a brave front. The oddest thing is that in some ways we did change the world. Forty years ago we looked at the police as threatening, symbolised in the photograph from Melbourne Gay Pride 1973 where the policeman is clearly telling people to move on. Today openly lesbian and gay cops march with us in the streets, and the very idea that homosexuality could be criminalised, as it still is in many parts of the world, has largely disappeared from historical memory. Indeed to many people attending this exhibition that may be the first time they confront the reality that being gay in Australia in the early 1970s was to live in a world of silence, evasion and fear.
OMG some of these images are SO beautiful and others SO bizarre. Please enlarge the detailed shots of Lady in Costume (c. 1850, below) and Traveling Minstrels – banjo and bones (c. 1850, below) – my two favourites – so you can see the costumes and the people. The clothes of the bones player are incredible… I wonder what they did with their lives, where they went and how they lived. How old do you think they are? And what is that on the front of his hat, a watch?
Dr Marcus Bunyan
Many thankx to The Nelson-Atkins Museum of Art for allowing me to publish the photographs in the posting. Please click on the photographs for a larger version of the image.
John Brown (May 9, 1800 – December 2, 1859) was a white American abolitionist who believed armed insurrection was the only way to overthrow the institution of slavery in the United States.During the 1856 conflict in Kansas, Brown commanded forces at the Battle of Black Jack and the Battle of Osawatomie.Brown’s followers also killed five slavery supporters at Pottawatomie. In 1859, Brown led an unsuccessful raid on the federal armoury at Harpers Ferry that ended with his capture.Brown’s trial resulted in his conviction and a sentence of death by hanging.
Brown’s attempt in 1859 to start a liberation movement among enslaved African Americans in Harpers Ferry, Virginia, electrified the nation. He was tried for treason against the Commonwealth of Virginia, the murder of five men and inciting a slave insurrection. He was found guilty on all counts and was hanged. Southerners alleged that his rebellion was the tip of the abolitionist iceberg and represented the wishes of the Republican Party to end slavery. Historians agree that the Harpers Ferry raid in 1859 escalated tensions that, a year later, led to secession and the American Civil War.
The bones are a musical instrument (more specifically, a folk instrument) which, at the simplest, consists of a pair of animal bones, or pieces of wood or a similar material. Sections of large rib bones and lower leg bones are the most commonly used true bones, although wooden sticks shaped like the earlier true bones are now more often used…
They have contributed to many music genres, including 19th century minstrel shows, traditional Irish music, the blues, bluegrass, zydeco, French-Canadian music, and music from Cape Breton in Nova Scotia…
They are typically about 5″ to 7″ in length, but can be much longer, and they are often curved, roughly resembling miniature barrel staves. Bones can also be flat, for example by the cutting of a yardstick. They are played by holding them between one’s fingers, convex surfaces facing one another, and moving one’s wrist in such a way that they knock against each other…
While North American players are typically two-handed, the Irish tradition finds the vast majority of bones players using only one hand, a distinction in method that has a strong impact on musical articulation. The comparison of the function of banjo rolls with that of bones within an ensemble suggests that stereotypically a subdivided accompaniment pattern is played on the bones.
An exhibition featuring more than 50 daguerreotypes acquired by The Nelson-Atkins Museum of Art since 2007 opened on Jan. 24. In the Looking Glass: Recent Daguerreotype Acquisitions is a fascinating look at an early photographic process that was introduced in 1839. “In the 19th century, daguerreotypes seemed to be magical bits of reality,” says Jane Aspinwall, associate curator of Photography. “Now, more than a century later, they still hold that kind of wonder and appeal.”
A precursor of printed photography, the daguerreotype image is formed on a highly polished silver surface that is exposed to iodine fumes. The fumes produce a light sensitive coating. The plate is then covered with a protective dark slide and placed into a camera. An image is projected through the lens and onto the plate; the image is then developed using heated mercury. The distinguishing visual characteristics of a daguerreotype are that the image is on a bright, mirror-like surface of metallic silver and it appears either positive or negative depending on the lighting conditions and whether a light or dark background is being reflected in the metal.
Important additions to the Nelson-Atkins American collection include portraits by major makers, including possibly the earliest of only six known daguerreotypes of noted abolitionist John Brown. In the French holding, lively portraits, cityscapes, and archaeological images are highlighted. A 170-year-old daguerreotype from Egypt transports viewers to the shimmering banks of the Nile River, a place few would have been able to travel to at the time. British pieces are distinguished by elaborate hand-colouring.
Small, intimate American daguerreotypes, most housed in jewel-like velvet or silk-lined cases, were made to be held close and scrutinised. Because they are reflective, the Nelson-Atkins designed more than two dozen cases with special lighting features to provide optimal viewing conditions, bringing each detailed image to life. A daguerreotype of a young girl clutching a shawl around her bare shoulders seems to float; another sharply detailed, rare Gold Rush image [second image, below] depicts a small group of men standing in front of their grocery store located in a California frontier town.
“It’s an amazing experience to view these precious, one-of-a-kind daguerreotypes,” said Aspinwall. “Once you see one, you never forget it. It takes you back in time to share a mid-19th century moment with the sitter.”
The Nelson-Atkins is recognised as having one of the top five American daguerreotype collections in the U.S. and loaned more than 80 to the Taft Museum in Cincinnati for the 2013 exhibition Photographic Wonders. Daguerreotypes are an internationally significant cornerstone of the museum’s photography holdings.”
Press release from the Nelson-Atkins Museum of Art website
Dario Escobar (Guatemalan, b. 1971) Obverse & Reverse XIV (installation view) 2013 Latex, leather, string and steel 11 1/2 × 6 9/16 × 6 9/16 ft. (349.89 × 199.94 × 199.94cm) Dario Escobar Courtesy of the artist and Josée Bienvenu Gallery, New York
In honour of the World Cup final and a wonderful tournament, here is a glorious posting to celebrate The Beautiful Game!
PS. So much of this work is conceptual graphic design, doesn’t anybody make art anymore?
Marcus
Many thankx to the Los Angeles County Museum of Art (LACMA) for allowing me to publish the photographs in the posting. Please click on the photographs for a larger version of the image.
On the eve of the World Cup – which, like the Olympics, takes place every four years – this exhibition celebrates football, the world’s game, and its richness as a field for metaphorical inquiry. Just as the World Cup brings together athletes and fans from around the globe, Fútbol: The Beautiful Game explores some of the ties that bind us as humans. Focusing on a simple game allows for a direct conversation about the communication and (more often) miscommunication that characterise our collective life, while celebrating one thing that most of the planet holds its breath for: the quadrennial event held to crown a nation as world champion of football. The sport has often been cited as a metaphor for nations, for cultures, and even for life, as is suggested by a statement attributed to the writer Albert Camus: “After many years in which the world has afforded me many experiences, what I know most surely about morality and obligations, I owe to football.” Camus believed that the simple rules governing the game often had more to teach us about life than did politicians and philosophers.
Fútbol: The Beautiful Game presents the work of more than 30 artists who address the game through its imagery, signs, symbols, and sounds while also touching on larger issues well apart from the field of play. These themes include masculinity and the construction of heroes; ritual and worship; marketing and power; and current political, social, and cultural phenomena.
In the background: Andreas Gursky (German, b. 1955) Amsterdam, EM Arena I (installation view) 2000 Chromogenic print 108 1/4 × 80 11/16 × 2 7/16 in. (275 × 205 × 6.2cm) Gagosian Gallery Andreas Gursky, Courtesy Gagosian Gallery
Nelson Leirner (Brazil, 1932-2020) Maracana (installation view details) 2003 Plaster, plastic, ceramic, wood 120 x 130 3/4 x 9.5 in. Brooklyn Museum
In case: Satch Hoyt (Anglo-Afro-Jamaican, b. 1957) Kick That (installation view) 2006 Mixed media with sound Satch Hoyt Courtesy of the artist
In the background: George Afedzi Hughes (Ghanaian-born American, b. 1962) Parallel (installation view) 2009-2011 Acrylic, oil, enamel on canvas 72 x 120 in. (182.88 x 304.8cm) Skoto Gallery Collection of the artist, Courtesy Skoto Gallery
George Afedzi Hughes (Ghanaian-born American, b. 1962) Parallel 2009-2011 Acrylic, oil, enamel on canvas 72 x 120 in. (182.88 x 304.8cm) Skoto Gallery Collection of the artist, Courtesy Skoto Gallery
Stephen Dean (French-American, b. 1968) Volta (installation view) 2002-2003 Single-channel color DVD installation (9′) with audio and fabric enclosure Collection of Ruth and William True
Right on floor: Mary Ellen Carroll (American, b. 1961) FREE THROW (installation view) 1984 Mannequin bottom and basketball with rubberised paint 4 x 3 x 1 ft. (121.91 x 91.44 x 30.48cm) Mary Ellen Carroll Courtesy of the artist, 3rd Streaming-NYC, Galerie Hubert Winter-Vienna, Austria
Centre: Wendy White (American, b. 1971) Clavado (installation view) 2013 Acrylic on canvas, wood, enamel 74 1/2 × 74 1/2 in. (189.23 × 189.23cm) Andrew Rafacz Gallery Courtesy of the artist and Andrew Rafacz
Right: Dewey Tafoya (American) Olmeca 1370 BCE (installation view) 2013 Serigraph 36 × 50 in. (91.44 × 127cm) Self-Help Graphics Self Help Graphics & Art, Professional Printmaking Program, 2013. On loan from the Self Help Graphics & Art Collection
Installation view of the exhibition Fútbol: The Beautiful Game at The Los Angeles County Museum of Art (LACMA)
The Los Angeles County Museum of Art (LACMA) presents Fútbol: The Beautiful Game, an exhibition examining the sport of fútbol, or soccer, as it is known in the United States. Featuring approximately 50 works by nearly 30 artists on the subject of Fútbol – often referred to as “the beautiful game” – the exhibition looks at issues of nationalism, identity, globalism, and mass spectacle as well as the shared human experience between spectators from a multitude of cultures. In anticipation of the 2014 World Cup that takes place in Brazil this summer, LACMA’s exhibition considers the sport through video, photography, painting, sculpture, and large-scale installation.
