Archive for the 'colour photography' Category

01
May
21

Exhibition: ‘Timm Rautert and the Lives of Photography’ at Museum Folkwang, Essen

Exhibition dates: 19th February – 16th May, 2021

 

Timm Rautert. 'Tokaido Express, Tokyo' 1970

 

Timm Rautert (German, b. 1941)
Tokaido Express, Tokyo
1970
Gelatine silver print
45.5 x 59 cm
Museum Folkwang
© Timm Rautert

 

 

What an admirable artist.

Unfortunately with a limited number of media images available one cannot cover in any depth the many bodies of work of this fine artist. I would have liked to have seen more photographs from Rautert’s series The Amish and The Hutterites, and some photographs from his series on Thalidomide victims (none are available anywhere online). Very few of his portraits (only two are included here) or homeless series are available as well.

Particularly intriguing is work from the series Image-Analytical Photography in which Rautert explores “the fundamental conditions of photographic work – from the photographic act and the development of photographic images under an enlarger in the lab to the various possibilities of presentation”, using “black-and-white photographs, passport photos, lab experiments, combinations of selected photo prints with their negatives … but also non-photographic material such as a grey card (used for measuring light mainly in photo studios), postcards and graphic manuals” in order to understand “what photography means as a medium, what is expected from it, and how it has shaped the perception of the world.” Very few of these investigative images can be found online and only two are included in this posting. The second is a cracker.

Through the simple expedient of turning the camera upside down and photographing himself doing it coupled with the photographic outcome of the resulting picture we – the viewer, the looker, the seeker (of “truth”) – are so eloquently made aware that the camera is a machine, that it has a monocular perspective, and that every photo the camera takes is a construct. As Rautert asks in the quote below, “what is photography? what is light? what is time? what is space? how does one tell great stories? what means what?”

An excellent example of this enquiry is the series Gehäuse des Unsichtbaren (Houses of the Invisible) which depicts “working environments in the automobile and computer industries, creating a long-term chronicle of the transformation of the workplace in the wake of industrial automation.” In these conceptual but documentary, applied but artistic photographs, the human is masked, occluded and / or dwarfed by the humungous complexity and size of the machine – becoming an invisible attendant (a small cog in the wheel) of the mighty mechanism (think Metropolis, 1927). A solid story with a social and conceptual form.

There seems to be a strong eye and a whip sharp mind at work here: inquiring and questioning, ethical and creative, telling great stories through the lives of photography. An admirable artist indeed.

Dr Marcus Bunyan

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

 

Till May 16, 2021, Museum Folkwang presents a comprehensive retrospective of photographer Timm Rautert’s oeuvre. The exhibition Timm Rautert and the Lives of Photography spans five decades of his artistic production: beginning with Rautert’s experimental early work as a student of Otto Steinert, it shows his famous portrait series such as “Deutsche in Uniform (Germans in Uniform)” or “Eigenes Leben (Own Life),” as well as his artwork collages and his 2015 photographic installation work L’Ultimo Programma. The nearly 400 works illustrate not only the thematic and methodological versatility of Rautert’s oeuvre, but can also be read as documents of photography’s long journey into the museum and the art canon.

 

 

“I thought to myself: what is photography actually? What is it really?
I decided to develop a kind of grammar for photography:
What is light? What is time? What is space?
How does one tell great stories?
What means what?”

.
Timm Rautert

 

“Timm Rautert’s work forges links between applied and artistic photography. It reflects man in his time as much as the worlds created by man: the factories and machines, cultural highlights and the social fringe, heaven and hell of modern society. For many years Rautert has worked as a socially critical photographer and engaged himself in different long term projects.”

 

 

Installation view of the exhibition 'Timm Rautert and the Lives of Photography' at Museum Folkwang, Essen

Installation view of the exhibition 'Timm Rautert and the Lives of Photography' at Museum Folkwang, Essen

Installation view of the exhibition 'Timm Rautert and the Lives of Photography' at Museum Folkwang, Essen

 

Installation views of the exhibition Timm Rautert and the Lives of Photography at Museum Folkwang, Essen showing at bottom left, photographs from The Final Program, Campo S. Angelo, Venezia (2014)
Fotos: Jens Nober

 

Timm Rautert (German, b. 1941) 'The Final Program, Campo S. Angelo, Venezia' 2014

 

Timm Rautert (German, b. 1941)
The Final Program, Campo S. Angelo, Venezia
2014
Black and white photograph, bromide silver gelatine
Sheet size 50.8 x 40.5cm

 

Timm Rautert (German, b. 1941) 'The Final Program, Campo S. Angelo, Venezia' 2014

 

Timm Rautert (German, b. 1941)
The Final Program, Campo S. Angelo, Venezia
2014
Black and white photograph, bromide silver gelatine
Sheet size 50.8 x 40.5 cm

 

 

To mark the 80th birthday of the photographer Timm Rautert, Museum Folkwang is organising a comprehensive retrospective covering half a century of his artistic work.

Timm Rautert (born in 1941 in Tuchola, then West Prussia) is considered one of Germany’s preeminent contemporary photographers. Over the decades he has succeeded not only in anticipating the most important trends in photography, but has also played a major role in shaping them: as a studio photographer for galleries, as a photojournalist, as a chronicler of changing work environments and, finally, as a university lecturer, he has influenced ensuing generations.

As a student under Otto Steinert at what was then the Folkwangschule in Essen-Werden, Rautert quickly developed solid foundations for a committed, social-documentary photography. Alongside this, he explored the fundamentals of photography and developed his “image-analysis photography”, which has methodically permeated his artistic work to this day. For Rautert, alternating between applied and artistic elements is not a contradiction, but an expression of resolute photographic authorship.

In 1970, Rautert travelled to the USA and photographed figures such as Franz Erhard Walther, Andy Warhol and Walter de Maria. In Osaka, he documented the World’s Fair and the deeply traditional Japanese society of the time. From the mid-1970s, Rautert worked together with the journalist Michael Holzach on joint reportages for ZEITMagazin. For over a decade he produced social documentary reportages on migrant workers, the homeless, or previously inaccessible communities like The Hutterites (1978) and The Amish (1974).

In the 1980s, Rautert turned to documenting working environments in the automobile and computer industries, creating a long-term chronicle of the transformation of the workplace in the wake of industrial automation. Around 70 photographs from the series Gehäuse des Unsichtbaren (Houses of the Invisible) with photographs of research and manufacturing sites such as the Max Planck Institute (1988) or Siemens AG (1989) are being presented for the first time in a digital double projection, which Rautert developed specially for the exhibition at Museum Folkwang.

Artist portraits have been a recurring theme in Rautert’s work; his first was that of the Czech photographer Josef Sudek made for an exhibition of work by Otto Steinert and his students. It was followed by portraits of Otl Aicher, Pina Bausch, André Heller, Jasper Morrison and Éric Rohmer. Rautert focused not only on the subject, but also on their surroundings and actions; capturing their sphere of influence as part of their identity.

After being appointed professor of photography at the Hochschule für Grafik und Buchkunst Leipzig (1993-2008), Rautert dedicated himself to his own work. His focus is on re-examining, restructuring and reshooting past projects. His students include Viktoria Binschtok, Falk Haberkorn, Harry (Grit) Hachmeister, Margret Hoppe, Sven Johne, Ricarda Roggan, Adrian Sauer, Sebastian Stumpf and Tobias Zielony.

In 2008, Timm Rautert was the first photographer to receive the Lovis Corinth Prize for his life’s work.

Text from the Museum Folkwang website [Online] Cited 18/04/2021

 

Installation view of the exhibition 'Timm Rautert and the Lives of Photography' at Museum Folkwang, Essen

 

Installation view of the exhibition Timm Rautert and the Lives of Photography at Museum Folkwang, Essen showing photographs from Deutsche in Uniform (1974)
Fotos: Jens Nober

 

Timm Rautert (German, b. 1941) 'Liane Schneider, 33, Ground Hostess, Deutsche Lufthansa' 1974

 

Timm Rautert (German, b. 1941)
Liane Schneider, 33, Ground Hostess, Deutsche Lufthansa
1974
From Germans in Uniform
C-Print
28.7 x 22cm
Courtesy of the Artist
© Timm Rautert

 

Timm Rautert. 'Deutsche in Uniform' 1974

 

Timm Rautert (German, b. 1941)
Otto Koniezny, 39 Jahre, Bundesbahnschaffner (Federal Railroad conductor)
From the series Deutsche in Uniform
1974
© Timm Rautert

 

Timm Rautert. 'Deutsche in Uniform' 1974

 

Timm Rautert (German, b. 1941)
Fräulein Monika Powileit, 33 Jahre, Diakonieschwester (deaconry sister)
From the series Deutsche in Uniform
1974
© Timm Rautert

 

Timm Rautert. 'Deutsche in Uniform' 1974

 

Timm Rautert (German, b. 1941)
Herr Konrad Benden, 61 Jahre, Tambourmajor im Stadttambourchor, St. Maximilian 04, Düsseldorf (drum major in the city drum choir, St. Maximilian 04, Düsseldorf)
From the series Deutsche in Uniform
1974
© Timm Rautert

 

Timm Rautert. 'Deutsche in Uniform' 1974

 

Timm Rautert (German, b. 1941)
Herr Werner Kudszus, 47 Jahre, Oberstleutnant, Kommandeur eines Feldjägerbataillons (Lieutenant Colonel, commander of a military police battalion)
From the series Deutsche in Uniform
1974
© Timm Rautert

 

Timm Rautert. 'Deutsche in Uniform' 1974

 

Timm Rautert (German, b. 1941)
Herr Peter Müller, 22 Jahre, Oberwachtsmeister im Bundesgrenzschutz Bonn (chief sergeant in the Federal Border Police in Bonn)
From the series Deutsche in Uniform
1974
© Timm Rautert

 

Timm Rautert (German, b. 1941) 'Claudia Krüll, 17, German Red Cross Helper' 1974

 

Timm Rautert (German, b. 1941)
Claudia Krüll, 17, German Red Cross Helper
From the series Deutsche in Uniform
1974
© Timm Rautert

 

Timm Rautert. 'Deutsche in Uniform' 1974

 

Timm Rautert (German, b. 1941)
Herr Wolfgang Markgraf, 28 Jahre, Pfarrer, Evangelische Friedens-Kirchengemeinde (pastor, Evangelical Peace Church Congregation)
From the series Deutsche in Uniform
1974
© Timm Rautert

 

Timm Rautert. 'Deutsche in Uniform' 1974

 

Timm Rautert (German, b. 1941)
Herr Jürgen Lobert, Frau Marlene Lobert, 30 und 31 Jahre, Schützen regiments könig und Königin (rifle regiment king and queen)
From the series Deutsche in Uniform
1974
© Timm Rautert

 

 

Timm Rautert’s 1974 series “Germans in Uniform”, presenting a range of Germans in their professional attire in both a sociological and ironic manner, was first published in German by Steidl in 2006, and is now available in English in this expanded version.

For his project Rautert invited a range of public servants and officials to his Düsseldorf studio, where he photographed them in their work clothes – from a pastor, monk, Red Cross helper and hotel valet, to a more flamboyant drum major, forest warden and even a Santa Claus. Rautert depicts his subjects before the same neutral backdrop with similar framing and perspective, thus emphasising how they reveal their characters beyond their uniforms. Below each photo are the subject’s name, age and profession; at times personal quotes from conversations with Rautert during the shoot are also included. The result today is at once a complex portrait of post-war Germany, a nostalgic historical document, and an expression of the interplay between uniformity and personality that continues to shape society. In contrast to today’s professional clothing … the uniforms photographed by Rautert reflect a time of social upheaval. This documentary project was followed by the 1976 series entitled Die Letzten ihrer Zunft (The Last of this Profession) about the extinction of certain trades and professions.

Anonymous text from the Steidl website [Online] Cited 18/04/2021

 

In shooting these landmark 1974 portraits of Deutsche in Uniform, Timm Rautert met his subjects in their own territories, but then set them against a neutral background, separating them from their work aesthetics. This portable studio setting gives special significance to the moment of representation, when the subject is captured as a symbol of the state or an occupational group. By using not only names and job titles but also quotes from interviews, Rautert also prompts observers to focus on the subject or the connection between the individual’s gestures and his official work clothes. In contrast to today’s professional clothing, which is transformed into outfits by logos, the uniforms he photographed reflect a time of social upheaval.

Anonymous text from the Amazon website [Online] Cited 18/04/2021

 

Timm Rautert (German, b. 1941) 'Swiss Pavilion' 1970

 

Timm Rautert (German, b. 1941)
Swiss Pavilion
1970
From: Expo ’70 – Osaka
Gelatine silver print
50 x 56cm
Museum Folkwang
© Timm Rautert

 

Timm Rautert (German, b. 1941) From the series 'The Amish' 1974

 

Timm Rautert (German, b. 1941)
From the series The Amish
1974
Gelatine silver print
17.4 x 26.8cm
Courtesy of the Artist
© Timm Rautert

 

 

In 1974 the young Timm Rautert travelled to Pennsylvania to photograph those who normally don’t allow themselves to be photographed: the Amish, a group of Anabaptist Protestant communities. Four years later Rautert returned to America, this time to the Hutterites who live so stringently by the Ten Commandments and the bible’s restrictions on images that they have their identity cards issued without photographs. Both these two series were influential on Rautert’s later work…

 

Timm Rautert (German, b. 1941) photographs from the book 'No Photographing' (Steidl, Hardcover, 2011)

Timm Rautert (German, b. 1941) photographs from the book 'No Photographing' (Steidl, Hardcover, 2011)

Timm Rautert (German, b. 1941) photographs from the book 'No Photographing' (Steidl, Hardcover, 2011)

Timm Rautert (German, b. 1941) photographs from the book 'No Photographing' (Steidl, Hardcover, 2011)

Timm Rautert (German, b. 1941) photographs from the book 'No Photographing' (Steidl, Hardcover, 2011)

Timm Rautert (German, b. 1941) photographs from the book 'No Photographing' (Steidl, Hardcover, 2011)

Timm Rautert (German, b. 1941) photographs from the book 'No Photographing' (Steidl, Hardcover, 2011)

 

Timm Rautert (German, b. 1941) photographs from the book No Photographing (Steidl, Hardcover, 2011)

 

Timm Rautert (German, b. 1941) 'Homeless II' 1973

 

Timm Rautert (German, b. 1941)
Homeless II
from the series In Germany’s Homeless Shelters
1973
Gelatine silver print
47.8 x 32cm
Courtesy of the Artist
© Timm Rautert

 

Timm Rautert. 'Homeless due to housing shortage' 1973

 

Timm Rautert (German, b. 1941)
Homeless due to housing shortage
from the series In Germany’s Homeless Shelters
1973
Gelatine silver print
Courtesy of the Artist
© Timm Rautert

 

Timm Rautert. 'Socio-educational scheme, Cologne' 1974

 

Timm Rautert (German, b. 1941)
Socio-educational scheme, Cologne
1974
Gelatine silver print
Courtesy of the Artist
© Timm Rautert

 

Timm Rautert. 'Social work in Cologne' 1977

 

Timm Rautert (German, b. 1941)
Social work in Cologne
1977
Gelatine silver print
Courtesy of the Artist
© Timm Rautert

 

Timm Rautert (German, b. 1941) 'Otto Steinert, Essen' 1968

 

Timm Rautert (German, b. 1941)
Otto Steinert, Essen
1968
Gelatine silver print
39.8 x 27.1cm
Courtesy of the Artist
© Timm Rautert

 

 

The Powerlessness of Photographs

When television moved into people’s living rooms in the 1950s, many predicted the moving picture would spell the end of still photography. Yet it is not films but photographs with their capacity to eternalise individual moments, freeze them in time and, by bringing things to a halt, compel viewers to look at them and think, that continue to define our collective memory today. Buzz Aldrin on the moon, children fleeing a napalm attack in Vietnam, the student in front of the army tanks in Tiananmen Square, victims of torture at Abu Ghraib – these are the images that are said to have changed the world.

Timm Rautert began his career as a photojournalist. Inspired by the belief that photography could change the world, he addressed social issues on behalf of major magazines and newspapers. His work took him to Japan, Russia and the USA, and led him to the homeless, the jobless and to Thalidomide victims. He wanted to use his camera to get to the heart of things, and draw the viewer’s attention to injustice in the long term through his haunting series of images. But it turned out that the power of these images and their influence on society was limited: “My images haven’t change a thing,” was Timm Rautert’s sobering realisation some years later.

His interest in social and moral issues continued unabated. But his photographic style changed, becoming more conscious and more reflective. Increasingly, Timm Rautert straddled the boundary between applied and artistic photography. But he still put the message of his images above their aesthetic quality: “Photography is an important medium to understanding the world; it is such a waste to use it only as art.” Nevertheless, he combined form and content in the knowledge that his work could only ever show his personal perspective on things.

His teacher, Otto Steinert, had a profound influence on this approach. The founder of subjective photography claimed it was impossible to depict reality objectively. The mere presence of the camera distorted the situation for everyone involved and therefore the image – including the photographer himself. Timm Rautert, too, sees the camera as standing between himself and reality – biasing his view of life.