“A globally beloved sport celebrated in the context of a museum: what a great opportunity to explore the international scope of soccer through the lens of art,” said Michael Govan, CEO and Wallis Annenberg Director of LACMA. “Fútbol should excite all, especially as it coincides with the World Cup in Brazil in summer 2014.”
“When people watch a game, they feel inspired by the spirit of the team, the fans, and the sense of community,” remarked Franklin Sirmans, Terri and Michael Smooke Curator and department head of contemporary art at LACMA, “We, the fans, create the spirit of the team via our rituals. Witnessing a game is one of the few occasions during which a collective sense of enthusiasm is still possible. This exhibition explores that energy.”
Exhibition overview
Two room-sized video installations anchor Fútbol: The Beautiful Game. The first, Zidane: A 21st Century Portrait by the artists Philippe Parreno and Douglas Gordon, provides an intimate portrait of Zinedine Zidane – one of the greatest soccer players in the history of the sport – during the course of a single match. Meanwhile, Stephen Dean’s Volta, set to samba music, directs its gaze at stadium crowds and draws attention to both the pandemonium and organised ritual of mass audiences.
Other works by artists including Robin Rhode, Kehinde Wiley, Petra Cortright, Andy Warhol, Mark Bradford, Mary Ellen Carroll, Hassan Hajjaj, and Andreas Gursky, among others, provide a sense of the possibilities of the sport as a universal conversation piece. With artists hailing from as far afield as Morocco, Germany, Mexico, and South Africa – in addition to several Los Angeles–based artists – the geographic range represented in Fútbol: The Beautiful Game reflects the global reach of the sport.
Gustavo Artigas’s The Rules of the Game examines the ways in which communities that play different sports (basketball, soccer, and football) perceive one another, while Miguel Calderón’s video Mexico vs. Brasil dramatically unfolds during an unlikely victory for Mexico. Chris Beas harkens back to classical modes of presentation in his paintings: his athletic figures are depicted in a celebratory, almost mythic light. Meanwhile, the athletes featured in Generic Art Solutions’ works are almost caricatures caught in moments of extreme dramatisation.
In collaboration with LACMA, a new edition of prints has been commissioned by Self Help Graphics under the direction of executive director, Evonne Gallardo. The new prints by Carolyn Castano, Nery Gabriel Lemus, Ana Serrano, Dewey Tafoya, Ami Motevelli and Mario Ybarra, Jr. address varied aspects of the game – from a commemoration for the Colombian soccer player Andres Escobar who was shot and killed shortly after the 1994 World Cup, seemingly for his mistaken own goal, to references to the Olmec culture of the first major civilisation in Mexico.
As a nod to the imminent World Cup, the exhibition’s design alludes to the Brazilian flag with graphic symbolism as it evokes the environs of the sport – sun, sky, and grass – through a vibrant yellow, blue, and green.
Ana Serrano (American, b. 1983) Narco Soccer 2013 Serigraph 50 × 36 in. (127 × 91.44cm) Self-Help Graphics Self Help Graphics & Art, Professional Printmaking Program, 2013. On loan from the Self Help Graphics & Art Collection
As Minor White’s artist bookThe Temptation of St. Anthony is Mirrors (1948) is a visual love poem to Tom Murphy, so my artist book The Songs of Eternity (1994) is a visual love poem to my then long-time partner Paul. Both are exceedingly rare books: there are two copies of White’s book and there is one copy of mine.
The prints are even more beautiful in the flesh (so to speak).
Marcus
I am scanning my negatives made during the years 1991-1997 to preserve them in the form of an online archive as a process of active memory, so that the images are not lost forever. These photographs were images of my life and imagination at the time of their making, the ideas I was thinking about and the people and things that surrounded me.
Photographs are available from this series for purchase. As a guide, a vintage 8″ x 10″ silver gelatin print costs $700 plus tracked and insured shipping. For more information please see my store web page.
*PLEASE NOTE THIS POSTING CONTAINS ART PHOTOGRAPHS OF MALE NUDITY – IF YOU DO NOT LIKE PLEASE DO NOT LOOK, FAIR WARNING HAS BEEN GIVEN*
The Songs of Eternity
Images and poetry by M. Bunyan 1994
I stood at the edge of the precipice / and peered in as William Blake would say
The timepiece of eternity / swung hands through all the hours
so how naive I’ve been / not to see its powers
Did I deceive / or was I led
What a rude awakening / throughout my head
Many fabulous things were said /
many a doubt was in silence bled …
Nothing is certainty but the change – I was must be strong to attain
Depth, spirit, integrity and the rest
This affirmation I will confirm – not in conformity but in my own special way
Not this way nor that but my own path / that one day will whisper gently in my ear
Be strong, for we have much to say / when the sea becomes the sky.
Strong in your arms I become your scent
Lying in my bed the sheets of flowers enfold me
Trusting in my heart I know
Today Yesterday Tomorrow
The Songs of Eternity
Marcus Bunyan (Australian, b. 1958) Shroud 1994 From the series The Songs of Eternity Silver gelatin photograph
I stood at the edge of the precipice / and peered in as William Blake would say
Marcus Bunyan (Australian, b. 1958) Paul, shadows 1994 From the series The Songs of Eternity Silver gelatin photograph
The timepiece of eternity / swung hands through all the hours
Marcus Bunyan (Australian, b. 1958) Eternal timepiece 1994 From the series The Songs of Eternity Silver gelatin photograph
so how naive I’ve been / not to see its powers
Marcus Bunyan (Australian, b. 1958) Paul, head covered 1994 From the series The Songs of Eternity Silver gelatin photograph
Did I deceive / or was I led
Marcus Bunyan (Australian, b. 1958) Pendent #1 1994 From the series The Songs of Eternity Silver gelatin photograph
What a rude awakening / throughout my head
Marcus Bunyan (Australian, b. 1958) Untitled 1994 From the series The Songs of Eternity Silver gelatin photograph
Many fabulous things were said /
Marcus Bunyan (Australian, b. 1958) Untitled 1994 From the series The Songs of Eternity Silver gelatin photograph
many a doubt was in silence bled …
Marcus Bunyan (Australian, b. 1958) Suspension #1 1994 From the series The Songs of Eternity Silver gelatin photograph
Nothing is certainty but the change – I was must be strong to attain
Marcus Bunyan (Australian, b. 1958) Chrysalis 1994 From the series The Songs of Eternity Silver gelatin photograph
Depth, spirit, integrity and the rest
Marcus Bunyan (Australian, b. 1958) Décolleté 1994 From the series The Songs of Eternity Silver gelatin photograph
This affirmation I will confirm – not in conformity but in my own special way
Marcus Bunyan (Australian, b. 1958) Paul, doorway (for Georgia O’Keeffe) 1994 From the series The Songs of Eternity Silver gelatin photograph
Not this way nor that but my own path / that one day will whisper gently in my ear
Marcus Bunyan (Australian, b. 1958) Pendent #2 1994 From the series The Songs of Eternity Silver gelatin photograph
Be strong, for we have much to say / when the sea becomes the sky.
Marcus Bunyan (Australian, b. 1958) Shadow, wreath 1994 From the series The Songs of Eternity Silver gelatin photograph
Strong in your arms I become your scent
Marcus Bunyan (Australian, b. 1958) Madonna, male 1994 From the series The Songs of Eternity Silver gelatin photograph
Lying in my bed the sheets of flowers enfold me
Marcus Bunyan (Australian, b. 1958) Suspension #2 1994 From the series The Songs of Eternity Silver gelatin photograph
Trusting in my heart I know
Marcus Bunyan (Australian, b. 1958) Paul, wreath and hands 1994 From the series The Songs of Eternity Silver gelatin photograph
Today Yesterday Tomorrow
Marcus Bunyan (Australian, b. 1958) Untitled 1994 From the series The Songs of Eternity Silver gelatin photograph
Artists include: Marcus Bunyan, Juan Davila, Andrew Foster, Brent Harris, Mathew Jones, Peter Lyssiotis, Lex Middleton, Andi Nellsün, Marcus O’Donnell, Scott Redford, and Ross T Smith.
Opening: Wednesday 16 July 5.30 pm – 7.30 pm
Unknown photographer ACT UP D-Day on the steps of Flinders St. Station, 6 June 1991
1991
Image courtesy of the Australian Queer Archives
Another important exhibition to coincide with the 20th International AIDS Conference to be held in Melbourne this July. The exhibition – which focuses on the seminal exhibition Don’t Leave Me This Way: Art In The Age Of AIDS, curated by Ted Gott at the National Gallery of Australia in Canberra in 1994 – is supported by an extensive program of public events (see below) some of which I hope to get to. The community lost so many good people.
I just want to say ‘good on ya, Andi’, hope your smiling up there somewhere!
Dr Marcus Bunyan
Many thankx to Michael Graf and The George Paton Gallery for allowing me to publish the art work in the posting. Please click on the photographs for a larger version of the image. The exhibition will be open until 9pm on Wednesday 23 July as part of the Nite Art Walk.