Text from the Deutsche Börse Photography Foundation website [Online] Cited 18/04/2021

 

Timm Rautert (German, b. 1941) 'Mensch in einem Photoautomaten' (Human in a photo booth) New York, 1969

 

Timm Rautert (German, b. 1941)
Mensch in einem Photoautomaten (Human in a photo booth)
New York, 1969
From the series New York
© Timm Rautert

 

Timm Rautert (German, b. 1941) 'Gotham City NY' New York, 1969

 

Timm Rautert (German, b. 1941)
Gotham City NY
New York, 1969
From the series New York
© Timm Rautert

 

Timm Rautert (German, b. 1941) 'New York (Wellington Hotel)' 1969

 

Timm Rautert (German, b. 1941)
New York (Wellington Hotel)
1969
From the series New York
© Timm Rautert

 

Timm Rautert. 'New York' 1969

 

Timm Rautert (German, b. 1941)
New York
1969
From the series New York
© Timm Rautert

 

Timm Rautert. 'New York' 1969

 

Timm Rautert (German, b. 1941)
New York
1969
From the series New York
© Timm Rautert

 

Timm Rautert (German, b. 1941) 'Self with Camera Turned (by. 0° 180°)' 1972

 

Timm Rautert (German, b. 1941)
Self with Camera Turned (by. 0° 180°)
1972
From Image-Analytical Photography
Gelatine silver print
20.4 x 26.9cm
Staatliche Kunstsammlung, Dresden
© Timm Rautert

 

Timm Rautert (German, b. 1941) 'Self with Camera Turned (by. 0° 180°)' 1972

 

Timm Rautert (German, b. 1941)
Self with Camera Turned (by. 0° 180°)
1972
From Image-Analytical Photography
Negative mounting, on cardboard
Staatliche Kunstsammlung, Dresden
© Timm Rautert/SKD
Foto: Herbert Boswank

 

 

‘I Started as a Scientist and Finished as an Artist’ | Interview with Timm Rautert

 

 

“I thought to myself: what is photography actually? What is it really?
I decided to develop a kind of grammar for photography:
What is light? What is time? What is space?
How does one tell great stories?
What means what?”

 

Timm Rautert’s Bildanalytische Photographie (Image-Analytical Photography), from 1968 to 1974, highlights the fundamental conditions of photographic work – from the photographic act and the development of photographic images under an enlarger in the lab to the various possibilities of presentation. A systematically elaborated ensemble of analogue black-and-white and colour photographs, of image-text compilations, and of manuals and photographic material provokes elementary questions about what photography means as a medium, what is expected from it, and how it has shaped the perception of the world. Scenic black-and-white photographs, passport photos, lab experiments, combinations of selected photo prints with their negatives are found here among Rautert’s 56 works, but also non-photographic material such as a grey card (used for measuring light mainly in photo studios), postcards and graphic manuals. Each work becomes an element of “analysis” showing the numerous potential scenarios of photography.

 

Timm Rautert (German, b. 1941) from 'Variation' 1967

 

Timm Rautert (German, b. 1941)
from Variation
1967
C-Print
39.3 x 29.7 cm
Courtesy of the Artist
© Timm Rautert

 

Installation view of the exhibition 'Timm Rautert and the Lives of Photography' at Museum Folkwang, Essen

 

Installation view of the exhibition Timm Rautert and the Lives of Photography at Museum Folkwang, Essen showing work from the series Houses of the Invisible
Foto: Jens Nober

 

Timm Rautert (German, b. 1941) 'Siemens AG, Munich' 1989

 

Timm Rautert (German, b. 1941)
Siemens AG, Munich
1989
From Houses of the Invisible
Digital projection, variable size
Courtesy of the Artist
© Timm Rautert

 

Timm Rautert (German, b. 1941) 'Messerschmitt-Bölkow-Blohm GmbH, Ottobrunn' 1989

 

Timm Rautert (German, b. 1941)
Messerschmitt-Bölkow-Blohm GmbH, Ottobrunn
1989
From Houses of the Invisible
Digital projection, variable size
Courtesy of the Artist
© Timm Rautert

 

Timm Rautert (German, b. 1941) 'Fraunhofer Institut für Mikroelektronik, Duisburg' 1986

 

Timm Rautert (German, b. 1941)
Fraunhofer Institut für Mikroelektronik, Duisburg
1986
From Gehäuse des Unsichtbaren (Houses of the Invisible)
Digital projection, variable size
Courtesy of the Artist
© Timm Rautert

 

Timm Rautert (German, b. 1941) 'Rolf Deininghaus & Maxmillian Oesterling, Dortmund' 1994

 

Timm Rautert (German, b. 1941)
Rolf Deininghaus & Maxmillian Oesterling, Dortmund
1994
From A life of one’s own
Gelatine silver print
57 x 44.2cm
Courtesy the Artist
© Timm Rautert

 

Timm Rautert (German, b. 1941) 'Mona Lisa' 2010

 

Timm Rautert (German, b. 1941)
Mona Lisa
2010
Mixed Media Farbcollage, Offsetdruck, Tonpapier
80.5 x 63 cm
Courtesy of the Artist
© Timm Rautert

 

 

Museum Folkwang
Museumsplatz 1, 45128 Essen

Opening hours:
Tuesday – Sunday 10am – 6pm
Thursday – Friday 10am – 8pm

Museum Folkwang website

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24
Apr
21

Exhibition: ‘Photography Is Art’ at the Amon Carter Museum of American Art, Fort Worth, Texas

Exhibition dates: 18th April – 8th August 2021

 

Timothy H. O'Sullivan (1840-1882) 'Entrance to Black Cañon, Colorado River, from Above' 1871

 

Timothy H. O’Sullivan (American, 1840-1882)
Entrance to Black Cañon, Colorado River, from Above
1871
Albumen silver print
Amon Carter Museum of American Art, Fort Worth, Texas

 

 

A quick posting as I am not feeling that well.

This exhibition drags up that perennial favourite, is photography art? by addressing it in the affirmative ‘Photography Is Art’.

While historically the statement has had to be fought for, even having to make that statement today in the title of exhibition implies – through its very existence – that there still exists an opposite, that photography is not art. Surely a more apposite title could have been found, especially as over half the media images are from a period when photography was collected by major galleries and museums around the world.

Highlights for me are the O’Sullivan, Stieglitz, Clarence H. White and the Gordon Parks.

Let the photographs speak for themselves (now there’s a good title: ‘Speaking for themselves’).
They need no justification.

Marcus

.
Many thankx to the Amon Carter Museum of American Art for allowing me to publish the art work in the posting. Please click on the photographs for a larger version of the image.

 

Has photography always been considered art? Though widely accepted today as a medium in its own right, art museums have not always embraced photography. In fact, it wasn’t until the late 1970s and early 1980s that many museums began actively collecting and displaying photographs. Photography Is Art tells the story of American photographers’ efforts, from the late 19th century on, to explore and proclaim photography’s artfulness. Drawn from the Carter’s expansive and renowned photography collection, this exhibition reveals how artists shaped their medium’s artistic language.

Text from the Amon Carter Museum of American Art website

 

 

Alfred Stieglitz (1864-1946) 'A Wet Day on the Boulevard, Paris' 1894

 

Alfred Stieglitz (American, 1864-1946)
A Wet Day on the Boulevard, Paris
1894
Photogravure
Amon Carter Museum of American Art, Fort Worth, Texas
Gift of Doris Bry

 

Clarence H. White (1871–1925) 'Nude' c. 1900

 

Clarence H. White (American, 1871-1925)
Nude
c. 1900
Platinum print
Amon Carter Museum of American Art; Fort Worth, Texas
Bequest of the Artist

 

Carlotta Corpron (1901-1988) 'A Walk in Fair Park, Dallas' c. 1943

 

Carlotta Corpron (American, 1901-1988)
A Walk in Fair Park, Dallas
c. 1943
Gelatin silver print
Amon Carter Museum of American Art, Fort Worth, Texas, Gift of the artist
© 1988 Amon Carter Museum of American Art

 

 

Carlotta Corpron was born in Blue Earth, Minnesota, but spent fifteen years of her youth in India. She returned to the United States in 1920 to earn degrees in art education at Michigan State Normal College and Columbia University, and was first introduced to photography in 1933. Her interest grew out of her desire to create close-up images of natural forms for use in art and design courses, and her vision was influenced by László Moholy-Nagy, and further shaped by her friendship with Gyorgy Kepes, who included her in his book The Language of Vision (1944). Of particular note are Corpron’s early light drawings, made by tracking moving light at amusement parks – radiant images of wild edges and rhythmic lines – and her “space compositions,” which employed eggs and shells, although their real subject is the constructed space in which they exist. This space, achieved by the use of light-reflecting surfaces, often seems to reproduce the perceptual distortions of underwater realms. Corpron also made “fluid light designs” examining reflections on plastic materials; “light follows form” studies of sculpture; abstractions of light flowing through glass; and solarisations of flowers and portraits. She retired from teaching in 1968 but continued printing her earlier work. Corpron’s photographs were shown at the Museum of Modern Art and the Art Institute of Chicago, and were included in the 1979 ICP exhibition Recollections: Ten Women in Photography.

Corpron’s experiments with light are among the most intriguing abstract photographic works from her day, sharing as they do the concerns of her predecessors Moholy-Nagy, Man Ray, and Alvin Langdon Coburn. Her work is significant for its inventive and resolutely independent exploration of the aesthetic possibilities of light and space. Wrought from simple materials and the free play of imagination, Corpron’s light abstractions are increasingly admired.
Cynthia Fredette

Handy et al. Reflections in a Glass Eye: Works from the International Center of Photography Collection, New York: Bulfinch Press in association with the International Center of Photography, 1999, p. 212 on the International Centre of Photography website [Online] Cited 18/04/2021.

 

Gordon Parks (1912-2006) 'Leonard "Red" Jackson (standing, right) supervises painting of bicycles belonging to members of his Harlem gang. In foreground is "Brother" Price, Red's cousin and assistant gang leader 1948' Oct. 8, 1948

 

Gordon Parks (American, 1912-2006)
Leonard “Red” Jackson (standing, right) supervises painting of bicycles belonging to members of his Harlem gang. In foreground is “Brother” Price, Red’s cousin and assistant gang leader 1948
Oct. 8, 1948
Gelatin silver print; Amon Carter Museum of American Art, Fort Worth, Texas

 

Barbara Crane (American, b. 1928) 'NS-015-1969' 1969

 

Barbara Crane (American, b. 1928)
NS-015-1969
1969
Gelatin silver print
Amon Carter Museum of American Art, Fort Worth, Texas
Gift of Elizabeth, Jennifer, and Bruce Crane

 

Richard Avedon (1923-2004) 'Clyde Corley, Rancher, Belgrade, Montana, 8/26/79' 1979

 

Richard Avedon (American, 1923-2004)
Clyde Corley, Rancher, Belgrade, Montana, 8/26/79
1979
Gelatin silver print
Amon Carter Museum of American Art, Fort Worth, Texas

 

Ellen Carey (American, b. 1952) 'Self-portrait' 1984

 

Ellen Carey (American, b. 1952)
Self-portrait
1984
Dye diffusion transfer print
Amon Carter Museum of American Art, Fort Worth, Texas
© 1984 Ellen Carey

 

Justine Kurland (American, b. 1969) 'The Wall' 2000

 

Justine Kurland (American, b. 1969)
The Wall
2000
Inkjet print
Amon Carter Museum of American Art, Fort Worth, Texas
© Justine Kurland / Courtesy of the artist and Mitchell-Innes & Nash, New York

 

Sharon Core (American, b. 1965) 'Peaches and Blackberries' 2008

 

Sharon Core (American, b. 1965)
Peaches and Blackberries
2008
Dye coupler print
Amon Carter Museum of American Art, Fort Worth, Texas, Purchase with funds provided by Nenetta C. Tatum and Stephen L. Tatum

 

Alex Prager (American, b. 1979) 'Crowd #1 (Stan Douglas)' 2010

 

Alex Prager (American, b. 1979)
Crowd #1 (Stan Douglas)
2010
Dye coupler print
Amon Carter Museum of American Art, Fort Worth, Texas

 

 

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09
Apr
21

Review: ‘Ruth Maddison: It was the best of times, it was the worst of times’ at the Centre for Contemporary Photography, Melbourne

Exhibition dates: 26th February  –  18th April 2021

 

Ruth Maddison (Australian, b. 1945) 'Equal pay demo, Bourke Street Melbourne' 1985

 

Ruth Maddison (Australian, b. 1945)
Equal pay demo, Bourke Street Melbourne
1985
Pigment print from scanned negative
39 x 58cm (image size)
Courtesy of the artist and the Centre for Contemporary Photography

 

 

“One can also pursue politics with art.
Everything that intervenes in the processes of life, and transforms them, is politics.”

.
Hans Richter

 

“I always wanted to document people’s lives – their work, their family, their relationships, their leisure – their pain and pleasure.

“To me, every individual’s life is more wondrous than any fantasy could ever be.”

.
Ruth Maddison

 

 

The Art of a Fellow Traveller

Since the 1970s Australia has been blessed with many talented women photographers… Sue Ford, Carol Jerrems, Joyce Evans, Ponch Hawkes, Micky Allan, Ruth Maddison, Rosemary Laing, Hoda Afshar, Anne Ferran, Katrin Koenning, Robyn Stacey, Janina Green, Bindi Cole, Tracey Moffatt, Polixeni Papapetrou, Pat Brassington, Claire Rae, Claudia Terstappen, Jacqui Stockdale, Siri Hayes, Petrina Hicks, Kim Lawler, Carolyn Lewens, Nicola Loder, Jill Orr, Kim Percy, Patricia Piccinini, Elizabeth Gertsakis, Jane Brown, to name just a few…

 ** Thinking. Australia. For such a small (in population) and isolated (geographically) country, rarely in the history of photography can there have been such an accumulated wealth of talent within the space of 60 years or so. I have suggested to a major public gallery in Melbourne a group exhibition of these artists but it went nowhere. Why? This is world class talent! **

.
Which brings me to the exhibition Ruth Maddison: It was the best of times, it was the worst of times which occupies all galleries at the Centre for Contemporary Photography, Melbourne.

What a delight it is to see this artist in full flight in this exceptionally strong exhibition. As pictured in the flow of images, Maddison has carved her name as a social documentary and feminist photographer, her holistic body of work providing a “significant contribution to the documentation of Australian life and society from the 1970s to the present – from her earliest iconic hand-coloured works, the working life of women, Melbourne’s social and cultural life of the 1980s, and Maddison’s documentation of the people and industries of her adopted home of Eden.”

Through direct, frontal mainly black and white / hand coloured photographs, Maddison builds compelling stories in her work, stories which explore the cultures and sub-cultures of Australia: the political upheavals, alternative lifestyles and counter culture, the women’s movement, gay liberation, Vietnam, union, nuclear, anti-fascist and other protests; the fight for equality and equal pay, the fight against discrimination and other actions that fight for fairness, acceptance and respect for all, within Australian society. With compassion and understanding Maddison pictures youth and exuberance, old age and protest, life on the land and sea, and life leaving it for the cities. Her photographs serve a testificatory function – related to BOTH a person who has witnessed these events (the artist) AND an object used as evidence (the photograph).

Maddison’s testimony to such events creates a polyperspectivity – not so much in terms of what the camera sees in individual images, but in what it sees directed by the artist over an entire career, comprising more than 40 years. Of looking, of being present, of being ethical. In her work, “the shadows already become immortal while still alive.”1

This is the crux of the matter. Since the very day that Maddison picked up a camera being ethical when representing the world around her has been a gut reaction. “Ethics is concerned with what is good for individuals and society and is also described as moral philosophy. The term is derived from the Greek word ethos which can mean custom, habit, character or disposition.” Her presentation of the world reflects her character and disposition. Her ethos is embedded in her being and psyche – the human soul, mind AND spirit. You can’t make this stuff up, you either have it or you don’t.

Maddison has this generosity of spirit in spades. The belief in balance, fairness, and equality for all. Yes, her photographs document people’s pleasure and pain, their lives, their existence but only through her own presence and vision. Her photographs are a reflection of her inner being, her spirit. What she believes the world can be, should be. It is this force of nature, her own being, that propels the investigation forwards. Never more so than now, in the midst of a pandemic, the world needs such ethical artists. To remind us for what we fight for.

For example, Netflix have recently announced a new “docu-soap” series “Byron Baes” (babes) to be filmed in the northern NSW beachside town of Byron Bay, which will reveal “hot Instagrammers, living their best lives, being their best selves,” with a cast of “celebrity-adjacent-adjacent influencers.” Who cares about these egotistical non-entities, when in the town drug use is rampant, housing is unaffordable and people cannot get a job! That is the real story, one which an artist such as Maddison would recognise and document with empathy and insight.

Maddison is a fellow traveller2 and I travel with her. She doesn’t follow “the running dog of capitalism” – or as people used to call them, “running dogs”3 – nipping at your heels, constantly harassing you, but these days not even that… just lackadaisical multinational corporations who don’t even care to hide their disdain for the working class, or their ecological disdain for the health of the world. All that matters is money and keeping the shareholders happy. She follows her own path and long may that continue. Looking and documenting is always both personal and political and this is Maddison’s story: “Everything that intervenes in the processes of life, and transforms them, is politics.” Blessings to her.

Dr Marcus Bunyan

 

  1. Joseph Roth, quoted, in translation, from Ulrich Raulff. “Umbrische Figuren,” in Floris M. Neusüss. Fotogramme – die lichtreichen Schatten. Kassel 1983, p. 16.
  2. A person who travels with another; a person who is not a member of a particular group or political party … but who sympathises with the group’s aims and policies.
  3. A servile follower, especially of a political system.

.
Many thankx to the Centre for Contemporary Photography for allowing me to publish the installation photographs at the bottom of the posting. All other iPhone photographs by Marcus Bunyan. Please click on the photographs to view a larger version of the image.