Andi Nellsün (Australian) Matr’x 1993
To coincide with the 20th International AIDS Conference to be held in Melbourne in July, TRANSMISSIONS | Archiving HIV/AIDS | Melbourne 1979-2014 is an exhibition of artworks, manuscripts, and other material from private collections and public archives. It will focus on the partnership between government, health professionals, and Melbourne’s gay community, and on relations between activism, art and design.
Australia is recognised for having implemented one the world’s most successful HIV/AIDS prevention campaigns. The exhibition and conference, however, coincide with a twenty-year high in infection rates. To be able to reach a younger generation,current health promotion campaigns have become increasingly sophisticated. TRANSMISSIONS will investigate several of these campaigns in relation to others from the past thirty years.
TRANSMISSIONS will feature artworks by Marcus Bunyan, Juan Davila, Andrew Foster, Brent Harris, Mathew Jones, Peter Lyssiotis, Lex Middleton, Andi Nellsün, Marcus O’Donnell, Scott Redford, and Ross T Smith.
A publication and a comprehensive public program will accompany this two-week exhibition.
Exhibition curated by Michael Graf and Russell Walsh.
~ Thursday 17 July, 5.30 pm – 6.30 pm – Introduction to the archives
Nick Henderson (Australian Queer Archives) and Katie Wood (University of Melbourne Archives) in conversation with Russell Walsh.
~ Friday 18 July, 5.30 pm – 6.30 pm – Activism, archives and history
Graham Willett (Australian Lesbian & Gay Archives) in conversation with Russell Walsh.
~ Saturday 19 July, 3 pm – 4 pm – Curator floor-talk with Michael Graf and Russell Walsh
~ Wednesday 23 July – exhibition open till 9pm for Nite Art Walk
~ Wednesday 23 July 7.00 pm – 8.00 pm – Hares and Hyenas Word is Out presents: Charles Roberts, Infected Queer – 20 years on
Melbourne writer Javant Biarujia will read from the polemical AIDS diary that he helped edit and publish in 1994.
~ Thursday 24 July, 5.30 pm – 6.30 pm – Don’t Leave Me This Way: Art In The Age Of AIDS: 20 years on
Ted Gott, Curator of the seminal exhibition at the National Gallery of Australia in 1994, in conversation with Michael Graf, with several of the exhibition’s artists present for comment.
~ Friday 25 July, 5.30 pm – 6.30 pm – The Face of HIV/AIDS: Photographic Portraiture and HIV/AIDS 1984-1994
Susannah Seaholm-Rolan reflecting on why many of the artists featured in Don’t Leave Me This Way: Art In The Age Of AIDS worked in the medium of photographic portraiture and self-portraiture (includes exhibition closing drinks).
Please note: all events will commence sharply at advertised times owing to the early closure of the Student Union Building
The central theme of the exhibition is the response from Melbourne’s LGBT community to the HIV/AIDS epidemic. It will contain artworks from this period as well as activist, government and other cultural responses – some of the works have never been exhibited before.
Michael Graf is co-curator of Transmissions, along with Russell Walsh. Both Graf and Walsh have spent the past seven months trawling through the Australian Queer Archives (AQuA) and the University of Melbourne Archives, where they have discovered some of the most moving and unique stories in Melbourne’s LGBT history.
“We wanted to focus on some of the cultural responses to the crisis,” Graf says. “The main part of that has been Ted Gott’s exhibition at the National Gallery of Australia in 1994: Don’t leave me this way: art in the age of AIDS. That exhibition became an incredibly important event for a lot of people. The NGA actually thought they would get 10,000 people through the space in four or five months – they got 140,000 people.
“It became a kind of pilgrimage for people from Melbourne and Sydney and other places around Australia. They went to Canberra specifically to see that exhibition. It was the first time a national gallery anywhere in the world put on an exhibition about HIV/AIDS.”
Transmissions includes copies of the visitors books from Don’t leave me this way: art in the age of AIDS. As the exhibition became a place where people remembered those they had lost, they poured their emotions and their experiences of the exhibition into the visitors books.
“There are some extraordinary accounts,” Graf says. “They had this experience in a national gallery to actually grieve.”
Graf and Walsh also tracked down artists from this exhibition. While many concede that Don’t leave me this way has been long forgotten, the milieu surrounding Transmissions is that it is time for this work to be considered again.
“They [the artists] have also said this is the perfect time to remember it,” Graf says. “Sometimes these things have to wait until they have receded enough back into history before they can be looked at again.” …
Graf hopes people visiting Transmissions will take away the richness of these collections. He also hopes they attract a younger audience as well as those who will remember what life was like in the gay community at the height of the HIV/AIDS epidemic.
“We’re hoping people might be inspired to access places such as the Australia Lesbian and Gay Archives and for a younger generation of people in Melbourne to be exposed to this incredible important history.”
Rachel Cook. “Transmissions: Archiving HIV/AIDS – Melbourne 1979 – 2014,” on the Gay News Network website, 2nd July 2014 [Online] Cited 06/07/2014. No longer available online. Used under fair use conditions for the purposes of education and research
Marcus Bunyan (Australian, b. 1958) How will it be when you have changed 1994 Silver gelatin photograph
Marcus Bunyan (Australian, b. 1958) Tell me your face before you were born 1994 Silver gelatin photograph
George Paton Gallery Level 1 Arts and Cultural Building Monash Road, the University of Melbourne
Many thankx to the Grand Palais for allowing me to publish the photographs in the posting. Please click on the photographs for a larger version of the image.
“I have boundless admiration for the naked body. I worship it.”
“I was a Catholic boy, I went to church every Sunday. A church has a certain magic and mystery for a child. It still shows in how I arrange things. It’s always little altars.”
“I am looking for perfection in form. I do that with portraits. I do it with cocks. I do it with flowers.”
The exhibition will present over 250 works making it one of the largest retrospective shows for this artist ever held in a museum. It will cover Mapplethorpe’s entire career as a photographer, from the Polaroids of the early 1970s to the portraits from the late 1980s, touching on his sculptural nudes and still lifes, and sadomasochism.
The focus on his two muses Patti Smith and Lisa Lyon explores the theme of women and femininity and reveals a less known aspect of the photographer’s work. The challenge of this exhibition is to show that Mapplethorpe is a great classical artist, who addressed issues in art using photography as he might have used sculpture. It also puts Mapplethorpe’s art into the context of the New York art scene in the 1970-1980s.
In his interview with Janet Kardon in 1987, Mapplethorpe explained that photography in the 1970s was the perfect medium for a fast-paced time. He did not really choose photography; in a way it was photography that chose him. Later in the same interview, he said “If I had been born one hundred or two hundred years ago, I might have been a sculptor, but photography is a very quick way to see, to make a sculpture. Lisa Lyon reminded me of Michelangelo’s subjects, because he did muscular women.”
Mapplethorpe positioned himself from the outset as an Artist, with a capital A. Unlike Helmut Newton, who as a teenager already wanted to be a fashion photographer, and imposed his vision of the world and photography, making it an art in its own right, Robert Mapplethorpe is a sculptor at heart, a plastic artist driven by the question of the body and its sexuality and obsessed by the search for perfect form.
Like Man Ray, Mapplethorpe wanted to be “a creator of images” rather than a photographer, “a poet” rather than a documentarist. In the catalogue for the Milan exhibition which compared the two artists, Bruno Cora recalls the parallels in their lives and works: “Before becoming masterly photographers, Man Ray and Mapplethorpe had both been painters and sculptors, creators of objects; they both lived in Brooklyn in New York; they both made portraits of the intellectuals of their time; and they were both incisive explorers of the nude form, its sculptural qualities and the energy emanating from it.”
Mapplethorpe was an artist before being a photographer. His images come from a pictorial culture in which we find Titian (The Flaying of Marsyas / Dominick and Elliot), David, Dali, and even the great artists of the Italian Renaissance, Michelangelo, Piero della Francesca, Bernini …
As in Huysmans’s novel, the exhibition is a countdown for this other dandy from the end of another world, Robert Mapplethorpe. It starts with his self-portrait with a skull-headed cane, the image of a young man already old, the tragedy of a life cut down in full flight by AIDS. But his almost royal final posture, as if beyond death, still (just) alive but already in the posterity of his oeuvre, seems to beckon us with a gesture of his pastoral cane to follow him into the world that he constructed in twenty years of photography. The exhibition continues with statuary, a dominant theme in Mapplethorpe’s last years, photos of statues of the gods in his personal pantheon: Eros, of course, and Hermes … The artist always said he used photography to make sculptures, and he ended his oeuvre with photographs of sculptures. His nudes were already photographic sculptures.
Works are not created just anywhere. To be fully appreciated, Mapplethorpe’s art must be put into the socio-cultural context of arty New York in the 1970s and 80s, and the underground gay culture there at that time. Two permeable and equally radical worlds. To take the measure of the libertarian explosion of the time, we need to watch Flesh, Warhol’s film with Joe Dalessandro, which narrates 24 hours in the life of a young New York male prostitute. To understand the violence and passion of gay sexuality for young New Yorkers fighting for freedom in a repressive period, we must read Edmund White’s The Beautiful Room is Empty, the story of a young gay in the years of riots and demonstrations and extreme emancipation; and Andrew Holleran’s Dancer from the Dance (1978), to plunge into the sexual experiments of Fire Island in the 1970s.
Mapplethorpe is hailed as one of the world’s greatest photographers and the exhibition aims to give a broad view of his work.
Robert Mapplethorpe was an artist with an obsessive quest for aesthetic perfection.