 

 

Gallery One

 

Text from the exhibition 'Ruth Maddison It was the best of times, it was the worst of times' at the Centre for Contemporary Photography, Melbourne

 

Text from the exhibition 'Ruth Maddison It was the best of times, it was the worst of times' at the Centre for Contemporary Photography, Melbourne

Text from the exhibition 'Ruth Maddison It was the best of times, it was the worst of times' at the Centre for Contemporary Photography, Melbourne

 

Ruth Maddison (Australian, b. 1945) 'First roll of film' 1976 (installation view)

 

Ruth Maddison (Australian, b. 1945)
From First roll of film (installation view)
1976
Photo: Marcus Bunyan

 

Ruth Maddison (Australian, b. 1945) 'First roll of film' 1976 (installation view)

 

Ruth Maddison (Australian, b. 1945)
From First roll of film (installation view)
1976
Photo: Marcus Bunyan

 

Ruth Maddison (Australian, b. 1945) 'First roll of film' 1976

 

Ruth Maddison (Australian, b. 1945)
From First roll of film (installation view)
1976
Photo: Marcus Bunyan

 

Installation view of the exhibition 'Ruth Maddison It was the best of times, it was the worst of times' at the Centre for Contemporary Photography, Melbourne

 

Installation view of the exhibition Ruth Maddison It was the best of times, it was the worst of times at the Centre for Contemporary Photography, Melbourne showing at left the series Christmas Holidays with Bob’s Family, Mermaid Beach, Queensland (1979)
Photo: Marcus Bunyan

 

Installation view of the exhibition 'Ruth Maddison It was the best of times, it was the worst of times' at the Centre for Contemporary Photography, Melbourne

 

Installation view of the exhibition 'Ruth Maddison It was the best of times, it was the worst of times' at the Centre for Contemporary Photography, Melbourne

Installation view of the exhibition 'Ruth Maddison It was the best of times, it was the worst of times' at the Centre for Contemporary Photography, Melbourne

 

Installation views of the exhibition Ruth Maddison It was the best of times, it was the worst of times at the Centre for Contemporary Photography, Melbourne showing the series Christmas Holidays with Bob’s Family, Mermaid Beach, Queensland (1979)
Photos: Marcus Bunyan

 

Ruth Maddison (born Australia 1945) 'No title (Woman collecting a Christmas present from the car)' 1977-78

 

Ruth Maddison (Australia, b. 1945)
No title (Woman collecting a Christmas present from the car)
1977-78
From the series Christmas Holidays with Bob’s Family, Mermaid Beach, Queensland 1979

 

Ruth Maddison. 'Christmas holiday with Bob's family, Mermaid Beach, Queensland' 1977/78

 

Ruth Maddison (Australia, b. 1945)
From Christmas Holidays with Bob’s family, Mermaid Beach, Queensland
1979

 

Ruth Maddison (Australia, b. 1945) 'Christmas Holidays with Bob's family, Mermaid Beach, Queensland' 1979

 

Ruth Maddison (Australia, b. 1945)
From Christmas Holidays with Bob’s family, Mermaid Beach, Queensland
1979

 

Installation view of the exhibition 'Ruth Maddison It was the best of times, it was the worst of times' at the Centre for Contemporary Photography, Melbourne

 

Installation view of the exhibition 'Ruth Maddison It was the best of times, it was the worst of times' at the Centre for Contemporary Photography, Melbourne

 

Installation view of the exhibition 'Ruth Maddison It was the best of times, it was the worst of times' at the Centre for Contemporary Photography, Melbourne

 

Installation views of the series Christmas Holidays with Bob’s family, Mermaid Beach, Queensland (1979) from the exhibition Ruth Maddison It was the best of times, it was the worst of times at the Centre for Contemporary Photography, Melbourne
Photos: Marcus Bunyan

 

Ruth Maddison (Australian, b. 1945) 'Untitled #18' 1979

 

Ruth Maddison (Australian, b. 1945)
Untitled #18
1979
From the series Christmas holidays with Bob’s family. Mermaid Beach, Queensland 1979
Pigment print from scan, edition 1/1
10.5 x 16.2cm
Courtesy of the artist and the Centre for Contemporary Photography

 

Text from the exhibition 'Ruth Maddison It was the best of times, it was the worst of times' at the Centre for Contemporary Photography, Melbourne

 

Installation view of the exhibition 'Ruth Maddison It was the best of times, it was the worst of times' at the Centre for Contemporary Photography, Melbourne

 

Installation view of the exhibition Ruth Maddison It was the best of times, it was the worst of times at the Centre for Contemporary Photography, Melbourne showing photographs of women workers and single mothers (various dates and series, see above)
Photo: Marcus Bunyan

 

Installation view of the exhibition 'Ruth Maddison It was the best of times, it was the worst of times' at the Centre for Contemporary Photography, Melbourne

Installation view of the exhibition 'Ruth Maddison It was the best of times, it was the worst of times' at the Centre for Contemporary Photography, Melbourne

Installation view of the exhibition 'Ruth Maddison It was the best of times, it was the worst of times' at the Centre for Contemporary Photography, Melbourne

Installation view of the exhibition 'Ruth Maddison It was the best of times, it was the worst of times' at the Centre for Contemporary Photography, Melbourne

Installation view of the exhibition 'Ruth Maddison It was the best of times, it was the worst of times' at the Centre for Contemporary Photography, Melbourne

Installation view of the exhibition 'Ruth Maddison It was the best of times, it was the worst of times' at the Centre for Contemporary Photography, Melbourne

 

Installation views of the exhibition Ruth Maddison It was the best of times, it was the worst of times at the Centre for Contemporary Photography, Melbourne showing images from the series And so we joined the Union (1985)
Photos: Marcus Bunyan

 

Ruth Maddison (Australian, b. 1945) 'Prison Officers, Pentridge' 1985

 

Ruth Maddison (Australian, b. 1945)
Prison Officers, Pentridge
1985
Pigment print from scanned negative (Print by Les Walkling)
50 x 50cm (image size)
Courtesy of the artist and the Centre for Contemporary Photography

 

Ruth Maddison (Australian, b. 1945) From the series 'Let's Dance' 1979

Ruth Maddison (Australian, b. 1945) From the series 'Let's Dance' 1979

 

Ruth Maddison (Australian, b. 1945)
From the series Let’s Dance (installation views)
1979
Photos: Marcus Bunyan

 

 

Ruth Maddison photographed the social spaces that had been important to activist communities but which were in the process of passing away. These were mainly commissioned projects for labour and social movements, otherwise these histories would have been lost.

Dancing and entertainment were features of Ruth Maddison’s work throughout the 1980s. These photographs reflected Maddison’s own social life, which often revolved around Melbourne’s pubs and nightclubs. But there was also a classical documentary function to her photographs of trade union dances and the annual women’s dance at St Kilda Town Hall. These pictures reflected social spaces that had been important to activist communities, but which by the mid-1980s were in the process of passing away; as women’s groups began to fragment, and as the membership of labour organisations changed. The photograph shown here of the Vehicle Builders’ Union Ball at Collingwood Town Hall were part of a commission. Like many photographers in this exhibition (including Helen Grace, Sandy Edwards and Ponch Hawkes), political affiliation and professional practice often came together in commissioned projects for labour and social movements.

Text from the Monash Gallery of Art website

 

Ruth Maddison. 'Vehicle Builders' Union Ball, Collingwood Town Hall, Melbourne' 1979

 

Ruth Maddison (Australian, b. 1945)
Vehicle Builders’ Union Ball, Collingwood Town Hall, Melbourne
1979
Gelatin silver print

 

Ruth Maddison (Australian, b. 1945) 'Single Mothers and their Children' 1994

 

Installation view of a work from Ruth Maddison’s series Single Mothers and their Children 1994
Photo: Marcus Bunyan

 

Ruth Maddison (Australian, b. 1945) 'Mmaskepe Sejoe and her daughter Nthabelong. Botswana - Melbourne' 1997 (installation view)

 

Ruth Maddison (Australian, b. 1945)
Mmaskepe Sejoe and her daughter Nthabelong. Botswana – Melbourne (installation view)
1997
From the series Australian Women
Photo: Marcus Bunyan

 

Ruth Maddison (Australian, b. 1945) 'Mary Marcoftsis. Macedonia - Melbourne' 1997 (installation view)

 

Ruth Maddison (Australian, b. 1945)
Mary Marcoftsis. Macedonia – Melbourne (installation view)
1997
From the series Australian Women
Photo: Marcus Bunyan

 

Ruth Maddison (Australian, b. 1945) 'Nada Jankovic. Serbia - Buli, NSW' 1997 (installation view)

 

Ruth Maddison (Australian, b. 1945)
Nada Jankovic. Serbia – Buli, NSW (installation view)
1997
From the series Australian Women
Photo: Marcus Bunyan

 

Ruth Maddison (Australian, b. 1945) 'Lia Tata Ruga, Devi Hamid, Anna Dartania and Ita Sulis. Indonesia – Sydney' (installation view) 1997

 

Ruth Maddison (Australian, b. 1945)
Lia Tata Ruga, Devi Hamid, Anna Dartania and Ita Sulis. Indonesia – Sydney (installation view)
1997
From the series Australian Women
Photo: Marcus Bunyan

 

Ruth Maddison (Australian, b. 1945) 'Trade workshop for girls, Preston TAFE' 1984 (installation view)

 

Ruth Maddison (Australian, b. 1945)
Trade workshop for girls, Preston TAFE (installation view)
1984, printed 2020
Pigment print from scanned negative
18.6 x 28cm
Photo: Marcus Bunyan

 

Ruth Maddison (Australian, b. 1945) 'Trade workshop for girls, Preston TAFE 1984' (installation view)

 

Ruth Maddison (Australian, b. 1945)
Trade workshop for girls, Preston TAFE (installation view)
1984, printed 2020
Pigment print from scanned negative
18.6 x 28cm
Photo: Marcus Bunyan

 

Ruth Maddison (Australian, b. 1945) 'Women's Dance, St Kilda Hall' 1985, printed 2014 (installation view)

 

Ruth Maddison (Australian, b. 1945)
Women’s Dance, St Kilda Hall (installation view)
1985, printed 2014
Gelatin silver prints

 

Text from the exhibition 'Ruth Maddison It was the best of times, it was the worst of times' at the Centre for Contemporary Photography, Melbourne

 

Installation view of the exhibition 'Ruth Maddison It was the best of times, it was the worst of times' at the Centre for Contemporary Photography, Melbourne

Installation view of the exhibition 'Ruth Maddison It was the best of times, it was the worst of times' at the Centre for Contemporary Photography, Melbourne

Installation view of the exhibition 'Ruth Maddison It was the best of times, it was the worst of times' at the Centre for Contemporary Photography, Melbourne

 

Installation views of the exhibition Ruth Maddison It was the best of times, it was the worst of times at the Centre for Contemporary Photography, Melbourne
Photos: Marcus Bunyan

 

Ruth Maddison (Australian, b. 1945) 'Ponch Hawkes, Helen and Alice Garner' 1978-2018

 

Ruth Maddison (Australian, b. 1945)
Ponch Hawkes, Helen and Alice Garner
1978-2018
Pigment print from scanned negative
Image: 22.6 x 15cm
Courtesy of the artist and the Centre for Contemporary Photography

 

Ruth Maddison (Australian, b. 1945) 'Jane Clifton and Helen Garner' 1976-2013 (installation view)

Ruth Maddison (Australian, b. 1945) 'Jane Clifton and Helen Garner' 1976-2013 (installation view)

 

Ruth Maddison (Australian, b. 1945)
Jane Clifton and Helen Garner (installation views)
1976-2013
Photos: Marcus Bunyan

 

Text from the exhibition 'Ruth Maddison It was the best of times, it was the worst of times' at the Centre for Contemporary Photography, Melbourne

 

Installation view of the exhibition 'Ruth Maddison It was the best of times, it was the worst of times' at the Centre for Contemporary Photography, Melbourne

 

Installation view in gallery one of the exhibition Ruth Maddison It was the best of times, it was the worst of times at the Centre for Contemporary Photography, Melbourne
Photo: Marcus Bunyan

 

Installation view of the exhibition 'Ruth Maddison It was the best of times, it was the worst of times' at the Centre for Contemporary Photography, Melbourne

 

Installation view of the exhibition Ruth Maddison It was the best of times, it was the worst of times at the Centre for Contemporary Photography, Melbourne showing at second top left, Keith Haring (1985-2014)
Photo: Marcus Bunyan

 

Ruth Maddison (Australian, b. 1945) 'Keith Haring' 1985-2014

 

Ruth Maddison (Australian, b. 1945)
Keith Haring
1985-2014
Pigment print from scanned negative, hand-coloured and digitally enhanced
40 x 40cm
Courtesy of the artist and the Centre for Contemporary Photography

 

Ruth Maddison (Australian, b. 1945) 'Monika Behrem, Rochelle Haley and their baby Indigo' 2017 (installation view)

 

Ruth Maddison (Australian, b. 1945)
Monika Behrem, Rochelle Haley and their baby Indigo (installation view)
2017
Photos: Marcus Bunyan

 

Installation view of the exhibition 'Ruth Maddison It was the best of times, it was the worst of times' at the Centre for Contemporary Photography, Melbourne

Installation view of the exhibition 'Ruth Maddison It was the best of times, it was the worst of times' at the Centre for Contemporary Photography, Melbourne

Installation view of the exhibition 'Ruth Maddison It was the best of times, it was the worst of times' at the Centre for Contemporary Photography, Melbourne

Installation view of the exhibition 'Ruth Maddison It was the best of times, it was the worst of times' at the Centre for Contemporary Photography, Melbourne

 

Installation views of the exhibition Ruth Maddison It was the best of times, it was the worst of times at the Centre for Contemporary Photography, Melbourne
Photos: Marcus Bunyan

 

Ruth Maddison (Australian, b. 1945) 'Equal pay demo, Bourke Street Melbourne' 1985 (installation view)

 

Ruth Maddison (Australian, b. 1945)
Equal pay demo, Bourke Street Melbourne (installation view)
1985
Photo: Marcus Bunyan

 

Installation view of the exhibition 'Ruth Maddison It was the best of times, it was the worst of times' at the Centre for Contemporary Photography, Melbourne

Installation view of the exhibition 'Ruth Maddison It was the best of times, it was the worst of times' at the Centre for Contemporary Photography, Melbourne

Installation view of the exhibition 'Ruth Maddison It was the best of times, it was the worst of times' at the Centre for Contemporary Photography, Melbourne

Installation view of the exhibition 'Ruth Maddison It was the best of times, it was the worst of times' at the Centre for Contemporary Photography, Melbourne

Installation view of the exhibition 'Ruth Maddison It was the best of times, it was the worst of times' at the Centre for Contemporary Photography, Melbourne

 

Installation view of the exhibition Ruth Maddison It was the best of times, it was the worst of times at the Centre for Contemporary Photography, Melbourne
Photos: Marcus Bunyan

 

 

Gallery two

 

Text from the exhibition 'Ruth Maddison It was the best of times, it was the worst of times' at the Centre for Contemporary Photography, Melbourne

 

Installation view of the exhibition 'Ruth Maddison It was the best of times, it was the worst of times' at the Centre for Contemporary Photography, Melbourne

Installation view of the exhibition 'Ruth Maddison It was the best of times, it was the worst of times' at the Centre for Contemporary Photography, Melbourne

 

Installation views in gallery two of the exhibition Ruth Maddison It was the best of times, it was the worst of times at the Centre for Contemporary Photography, Melbourne
Photos: Marcus Bunyan

 

Installation view of the exhibition 'Ruth Maddison It was the best of times, it was the worst of times' at the Centre for Contemporary Photography, Melbourne

Installation view of the exhibition 'Ruth Maddison It was the best of times, it was the worst of times' at the Centre for Contemporary Photography, Melbourne

Installation view of the exhibition 'Ruth Maddison It was the best of times, it was the worst of times' at the Centre for Contemporary Photography, Melbourne

Installation view of the exhibition 'Ruth Maddison It was the best of times, it was the worst of times' at the Centre for Contemporary Photography, Melbourne

Installation view of the exhibition 'Ruth Maddison It was the best of times, it was the worst of times' at the Centre for Contemporary Photography, Melbourne

Installation view of the exhibition 'Ruth Maddison It was the best of times, it was the worst of times' at the Centre for Contemporary Photography, Melbourne

Installation view of the exhibition 'Ruth Maddison It was the best of times, it was the worst of times' at the Centre for Contemporary Photography, Melbourne

 

Installation views of the exhibition Ruth Maddison It was the best of times, it was the worst of times at the Centre for Contemporary Photography, Melbourne
Photos: Marcus Bunyan

 

Text from the exhibition 'Ruth Maddison It was the best of times, it was the worst of times' at the Centre for Contemporary Photography, Melbourne

 

Ruth Maddison (Australian, b. 1945) 'Highway 23' 2009 (installation view)

 

Ruth Maddison (Australian, b. 1945)
Highway 23 (installation view)
2009
Type C print from digital file
Photo: Marcus Bunyan

 

Installation view of the exhibition 'Ruth Maddison It was the best of times, it was the worst of times' at the Centre for Contemporary Photography, Melbourne

Installation view of the exhibition 'Ruth Maddison It was the best of times, it was the worst of times' at the Centre for Contemporary Photography, Melbourne

Installation view of the exhibition 'Ruth Maddison It was the best of times, it was the worst of times' at the Centre for Contemporary Photography, Melbourne

 

Installation views showing work from the series Crossing the Monaro (2009) in the exhibition Ruth Maddison It was the best of times, it was the worst of times at the Centre for Contemporary Photography, Melbourne
Photos: Marcus Bunyan

 

 

In Ruth Maddison’s regular trips across the Monaro she stopped frequently to take photographs. She is drawn to the expansiveness of this unencumbered landscape, the way it opens up and seems to encourage something similar in ourselves.

“I drive across the Monaro and look at the sweep of the land and think about what was there and what has gone – time and time again. Stopping at small cemeteries scattered across the Monaro, passing through the dying towns, collecting bird and animal bones scattered all along the way, watching grass seeds blowing across the road. I am conscious of layers of history held beneath the surface of the land. …

History is writ large on this route. Small towns attest to times of brief plenty: the promise of gold, the economy of fleece. They are established at distances determined in an era when horses paced the daily work. Where rail provided a short-lived reprise. They are now towns that compete for use to “Stop Revive Survive” or to which some retire…

This new body of work is a departure from the people-focused documentary / portrait based work that has informed my public practice for 30 years. This departure is the outcome of my social and professional isolation [in Eden], which I sought and have embraced. Yet I consider this work a documentary piece – I am documenting the passage of my life through a place and a time via photography and the problem solving processes it presents to me. I am documenting what it is that makes me want to go on and on with the work.”

Ruth Maddison artist statements 2008-09 quoted in Merryn Gates. “There is a time,” (catalogue essay) from the exhibition There is a time at the Huw Davies Gallery, September 2009 [Online] Cited 05/04/2021

 

Text from the exhibition 'Ruth Maddison It was the best of times, it was the worst of times' at the Centre for Contemporary Photography, Melbourne

 

Installation view of the exhibition 'Ruth Maddison It was the best of times, it was the worst of times' at the Centre for Contemporary Photography, Melbourne

 

Installation view in gallery two of the exhibition Ruth Maddison It was the best of times, it was the worst of times at the Centre for Contemporary Photography, Melbourne
Photo: Marcus Bunyan

 

Ruth Maddison (Australian, b. 1945) 'Millsy (Jason Mills)' 2000-2002 (installation view)

 

Ruth Maddison (Australian, b. 1945)
Millsy (Jason Mills) (installation view)
2000-2002
From the series Now a river went out of Eden
Photo: Marcus Bunyan

 

Ruth Maddison (Australian, b. 1945) 'Bounge (Gregory Curtis) and Apple (John McCrory)' 2000-2002 (installation view)

 

Ruth Maddison (Australian, b. 1945)
Bounge (Gregory Curtis) and Apple (John McCrory) (installation view)
2000-2002
From the series Now a river went out of Eden
Photo: Marcus Bunyan

 

Ruth Maddison (Australian, b. 1945) 'Norm Joiner' 2000-2002 (installation view)

 

Ruth Maddison (Australian, b. 1945)
Norm Joiner (installation view)
2000-2002
From the series Now a river went out of Eden
Photo: Marcus Bunyan

 

Ruth Maddison (Australian, b. 1945) 'Imlay Street, Eden 1.44 pm 31 December 2019' and 'Walking towards Aslings Beach 7.14 am 31 December 2019' 2019 (installation view)

 

Ruth Maddison (Australian, b. 1945)
Imlay Street, Eden 1.44 pm 31 December 2019 (installation view)
Walking towards Aslings Beach 7.14 am 31 December 2019
2019
From the series When No Birds Sing 2020
Photo: Marcus Bunyan

 

Ruth Maddison (Australian, b. 1945) 'Volunteers sorting. At the Fishermen's Co-op, Eden. 3.06 pm 18 January 2020' 2020 (installation view)

 

Ruth Maddison (Australian, b. 1945)
Volunteers sorting. At the Fishermen’s Co-op, Eden. 3.06 pm 18 January 2020 (installation view)
2020
From the series When No Birds Sing 2020
Photo: Marcus Bunyan

 

Ruth Maddison (Australian, b. 1945) 'Julie Ristanovic, canteen supervisor. Chip mill' Nd (installation view)

 

Ruth Maddison (Australian, b. 1945)
Julie Ristanovic, canteen supervisor. Chip mill (installation view)
Nd
Photo: Marcus Bunyan

 

 

Gallery three

 

Text from the exhibition 'Ruth Maddison It was the best of times, it was the worst of times' at the Centre for Contemporary Photography, Melbourne

 

Fifty-one selected posters, from the Samuel Goldbloom Collection, Melbourne University Archives, pigment prints

Fifty-one selected posters, from the Samuel Goldbloom Collection, Melbourne University Archives, pigment prints

Fifty-one selected posters, from the Samuel Goldbloom Collection, Melbourne University Archives, pigment prints

Fifty-one selected posters, from the Samuel Goldbloom Collection, Melbourne University Archives, pigment prints

Fifty-one selected posters, from the Samuel Goldbloom Collection, Melbourne University Archives, pigment prints

Fifty-one selected posters, from the Samuel Goldbloom Collection, Melbourne University Archives, pigment prints

Fifty-one selected posters, from the Samuel Goldbloom Collection, Melbourne University Archives, pigment prints

 

Fifty-one selected posters, from the Samuel Goldbloom Collection, Melbourne University Archives, pigment prints
Photos: Marcus Bunyan

 

Installation view of the exhibition 'Ruth Maddison It was the best of times, it was the worst of times' at the Centre for Contemporary Photography, Melbourne

Installation view of the exhibition 'Ruth Maddison It was the best of times, it was the worst of times' at the Centre for Contemporary Photography, Melbourne

 

Installation views in gallery three of the exhibition Ruth Maddison It was the best of times, it was the worst of times at the Centre for Contemporary Photography, Melbourne showing on the television The Dustbins of History (1950s / 2020), edited from ASIO footage sourced from the National Archives of Australia
Photos: Marcus Bunyan

 

The Dustbins of History (1950s), edited from Asio footage sourced from the National Archives of Australia.

 

Still from The Dustbins of History (1950s / 2020), edited from ASIO footage sourced from the National Archives of Australia

 

 

She [Maddison] also discovered reels of surveillance film documenting suspected members of the Communist party as they arrived at a secret meeting in one of Melbourne’s laneways in the 50s. This footage appears in the exhibition as The Dustbins of History, a short film that is comedic in its ambiguity and monotony. All that’s missing is the Keystone Cops.

Alison Stieven-Taylor. “The communist who raised me: photographer Ruth Maddison interrogates her father’s Asio file,” on the Guardian website Thurs 25 February 2021 [Online] Cited 05/04/2021

 

Installation view of the exhibition 'Ruth Maddison It was the best of times, it was the worst of times' at the Centre for Contemporary Photography, Melbourne

Installation view of the exhibition 'Ruth Maddison It was the best of times, it was the worst of times' at the Centre for Contemporary Photography, Melbourne

Installation view of the exhibition 'Ruth Maddison It was the best of times, it was the worst of times' at the Centre for Contemporary Photography, Melbourne

 

Installation views in gallery three of the exhibition Ruth Maddison It was the best of times, it was the worst of times at the Centre for Contemporary Photography, Melbourne
Photos: Marcus Bunyan

 

Installation view of the exhibition 'Ruth Maddison It was the best of times, it was the worst of times' at the Centre for Contemporary Photography, Melbourne

Installation view of the exhibition 'Ruth Maddison It was the best of times, it was the worst of times' at the Centre for Contemporary Photography, Melbourne

Installation view of the exhibition 'Ruth Maddison It was the best of times, it was the worst of times' at the Centre for Contemporary Photography, Melbourne

Installation view of the exhibition 'Ruth Maddison It was the best of times, it was the worst of times' at the Centre for Contemporary Photography, Melbourne

Installation view of the exhibition 'Ruth Maddison It was the best of times, it was the worst of times' at the Centre for Contemporary Photography, Melbourne

Installation view of the exhibition 'Ruth Maddison It was the best of times, it was the worst of times' at the Centre for Contemporary Photography, Melbourne

Installation view of the exhibition 'Ruth Maddison It was the best of times, it was the worst of times' at the Centre for Contemporary Photography, Melbourne

Installation view of the exhibition 'Ruth Maddison It was the best of times, it was the worst of times' at the Centre for Contemporary Photography, Melbourne

Installation view of the exhibition 'Ruth Maddison It was the best of times, it was the worst of times' at the Centre for Contemporary Photography, Melbourne

Installation view of the exhibition 'Ruth Maddison It was the best of times, it was the worst of times' at the Centre for Contemporary Photography, Melbourne

 

Installation view of the exhibition 'Ruth Maddison It was the best of times, it was the worst of times' at the Centre for Contemporary Photography, Melbourne

 

Installation views in gallery three of the exhibition Ruth Maddison It was the best of times, it was the worst of times at the Centre for Contemporary Photography, Melbourne showing works from the series My father’s footsteps (1942-2020)
Photos: Marcus Bunyan

 

Ruth Maddison (Australian, b. 1945) 'To everything there is a turn, turn, turn' 2020

 

Ruth Maddison (Australian, b. 1945)
To everything there is a turn, turn, turn
2020
From the series My father’s footsteps (1942-2020)
Diptych
Pigment print from ASIO files

 

 

After decades of being denigrated in the press and parliament, in 1990 Goldbloom was awarded an OAM for his service as an activist for peace. Later, a street was named after him in Canberra. Maddison has paired an ASIO image of her father at a peace rally in 1965 with the Goldbloom street sign, evidence she says of “history doing the wheel again”.

Alison Stieven-Taylor. “The communist who raised me: photographer Ruth Maddison interrogates her father’s Asio file,” on the Guardian website Thurs 25 February 2021 [Online] Cited 05/04/2021

 

Installation view of the exhibition 'Ruth Maddison It was the best of times, it was the worst of times' at the Centre for Contemporary Photography, Melbourne

 

Installation view in gallery three of the exhibition Ruth Maddison It was the best of times, it was the worst of times at the Centre for Contemporary Photography, Melbourne
Photo: Marcus Bunyan

 

Ruth Maddison (Australian, b. 1945) 'Hiroshima Day, Melbourne' 1981/2020 (installation view)

Ruth Maddison (Australian, b. 1945) 'Hiroshima Day, Melbourne' 1981/2020 (installation view detail)

Ruth Maddison (Australian, b. 1945) 'Hiroshima Day, Melbourne' 1981/2020 (installation view detail)

 

Ruth Maddison (Australian, b. 1945)
Hiroshima Day, Melbourne (installation views)
1981/2020
Pigment print from scanned black and white negative. Hand coloured and digitally enhanced
Photos: Marcus Bunyan

 

Herta and Jill Koppel

 

 

I just met the most wonderful lady at the Ruth Maddison exhibition at the Centre for Contemporary Photography, Melbourne.

100 year old Herta Koppel (pictured with her daughter Jill) was as bright as a button. She escaped the Nazis from Vienna with her two sisters in 1939, a few weeks before the war, leaving behind her parents who did not make it.

In the gallery the family were reminiscing on the people they knew in Ruth’s photographs while ‘The Internationale’ played in the background. How fitting.

Marcus

Photo: Marcus Bunyan

 

Samuel Goldbloom. Four photographs by ASIO 1957/1965/1968/1970 archival pigments prints 2020 (installation view)

Samuel Goldbloom. Four photographs by ASIO 1957/1965/1968/1970 archival pigments prints 2020 (installation view)

 

Samuel Goldbloom. Four photographs by ASIO 1957/1965/1968/1970 archival pigments prints 2020 (installation view)
Photos: Marcus Bunyan

 

Ruth Maddison (Australian, b. 1945) Sam self-portrait, self-redacted Nd (installation view)

 

Ruth Maddison (Australian, b. 1945)
Sam self-portrait, self-redacted (installation view)
Nd
Pigment print from scanned negative
Photo: Marcus Bunyan

 

Ruth Maddison (Australian, b. 1945) Sam self-portrait, self-redacted Nd (installation view detail)

 

Ruth Maddison (Australian, b. 1945)
Sam self-portrait, self-redacted (installation view detail)
Nd
Pigment print from scanned negative
Photo: Marcus Bunyan

 

Installation view of the exhibition 'Ruth Maddison It was the best of times, it was the worst of times' at the Centre for Contemporary Photography, Melbourne

Installation view of the exhibition 'Ruth Maddison It was the best of times, it was the worst of times' at the Centre for Contemporary Photography, Melbourne

Installation view of the exhibition 'Ruth Maddison It was the best of times, it was the worst of times' at the Centre for Contemporary Photography, Melbourne

 

Installation views in gallery three of the exhibition Ruth Maddison It was the best of times, it was the worst of times at the Centre for Contemporary Photography, Melbourne
Photos: Marcus Bunyan

 

Ruth Maddison (Australian, b. 1945) 'Maddison's parents' Nd (installation view)

 

Ruth Maddison (Australian, b. 1945)
Maddison’s parents (installation view)
Nd
Pigment print from scanned black and white negative
Photo: Marcus Bunyan

 

Ruth Maddison (Australian, b. 1945) 'Last night I had the strangest dream (#1)' 2020 (installation view)

 

Ruth Maddison (Australian, b. 1945)
Last night I had the strangest dream (#1) (installation view)
2020
Pigment print, hand coloured and digitally enhanced
64 x 70cm
Photo: Marcus Bunyan

 

 

From an early age, Ruth Maddison knew her father, Sam Goldbloom, was being watched. “He used to tell us not to worry about the men sitting in the car in front of the house … we were aware the clicks on the phone meant ‘they’ were listening too,” the award-winning Melbourne-born photographer says.

“They” were the Australian Security Intelligence Organisation. In the 1940s, Goldbloom’s anti-fascist ideals drew ASIO’s attention. He later joined the Communist party before becoming a major player in the World Peace Council. These associations made him a person of interest for more than 30 years. …

While the spy agency’s prolonged surveillance of her father was not news, Maddison says that when her mother, Rosa, died in 2008, she discovered a much more layered history. As she and her two sisters packed up the family home, Maddison was tasked with clearing out her father’s shed. He had died in 1999 but until then no one had gone through “Sam’s stuff”.

There she found packs of slides, video footage from Goldbloom’s numerous peace missions to communist regimes including the USSR, East Germany and Cuba, as well as home movies, correspondence and other paraphernalia related to his activist work. This discovery became the entry point to The Fellow Traveller, the centrepiece for the first major survey of Maddison’s work, “It was the best of times, it was the worst of times”.

She [Maddison] uses her camera to explore the influence of politics on everyday life, often focusing on the personal. In The Fellow Traveller she exposes the social and political climate of the postwar years through a very intimate and at times painful lens.

“For my father, politics was number one,” she says. “To see it all laid out in the ASIO files, you know, night after night after night Sam was at meetings, and then this year he’s overseas for one month, and then another year for two months, then three. While I was looking at all of that I realised family wasn’t number one for him.”

While Maddison was not witness to her father’s interactions with world leaders, she imagined him meeting men like Mao and Khrushchev. In a series, “Last night I had the strangest dream” Maddison has inserted Goldbloom into pictures with his political heroes [see Last night I had the strangest dream (#1) below].

“It’s not about reinterpreting history, I am playing with him and his life, and wondering if he ever daydreamed these images like I am now.” These hand-coloured photographs are also visual evidence of the fiction ASIO pursued.

Maddison describes her treatment of the archival materials as “part real, part desire and part imaginary”, which parallels the narrative in the ASIO files. In the endless reams of observational notes, innocuous photographs and informers’ statements lies the hope that Goldbloom was up to something.

After decades of being denigrated in the press and parliament, in 1990 Goldbloom was awarded an OAM for his service as an activist for peace. Later, a street was named after him in Canberra. Maddison has paired an ASIO image of her father at a peace rally in 1965 with the Goldbloom street sign, evidence she says of “history doing the wheel again”. [See the diptych To everything there is a turn, turn, turn 2020 above]

Alison Stieven-Taylor. “The communist who raised me: photographer Ruth Maddison interrogates her father’s Asio file,” on the Guardian website Thurs 25 February 2021 [Online] Cited 05/04/2021

 

Ruth Maddison (Australian, b. 1945) 'Last night I had the strangest dream (#1)' 2020

 

Ruth Maddison (Australian, b. 1945)
Last night I had the strangest dream (#1)
2020
Pigment print, hand coloured and digitally enhanced
64 x 70cm
Courtesy of the artist and the Centre for Contemporary Photography

 

 

 

Gallery four

 

Text from the exhibition 'Ruth Maddison It was the best of times, it was the worst of times' at the Centre for Contemporary Photography, Melbourne

 

Installation view of the exhibition 'Ruth Maddison It was the best of times, it was the worst of times' at the Centre for Contemporary Photography, Melbourne

Installation view of the exhibition 'Ruth Maddison It was the best of times, it was the worst of times' at the Centre for Contemporary Photography, Melbourne

Installation view of the exhibition 'Ruth Maddison It was the best of times, it was the worst of times' at the Centre for Contemporary Photography, Melbourne

Installation view of the exhibition 'Ruth Maddison It was the best of times, it was the worst of times' at the Centre for Contemporary Photography, Melbourne

Installation view of the exhibition 'Ruth Maddison It was the best of times, it was the worst of times' at the Centre for Contemporary Photography, Melbourne

Installation view of the exhibition 'Ruth Maddison It was the best of times, it was the worst of times' at the Centre for Contemporary Photography, Melbourne

Installation view of the exhibition 'Ruth Maddison It was the best of times, it was the worst of times' at the Centre for Contemporary Photography, Melbourne

Installation view of the exhibition 'Ruth Maddison It was the best of times, it was the worst of times' at the Centre for Contemporary Photography, Melbourne

Installation view of the exhibition 'Ruth Maddison It was the best of times, it was the worst of times' at the Centre for Contemporary Photography, Melbourne

Installation view of the exhibition 'Ruth Maddison It was the best of times, it was the worst of times' at the Centre for Contemporary Photography, Melbourne

Installation view of the exhibition 'Ruth Maddison It was the best of times, it was the worst of times' at the Centre for Contemporary Photography, Melbourne

 

Installation views in gallery four of the exhibition Ruth Maddison It was the best of times, it was the worst of times at the Centre for Contemporary Photography, Melbourne
Photos: Marcus Bunyan

 

 

Ruth Maddison: It was the best of times, it was the worst of times is a significant survey exhibition focusing on Maddison’s social documentary practice from 1976 to the current day. Bringing together key historical works with a major new commission, this exhibition is a timely and focused look at one of Australia’s leading feminist photographers.

The exhibition features several key series, from Maddison’s earliest hand-coloured works Miss Universe (1979); her iconic Christmas Holidays with Bob’s Family, Mermaid Beach, Queensland (1979); a selection of series focusing on women in the workforce (from 1979); The Beginning of Absence (1996) documenting her father’s mortality; photojournalistic works documenting political rallies and activism in Australia (1975-2015); to Maddison’s more recent projects documenting the people and industries of Eden, NSW (2002-2014).

These works are presented alongside Maddison’s documentation of the cultural milieu of Melbourne with a focus on the late 1970s and 1980s. Her portraits of Melbourne’s leading writers, artists, theatre makers and musicians include Helen Garner, Tracey Moffatt, Steven Cummings, Jenny Watson, Mickey Allen, Ponch Hawkes and the founders of Melbourne’s Circus Oz amongst others.