A sculptor at heart, and in his imagination, he wanted “people to see [his] works first as art and second as photography.”1 An admirer of Michelangelo, Mapplethorpe championed the classical ideal – revised and reworked for the libertarian New York of the 1970s – and explored sophisticated printing techniques to create unique works and mixed compositions, which he framed in unusual ways.
Like the novel by Joris-Karl Huysmans, this exhibition has been organised “À rebours” [against the nap] and examines the work of another dandy, living at the end of another world. It opens with Mapplethorpe’s self-portrait with the skull-head cane: the image of a young man, already old, tragically cut down in the prime of life by AIDS, it also reveals how the master of the realm of shadows – photography – gave free rein to his imagination. Like a modern day Orpheus, beyond death, he seems alive – although only just – yet already in the afterlife of his work, beckoning us with his satanic cane to follow him into the underworld of his life, in search of his desire.
“Photography and sexuality have a lot in common,” explains Mapplethorpe. “Both are question marks, and that’s precisely what excites me most in life.”2 Exploring the photography of the body, he pushed it to the limits of pornography, perhaps like no other artist before him. The desire we see in these images – often the photographer’s own desire – also reflects life in New York, as lived by some, in the 1970s and 80s, at the height of the sexual liberation movement. “I’m trying to record the moment I’m living in and where I’m living, which happens to be in New York. I am trying to pick up on the madness and give it some order.”3
This retrospective of Mapplethorpe’s work – the first in France since he passed away – features some two hundred and fifty images exploring a range of themes. They cover every aspect of Mapplethorpe’s art – bronze bodies and flesh sculptures, geometric and choreographic, still lives and anatomical details, bodies as flowers and flowers as bodies, court portraiture, night photography, and eroticism, soft and hard – interspersed with self-portraiture in all its forms. The works from the photographer’s early career, which close the exhibition, reveal how the path taken by his art was already mapped out in his first Polaroids. The sign of a great artist.
1/ Inge Biondi, “The Yin and the Yang of Robert Mapplethorpe,” in The Print Collector’s Newsletter, New York, January 1979, p. 11 2/ Mark Thompson, “Mapplethorpe,” in The Advocate, Atlanta, 24 July 1980 3/ Sarah Kent, “Mapplethorpe,” in Time Out, London, 3-9 November 1983
*PLEASE NOTE THIS POSTING CONTAINS ART PHOTOGRAPHS OF MALE NUDITY – IF YOU DO NOT LIKE PLEASE DO NOT LOOK, FAIR WARNING HAS BEEN GIVEN*
Man Ray (American, 1890-1976) George Platt Lynes 1927
The greatest photographer of the male nude the world has ever seen – George Platt Lynes (American, April 15, 1907 – December 6, 1955).
Lynes worked as a fashion photographer in his own studio in New York (which he opened in 1932) before moving to Hollywood in 1946 where he took the post of Chief Photographer for the Vogue studios. Although an artistic success the sojourn was a financial failure and he returned to New York in 1948. Although continuing his commercial work he became disinterested in it, concentrating his energies on photographing the male nude. He began a friendship with Dr Alfred Kinsey of the Kinsey Institute in Bloomington, Indiana and helped with his sex research. Between 1949 and 1955, Lynes sold and donated much of his erotic nudes to Kinsey.1 By May 1955 he had been diagnosed terminally ill with lung cancer. He closed his studio. He destroyed much of his print and negative archives particularly his male nudes. However, it is now known that he had transferred many of these works to the Kinsey Institute. After a final trip to Europe, Lynes returned to New York City where he died.2
Since the early 1930s Lynes had photographed male nudes and distributed the images privately to his circle of friends. He was reluctant to show them in public for fear of the harm that they could do to his reputation and business with the fashion magazines, for he was a gay man “passing” in a homophobic society. Generally his earlier male nude photographs concentrate on the idealised youthful body or ephebe. As Lynes became more despondent with his career as a fashion photographer his private photographs of male nudes tend to take on a darker and sharper edge. After a period of residence in Hollywood he returned to New York nearly penniless. His style of photographing the male nude underwent a revision. While the photographs of his European colleagues still relied on the sun drenched bodies of young adolescent males evoking memories of classical beauty and the mythology of Ancient Greece the later nudes of Platt Lynes feature a mixture of youthful ephebes and heavier set bodies which appear to be more sexually knowing. The compositional style of dramatically lit photographs of muscular torsos of older, rougher men shot in close up were possibly influenced by a number of things – his time in Hollywood with its images of handsome, swash-buckling movie stars with broad chests and magnificent physiques; the images of bodybuilders by physique photographers that George Platt Lynes visited; the fact that his lover George Tichenor had been killed during WWII; and the knowledge that he was penniless and had cancer. There is, I believe, a certain sadness but much inner strength in his later photographs of the male nude that harnesses the inherent sexual power embedded within their subject matter.
This monumentality of body and form was matched by a new openness in the representation of sexuality. There are intimate photographs of men in what seem to be post-coital revere, in unmade beds, genitalia showing or face down showing their butts off (see Untitled [Charles ‘Tex’ Smutney, Charles ‘Buddy’ Stanley, and Bradbury Ball] c. 1942, below). Some of the faces in these later photographs remain hidden, as though disclosure of identity would be detrimental for fear of persecution or prosecution. However, this photograph is quite restrained compared to the most striking series of GPL’s photographs which involves an exploration the male anal area (a photograph from the 1951 series can be found in the book titled George Platt Lynes: Photographs from The Kinsey Institute). This explicit series features other photographs of the same model – in particular one that depicts the male with his buttocks in the air pulling his arse cheeks apart. After Lynes found out he had cancer he started to send his photographs to the German homoerotic magazine Der Kries under the pseudonym Roberto Rolf, and in the last years of his life he experimented with paper negatives (see below), which made his images of the male body even more grainy and mysterious.
Further, when undertaking research into GPL’s photographs at The Kinsey Institute as part of my PhD I noted that most of the photographs had annotations in code on the back of them giving details of age, sexual proclivities of models and what they are prepared to do and where they were found. This information gives a vital social context to GPL’s nude photographs of men and positions them within the moral and ethical framework of the era in which they were made. Most of the photographs list the names of the models used but we are unable to print them due to an agreement between GPL and Dr. Kinsey as to their secrecy.
I believe that Lynes understood, intimately, the different physical body types that gay men find desirable and used them in his photographs. He visited Lon of New York (a photographer of beefcake men) in his studio and purchased photographs of bodybuilders for himself, as did the German photographer George Hoyningen-Huene. It is likely that these images of bodybuilders influenced his later compositional style of images of men; it is also possible that he detected the emergence of this iconic male body type as a potent sexual symbol, one that that was becoming more visible and sexually available to gay men.
Dr Marcus Bunyan
1/ Brown, Elspeth. “Queer Desire and Cold War Homophobia,” on the In The Darkroom blog May 2013 [Online] Cited 24/06/2014. No longer available online
2/ “He clearly was concerned that this work, which he considered his greatest achievement as a photographer, should not be dispersed or destroyed…We have to remember the time period we’re talking about – America during the post-war Red Scare… “
Quotation from George Platt Lynes, The Male Nudes. Rizzoli International Pub, 2011 cited on “George Platt Lynes” on the Wikipedia website [Online] Cited 24/06/2014.
Many thankx to Associate Professor Elspeth H. Brown for allowing me to publish her text “Queer Desire and Cold War Homophobia”. Please click on the photographs for a larger version of the image.
“The depth and commitment he had in photographing the male nude, from the start of his career to the end, was astonishing. There was absolutely no commercial impulse involved – he couldn’t exhibit it, he couldn’t publish it.”
Allen Ellenzweig
George Platt Lynes (American, April 15, 1907 – December 6, 1955) Untitled (male nude with tattoo) 1950-1955 Silver gelatin photograph 24.5 x 19.5cm
George Platt Lynes (American, April 15, 1907 – December 6, 1955) Untitled Nd [c. 1951] Silver gelatin photograph
George Platt Lynes (American, April 15, 1907 – December 6, 1955) Jack Fontan c. 1950 Silver gelatin photograph
Samuel M. Steward. “George Platt Lynes,” in The Advocate, No. 332, December 10, 1981, pp. 22-24
George Platt Lynes (American, April 15, 1907 – December 6, 1955) Untitled [Charles ‘Tex’ Smutney, Charles ‘Buddy’ Stanley, and Bradbury Ball] c. 1942 Silver gelatin photograph
According to David Leddick the models are Charles ‘Tex’ Smutney, Charles ‘Buddy’ Stanley, and Bradbury Ball. The image comes from a series of 30 photographs of these three boys undressing and lying on a bed together. Leddick, David. Naked Men: Pioneering Male Nudes 1935-1955. New York: Universe Publishing, 1997, p. 21.
George Platt Lynes (American, April 15, 1907 – December 6, 1955) Ted Starkowski (standing, arms folded) c. 1950 Silver gelatin photograph from a paper negative
George Platt Lynes (American, April 15, 1907 – December 6, 1955) Ted Starkowski (standing, arms behind back) c. 1950 Silver gelatin photograph from a paper negative 22.9 x 19.1cm
George Platt Lynes (American, April 15, 1907 – December 6, 1955) Untitled 1952 Silver gelatin photograph
George Platt Lynes (American, April 15, 1907 – December 6, 1955) Untitled (male nude study) Nd Silver gelatin photograph
Queer Desire and Cold War Homophobia
Associate Professor Elspeth H. Brown
This photograph [above] archives queer, illicit desire in Cold War America. It was made by George Platt Lynes, and is part of a set of male nudes that the photographer made in the decades leading to his death, from lung cancer, in 1955. Because exhibiting these photographs was a impossibility during Lynes’s lifetime due to Cold War homophobia, he circulated them privately among his queer kinship networks.