Maddison’s more recent projects documenting Eden’s people and industries illustrate the changing face of regional Australia and the societal pressures that have come to bear. The Eden teens captured in Maddison’s 2002 series have now splintered, with half leaving town for new opportunities and the other remaining. The two industries – fishing and timber – that have underpinned Eden’s economy for decades have been dramatically reduced. While the 2019 bushfires, followed by the COVID-19 pandemic have further economically ravaged a community trying to rebuild itself.

The newly commissioned work The Fellow Traveller (2020) is an immersive photographic installation exploring Maddison’s father’s radical political activities in Australia and overseas from the 1950s-1980s, which were under ASIO scrutiny. Combining archival material, footage and hand-coloured photographs among a sea of revealing and curious images, The Fellow Traveller presents the shifting nature of long held personal and historical truths at a time of increasing social and political urgency.

Delivered through the collaboration of Adam Harding CCP Director, Jack Willet CCP Curator, Ruth Maddison and independent Curator Olivia Poloni, with inceptive curatorial work from Linsey Gosper and Madé Spencer-Castle.

 

Biography

Ruth Maddison (b. Melbourne, 1945, lives and works in Eden) is one of Australia’s foremost senior feminist photographers. Best known for her hand-coloured series, Christmas Holidays with Bob’s Family, Mermaid Beach, Queensland (1977-78), for over 40 years Maddison has been exploring ideas surrounding relationships, working lives, and communities through portraiture and social documentary photography.

An entirely self-taught practitioner, Maddison shot her first roll of film in 1976 under the encouragement of longtime friend Ponch Hawkes, and has hardly put down a camera since. Maddison’s work is represented in major public collections, including the National Gallery of Australia, National Gallery of Victoria, the Museum of Contemporary Art, the National Library and the State Libraries of Victoria and New South Wales.

Text from the CCP website [Online] Cited 28/03/2021

 

Gallery one

Documentation photography J Forsyth

 

’Ruth Maddison: It was the best of times, it was the worst of times’, installation view Centre for Contemporary Photography, 2021. Documentation photography J Forsyth.

’Ruth Maddison: It was the best of times, it was the worst of times’, installation view Centre for Contemporary Photography, 2021. Documentation photography J Forsyth.

’Ruth Maddison: It was the best of times, it was the worst of times’, installation view Centre for Contemporary Photography, 2021. Documentation photography J Forsyth.

’Ruth Maddison: It was the best of times, it was the worst of times’, installation view Centre for Contemporary Photography, 2021. Documentation photography J Forsyth.

’Ruth Maddison: It was the best of times, it was the worst of times’, installation view Centre for Contemporary Photography, 2021. Documentation photography J Forsyth.

’Ruth Maddison: It was the best of times, it was the worst of times’, installation view Centre for Contemporary Photography, 2021. Documentation photography J Forsyth.

’Ruth Maddison: It was the best of times, it was the worst of times’, installation view Centre for Contemporary Photography, 2021. Documentation photography J Forsyth.

’Ruth Maddison: It was the best of times, it was the worst of times’, installation view Centre for Contemporary Photography, 2021. Documentation photography J Forsyth.

’Ruth Maddison: It was the best of times, it was the worst of times’, installation view Centre for Contemporary Photography, 2021. Documentation photography J Forsyth.

 

Gallery two

 

’Ruth Maddison: It was the best of times, it was the worst of times’, installation view Centre for Contemporary Photography, 2021. Documentation photography J Forsyth.

’Ruth Maddison: It was the best of times, it was the worst of times’, installation view Centre for Contemporary Photography, 2021. Documentation photography J Forsyth.

’Ruth Maddison: It was the best of times, it was the worst of times’, installation view Centre for Contemporary Photography, 2021. Documentation photography J Forsyth.

 

Gallery three

 

’Ruth Maddison: It was the best of times, it was the worst of times’, installation view Centre for Contemporary Photography, 2021. Documentation photography J Forsyth.

’Ruth Maddison: It was the best of times, it was the worst of times’, installation view Centre for Contemporary Photography, 2021. Documentation photography J Forsyth.

’Ruth Maddison: It was the best of times, it was the worst of times’, installation view Centre for Contemporary Photography, 2021. Documentation photography J Forsyth.

 

Gallery four

 

’Ruth Maddison: It was the best of times, it was the worst of times’, installation view Centre for Contemporary Photography, 2021. Documentation photography J Forsyth.

’Ruth Maddison: It was the best of times, it was the worst of times’, installation view Centre for Contemporary Photography, 2021. Documentation photography J Forsyth.

 

Ruth Maddison: It was the best of times, it was the worst of times, installation views Centre for Contemporary Photography, 2021.
Documentation photography J Forsyth

 

 

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

Opening hours:
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Centre for Contemporary Photography website

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20
Mar
21

Exhibition: ‘From Becher to Blume – Photographs from the Garnatz Collection and Die Photographische Sammlung/SK Stiftung Kultur in Dialogue’ at Die Photographische Sammlung/SK Stiftung Kultur, Cologne

Exhibition dates: 12th March until 8th August 2021

Artists: Bernd and Hilla Becher, Boris Becker, Anna and Bernhard Blume, Chargesheimer, Jim Dine, Frank Dömer, Gina Lee Felber, Candida Höfer, Benjamin Katz, Jürgen Klauke, Astrid Klein, Werner Mantz, Augustina von Nagel, Floris Neusüss, Sigmar Polke, Arnulf Rainer, Albert Renger-Patzsch, Tata Ronkholz, Thomas Ruff, Hugo Schmölz, Wilhelm Schürmann, and Thomas Struth.

 

 

Werner Mantz (German, 1901-1983) 'Waldecker Str., Cologne-Buchforst (formerly Kalker Feld)' 1928

 

Werner Mantz (German, 1901-1983)
Waldecker Str., Köln-Buchforst (ehemals Kalker Feld)
Waldecker Str., Cologne-Buchforst (formerly Kalker Feld)
1928
© VG Bild-Kunst, Bonn 2020

 

 

A Kodak Brownie camera launched Werner Mantz‘s photographic career. As an adolescent, he photographed Cologne and the surrounding landscape and later studied photography at the Bavarian State Academy in Munich. He returned to Cologne, set up a studio and began a freelance career. Mantz soon distinguished himself as an architectural photographer, receiving numerous commissions. In 1932 he moved to Maastricht, in the Netherlands near the German border. He opened a second studio there and closed the Cologne studio in 1938. Mantz received public and private commissions throughout his career and retired in 1971.

Text from the Getty website [Online] Cited 19/03/2021

 

Werner Mantz‘s (German, 1901-1983) youthful passion for taking pictures inspired him to study photography at the Bayerische Lehr-und Versuchsanstalt in Munich in 1920-21. After that he opened a portrait photography studio in Cologne and joined the artists group Kölner Progressive. Around 1926, encouraged by architect Wilhelm Ripahn, Mantz became one of the leading contemporary photographers of modern architecture in the Rhineland. He worked for architects such as Bruno Paul and Hans Schumacher and was under exclusive contract with the architects Ripahn & Grod. In 1932 he relocated to Maastricht in the Netherlands close to the German border. He opened a second studio there and closed the Cologne studio in 1938. In addition to his architectural work he devoted himself to photographing children.

Text from the Kicken Berlin website [Online] Cited 19/03/2021

 

 

The Renger-Patzsch is a cracker.

Further information about the Dusseldorf School artists and their successors can be found at ‘Photographs Become Pictures. The Becher Class’ at the Städel Museum, Frankfurt, April – August 2017.

Marcus

.
Many thankx to the Die Photographische Sammlung / SK Stiftung Kultur for allowing me to publish the photographs in the posting. Please click on the photographs for a larger version of the image.

 

 

Albert Renger-Patzsch (German, 1897-1966) 'Untitled (Grimberg colliery, Bergkamen)' 1951-52

 

Albert Renger-Patzsch (German, 1897-1966)
Ohne Titel (Zeche Grimberg, Bergkamen)
Untitled (Grimberg colliery, Bergkamen)
1951-52
© 2020 Albert Renger-Patzsch / Archiv Ann und Jurgen Wilde, Zulpich / VG Bild-Kunst, Bonn

 

Tata Ronkholz (German, 1940-1977) 'Trinkhalle, Sankt-Franziskusstraße 107' 1977

 

Tata Ronkholz (German, 1940-1977)
Trinkhalle (Refreshment Stand), Sankt-Franziskusstraße 107
1977
© VAN HAM Art Estate: Tata Ronkholz

 

 

Along with Thomas Ruff, Candida Höfer, and Thomas Struth, Tata Ronkholz (German, 1940-1997) was among the first students of Bernd Becher at the Kunstakademie Düsseldorf. Ronkholz is perhaps best known for her most extensive series Trinkhallen: kiosks and small shops around the corner that are witnesses of social neighbourhoods and vernacular cultures. In her work, Tata Ronkholz shows elements of urban architecture, which due to their transient nature turn the photographs into valuable historical documents. Ronkholz found her characteristic subjects in Cologne, Düsseldorf, Bochum, and parts of the Rhineland. Together with Thomas Struth, Tata Ronkholz documented a part of the port of Düsseldorf between 1978 and 1980, shortly before it was torn down. Struth and Ronkholz created a unique historical document, which also received great recognition from the city of Düsseldorf. In 1979 Ronkholz took part in the seminal exhibition In Deutschland (In Germany) at the Rheinisches Landesmuseum in Bonn.

Text from the Kicken Berlin website [Online] Cited 19/03/2021

 

Cigarette and gumball machines are fixed to exterior walls. Advertising posters overlap. Beverages, magazines and sweets are visibly lined up behind glass. It is Tata Ronkholz’ serial presentation that enables the comparison of the kiosks and their study as a social phenomenon in urban contexts.

Kiosks are everyday meeting points and the setting for social life. At the same time their role fundamentally changed in the past decades. Ronkholz photographs kiosks as socially grown places. She positions them centrally in their architectural environment – people are absent. This is what the photos have in common with Becher-photographs. Like her teachers, Ronkholz is committed to the conservation and archiving of a changing urban culture.

More information about the work of Tata Ronkholz: ‘Photographs Become Pictures. The Becher Class’ at the Städel Museum, Frankfurt

 

Tata Ronkholz (German, 1940-1977) Thomas Struth (German, b. 1954) 'Rheinhafen, Düsseldorf' 1979-1980

 

Tata Ronkholz (German, 1940-1977)
Thomas Struth (German, b. 1954)
Rheinhafen, Düsseldorf
1979-1980
© VAN HAM Art Estate: Tata Ronkholz
© Thomas Struth

 

 

Tata Ronkholz was born in 1940 in Krefeld under the female name Roswitha Tolle. She studied architecture and interior design at the School of Applied Arts in Krefeld. Thereafter, she completed a one-year apprenticeship at the Schroer Furniture Store in Krefeld. She subsequently began work as a freelance product designer. Tata Ronkholz first encountered photography through her husband, Coco Ronkholz, who managed the production of a catalogue for Bernd Becher. In 1977, she enrolled in the State Art Academy in Düsseldorf and studied photography shortly thereafter with Prof. Becher. Along with Volker Döhne, Andreas Gursky, Candida Höfer, Axel Hütte, Thomas Ruff, and Thomas Struth, Ronkholz counts among Becher’s earliest (and later legendary) students at the Academy. In 1985, she gave up photography and worked for photography agency in Cologne from 1985-95 to support herself. In 1997, Ronkholz died at Burg Kendenich near Cologne. Her photographs of refreshment stands, of which few remain, were arguably her most substantial works. In 1978, she also began to collaborate with Thomas Struth on documenting the Rhine harbor. Ronkholz called her final group of photographs Schaufenster (Display Windows).

Text from the Van Ham Art Estate website [Online] Cited 19/03/2021

 

Wilhelm Schürmann (German, b. 1946) 'Untitled (construction trailer and view of Cologne Cathedral)' 1988

 

Wilhelm Schürmann (German, b. 1946)
Ohne Titel (Bauwagen und Blick auf Kölner Dom)
Untitled (construction trailer and view of Cologne Cathedral)
1988
© Wilhelm Schürmann

 

Bernd and Hilla Becher. 'Charleroi-Montigny, B' 1984

 

Bernd (German, 1931-2007) and Hilla (German, 1934-2015) Becher
Charleroi-Montigny, B
1984
© Estate Bernd & Hilla Becher, vertreten durch Max Becher, courtesy Die Photographische Sammlung / SK Stiftung Kultur – Bernd und Hilla Becher Archiv, Köln, 2020

 

Boris Becker (German, b. 1961) 'Zeebrugge' 2003

 

Boris Becker (German, b. 1961)
Zeebrugge
2003
© VG Bild-Kunst, Bonn 2020

 

 

“The great charm of Boris Becker’s photographs is due to the fact that through the consequent isolation of his objects they appear mysterious and alienated which makes us curious to look closer with greater attention and to see things in a different way.”

Rupert Pfab, Exhibition catalogue: “Boris Becker”, published by Städtisches Museum Zwickau, 1995, p. 15.

 

Frank Dömer (German, b. 1961) 'Äbnet' 2002

 

Frank Dömer (German, b. 1961)
Äbnet
2002
© Frank Dömer

 

Anna and Bernhard Blume. 'Telekinetisch hysterische Szene' (Telekinetically hysterical scene) 1986-87

 

Anna (German, 1936-2020) and Bernhard (German, 1937-2011) Blume
Telekinetisch hysterische Szene (Telekinetically hysterical scene)
1986-87
From the series Trautes Heim (Sweet home)
© VG Bild-Kunst, Bonn 2020

 

 

Anna and Bernhard Blume were a collaborative duo of German artists, best known for their large-scale, monochromatic photographs. Throughout their practice, they captured themselves dynamically engaging with Minimalist sculpture, resulting in humorous investigations into space, art history, and contemporary life. Anna was born Anna Helming in Bork, Germany and Bernhard was born in Dortmond, Germany, both in 1937. They went on to study at the Staatliche Kunstakademie in Düsseldorf from 1960 to 1965, where they met and were married in 1966. Notably, their work is entirely self-produced, from conceptualisation to finished product, with total mastery of technical components. “We paint with our camera,” Anna Blume explained, “and this painterly work continues in the lab, too.”

Anna and Bernhard Blume’s work has been widely acclaimed, resulting in such exhibitions as at the Museum Ludwig in Cologne in 2005, The Museum of Modern Art in New York in 1989, and documenta 6 in Kassel in 1977. Bernhard Blume died in Cologne, Germany on September 1, 2011. Anna Blume passed away on June 18, 2020 at the age of 84 after a long illness.

Text from the Artnet website [Online] Cited 19/03/2021

 

Jim Dine. 'Leaves Painted in the Eastern Part of the State' 2010

 

Jim Dine (American, b. 1935)
Leaves Painted in the Eastern Part of the State
2010
© VG Bild-Kunst, Bonn 2020

 

Candida Höfer. 'Kunsthalle Karlsruhe V' 1999

 

Candida Höfer (German, b. 1944)
Kunsthalle Karlsruhe V
1999
© VG Bild-Kunst, Bonn 2020

 

Thomas Struth (German, b. 1954) 'Rijksmuseum Amsterdam 1' 1990

 

Thomas Struth (German, b. 1954)
Rijksmuseum Amsterdam 1
1990
© Thomas Struth

 

 

The exhibition From Becher to Blume provides in-depth insights in particular into the influential photography of the 1980s and 90s, a period that produced a number of innovative bodies of work and concepts. A central role is played by the Rhineland, home to numerous artists, museums, and galleries. The collector couple Ute and Eberhard Garnatz were part of this extremely lively scene, and began as early as the 1970s to pursue their collecting activities with great dedication. In addition to amassing a large number of paintings, sculptures, and prints, they also built a distinctive and remarkably diverse collection of photographs, some of them dating back to the 1950s but for the most part produced during the 1980s to the 2000s. During that decade, photography was more and more becoming part of the fine arts cosmos. The medium resolutely carved out a place for itself with and alongside the traditional genres. And the collectors followed this development with an alert eye. Keeping pace with the times, they began to focus on artists who used the photographic image as basis for their work and for whom the camera was hence a matter-of-fact technical tool in their artistic practice. Some of these artists chose the documentary image as their springboard, while others were far less interested in the medium’s ability to faithfully reproduce reality and instead ventured into experimental realms. There were also those who attempted to confound the world of objects in their photos, or who staged or made use of the chemical nature of the photographic process to arrive at pictorial works in a more painterly idiom.

Showcasing the Garnatz Collection offers Die Photographische Sammlung / SK Stiftung Kultur the opportunity to arrange photographs from both collections in a productive dialogue. A common denominator can be found in particular in the works of Bernd and Hilla Becher, while photographers including Boris Becker, Candida Höfer, Thomas Ruff, and Thomas Struth are likewise represented in both collections. The exhibition furthermore places rare staged and experimental works in context. These are juxtaposed with other works that straddle the genres of photography and painting. As much as the medium of photography claims to reproduce reality, the range of possibilities it offers equally inspires artists to create works verging on the abstract or lyrical.

From Becher to Blume thus unfurls a broad and extremely varied spectrum of photographic approaches, which come together here in a refreshingly informal way to reveal their many contrasts and contradictions. On display are over 150 exhibits, including extensive serial works, by a total of 22 artists who have been instrumental in shaping recent German photography through their innovative contributions and continue to exert a major influence on the artistic medium.

A catalogue has been published by Snoeck Verlag to accompany the exhibition.

Press release from Die Photographische Sammlung/SK Stiftung Kultur

 

Chargesheimer (Karl-Heinz Hargesheimer) (German, 1924-1972) 'Untitled (girl scattering confetti)' c. 1956-57

 

Chargesheimer (Karl-Heinz Hargesheimer) (German, 1924-1972)
Ohne Titel (Konfetti streuendes Mädchen)
Untitled (girl scattering confetti)
c. 1956-57
© Museum Ludwig Köln

 

 

Chargesheimer (Karl Heinz Hargesheimer) belongs among the most outstanding artists of his generation – as photographer, sculptor, stage designer and director. The press called Chargesheimer a “restlessly proliferative creative spirit” and an artist “who loves to provoke.”

He was during his entire life an individual who never compromised. “Chargesheimer was insatiable, a person for whom nothing was ever enough, who consumed himself, a malcontent with an entirely crazy life (…). He made life for himself and his peers as difficult as possible.” (Georg Ramseger)

Chargesheimer began his career in 1947 as an independent photographer for various theaters in Germany. Towards the end of the 1940s he was in contact with the photographic group “fotoform.” In 1950 he participated in the “photo-kino” exhibition in Cologne and also in the legendary exhibitions of “Subjective Photography” in 1952 and 1954. At the core of Chargesheimer’s photographic oeuvre, alongside portraiture and experimental photography, stands his Street Photography, depictions of street life in Cologne and other cities of post-war Germany. These works were as a rule put by Chargesheimer into different series, and from 1957 to 1970 published in book form.

In 1958 he published concurrently two photography books, Unter Krahnenbäumen (the name of a tiny and notorious street behind the train station in Cologne) and Im Ruhrgebiet (In the Ruhr Valley), with texts from the Nobel Prizewinner for Literature Heinrich Böll. In these works Chargesheimer portrays the everyday life of ordinary people from a radical subjective perspective without a trace of sentimentality. In close succession are found all the basic human emotions and behaviours: love and sadness, cares and conflicts, reflectiveness and high spirits, the dignity of age and the exuberance of youth…

Text from the Priska Pasquer website [Online] Cited 19/03/2021

 

Floris Neusüss (German, 1937-2020) 'Neusüss leaves the shadows, Kassel' 1976

 

Floris Neusüss (German, 1937-2020)
Neusüss verlässt den Schatten, Kassel
Neusüss leaves the shadows, Kassel
1976
© Floris Neusüss

 

 

Floris Neusüss was born in Lennep, Germany, on 3 March 1937. He began as a painter the took up photography which he studied at the Wuppertal School of Arts and Crafts in North Rhine-Westphalia, before continuing at the Bavarian State Institute of Photography in Munich. He trained alongside photographer Heinz Hajek-Halke at the Berlin University of the Arts. In 1957, he began making photograms and photomontages.

His series Körperbilder (whole-body photograms) set him in the 1960s on a lifelong exploration of conceptual, technical and artistic possibilities of camera-less photography. From 1964 he has also experimented with chemical painting on photograms. Neusüss brought the photogram out of the darkroom and out of the studio to the objects recording motifs not with a camera but rather a folder with photo paper, on which he exposed subjects such as plants or windows, as in the photo series Dream Images. Continuing into the 1970s are his nudograms; silhouettes of nude figures; and also life-size portraits, including several using his friend and frequent collaborator, Robert Heinecken as the subject; and shadowy reproductions of museum sculptures, such as those of Greek statues from the Glypothek in Munich For Neusüss, the photographic medium was not an impression, but a contact image. According to this interpretation, the original object touched the image;

“It is true that the subject resting on the photo-sensitive paper presents its reverse side to be recorded, the side that is in shadow, the shadow cast by the object itself. This intimate physical connection inscribes into the paper, and this, if you are open to it, is the real fascination of photograms: the tension between the hidden and the revealed.”

Text from the Wikipedia website

 

Floris Neusüss is a contemporary experimental German photographer known for his use of camera-less photography (photograms). His most famous works are the Nudogramms from the late 1960s, in which he exposed a nude figure directly onto photographic paper “Photograms don’t show us what’s beyond the visible, but they give us a hint of it,” Neusüss has said. “It is true that the subject resting on the photo-sensitive paper presents its reverse side to be recorded, the side that is in shadow, the shadow cast by the object itself. This intimate physical connection inscribes into the paper, and this, if you are open to it, is the real fascination of photograms: the tension between the hidden and the revealed.” Born on March 3, 1937 in Remscheid Lennep, Germany, he studied at a number of schools throughout Germany before completing his education at the School of Art in Berlin, where he studied under the revered photographer Heinz Hajek-Halke. Graduating in 1960, Neusüss went on to teach at the Academy of Fine Arts in Kassel while beginning to experiment with photograms. The artist continues to live and work in Kassel, Germany. Today, his works are held in the collections of the Victoria and Albert Museum in London, the San Francisco Museum of Modern Art, and the Art Institute of Chicago, among others.

Text from the Artnet website [Online] Cited 19/03/2021

 

Arnulf Rainer (Austrian, b. 1929) 'Selbst mit Ei (Self with an egg)' c. 1969-1971

 

Arnulf Rainer (Austrian, b. 1929)
Selbst mit Ei (Self with an egg)
c. 1969-1971
© Arnulf Rainer

 

 

Arnulf Rainer (born 8 December 1929) is an Austrian painter noted for his abstract informal art.

Rainer was born in Baden, Austria. During his early years, Rainer was influenced by Surrealism. In 1950, he founded the Hundsgruppe (dog group) together with Ernst Fuchs, Arik Brauer, and Josef Mikl. After 1954, Rainer’s style evolved towards Destruction of Forms, with blackenings, overpaintings, and maskings of illustrations and photographs dominating his later work. He was close to the Vienna Actionism, featuring body art and painting under the influence of drugs. He painted extensively on the subject of Hiroshima such as it relates to the nuclear bombing of the Japanese city and the inherent political and physical fallout.

In 1978, he received the Grand Austrian State Prize. In the same year, and in 1980, he became the Austrian representative at the Venice Biennale. From 1981 to 1995, Rainer held a professorship at the Academy of Fine Arts in Vienna – the same place where he aborted his own studies after three days, unsatisfied.

Text from the Wikipedia website

 

Sigmar Polke (German, 1941-2010) 'Untitled (Oberkassel Bridge)' 1971-83

 

Sigmar Polke (German, 1941-2010)
Ohne Titel (Oberkasseler Brücke)
Untitled (Oberkassel Bridge)
1971-83
© The Estate of Sigmar Polke, Cologne / VG Bild-Kunst, Bonn 2020

 

 

Sigmar Polke (13 February 1941 – 10 June 2010) was a German painter and photographer.

Polke experimented with a wide range of styles, subject matters and materials. In the 1970s, he concentrated on photography, returning to paint in the 1980s, when he produced abstract works created by chance through chemical reactions between paint and other products. In the last 20 years of his life, he produced paintings focused on historical events and perceptions of them…

 

Work

In 1963, Polke founded the painting movement “Kapitalistischer Realismus” (“Capitalist realism”) with Gerhard Richter and Konrad Fischer (alias Konrad Lueg as artist). It is an anti-style of art, appropriating the pictorial shorthand of advertising. This title also referred to the realist style of art known as “Socialist Realism”, then the official art doctrine of the Soviet Union and its satellites (from one which he had fled with his family), but it also commented upon the consumer-driven art “doctrine” of western capitalism. He also participated in “Demonstrative Ausstellung”, a store-front exhibition in Düsseldorf with Manfred Kuttner, Lueg, and Richter. Essentially a self-taught photographer, Polke spent the next three years painting, experimenting with filmmaking and performance art.

 

Photography

In 1966-68, during his most conceptual period, Polke used a Rollei camera to capture ephemeral arrangements of objects in his home and studio.[6] In 1968, the year after he left the art academy, Polke published these images as a portfolio of 14 photographs of small sculptures he had made from odds and ends – buttons, balloons, a glove. From 1968 to 1971, he completed several films and took thousands of photographs, most of which he could not afford to print.

During the 1970s, Polke slowed his art production in favour of travel to Afghanistan, Brazil, France, Pakistan, and the U.S., where he shot photographs (using a handheld 35mm Leica camera) and film footage that he would incorporate in his subsequent works during the 1980s. In 1973 he visited the U.S. with artist James Lee Byars in search of the “other” America; the fruit of that journey was a series of manipulated images of homeless alcoholics living on New York’s Bowery. He produced an additional series of photographic suites based on his journeys to Paris (1971), Afghanistan and Pakistan (1974) and São Paulo (1975), often treating the original image as raw material to be manipulated in the dark room, or in the artist’s studio. Beginning with his 1971 Paris photographs printed using chemical staining to create works full of strange presences while under the influence of LSD, Polke exploited the photographic process as a means to alter “reality.” He combined both negatives and positives with images that had both vertical and horizontal orientations. The resulting collage-like compositions take advantage of under- and overexposure and negative and positive printing to create enigmatic narratives. With the negative in his enlarger, the artist developed large sheets selectively, pouring on photographic solutions and repeatedly creasing and folding the wet paper.

Completed in 1995 in collaboration with his later wife Augustina von Nagel, a suite of 35 prints entitled “Aachener Strasse” combine street photography with images from Polke’s paintings, developed using techniques of multiple exposures and multiple negatives.

Text from the Wikipedia website

 

Benjamin Katz (Belgium, b. 1939) 'Sigmar Polke in Düsseldorf' 1984

 

Benjamin Katz (Belgium, b. 1939)
Sigmar Polke in Düsseldorf
1984
© VG Bild-Kunst, Bonn 2020

 

 

More information about and images from the artist: ‘Benjamin Katz Berlin Havelhöhe, 1960/61’ at Museum Ludwig, Cologne

 

Astrid Klein (German, b. 1951) 'Zwischenbereich (Intermediate area)' 1986

 

Astrid Klein (German, b. 1951)
Zwischenbereich (Intermediate area)
1986
© Astrid Klein / Courtesy Sprüth Magers

 

 

Astrid Klein (b. 1951) is one of Germany’s most distinguished conceptual artists. Collage constitutes the main formal and artistic principal of her work. Her large-scale wall pieces often combine found images with her own text or quotes from philosophy, theory or science to illuminate suppressed aspects of the collective unconscious and to question conventional power structures and modes of representation. Her oeuvre – comprising photographic work but also neon and mirror sculptures, installations, painting and drawing – oscillates between poetry and criticism, skepticism and longing.

 

Photoworks

Klein began working with photography in 1978. Her early works were based on themes of human tragedy and often combined texts with images.

Klein produces photographic images on a large scale to make what she refers to as ‘photoworks’, distinguishing them from straightforward photographs. Starting with images drawn from newspapers and magazines, Klein transforms them with a variety of processing and printing techniques in the darkroom, often verging on abstraction. The resulting works question assumptions about photography as an accurate documentary medium.

Text from the Wikipedia website

 

Gina Lee Felber (German, b. 1957) 'Tacet (Silent)' 1988

 

Gina Lee Felber (German, b. 1957)
Tacet (Silent)
1988
© Gina Lee Felber

 

Jürgen Klauke (German, b. 1943) 'Untitled (Flying Hats)' 1990-92

 

Jürgen Klauke (German, b. 1943)
Ohne Titel (Fliegende Hüte)
Untitled (Flying Hats)
1990-92
From the series Sonntagsneurosen (Sunday Neuroses)
© Jürgen Klauke

 

 

Jürgen Klauke (born 6 September 1943) is a German artist. Beginning in the 1960s, he used his own body as a subject of his photographs. He also experimented with minimalism and surrealism. The ZKM in Karlsruhe exhibits his work. Since 1968 he lives and works in Cologne.

 

Augustina von Nagel (German, b. 1952) 'Der Denker (The Thinker)' 1997

 

Augustina von Nagel (German, b. 1952)
Der Denker (The Thinker)
1997
© Augustina von Nagel

 

Married to Sigmar Polke.

 

 

Die Photographische Sammlung/SK Stiftung Kultur
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50670 Cologne
Phone: 0049-(0)221-88895 300

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07
Mar
21

Exhibition: ‘Dawoud Bey: An American Project’ at the High Museum of Art, Atlanta

Exhibition dates: 7th November 2020 – 14th March 2021

 

Dawoud Bey (American, b. 1953) 'A Man in a Bowler Hat, Harlem, NY, 1976' 1976

 

Dawoud Bey (American, b. 1953)
A Man in a Bowler Hat, Harlem, NY, 1976
1976
Gelatin silver print
© Dawoud Bey

 

 

Early in his career, Bey realised the importance of collaborating with his subjects to make a picture that would also serve as a dialogue between artist and subject: “I wanted to photograph this man in the bowler hat who was talking to a group of three friends and I had no idea how to interrupt their conversation in order to do so. This is when I first realised that it wasn’t just about the photograph; it was also about establishing a relationship out of which comes the photograph.”

 

 

I have always admired artists who have a social conscience, who investigate their subject matter with intelligence, empathy and insight.

I have always admired artist who examine their subject matter from different perspectives, turning the diamond of the world in light, to probe the moral and existential questions of existence.

I have always admired artists who develop their practice, never repeating for the sake of it the same constructs over and over – from a lack of imagination, to be successful, or to follow the money trail.

One such artist is Dawoud Bey.

From formal to informal portraiture, through conceptual “bodies”, Bey’s work visualises Black American history in the present moment, not by using the trope of reusing colonial photographs or memorabilia, but by presenting afresh the history of injustice enacted on a people and a culture, picturing their ongoing pain and disenfranchisement – in the here and now – through powerful and deeply political photographs. As the press release observes, Bey “has used his camera to create poignant meditations on visibility, race, place, and American history.”

“His art is grounded in the concept of citizenship, community and belonging, and especially in centring the experiences and histories of Black Americans at the forefront of our culture. His photographs actively work to provide space, voice and visibility for communities who have long been excluded from dominant narratives, especially in institutions like museums.”

From his early street photographs through the later large format Polaroid work and on to the conceptual series, Bey’s photographs have an engaging directness and candour to them. There are no photographic or subjective histrionics here, just immensely rich social documentary photographs that speak truth to subject. The subjects stare directly at the camera and reveal themselves with a poignant honesty.

The series that affected me most deeply was The Birmingham Project.

“On September 15, 1963, the Ku Klux Klan dynamited the 16th Street Baptist Church in Birmingham, Alabama, murdering four African American girls inside. Two Black boys were also killed later that same day in the violence that ensued. Bey’s series The Birmingham Project commemorated the fiftieth anniversary of this horrific event, rendering it painfully immediate. Bey made formal portraits of Birmingham children the same ages as the victims and adults fifty years older – the ages the victims would have been had they lived. He then paired the photographs in diptychs that both honour the community’s unthinkable loss and make tangible the continued impact of racism, violence, and trauma in the present.”

All the suffering, all the ongoing pain and misery of an unfair world was, to me, wrapped up in these unforgettable images. The violence against other human beings, against people of difference 50 years ago brought into the present. Thinking about what these people could have achieved in the world, what life they would have led, what they would have looked like. Photography transcending time and space, Bey intelligently bringing past into present future. As Bey says, “I wanted to give those young people a more tangible, less-mythic, palpable presence… I wanted to figure out how to show the passage of time and the tragic loss of possibility.”

In my imagination I try to construct this tragic loss of possibility through the agency of Bey’s photographs. They produce sadness, anger, and empathy in me. They bring the possibility of change to the forefront of my mind, and an acknowledgment that we can all do better, that the world must do better. And that experience is a powerful thing.

Dr Marcus Bunyan.

.
Many thankx to the High 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.

 

 

“I’ve come to believe that the best works tend to result not from the imposition of an idea on a situation, but to be responsive to what’s going on once you get there.”

“How can one visualise African American history and make that history resonate in the contemporary moment?”

.
Dawoud Bey

 

“Dreams are spaces that do not yet exist, except by escape through an unknown night.”

.
Anna Mirzayan

 

“I Never Had White Folks That Was Good To Me, EVER… We all worked jest like dogs and had about half enough to eat and got whupped for everything. Our days was a constant misery to us… My old Master was Dave Giles, the meanest man that ever lived. He didn’t have many slaves, my mammy, and me, and my sister, Uncle Bill, and Truman. He had owned my grandma but he give her a bad whupping and she never did git over it and died. We all done as much work as a dozen niggers – we knowed we had to. I seen old Master git mad at Truman and he buckled him down across a barrel and whupped him till he cut the blood out of him and then he rubbed salt and pepper in the raw places. It looked like Truman would die it hurt so bad. I know that don’t sound reasonable that a white man in a Christian community would do such a thing but you can’t realise how heartless he was. People didn’t know about it and we dassent tell for we knowed he’d kill us if we did. You must remember he owned us body and soul and they wasn’t anything we could do about it. Old Mistress and her three girls was mean to us too. One time me and my sister was spinning and old Mistress went to the well-house and she found a chicken snake and killed it. She brought it back and she throwed it around my sister’s neck. She jest laughed and laughed about it. She thought it was a big joke. Old Master stayed drunk all the time. I reckon that is the reason he was so fetched mean. My, how we hated him! He finally killed hisself drinking and I remember Old Mistress called us in to look at him in his coffin. We all marched by him slow like and I jest happened to look up and caught my sister’s eye and we both jest natchelly laughed – Why shouldn’t we? We was glad he was dead. It’s a good thing we had our laugh fer old Mistress took us out and whupped us with a broomstick. She didn’t make us sorry though.”

.
Annie Hawkins, formerly enslaved Afrikan who was sold from Georgia to Texas. This interview was done in Colbert, Oklahoma where her and her family moved after emancipation. Interview, conducted Spring, 1937 with a date stamp of August 16, 1937. Ms. Hawkins was 90 years old at the time of the interview and what she relates occurred in Texas. Source: Library of Congress

 

 

Since the beginning of his career in the 1970s, Dawoud Bey (American, b. 1953) has used his camera to create poignant meditations on visibility, race, place, and American history. From early street portraits made in Harlem to a recent series imagining an escape from slavery on the Underground Railroad, Bey explores photography’s potential to reveal communities and stories that have been underrepresented or even unseen. Both a form of personal expression and an act of political responsibility, Bey’s art insists on the power of photography to transform stereotypes, convene communities, and create dialogue.

Dawoud Bey: An American Project traces these through lines across the forty-five years of Bey’s career and his profound engagement with the young Black subject and African American history. The title intentionally inserts his photographs into a long-running conversation about what it means to represent America with a camera. The questions of who is considered an American photographer, or simply an American, and whose story is an American story are particularly urgent today. Bey’s work offers a potent corrective to the gaps in our picture of American society and history – and an emphatic reminder of the ongoing impact of those omissions.