Lynes was part of a closely connected circle of elite gay men who dominated American arts and letters in the interwar and early post-war years. For 16 years, Lynes lived with the writer Glenway Wescott and museum curator Monroe Wheeler, who were a couple for over fifty years; they had a variety of other sexual partners throughout, including Lynes, who shared a bedroom with Wheeler during their years together. All three of them, as well as friends and colleagues Lincoln Kirstein, Paul Cadmus, and other leading figures, participated in sex parties in the 1940s and 1950s, as documented in their personal papers. However, in the context of 1950s-era red scares, which particularly focused on homosexuals, the more open sexual subcultures of the 1930s and 1940s were driven even further underground.
In April of 1950, Glenway Wescott wrote George Platt Lynes that while the erotic explicitness of George’s nudes didn’t personally concern him, he was worried for Monroe Wheeler, since Wheeler held a public position as a curator at the Museum of Modern Art. “I really don’t mind scabrousness, etc., on my account, as you must know,” he wrote. “Only that our poor M [Monroe] must conclude his career with good effect and honor, I am anxious not to involve him in what is now called (in the nation’s capital) ‘guilty by association’ (have you been reading the columns and columns in the newspapers upon this and correlative points?).”
Although McCarthyism is often understood as the effort to purge suspected communists from the State Department and other branches of the federal government, the Red Scare equally targeted homosexuals, who were forced out of public service and into the closet. Wescott may well have been referring to the front page of the New York Times on March 1, 1950, where Secretary of State Dean Acheson testified about the Alger Hiss trial and the loyalty program at the State Department. Although the article purportedly concerned communism, it shows that the red scare mainly affected homosexuals, as Wescott clearly understood. Senator Bridges asked John E. Peurifoy, Deputy Under-Secretary of State in charge of the security program, how many members of the State Department had resigned since the investigations began in 1947. “Ninety-one persons in the shady category,” Mr. Peurifoy replied, “most of these were homosexuals.” This was not necessarily newsworthy in and of itself, so far as the New York Times was concerned in 1950, and the remainder of the article detailed the testimony relating to other aspects of the hearings.
Lynes continued to make and circulate his portraits, despite this climate of homophobia. He was very concerned that the work find an audience, and published it in several issues of the German homosexual journal Der Kreis in the 1950s. He also became an important informant for Alfred Kinsey’s research, as did Glenway Wescott and other members of their circle. Between 1949 and 1955, Lynes sold and donated much of his erotic nudes to Kinsey, where they are now part of the Kinsey Institute collections in Bloomington, Indiana.
George Platt Lynes (American, April 15, 1907 – December 6, 1955) Untitled 1951 Silver gelatin photograph
George Platt Lynes (American, April 15, 1907 – December 6, 1955) Untitled (Charles Romans in the artist’s apartment) 1953 Silver gelatin photograph 19.5 x 24.5cm
George Platt Lynes (American, April 15, 1907 – December 6, 1955) Don Cerulli 1952 Silver gelatin photograph
George Platt Lynes (American, April 15, 1907 – December 6, 1955) Male nude study 1951 Silver gelatin photograph
George Platt Lynes (American, April 15, 1907 – December 6, 1955) Untitled 1951 Silver gelatin photograph 22.9 x 19.1cm
George Platt Lynes (American, April 15, 1907 – December 6, 1955) Untitled 1936 Silver gelatin photograph
George Platt Lynes (American, April 15, 1907 – December 6, 1955) George Tooker 1945 Silver gelatin photograph
George Tooker (American, 1920-2011)
George Clair Tooker, Jr. (August 5, 1920 – March 27, 2011) was an American figurative painter. His works are associated with Magic realism, Social realism, Photorealism, and Surrealism. His subjects are depicted naturally as in a photograph, but the images use flat tones, an ambiguous perspective, and alarming juxtapositions to suggest an imagined or dreamed reality. He did not agree with the association of his work with Magic realism or Surrealism, as he said, “I am after painting reality impressed on the mind so hard that it returns as a dream, but I am not after painting dreams as such, or fantasy.” In 1968, he was elected to the National Academy of Design and was a member of the American Academy of Arts and Letters. Tooker was one of nine recipients of the National Medal of Arts in 2007.
George Platt Lynes (American, April 15, 1907 – December 6, 1955) Tex Smutney 1943 Silver gelatin photograph
Chronology by Jack Woody
1907-1924 Born April 15, 1907, East Orange, New Jersey. Raised in comfortable circumstances and privately educated. Schoolmate Lincoln Kirstein described the young Lynes as “precocious,” crediting him with a subsequent introduction to George Balanchine.
1925 Makes first trip to Europe. Meets lifetime companions Glenway Wescott and Monroe Wheeler. Befriends Gertrude Stein, Pavel Tchelitchew and Jean Cocteau during his stay. Returns to New York City, works at Brentano’s Bookstore for a short time.
1926 Publishes the As Stable Pamphlets in his parents’ house, Englewood, New Jersey. Includes Gertrude Stein’s DESCRIPTIONS OF LITERATURE and Ernest Hemingway’s first published play TODAY IS FRIDAY with cover designs by Pavel Tchelitchew and Jean Codeau. Enters Yale University in Autumn, leaves in December.
1927 Opens Park Place Book Shop in Englewood. The gift of a view camera encourages Lynes to make a career of photography.
1928-1930 During 1928 Lynes exhibits his celebrity portraits at Park Place Book Shop to launch a portrait business in the shop. Continues travelling to Europe, teaching himself by trial-and-error a technical understanding of the medium.
1931 Introduced to Julien Levy. Together they experiment with photographing surrealistic still-lifes. Levy arranges to include Lynes in Surrealism exhibition at Wadsworth Atheneum, Hartford, Connecticut. Visits and photographs Gertrude Stein at Bilignin.
1932 First important exhibition at the Julien Levy Gallery in tandem with Walker Evans. The death of his father forces Lynes to take up photography as a means of economic support.
1933 Opens first New York City studio on East 50th Street. Continued public showings of his work and interest in his celebrity portraits attracts a large clientele of New York socialites and their families.
1934 Begins publishing his fashion and portrait work in such magazines as Town and Country, Harpers’ Bazaar and Vogue magazines.
1935 Invited by Lincoln Kirstein and George Balanchine to document the repertoire and principal dancers in their fledgling American Ballet (now New York City Ballet), a collaboration that will continue until Lynes’ death in 1955.
1936 Surrealistic composition The Sleepwalker included in New York Museum of Modern Art’s exhibition, Fantastic Art, Dada and Surrealism. Lynes undertakes an extensive project to photographically interpret mythological situations.
1937-1940 Continues involvement with mythology series. Successful commercial career now headquartered in a large studio at 604 Madison Avenue. Commercial fashion accounts include Hattie Carnegie, Henri Bendel, Saks Fifth Avenue and Bergdorf Goodman.
1941-1945 Photographs airfield activities for First Air Force’s publicity and documentation. Begins to lose interest in commercial work, a process accelerated by the death of George Tichenor in 1942. Disillusioned with New York and his private life Lynes closes his studio and leaves for Los Angeles to head Vogue Magazine‘s Hollywood studio.
1946-1947 Lynes begins to photograph in his rented Hollywood Hills home, experimenting with effects achieved with minimal amounts of available light. Photographs Christopher Isherwood, Igor Stravinsky, Thomas Mann and Aldous Huxley.
1948-1950 Friends sponsor the financially troubled Lynes’ return to New York where he is uninterested in and unable to repeat his earlier commercial successes. Economics force Lynes to experiment with cheaper photographic tools. He is particularly interested in the paper negative. Meets sex researcher Alfred Kinsey; impressed with Lynes’ work, Kinsey arranges to purchase hundreds of photographs for his Bloomington, Indiana institute.
1951-1954 Publishes his male nudes in homoerotic magazine Der Kries using the pseudonyms Roberto Rolf and Robert Orville. Declares bankruptcy. Lives in a succession of apartments and studios as illness becomes apparent.
1955 In May diagnosed terminally ill with cancer. Last portrait sitting is June 16 with Monroe Wheeler. Closes studio and undergoes radium and drug therapy. Lynes begins to destroy large portions of his negative and print archives. In the Autumn he leaves for Europe, returning to New York in November to be hospitalised. At night Lynes leaves the hospital to attend the theatre and ballet. He dies on December sixth, forty-eight years old.
George Platt Lynes (American, April 15, 1907 – December 6, 1955) Mel Fillini 1950 Silver gelatin photograph
George Platt Lynes (American, April 15, 1907 – December 6, 1955) Robert McVoy c. 1941 Silver gelatin photograph
Curators: the exhibition was curated by the prize jury, which included Kate Bush (curator), Jitka Hanzlová (artist), Thomas Seelig (Fotomuseum Winterthur), and Anne-Marie Beckmann (Art Collection Deutsche Börse).
Richard Mosse (Ireland, b. 1980) Man-size, North Kivu, eastern Congo 2012 Digital C print 72 x 90 inches
Men are bastards. War is bastardry.
Bastardry: the unpleasant behaviour of a bastard (objectionable person).
“Beauty is effective, the sharpest tool in the box. If you can seduce the viewer and you can make them feel aesthetic pleasure regarding a landscape in which human rights violations happen all the time, then you can put them into a very problematic place for themselves – they feel ethically compromised and they feel angry with themselves and the photographer for making them feel that. That moment of self awareness is a very powerful thing.”