 

 

Dawoud Bey on visualising history

Photographer Dawoud Bey’s work grapples with history. The artist asks, “How can one visualise African American history and make that history resonate in the contemporary moment?” Here he discusses several series, sited from Harlem to Birmingham to the Underground Railroad routes of northeastern Ohio, each of which works to make histories visible.

 

 

Dawoud Bey: An American Project – Part 1

 

Dawoud Bey (American, b. 1953) 'A Boy in Front of the Loew's 125th Street Movie Theater, Harlem, NY, 1976' 1976

 

Dawoud Bey (American, b. 1953)
A Boy in Front of the Loew’s 125th Street Movie Theater, Harlem, NY, 1976
1976
Gelatin silver print
© Dawoud Bey

 

 

The Street

Bey’s landmark black-and-white 1975-78 series “Harlem, USA” documents portraits and street scenes with locals of the historic neighbourhood in New York. As a young man growing up in Queens, Bey was intrigued by his family’s history in Harlem, where his parents met and where he visited family and friends throughout childhood. The series premiered at the Studio Museum in Harlem in 1979, when Bey was just 26.

 

Dawoud Bey (American, b. 1953) 'A Woman at Convent Avenue Baptist Church, Harlem, NY, 1977' 1977

 

Dawoud Bey (American, b. 1953)
A Woman at Convent Avenue Baptist Church, Harlem, NY, 1977
1977
Gelatin silver print
11 x 14 inches
Image courtesy of the artist and Stephen Daiter Gallery, Chicago
© Dawoud Bey

 

 

In his hands, portraiture conveys contradiction – diffident joy, resistant sorrow – and tells the truth.

 

Dawoud Bey (American, b. 1953) 'Three Women at a Parade, Harlem, NY, 1978' 1978

 

Dawoud Bey (American, b. 1953)
Three Women at a Parade, Harlem, NY, 1978
1978
Gelatin silver print
© Dawoud Bey

 

 

“His art is grounded in the concept of citizenship, community and belonging, and especially in centring the experiences and histories of Black Americans at the forefront of our culture. His photographs actively work to provide space, voice and visibility for communities who have long been excluded from dominant narratives, especially in institutions like museums.”

 

Dawoud Bey (American, b. 1953) 'Two Boys at a Handball Court, Syracuse, NY, 1985' 1985

 

Dawoud Bey (American, b. 1953)
Two Boys at a Handball Court, Syracuse, NY, 1985
1985
Gelatin silver print
© Dawoud Bey

 

 

Throughout the 1980s, Bey continued to use a handheld 35 mm camera. This lightweight apparatus allowed him to respond intuitively and quickly to whatever captivated his eye, and his photographs during this time reflect his knowledge of contemporary street photography and his growing interest in capturing flux, movement, and the play of light and shadow. Although he continued to photograph people, he moved away from formal portraiture, instead endeavouring to capture individuals in more spontaneous ways.

 

Dawoud Bey (American, b. 1953) 'Clothes Drying on the Line, Syracuse, NY, 1985' 1985

 

Dawoud Bey (American, b. 1953)
Clothes Drying on the Line, Syracuse, NY, 1985
1985
Gelatin silver print
20 x 24 inches
Image courtesy of the artist and Stephen Daiter Gallery, Chicago
© Dawoud Bey

 

Dawoud Bey (American, b. 1953) 'Combing Hair, Syracuse, NY, 1986' 1986

 

Dawoud Bey (American, b. 1953)
Combing Hair, Syracuse, NY, 1986
1986
Gelatin silver print
© Dawoud Bey

 

 

In 1985, during a residency at Light Work, a photography nonprofit affiliated with Syracuse University, New York, Bey photographed the city’s African American community. For him, it was both a political and aesthetic choice: “By then I felt that was part of my agenda: to make the African American subject a visible and resonant presence through my photographs […] it was as much about making a certain kind of photograph, and operating within a certain tradition, as it was a deliberate choice to foreground the black subject […] giving them a place … on the wall of galleries and museums.”

 

Dawoud Bey (American, b. 1953) 'A Woman at Fulton Street and Washington Avenue, Brooklyn, NY, 1988' 1988

 

Dawoud Bey (American, b. 1953)
A Woman at Fulton Street and Washington Avenue, Brooklyn, NY, 1988
1988
Gelatin silver print
© Dawoud Bey

 

 

By the end of the 1980s, Bey had thoroughly digested the lessons of working spontaneously with a small camera and desired to work in a way that would allow him to engage more directly with his subjects. He began to make formal “street portraits” with a large-format (4- × 5-inch) camera and Polaroid Type 55 film, which produced both instant pictures that he gave to the sitters and negatives that he used to make large-scale, highly detailed prints that could be enlarged to create monumental portraits. Bey was increasingly ambivalent about the ethics of traditional documentary photography and sought more equitable, reciprocal relationships with his sitters. He began to approach the strangers he wished to portray openly and deliberately, giving, as he writes, “the black subjects [a space] to assert themselves and their presence in the world, with their gaze meeting the viewer’s on equal footing.”

 

Dawoud Bey (American, b. 1953) 'A Young Man Resting on an Exercise Bike, Amityville, NY, 1988' 1988

 

Dawoud Bey (American, b. 1953)
A Young Man Resting on an Exercise Bike, Amityville, NY, 1988
1988
Gelatin silver print
© Dawoud Bey

 

Dawoud Bey (American, b. 1953) 'A Young Girl Striking A Pose, Brooklyn, NY, 1988' 1988

 

Dawoud Bey (American, b. 1953)
A Young Girl Striking A Pose, Brooklyn, NY, 1988
1988
Gelatin silver print
© Dawoud Bey

 

Dawoud Bey (American, b. 1953) 'A Young Man with Buttons Brooklyn NY 1988' 1988

 

Dawoud Bey (American, b. 1953)
A Young Man with Buttons Brooklyn NY 1988
1988
Gelatin silver print
© Dawoud Bey

 

Dawoud Bey (American, b. 1953) 'A Young Woman Coming from the Store, Rochester, NY 1989' 1989

 

Dawoud Bey (American, b. 1953)
A Young Woman Coming from the Store, Rochester, NY 1989
1989
Gelatin silver print
© Dawoud Bey

 

Dawoud Bey (American, b. 1953) 'A Young Man with His Hair Brush, Rochester, NY 1989' 1989

 

Dawoud Bey (American, b. 1953)
A Young Man with His Hair Brush, Rochester, NY 1989
1989
Gelatin silver print
© Dawoud Bey

 

Dawoud Bey (American, b. 1953) 'Alfonso, Washington, DC, 1989' 1989

 

Dawoud Bey (American, b. 1953)
Alfonso, Washington, DC, 1989
1989
Gelatin silver print
© Dawoud Bey

 

Dawoud Bey (American, b. 1953) 'A Woman Wearing Denim, Rochester, NY 1989' 1989

 

Dawoud Bey (American, b. 1953)
A Woman Wearing Denim, Rochester, NY 1989
1989
Gelatin silver print
© Dawoud Bey

 

Dawoud Bey (American, b. 1953) 'A Man with a Towel, Brooklyn, NY 1989' 1989

 

Dawoud Bey (American, b. 1953)
A Man with a Towel, Brooklyn, NY 1989
1989
Gelatin silver print
© Dawoud Bey

 

Dawoud Bey (American, b. 1953) 'Poppy Brooklyn, NY, 1989' 1989

 

Dawoud Bey (American, b. 1953)
Poppy, Brooklyn, NY, 1989
1989
Gelatin silver print
© Dawoud Bey

 

Dawoud Bey (American, b. 1953) 'A Girl Holding a Hotdog and Gum, Brooklyn, NY, 1989' 1989

 

Dawoud Bey (American, b. 1953)
A Girl Holding a Hotdog and Gum, Brooklyn, NY, 1989
1989
Gelatin silver print
© Dawoud Bey

 

Dawoud Bey (American, b. 1953) 'A Couple in Prospect Park, Brooklyn, NY, 1990' 1990

 

Dawoud Bey (American, b. 1953)
A Couple in Prospect Park, Brooklyn, NY, 1990
1990
Gelatin silver print
© Dawoud Bey

 

 

Few images of tenderness have such resounding power as this lush portrait of a young, stylish couple embracing in Brooklyn’s Prospect Park. Note how perfectly their bodies fit together as he relaxes his shoulders, allowing her to easily wrap her arms around him protectively, declaring with the upward tilt of her chin and her direct gaze at us that they are together, united in love. Pictures as openly intimate as this one emerged from Bey’s deep and abiding interest in “wanting to describe the Black subject in a way that’s as complex as the experiences of anyone else.”

 

Dawoud Bey (American, b. 1953) 'Two Girls from a Marching Band, Harlem, NY, 1990' 1990

 

Dawoud Bey (American, b. 1953)
Two Girls from a Marching Band, Harlem, NY, 1990
1990
Gelatin silver print
Courtesy of the artist, Sean Kelly Gallery, Stephen Daiter Gallery, and Rena Bransten Gallery
© Dawoud Bey

 

 

For more than four decades, renowned photographer Dawoud Bey has created powerful and tender photographs that portray underrepresented communities and explore African American history. From portraits in Harlem and classic street photography to nocturnal landscapes and large-scale studio portraits, his works combine an ethical imperative with an unparalleled mastery of his medium. The High Museum of Art celebrates his important contributions to photography as the exclusive Southeast venue for Dawoud Bey: An American Project, the artist’s first full career retrospective in 25 years.

Co-organised by the San Francisco Museum of Modern Art (SFMOMA) and the Whitney Museum of American Art, New York, the exhibition features approximately 80 works that span the breadth of Bey’s career, from his earliest street portraits made in Harlem in the 1970s to his most recent series reimagining sites of the Underground Railroad (2017).

The High has enjoyed a long and fruitful relationship with Bey, who was commissioned in 1996 for the Museum’s inaugural “Picturing the South” series, which asks noted photographers to turn their lens toward the American South. For his project, Bey collaborated with Atlanta high school students to create empathetic, larger-than-life portraits. Made with the monumental 20-by-24-inch Polaroid camera, these photographs explore the complexity of adolescence as a time of critical identity formation and expand the concept of portraiture. The High now holds more than 50 photographs by Bey, one of the most significant museum collections of his work.

“Bey’s portraits are remarkable for their keen sensitivity and for how they elicit and honour their subjects’ sense of self, which is partly an outcome of the artist’s collaborative practice,” remarked Sarah Kennel, the High’s Donald and Marilyn Keough Family curator of photography. “Given the museum’s long relationship with Bey and the strength of our holdings, we are thrilled to present this important retrospective. We look forward to sharing the artist’s photographs and his powerful and moving reflections on African American history and identity in their country with our visitors.”

Bey, born in 1953 in Queens, New York, began to develop an interest in photography as a teenager. He received his first camera as a gift from his godmother in 1968, and the next year, he saw the exhibition “Harlem on My Mind” at The Metropolitan Museum of Art. Widely criticised for its failure to include significant numbers of artworks by African Americans, the exhibition’s representation of Black subjects nonetheless made an impression on Bey and inspired him to develop his own documentary project about Harlem in 1975. Since that time, he has worked primarily in portraiture, making tender, psychologically rich and direct portrayals, often in collaboration with his subjects. More recently, he has explored seminal moments in African American history through both portraiture and landscape.

Dawoud Bey: An American Project includes work from the artist’s eight major series and is organised to reflect the development of Bey’s vision throughout his career and to highlight his enduring engagement with portraiture, place and history.

Press release from The High Museum of Art

 

Installation view of the exhibition 'Dawoud Bey: An American Project' at the High Museum of Art, Atlanta

Installation view of the exhibition 'Dawoud Bey: An American Project' at the High Museum of Art, Atlanta

 

Installation views of the exhibition Dawoud Bey: An American Project at the High Museum of Art, Atlanta.
Images courtesy of the artist and High Museum. Photos by Mike Jensen.

 

Dawoud Bey

 

Dawoud Bey
Photo: Sean Kelly Gallery

 

 

About Dawoud Bey

Dawoud Bey was born in Queens, New York, and began his career as a photographer in 1975 with a series of photographs, Harlem, USA, that were later exhibited in his first solo exhibition at the Studio Museum in Harlem in 1979.

Since then his work has been featured in exhibitions at numerous institutions worldwide, including the Addison Gallery of American Art, Andover, Massachusetts; the Art Institute of Chicago; the Brooklyn Museum; the Detroit Institute of Arts; the Fogg Museum, Harvard University; the High Museum of Art, Atlanta; the Museum of Contemporary Art, Chicago; the Museum of Contemporary Photography (MoCP), Chicago; the National Gallery of Art, Washington, D.C.; and the Walker Art Center, Minneapolis, among many others.

His photographs are represented in collections worldwide, and his critical writings on photography have appeared in numerous publications and exhibition catalogues. Bey received the prestigious MacArthur “Genius” fellowship in 2017 and is also the recipient of fellowships from the Guggenheim Foundation and the National Endowment for the Arts. He holds a Master of Fine Arts degree from Yale University and is currently Professor of Art and a Distinguished College Artist at Columbia College Chicago, where he has taught since 1998.

 

Dawoud Bey (American, b. 1953) 'Gerard, Edgewater High School, Orlando, FL, 2003' 2003

 

Dawoud Bey (American, b. 1953)
Gerard, Edgewater High School, Orlando, FL, 2003
2003
Inkjet print
© Dawoud Bey

 

 

Behind his Class Pictures series:

“It was a sort of snapshot of America through its young people at that particular moment. I started working in Chicago, then to New York, California and Florida. I wanted it to be geographically representative of the country. I’ve always been acutely aware that photographs tell you a lot less than what they do tell you. There’s certain things you would never know just from looking at them. You wouldn’t know from a portrait if someone is an only child, whether they have siblings, who their parents are. There’s a lot of information outside of a photograph. For Class Pictures, I thought that was important to bring that information into the construct of work and to create a space of self-representation. The young people who I photographed could give a sense of who they were.”

Summer Evans. “Photographer Dawoud Bey Shines A Light On America’s Underrepresented Communities,” on the WABE website Nov 18, 2020 [Online] Cited 01/03/2021

 

Dawoud Bey (American, b. 1953) 'Usha, Gateway High School, San Francisco, CA, 2006' 2006

 

Dawoud Bey (American, b. 1953)
Usha, Gateway High School, San Francisco, CA, 2006
2006
Inkjet print
© Dawoud Bey

 

 

Bey has long understood that the act of representation – as well as the corollary act of being seen – is both powerful and deeply political. In this series, he once again turned his attention to teenagers, a population he felt was underrepresented and misjudged, seen either as “socially problematic or as engines for a certain consumerism.” Class Pictures (2001-2006) originated during a residency at the Smart Museum of Art in Chicago, where Bey began working with local high school students. He later expanded it to capture a geographically and socioeconomically diverse slice of American adolescence.

Working in empty classrooms between class periods, Bey made formal colour portraits of teens that attend, carefully and tenderly, to their gestures and expressions. He also invited them to write brief autobiographical statements, giving his subjects visibility as well as voice. Class Pictures can also be understood as a play on words, for in several cases, Bey chose to photograph students at elite private schools as well as teens from nearby, poorer neighbourhoods, bringing together these subjects in a single space.

 

Dawoud Bey (American, b. 1953) 'Don Sledge and Moses Austin' 2012

 

Dawoud Bey (American, b. 1953)
Don Sledge and Moses Austin
2012
From The Birmingham Project
Inkjet prints
Rennie Collection, Vancouver
© Dawoud Bey

 

 

On September 15, 1963, the Ku Klux Klan dynamited the 16th Street Baptist Church in Birmingham, Alabama, murdering four African American girls inside. Two Black boys were also killed later that same day in the violence that ensued. Bey’s series The Birmingham Project commemorated the fiftieth anniversary of this horrific event, rendering it painfully immediate. Bey made formal portraits of Birmingham children the same ages as the victims and adults fifty years older – the ages the victims would have been had they lived. He then paired the photographs in diptychs that both honour the community’s unthinkable loss and make tangible the continued impact of racism, violence, and trauma in the present.

 

Dawoud Bey (American, b. 1953) 'Mary Parker and Caela Cowan' 2012

 

Dawoud Bey (American, b. 1953)
Mary Parker and Caela Cowan
2012
From The Birmingham Project
Inkjet prints
Rennie Collection, Vancouver
© Dawoud Bey

 

 

“Together the sitters for The Birmingham Project are simultaneously surrogates, mourners, witnesses, community, and agents of their own narratives. These subjects, then are not symbols but flesh and bone.”

 

In 2012, the project was created as a commission from the Birmingham Museum of Art. It memorialises the victims of the 1963 bombing of the 16th Street Baptist Church in Birmingham. Four African-American girls were killed in the bombing, and two boys were later killed in riots that followed.

“I decided to make portraits of young African-Americans in Birmingham who were the exact same ages as those six young people who had been killed that day. I wanted to give those young people a more tangible, less-mythic, palpable presence.” Bey continues, “It still felt somewhat complete. I wanted to figure out how to show the passage of time and the tragic loss of possibility. Then, I started thinking about making portraits of African-Americans in Birmingham who were the ages of the six young people would have been their age today. I begun pairing those portraits with those young people, which embodied 50 years.”

Summer Evans. “Photographer Dawoud Bey Shines A Light On America’s Underrepresented Communities,” on the WABE website Nov 18, 2020 [Online] Cited 01/03/2021

 

Night Coming Tenderly, Black

Dawoud Bey’s large-scale photographs dive into art and literary history while trying to re-create the experience of slaves fleeing on the Underground Railroad.