Richard Mosse
“Ultimately, Mosse’s photographs are about what we cannot see, what is not seen, what is not acknowledged by documentary photography. What I find so striking about this work is that it not only challenges the conventions of war photography, but that everything daring is translated into the colour of the resultant image. Where war photography is usually done by journalists and photographers used to bullets whistling past their ears, who scurry around with the soldiers, Mosse’s are made together with rebels who have no visible enemy, rebels who actually perform for the camera, creating the drama in their poses where it is otherwise invisible to the eye. And in turn, Mosse’s images visually penetrate and make manifest the insidious spread of disease, war and violence, all of which is begun by greed.
Frances Guerin. “Richard Moss, The Enclave,” on the Fx Reflects blog Wednesday, June 18, 2014 [Online] Cited 05/04/2021.
Richard Mosse: The Impossible Image
Artist and photographer Richard Mosse reveals the stories behind the making of his latest film, The Enclave (2013), in the Democratic Republic of Congo. The film was shown in the Irish Pavilion at the 55th Venice Biennale and was the 2014 winner of the Deutsche Börse Photography Prize.
Mosse documents a haunting landscape touched by appalling human tragedy in eastern Democratic Republic of Congo (DRC), where 5.4 million people have died of war related causes since 1998. Shot on discontinued military surveillance film, the resulting imagery registers an invisible spectrum of infrared light, and renders the jungle warzone in disorienting psychedelic hues. At the project’s heart are the points of failure of documentary photography, and its inability to adequately communicate this complex and horrific cycle of violence, “through six monumental double-sided screens ‘forcing’ the viewer to interact from an array of different viewpoints.”
Biennale Arte 2013 – Ireland
This desperate situation echoes the barbarity of the Belgian occupation of the Congo that provided the backdrop for Joseph Conrad’s Heart of Darkness (1899) … Mosse had Conrad’s allusiveness in mind when he chose to employ a type of infrared film called Aerochrome, developed during the Cold War by Kodak in consultation with the United States government…
Mosse renders the viewer’s point-of-view identical with that of the camera, immersing us in these scenes, while Frost’s score leaves a buzzing, ringing sound in our ears. Occasionally we stumble across a body lying on the ground in a village, or by the side of a road like a dead animal. It would be gruesome, perhaps unbearable, if it weren’t for the views of the tropical landscape and the ubiquitous pink that gives the action such an unearthly touch.
Even as we feel the looming violence of this place the pink backdrop transforms each segment into a stage set, in a deliberate refusal of the ‘realism’ claimed by conventional photojournalism. Instead of the black-and-white certainties of a world in which good and evil are easily identified, we are plunged into a bright pink nightmare, our every move fraught with danger.
Mosse is seeking to engage the senses, not simply the intellect, but that flood of pink sends mixed messages. It’s an ingratiating colour – a colour that tries too hard, lapsing into camp and kitsch. Such impressions are difficult to reconcile with the subject matter of this installation but Mosse makes no attempt to ease our disorientation. The work is his response to a bewildering, intractable conflict that doesn’t recognise anybody’s rules.”
Extract from John McDonald. “Richard Mosse & William Kentridge,” on the John McDonald website May 10, 2014 [Online] Cited 29/10/2022. Used under fair use conditions for the purposes of education and research
Jonh Kelly meet Richard Mosse, an artist whose beautiful, provocative film installations and photographs are challenging the accepted norms of war photography.
Richard Mosse (Ireland, b. 1980) Safe From Harm, North Kivu, Eastern Congo 2012 Digital C print 48 x 60 inches
The uniqueness of the military film stock is its register of an invisible spectrum of infrared light, turning green landscape into an array of glaring colours… The result is that Mosse’s landscapes appear cancerous, we notice that life is extinct, that something deadly has swept through an otherwise idyllic world…
The Congolese National Army, rebel militia, and warring tribes fight over ownership of the land, their violence extending to rape of women, murdering civilian populations, all in the interests of staking a claim to the land. A struggle that is never actually seen in Mosse’s photographs is nevertheless made undeniable by the aesthetic struggle of unnatural colours in what might otherwise be an untouched world. These hills are blanketed in violence and corruption…
Mosse’s images visually penetrate and make manifest the insidious spread of disease, war and violence, all of which is begun by greed.”
Frances Guerin. “Richard Moss, The Enclave,” on the Fx Reflects blog Wednesday, June 18, 2014 [Online] Cited 05/04/2021. Used under fair use conditions for the purposes of education and research
Richard Mosse (Ireland, b. 1980) Platon, North Kivu, Eastern Congo 2012 Digital C print
Richard Mosse (Ireland, b. 1980) Men of Good Fortune, North Kivu, Eastern Congo 2011 Digital C print
Richard Mosse (Ireland, b. 1980) Nowhere To Run, South Kivu, Eastern Congo 2010 Digital C print
The photograph I was initially drawn to in the exhibition, Men of Good Fortune (2011), is a picturesque composition of gentle grassy slopes, pastoral figures and trees that might have been artfully placed by a Capability Brown. These hills were originally inhabited by Congolese tribes who grew crops and hunted for bush meat, until they were driven out by pastoralists who cut down the forest for grazing. Richard Mosse’s camera renders this landscape’s history of intimidation and human rights abuses in shocking pink, like superficially healthy teeth subjected to a plaque disclosing tablet. Nowhere to Run (2010) shows another vista of unearthly pink hills, which seem to have undergone the kind of transformation J. G. Ballard described in The Crystal World. This rose quartz-coloured terrain is, according to the caption, ‘rich in rare earth minerals like gold, cassiterite and coltan, which are extracted by artisanal miners who must pay taxes to the rebels.’
Of course one question these photographs raise is whether the aesthetic pleasure they provide is a distraction from what is really happening in The Enclave.
Andrew Ray. “The Enclave” on the Some Landscapes blog Tuesday June 17, 2014 [Online] Cited 05/04/2021. Used under fair use conditions for the purposes of education and research
Richard Mosse (Ireland, b. 1980) Ruby Tuesday, North Kivu, Eastern Congo 2011 Digital C print
Richard Mosse (Ireland, b. 1980) Of Lillies and Remains 2012 Digital C print
Richard Mosse (Ireland, b. 1980) Suspicious Minds 2012 Digital C print
Richard Mosse (Ireland, b. 1980) A Dream That Can Last 2012 Digital C print
Richard Mosse (Ireland, b. 1980) We Hate It When Our Friends Become Successful, North Kivu, Eastern Congo 2010 Digital C print
Richard Mosse (Ireland, b. 1980) Even Better Than The Real Thing, North Kivu, Eastern Congo 2011 Digital C print
Richard Mosse (Ireland, b. 1980) Only Love Can Break Your Heart 2012 Digital C print
Richard Mosse (Ireland, b. 1980) Madonna and Child, North Kivu, Eastern Congo 2012 Digital C print 35 x 28 inches
The Photographers’ Gallery 16-18 Ramillies Street London W1F 7LW
Curator: Gael Newton, Senior Curator of Photography at the NGA
Woodbury & Page (established Jakarta 1857-1900) Batavia roadstead c. 1865 Albumen silver photograph 19.4 x 24.5cm Collection National Gallery of Australia
Dutch East Indies and Indonesian photography, and more broadly Asia-Pacific photography, has been a burgeoning area of interest, research and collecting for some time now. Although this is far from my area of expertise, with the quality of the work shown in this posting, you can understand why. Since 2005, “the National Gallery of Australia’s Asian photographs collection has grown to nearly 8000 and in excess of 6500 prints are from Indonesia.”
Absolutely beautiful tonality to the prints. They seem to have a wonderful stillness to them as well.
On a personal note, Gael Newton, Senior Curator, Photography at the National Gallery of Australia is retiring. I would like to thank her for promoting, researching and writing about all forms of photography over the years and to congratulate her on significantly extending the NGA’s photography collection. A job well done.
Dr Marcus Bunyan
Many thankx to Gael Newton and the National Gallery of Australia for allowing me to publish the photographs in the posting. Please click on the photographs for a larger version of the image.
Dirk Huppe (Indonesia, 1867-1931) O Kurkdjian & Co (Established Surabaya, Java 1903-1935) Mature canes, fertilised with artificial guano, Java Fertilizer Co., Semarang 1914 Carbon print photograph 74.6 x 99.6cm Collection National Gallery of Australia
Atelier O Kurkdjian & Co (Established Surabaya, Java 1903-1935) Bromo eruption of December 1915 Gelatin silver photograph 17.7 x 24cm Collection National Gallery of Australia Purchased 2007
S. Satake (Japanese, working Indonesia 1902 – c. 1937) Eruption Java c. 1930 Gelatin silver photograph 16.2 x 21.8cm Collection National Gallery of Australia
While Indonesia might be the second most popular destination for outbound Aussies, the history of the Indonesian archipelago’s diverse peoples and the colonial era Dutch East Indies, remains unfamiliar. In particular the rich heritage of photographic images made by the nearly 500 listed photographers at work across the archipelago in the mid 19th – mid 20th century, is poorly known, both in the region and internationally.
The Gallery began building its Indonesian photographic collection in 2006. It is unique in the region: the largest and most comprehensive collection excluding the archives of the Dutch East Indies in the Netherlands. It was not until the late 1850s with the arrival of photographs printed on paper from a master glass negative, that images of Indonesia – the origin of nutmeg, pepper and cloves, much desired in the West – began circulating worldwide.
Australia had a minor role in the history of photography in Indonesia. A pair of young British photographers, Walter Woodbury and James Page (operators of the Woodbury & Page studios located in the Victorian goldfields and Melbourne) arrived in Jakarta in 1857. From around 1900 a trend toward more picturesque views and sympathetic portrayals of indigenous people appeared. Old images were given new life as souvenir prints and sold through hotels and resorts or used for cruise ship brochures.
A particular feature of Garden of the East is the display of family albums. Both amateur and professional images in the Indies were bound in distinctive Japanese or Batik-patterned cloth boards as records of a colonial lifestyle. Hundreds of these once-treasured narratives of now lost people ended up in the Netherlands in the 1970s and 80s in estate sales of former Dutch colonial and Indo (mixed race) family members who had returned or immigrated after the establishment of the Republic of Indonesia in 1945.
Text from the National Gallery of Australia website
S. Satake (Japanese, working Indonesia 1902 – c. 1937) Women on road to Buleleng Bali c. 1928 Gelatin silver photograph 16.2 x 22.0cm Collection National Gallery of Australia
Woodbury & Page (established Jakarta 1857-1900) Gusti Ngurah Ketut Jelantik, Prince of Buleleng with his entourage in Jakarta in 1864 on the visit of Governor-General LAJW Sloet van de Beele 1864 Albumen silver photograph Collection National Gallery of Australia
Garden of the East: Photography in Indonesia 1850s-1940s is the first major survey in the southern hemisphere of the photographic art from the period spanning the last century of colonial rule until just prior to the establishment of the Republic of Indonesia in 1945. The exhibition provides the opportunity to view over two hundred and fifty photographs, albums and illustrated books of the photography of this era and provides a unique insight into the people, life and culture of Indonesia. The exhibition and accompanying catalogue reveals much new research and information regarding the rich photographic history of Indonesia. Garden of the East is on display in Canberra only.
The exhibition is comprised of images created by more than one hundred photographers and the majority have never been exhibited publicly before. The works were captured by photographers of all races, making images of the beauty, bounty, antiquities and elaborate cultures of the diverse lands and peoples of the former Dutch East Indies. Among these photographers is the Javanese artist Kassian Céphas, whose genius as a photographer is not widely known at this time, a situation which the National Gallery of Australia hopes to address by growing the collection of holdings from this period and by continuing to stage focused exhibitions such as Garden of the East.
As was the case in other Southeast Asian ports, the most prominent professional photographers at work in colonial Indonesia came from a wide range of European backgrounds until the 1890s, when Chinese photography studios began to dominate. The exhibition focuses on the leading foreign studios of the time, in particular Walter B Woodbury, one of the earliest photographers at work in Australia in the 1850s as well as the Dutch East Indies. However Garden of the East also includes images created by lesser known figures whose work embraced the new art photography styles of the early twentieth century including: George Lewis, the British chief photographer at the Surabaya studio founded by Armenian Ohannes Kurkdjian, the remarkable German amateur photographer Dr Gregor Krause; American adventurer and filmmaker André Roosevelt; and the only woman professional known to have worked in the period, Thilly Weissenborn, whose works were intertwined with the tourist promotion of Java and Bali in the 1930s. Chinese studios are well-represented, although little is known of their founders and many employed foreign photographers.
Frank Hurley is the sole Australian photographer represented in the exhibition. Hurley is noted as the only Australian known to have worked in Indonesia before the Second World War and toured Java in mid-1913, on commission to promote tourist cruises from Australia to the Indies for the Royal Packet Navigation Company.
“We are delighted to host this exhibition and believe that Australia’s geographic, political and cultural position in the Asia-Pacific region makes it very appropriate that the National Gallery of Australia should celebrate the rich and diverse arts of our region,” said Ron Radford AM, Director, National Gallery of Australia. “A dedicated Asia-Pacific focused policy has been long-held by the Gallery, but it was not until 2005 that we focused on early photographic art of the region. Progress, however, has been rapid and all the photographs in Garden of the East have been recently acquired for the National Gallery’s permanent collection,” he said.
“From a small holding in 2005 of less than two hundred photographs from anywhere in Asia, of which only half a dozen were by any Asian-born photographers, the National Gallery of Australia’s Asian photographs collection has grown to nearly 8000 and in excess of 6500 prints are from Indonesia,” Ron Radford said.
“Garden of the East presents images, both historic and homely and is a ‘time travel’ opportunity to visit the Indies through more than two hundred and fifty works on show, made by both professional and amateur family photographers. Images as diverse as the Indonesian archipelago itself, which was once described by nineteenth century travel writers as the Garden of the East,” said Gael Newton, Senior Curator of Photography, National Gallery of Australia and exhibition Curator.
Garden of the East: Photography in Indonesia 1850s-1940s follows the large 2008 survey exhibition Picture Paradise: Asia-Pacific photography 1840s-1940s. This was the first of the new Asia-Pacific collection focus exhibitions. In 2010, the Gallery staged an early photographic portrait exhibition to coincide with a conference hosted in partnership with the Australian National University entitled Facing Asia. A number of other small Asian collection shows have also been held since 2011.
The National Gallery of Australia is delighted to stage this exhibition to coincide with the Focus Country Program, an initiative organised by the Australian Government’s key cultural diplomacy body, the Australia International Cultural Council. The AICC has chosen Indonesia as its Focus Country for 2014 and will organise a series of events across the Indonesian archipelago to promote Australian arts and culture, as well as our credentials in sport, science, education and industry. This exhibition will also mark the 40th anniversary of dialogue relations between Australia and the Association of South East Asian Nations. The National Gallery of Australia is proud to be presenting an exhibition of Indonesian photography in celebration of Australia’s close cultural relations with Indonesia and the Asia-Pacific region.
Press release from the National Gallery of Australia website
Kassian Céphas (Javanese, 1845-1912) Man climbing the front entrance to Borobudur Central Java 1872 Albumen silver photograph 22.2 x 16.1cm Collection National Gallery of Australia
Kassian Cephas or Kassian Céphas was a Javanese photographer of the court of the Yogyakarta Sultanate. He was the first indigenous person from Indonesia to become a professional photographer and was trained at the request of Sultan Hamengkubuwana VI. After becoming a court photographer in as early 1871, he began working on portrait photography for members of the royal family, as well as documentary work for the Dutch Archaeological Union. Cephas was recognised for his contributions to preserving Java’s cultural heritage through membership in the Royal Netherlands Institute of Southeast Asian and Caribbean Studies and an honorary gold medal of the Order of Orange-Nassau. Cephas and his wife Dina Rakijah raised four children. Their eldest son Sem Cephas continued the family’s photography business until his own death in 1918.
Kassian Céphas (Javanese, 1845-1912) Young Javanese woman c. 1885 Albumen silver photograph 13.7 x 9.8cm Collection National Gallery of Australia
Garden of the East: photography in Indonesia 1850s-1940s offers the chance to see images from the last century of colonial rule in the former Dutch East Indies. It includes over two hundred photographs, albums and illustrated books from the Gallery’s extensive collection of photographic art from our nearest Asian neighbour.
Most of the daguerreotype images from the 1840s, the first decade of photography in Indonesia, are lost and can only be glimpsed in reproductions in books and magazines of the mid nineteenth century. It was not until the late 1850s that photographic images of Indonesia – famed origin of exotic spices much desired in the West – began circulating worldwide. British photographers Walter Woodbury and James Page, who arrived in Batavia (Jakarta) from Australia in 1857, established the first studio to disseminate large numbers of views of the country’s lush tropical landscapes and fruits, bustling port cities, indigenous people, exotic dancers, sultans and the then still poorly known Buddhist and Hindu Javanese antiquities of Central Java.
The studios established in the 1870s tended to offer a similar inventory of products, mostly for the resident Europeans, tourists and international markets. The only Javanese photographer of note was Kassian Céphas who began work for the Sultan in Yogyakarta in the early 1870s. In late life, Céphas was widely honoured for his record of Javanese antiquities and Kraton performances, and his full genius can be seen in Garden of the East.
Most of the best known studios at the turn of the century, including those of Armenian O Kurkdjian and German CJ Kleingrothe, were owned and run by Europeans. Chinese-run studios appeared in the 1890s but concentrated on portraiture. Curiously, relatively few photographers in Indonesia were Dutch. From the 1890s onward, the largest studios increasingly served corporate customers in documenting the massive scale of agribusiness, particularly in the golden economic years of the Indies in the early to mid twentieth century. From around 1900, a trend toward more picturesque views and sympathetic portrayals of indigenous people appeared. This was intimately linked to a government sponsored tourist bureau and to styles of Pictorialist art photography that had just emerged as an international movement in Europe and America. As photographic studios passed from owner to owner, old images were given new life as souvenir prints sold at hotels and resorts and as reproductions in cruise-ship brochures.
Amateur camera clubs and Pictorialist photography salons common in Western countries by the 1920s were slower to develop in Asia and largely date to the postwar era. Locals, however, took up elements of art photography. Professionals George Lewis and Thilly Weissenborn (the only woman known from the period) and amateurs Dr Gregor Krause and Arthur de Carvalho put their names on their prints and employed the moody effects and storytelling scenarios of Pictorialist photography. Krause was one of the most influential photographers. He extensively published his 1912 Bali and Borneo images in magazines and in two books in the 1920s and 1930s, inspiring interest in the indigenous life and landscape as well as the sensuous physical beauty of the Balinese people.
Postwar artists and celebrities – including American André Roosevelt, who used smaller handheld cameras – flocked to the country to capture spontaneity and daily life around them, to affirm their view of Bali as a ‘last paradise’ , where art and life were one. In 1941, Gotthard Schuh published Inseln der Götter (Islands of the gods), the first modern large-format photo-essay on Indonesia. While romantic, the collage of images and text in Schuh’s book presented a vital image of the diverse islands, peoples and cultures that were to be united under the flag of the Republic of Indonesia in 1949.
A particular feature of Garden of the East is a selection of family albums bound in distinctive Japanese or Batik patterned cloth boards as records of a colonial lifestyle (for the affluent) in the Indies. Hundreds of these once treasured narratives of now lost people ended up in the Netherlands in the 1970s and 1980s in estate sales of former Dutch colonial and Indo (mixed race) family members who had returned or immigrated after the establishment of the Republic of Indonesia.
Gael Newton. “Princes, Portraits and Panoramas,” in the National Gallery of Australia Artonview 76 Summer 2013, pp. 20-22 [Online] Cited 12/06/2014. Used under fair use conditions for the purposes of education and research
Sem Céphas (Indonesia, 1870-1918) Portrait of a Javanese woman c. 1900 Gelatin silver photograph, colour pigment hand painted photograph image 38.5 x 23.8cm Purchased 2007 National Gallery of Australia, Canberra
Gotthard Schuh (Swiss, 1897-1969) Inseln der Götter (Islands of the gods) [book cover] 1941 Hardcover w/dust jacket 154pp, text in German Plates in photogravure 28.5 x 22.5cm
Gotthard Schuh (Swiss, 1897-1969)
Gotthard Schuh (December 22, 1897 in Schöneberg near Berlin – December 29, 1969 in Küsnacht, Zurich) was a Swiss photographer, painter and graphic artist.
Photographer
In 1931 his first photos were published in a Zurich magazine and in 1932 he held a photography exhibition in Paris, where he met Picasso, Léger and Braque.
From 1932 he joined the Zürcher Illustrierte under Arnold Kübler, working with Hans Staub and Paul Senn, and until 1937 Schuh also worked freelance for Berliner Illustrirte Zeitung, Paris Match and Life. His assignments during 1938/1939 took him all over Europe and to Indonesia. He and Marga divorced in 1939.
After about ten years as a reporter he became the first picture editor for the Neue Zürcher Zeitung. He and Edwin Arnet created the NZZ supplement Das Wochenende, which showcased Swiss and international photography in addition to his own reportage.
From this period a significant part of his own photographic work illustrated books, of which the most successful was Inseln der Götter published in 1941, the result of his almost 11-month journey through Singapore, Java, Sumatra and Bali, undertaken just before the war. It was a mixture of reportage and self-reflection, with a poetic quality that, though individual images may be read either way, Schuh sometimes valued over documentary authenticity:
“Everyone just depicts what he sees, and everyone just sees what corresponds to his being.”
This is evident in the book Begegnungen which Schuh published in 1956, in which he combined older and more recent images in free association, in accord with the objectives of the ‘Kollegium Schweizerischer Photographen’, the Academy of Swiss Photographers which he founded together with Paul Senn, Walter Läubli, Werner Bischof and Jakob Tuggener, a loose group that promoted an ‘auteur’ emphasis. Their first exhibition in 1951 marked a renewal of photography in Switzerland after the conservatism and nationalism of the war years. Critic Edwin Arnet identified the ethos of the group:
“Their photography has abandoned the sphere of technical experimentation … , the abstract and the avant-garde. It has become more wholesome, concentrating again more on the poetry of real things.”
In 1955 Edward Steichen selected two of Schuh’s photographs for the world-touring Museum of Modern Art exhibition The Family of Man seen by an audience of 9 million. One, taken in Italy, is a stolen image of lovers resting beside their discarded bicycles amongst long summer grass in an olive grove, while the other, taken in Java, shows a boy stretching balletically across the pavement as he plays marbles.
Thilly Weissenborn (Javanese / Indonesian, 1883-1964) Indonesia 1902 – Netherlands 1964 A dancing-girl of Bali, resting c. 1925 Photogravure 21.1 x 15.9cm Collection National Gallery of Australia
Thilly Weissenborn (1883-1964) was the first professional woman photographer of the former Dutch East Indies and one of the few photographers working in the early 20th century in the area who were Indonesian born. Her works were widely used to expand the newly developed tourism industry of the East Indies.
Early life
Margarethe Mathilde Weissenborn was born on 22 March 1883 or 1889, to Cornelia Emma Angely Lina da Paula (née Roessner) and Hermann Theodor Weissenborn in either Surabaya, or Kediri, on East Java of the Dutch East Indies (now Indonesia). Her parents were German-born, naturalized Dutch citizens and operated a coffee plantation in Kediri. In 1892, her mother returned with Thilly and her siblings to the Netherlands and took up residence in The Hague. They were joined by their father the following year. After five years, the oldest son and the father left for Tanganyika in German East Africa to become planters there. Else, one of Thilly’s older sisters, who had studied photography in Paris, opened a photographic studio in The Hague in 1903, where Thilly began working. In 1912, she left the Netherlands and returned to Java, in the company of her brother Theo to join their brother Oscar, who was living in Bandung.
Career
In 1913, Weissenborn found employment in a prestigious photographic studio in Surabaya which was founded by Onnes Kurkdjian, an Armenian, called Atelier Kurkdjian. The studio was the only agent for Kodak in East Java. Kurkdjian had died by the time Weissenborn arrived and the studio, which employed thirty photographers, was managed by an Englishman, GP Lewis. Weissenborn honed her craft under Lewis’ tutelage learning both photographic and retouching techniques. In 1917, she moved to Garut in West Java and managed a photographic studio GAH Lux in the Garoetsche Apotheek en Handelsvereeniging Company, a pharmacy owned by Denis G. Mulder. Mulder moved to Bandung in 1920 and turned over his property to Weissenborn, who changed the firm name to Foto Lux. In 1930, she established Lux Fotograaf Atelier NV, which she operated for a decade in Garut.
Weissenborn became the first significant woman photographer in Indonesia and was one of the few photographers working in the era who were Indonesian-born. Her works were marked by a lyrical quality and her attempt to capture the idyllic nature of the landscape. She is most known for her photographs of architectural interiors, landscapes, and portraits, which were produced for the burgeoning tourist industry. Some of her works were featured in Dutch tourism guide published in 1922, as Come to Java. Her photographs also made up the majority of the images in Louis Couperus’ work Oostwaarts (Eastward, 1923). Weissenborn travelled throughout the East Indies, and particularly worked in Bali, trying to capture the exotic nature of the islands, while at the same time, retaining the dignity of locals she photographed. Ironically, her images were at times appropriated and used in prurient manners, such as a photograph of two women on a road carrying water, one who has a pot on her head, which was used for a French novel titled L’Île des seins nus (Island of Bare Breasts). In time, her portrait images changed from partially-clad images to the more artistic images of dancing girls. These were featured in such magazines as Inter-Ocean, Sluyter’s Monthly and Tropical Netherlands, which marketed a more civilised Bali to international tourists.
Later life
During World War II, the 16th Army of Japan landed in West Java at the end of February, 1942. After subduing the population, around 30,000 American, Australian, British, Dutch, and Indo-European civilians were transported to civilian internment camps. In 1943, Weissenborn was interned in the Japanese prisoner of war camp Kareës in Bandung. Women and children were kept in the camp until 1945. The town of Garut was destroyed by fire and then in the aftermath of the Indonesian National Revolution, Weissenborn’s studio was completely destroyed and all of her glass negatives were lost in 1947. That same year, she married Nico Wijnmalen and the couple moved to Bandung.
In 1956, the Indonesian government repudiated the remaining terms of the Hague Round Table Conference forcing Weissenborn and Wijnmalen to return to Holland. Weissenborn died 28 October 1964 at Baarn, in Utrecht Province, The Netherlands and is buried in the Baarn New General Cemetery.
Thilly Weissenborn (Javanese / Indonesian, 1883-1964) (attributed to) I Goesti Agoeng Bagoes Djelantik, Anakagoeng Agoeng Negara, Karang Asem 1931 Gelatin silver photograph 14 x 9.7cm Collection National Gallery of Australia Purchased 2006
Unknown photographer Working Bali 1930s I Goesti Agoeng Bagoes Djelantik, Anakagoeng Agoeng Negara, Karang Asem Bali 1931 Gelatin silver photograph 14.0 x 9.7cm Collection National Gallery of Australia
National Gallery of Australia Parkes Place, Canberra Australian Capital Territory 2600 Phone: (02) 6240 6411
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![George Platt Lynes (American, April 15, 1907 - December 6, 1955) 'Untitled' Nd [c. 1951]](https://artblart.com/wp-content/uploads/2014/06/george-platt-lynes-untitled-1953.jpg "George Platt Lynes (American, April 15, 1907 - December 6, 1955) 'Untitled' Nd [c. 1951]")
![George Platt Lynes (American, April 15, 1907 - December 6, 1955) 'Untitled [Charles 'Tex' Smutney, Charles 'Buddy' Stanley, and Bradbury Ball]' c. 1942](https://artblart.com/wp-content/uploads/2014/06/lynes-c-1942.jpg "George Platt Lynes (American, April 15, 1907 - December 6, 1955) 'Untitled [Charles 'Tex' Smutney, Charles 'Buddy' Stanley, and Bradbury Ball]' c. 1942")
![Gotthard Schuh (Swiss, 1897-1969) 'Inseln der Götter' (Islands of the gods) [book cover] 1941](https://artblart.com/wp-content/uploads/2014/06/insel-de-gotter.jpg "Gotthard Schuh (Swiss, 1897-1969) 'Inseln der Götter' (Islands of the gods) [book cover] 1941")
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