“I consider myself to be making photographs both in conversation with the history of photography and also the history of Black representation within photography. I wanted to use what I learned early on from looking at photographs by Irving Penn, Richard Avedon, Walker Evans and Mike Disfarmer – along with what I learned from Roy DeCarava, who was African American – and apply all of that to my own African American subjects as I began to build my vocabulary of picture-making. Because I’m African American myself, and because so few representations of African Americans are made from inside that experience, I set out to make that my space, to make work that operated at the level of those other photographs but with Black subjects, since those were the people I knew best. I also wanted to add something to the history of Black expressive culture. …

Night Coming Tenderly, Black continues my interest in visualising African American history by visualising the past in the contemporary moment. It takes as its conceptual touchstones the photographs of DeCarava, which are about the Black subject and often printed very darkly, some almost black. The blackness of his prints is a very beautiful and materially lush blackness. And the Black subjects inhabit this wonderful material darkness in a way that is not foreboding but is beautiful.” ~ Dawoud Bey

 

Dawoud Bey. ‘Untitled #1 (Picket Fence and Farmhouse)’ 2017

 

Dawoud Bey (American, b. 1953)
Untitled #1 (Picket Fence and Farmhouse)
2017
From the series Night Coming Tenderly, Black
Gelatin silver print
© Dawoud Bey

 

 

The photographs in this series are some of the most sensual and layered. These are sights that are at first confining then liberating when you understand them through the lens of history.

In their grandeur and mystery, they transform houses masked in darkness, bodies of water, and fields into an emblematic hope. A pristine fencepost and a homestead visible through the haze of the darkness; a wetland glistening in nightfall; a jungle thick with small trees; an image of Lake Erie, with the expansive sky and horizon forewarning the freedom that lies beyond.

 

The Underground Railroad

Night Coming Tenderly, Black contains 25 large-scale images of homesteads with wooded or grassy grounds that are believed to have formed the part of the said Underground Railroad. The Underground Railroad is an actual invisible web of routes and safe houses believed to have made the final way station for more than 100,000 fugitive slaves escaping to Canada. But according to the artist himself, some of the images may be of actual Underground Railroad.

 

The meaning of the title

This series is also a tribute to poet Langston Hughes (1901-1967) and photographer Roy DeCarava (1919-2009), who each played significant roles in addressing the experience of African Americans by representing what DeCarava described as a world shaped by blackness. Bey was inspired by DeCarava’s incredible ability to print a spectrum of dark hues, making him picture landscapes of twilight uncertainty.

On the other hand, Hughes Langston wrote a poem titled Dream Variations in 1926, in which he yearned for a time when the black American worker, extremely tired by the daily hustle of hard labor and prejudice, might be truly free. However, this freedom, he imagined, would not be obtained in the glare of daylight, but instead under the ominous, protective cover of the night.

Upending a dominant literary conceit, blackness, rather than whiteness, functioned as an allegory for hope and transcendence. A night coming tenderly, black like me, (Hughes poem), helped the fight for racial equality and justice. The metaphor in the poem is central to Dawoud Bey’s series Night Coming Tenderly, Black.

 

Influenced by Roy DeCarava

Bey has never stopped waxing lyrical on the influence of the two figures that inspired his artistic career, especially Roy DeCarava, who was one of the most prominent photographers of his generation. The images he took were visually rich and redolent, and they pushed the aesthetic limits of photography…

Dawoud Bey noted that DeCarava’s images were characteristically printed in dark and rich colour range. In this context, the dark prints served as a symbol for black subjects and experience. Bey says:

“DeCarava used blackness as an affirmative value, as a kind of beautiful blackness through which his subjects both moved and emerged. His work was formative to my own thinking early on, and these dark landscapes are a kind of material conversation with his work, using the darkness of the landscape and the photographic print as an evocative space of blackness through which the unseen and imaginary black fugitive subject is moving.” …

The artist printed these images in a large size to encase the viewer and deliberately dark to reveal his subject matter: He took the photos of the sites in and near Cleveland associated with the Underground Railroad that guided the slaves to liberation.

Anonymous. “Dawoud Bey’s somber ‘Night Coming Tenderly, Black’ project,” on the Public Delivery website  January 30, 2021 website [Online] Cited 02/03/2021

 

Dawoud Bey (American, b. 1953) 'Untitled #11 (Bent Branches)' 2017

 

Dawoud Bey (American, b. 1953)
Untitled #11 (Bent Branches)
2017
From the series Night Coming Tenderly, Black
Gelatin silver print
© Dawoud Bey

 

Dawoud Bey (American, b. 1953) 'Untitled #12 (The Marsh)' 2017

 

Dawoud Bey (American, b. 1953)
Untitled #12 (The Marsh)
2017
From the series Night Coming Tenderly, Black
Gelatin silver print
© Dawoud Bey

 

 

“I ranged far and wideout there since there were expansive rural landscapes that looked as they might have in the 18th and 19th centuries. The landscape and the history there have not been built over…

Some of the photographs, to the extent that we know, are actual Underground Railroad sites, and the majority of them are placed in the landscape that I identified in proximity to some of those locations, where I could make work that suggested the movement of fugitive slaves through the landscape…

I wanted the photographs to almost involuntarily pull you back to the experience of the landscape through which those fugitive black bodies were moving in the 19th century to escape slavery. So I had to learn, for the first time, how to make photographs in the kind of space…

It is a tender one, through which one moves. That is the space I imagined the fugitive black subjects moving through as they sought their self-liberation, moving through the dark landscape of America and Ohio toward freedom under cover of a munificent and blessed blackness.” ~ Dawoud Bey

 

Dawoud Bey (American, b. 1953) 'Untitled #14 (Site of John Brown's Tannery)' 2017

 

Dawoud Bey (American, b. 1953)
Untitled #14 (Site of John Brown’s Tannery)
2017
From the series Night Coming Tenderly, Black
Gelatin silver print
© Dawoud Bey

 

Dawoud Bey (American, b. 1953) 'Untitled #17 (Forest)' 2017

 

Dawoud Bey (American, b. 1953)
Untitled #17 (Forest)
2017
From the series Night Coming Tenderly, Black
Gelatin silver print
© Dawoud Bey

 

 

Bey’s most recent work imagines the flight of enslaved Black Americans along the leg of the Underground Railroad that operated in Ohio – the last fifty or so miles before they reached the vast expanse of Lake Erie, on the other side of which lay Canada, and freedom.

 

Dawoud Bey (American, b. 1953) 'Untitled #19 (Creek and Trees)' 2017

 

Dawoud Bey (American, b. 1953)
Untitled #19 (Creek and Trees)
2017
From the series Night Coming Tenderly, Black
Gelatin silver print
© Dawoud Bey

 

 

Behind his Night Coming Tenderly, Black series:

“The photographs are meant to imagine or reimagine the path of self-liberation in Northeastern Ohio along what is called the ‘Underground Railroad’. Formerly slaved Africans, and then African-Americans moved towards freedom by way of Lake Eerie in Ohio. I began to think about the fugitive moving through this tender space of blackness.”

Anonymous. “Dawoud Bey’s somber ‘Night Coming Tenderly, Black’ project,” on the Public Delivery website  January 30, 2021 website [Online] Cited 02/03/2021

 

Dawoud Bey (American, b. 1953) 'Untitled #20 (Picket Fence and Farmhouse I)' 2017

 

Dawoud Bey (American, b. 1953)
Untitled #20 (Picket Fence and Farmhouse I)
2017
From the series Night Coming Tenderly, Black
Gelatin silver print
© Dawoud Bey

 

 

The gelatin silver prints in Night Coming Tenderly, Black are moody and dim, overlaid with a sheen that is almost gritty in texture thanks to the coated paper they are printed on. The trees, fences, lakes, and buildings in the photos are initially obscured, purposefully made more difficult to see through Bey’s printing methods (which take advantage of the light sensitivity of silver particles as well as their ability to be chemically “toned” through the introduction of other substances). These images resist both reproduction and easy interpretation. That one also has to wait for one’s eyes to adjust to the darkness, before slowly traveling over the terrain of each picture, reminds the viewer that the formerly enslaved people who traversed these sites often did so under cover of darkness. Darkness here is multivalent: its obscuring power, which prevents viewers from immediately processing the whole of Bey’s photographs, aided formerly enslaved people in their escape. The Underground Railroad, as the artist has noted, occupies a semi-mythological place in American history, and some of the places Bey photographs are only cannot be confirmed to have been stops on the Railroad. Like the experience of slavery, these places are unrepresentable. They are half-shrouded locales that evade being captured on a map or in a photo.

Though these photographs are dark, they are shot in the daylight and processed in such a way as to make them initially appear to be taken at night. They bring to mind Hiroshi Sugimoto’s eerily beautiful “Seascapes” series (1980- ongoing), which are shot at night, the film exposed for different lengths of time in order to reveal how light plays even after dark. Yet there is no analogous method for bringing night to the day. Bey may make his photos dark, but this is achieved through processing and glazing the finish image, which occurs after the initial act of taking the photograph. How can we account for Bey’s artificial night?

The philosopher François Laruelle’s 2011 book The Concept of Non-Photography suggests one answer to this question. In essence, Laruelle starts with the premise that works of art cannot and do not represent anything, be it objects, thoughts, concepts, or movements. He posits art as an entirely self-sufficient engagement with the world (which he calls the Real), independent even of viewer and creator. Art is a machine; the medium, processes, and even the artist are its materials. What art “shows,” Laurelle argues, is only the world according to itself – which he terms the world-in-painting, the world-in-photo, and so on. He turns to photography in part because of its connection to modern scientific advancement and its attempts literally to illuminate the world “objectively.” Non-photography aims to re-conceptualise the photographic flash, which Laruelle associates with the flash of logos or reason, as a form of potential insurrection against its traditional association with illumination, and against photography’s constant reproduction of the asymmetrical dichotomy between light and dark.

Anna Mirzayan. “”Artificial night”: on Dawoud Bey’s America,” on the Art Agenda website December 15 2020 [Online] Cited 01/03/2021

 

Dawoud Bey (American, b. 1953) 'Untitled #23 (Near Lake Erie)' 2017

 

Dawoud Bey (American, b. 1953)
Untitled #23 (Near Lake Erie)
2017
From the series Night Coming Tenderly, Black
Gelatin silver print
© Dawoud Bey

 

 

“I was thinking about this narrative of the Black subject — the unseen Black subject, in this case — a fugitive slave moving through the darkness of night,” Bey explains. “And that darkness of night being the kind of Black space that would lead to liberation.”

 

Dawoud Bey (American, b. 1953) 'Untitled #25 (Lake Erie and Sky)' 2017

 

Dawoud Bey (American, b. 1953)
Untitled #25 (Lake Erie and Sky)
2017
From the series Night Coming Tenderly, Black
Gelatin silver print
© Dawoud Bey

 

 

As a covert network of safe houses and churches, the sites of the Underground Railroad were by necessity secret, and Bey’s landscapes suggest, rather than document, the experience. Photographed by day but printed in shades of grey and black so deep they resemble nocturnes, the sensuous prints conjure a darkness at once ominous and lush. The series title, which is drawn from the last couplet of Langston Hughes’s poem “Dream Variations” (1926), suggests a black night that envelops the fugitives in a darkness that serves as a protective embrace: “Night coming tenderly / Black like me.”

 

 

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21
Feb
21

Photographs: ‘Women’ 1960s British / Australian 35mm colour slides Part 2

February 2021

 

Unknown photographer (Australian?). 'Nude portrait' 1960s?

 

Unknown photographer (British? Australian?)
Nude portrait
1960s?
35mm colour slide

 

 

This is the second part of my posting on 88 colour slides of nude women that I bought in Daylesford (an hour and a half from Melbourne) at an antique centre. I have spent hours digitally restoring these slides for they were in a poor state. Unfortunately the colour has gone but I felt the slides were so interesting, so beautiful, that they were worth preserving.

Compared to the women in Part 1 of the posting, the women in these photographs are more knowing of their sexuality and the part they are playing in their own representation, the acting for the camera. Even so, there is nothing prudish or smutty about these photographs. Despite the professional? amateur? photographer being almost certainly male (and all the appellations that the male gaze brings with it), the women are joyful when displaying their bodies, unafraid and uninhibited in the posing of their bodies before the camera. Here “the enshrining of Woman as a blank screen upon which the ideas and desires of both artist and viewer are projected” is balanced by the identity, presence and vitality of the women themselves. They take possession of their image, not simply as passive participants in the act of representation, but as active, engaged, powerful human beings who have a vital role in their own portrayal.

This selection features images that have a more British flavour including shots in a traditional back garden of an English house with lawn, crazy paving and roses (reminding me of my mother’s garden). Other photographs are shot in a flat – one in front of curtain, another using flash in a temporary studio made from rolls of paper hung down behind the model. Further photographs are shot in what looks like a rental bedsit using flash – against a door with the edge of the bed appearing at left, or in a small bedside mirror with overhead light, guest instructions for the room appearing at left. One can only surmise the arrangements made for the model and photographer to meet up in such a small, dingy space. Did they know each other beforehand, was money exchanged, did they have sex afterwards or part without ever seeing each other again, and what was going on in each of their lives, that they ended up in this space at this time for these photographs? What brought them to this place, and what happened to their lives afterwards? One can only surmise…

The setting of domestic suburbia is prevalent in many of these intimate images. Women lie on couches with cats; sit on a stool surrounded by chair, curtain and floral carpet; and are photographed as a pair using numerous props including a chair and a table covered with a bedspread, while on the ground a blanket is laid on the carpet for them to sit on. It’s all very amateur and experimental, using whatever surroundings and objects were available. My personal favourite is a magnificent woman, head titled down and away from the camera, strong dark shadow with the profile of a classical bust falling on the bed and wall behind, flattening the space of the image. Three Vincent van Gogh posters are tacked to the wall of the habitat behind: beauty and bed meets beauty and bed, that of van Gogh’s The Bedroom Arles 1888 (see below). I wonder what Vincent would have made of this Venus, how he would have painted her.

At the bottom of the posting you can see examples of naturist magazines, for the posing in these photographs has historical links to the history and photography of naturism (naturism is a lifestyle of non-sexual nudity, and the cultural movement which advocates for and defends that lifestyle). Of particular interest to me are the advertisements for the “Spielplatz” in St Albans, for my mother was a member for many years at this nudist retreat in the heart of Hertfordshire, owning a caravan and enjoying the summer months in England swimming and sunbathing nude. The Spielplatz (meaning playground)  – “the place to be when you have nothing on” – is the UK’s longest-operating naturist resort founded in 1929 by Charles Macaskie and his wife Dorothy, and still going strong. Other magazines, such as the Australian Figure and Vigour (A Controversial Periodical Devoted to Fearless Fact … SEXOLOGY – ART – THEATRE – BEAUTY) and Australasian Post concentrate on the more salacious side of sex and the portrayal of the female body (for the desires of men): ‘ARE WE SLAVES TO SEX?’ screams the headline, and ‘IS OUR SOCIETY SEX-SICK?’ or, ‘SPANKED WOMEN! * YOU’LL BE SHOCKED! Meekly, at the word of a cruel husband or parent, they submit themselves to pain and utter humiliation!’ Meekly – there is the key word (in a quiet, gentle, and submissive manner) – women become subservient to men, submitting themselves to pain and humiliation not just from a husband, but even a parent. This is so wrong on so many levels.

Titles such as “The Triumph of Naturism”, “Health and Efficiency” “Health and Sunshine” emphasise the link between nature, the body and the machine, how a healthy body promotes a healthy mind, all the while lurking in the background are half-remembered links to the discredited science of eugenics (a set of beliefs and practices that aim to improve the genetic quality of a human population, historically by excluding people and groups judged to be inferior or promoting those judged to be superior) and to the 1935 Nazi propaganda film directed, produced, edited, and co-written by Leni Riefenstahl titled Triumph of the Will, which chronicles the 1934 Nazi Party Congress in Nuremberg, which was attended by more than 700,000 Nazi supporters. Meanwhile, portrayals of the male body in some of the very same magazines concentrate on the mightiest men of muscledom, bulging pinups and masters of muscle. A youthful Arnold Schwarzenegger (photographed by that wonderful artist Gregor Arax) poses in all his glory for these physical culture magazines, as does a very young Sean Connery – the muscular phallic body of the muscle gods transferring across to the desirability and availability of such a body in gay porn photographs from the 1970s. As they say in ‘Master of muscle’, “It begins with a picture…”

Dr Marcus Bunyan

.
Please click on the photographs for a larger version of the image. View Part 1 of the posting.

 

 

Unknown photographer (Australian?). 'Nude portrait' 1960s?

 

Unknown photographer (British? Australian?)
Nude portrait
1960s?
35mm colour slide

 

Unknown photographer (Australian?). 'Nude portrait' 1960s?

 

Unknown photographer (British? Australian?)
Nude portrait
1960s?
35mm colour slide

 

Unknown photographer (Australian?). 'Nude portrait' 1960s?

 

Unknown photographer (British? Australian?)
Nude portrait (1)
1960s?
35mm colour slide

 

Unknown photographer (Australian?). 'Nude portrait' 1960s?

 

Unknown photographer (British? Australian?)
Nude portrait
1960s?
35mm colour slide

 

Unknown photographer (Australian?). 'Nude portrait' 1960s?

 

Unknown photographer (British? Australian?)
Nude portrait
1960s?
35mm colour slide

 

Unknown photographer (Australian?). 'Nude portrait' 1960s?

 

Unknown photographer (British? Australian?)
Nude portrait
1960s?
35mm colour slide

 

Unknown photographer (Australian?). 'Nude portrait' 1960s?

 

Unknown photographer (British? Australian?)
Nude portrait
1960s?
35mm colour slide

 

Unknown photographer (Australian?). 'Nude portrait' 1960s?

 

Unknown photographer (British? Australian?)
Nude portrait
1960s?
35mm colour slide

 

Unknown photographer (Australian?). 'Nude portrait' 1960s?

 

Unknown photographer (British? Australian?)
Nude portrait
1960s?
35mm colour slide

 

Unknown photographer (Australian?). 'Nude portrait' 1960s?

 

Unknown photographer (British? Australian?)
Nude portrait
1960s?
35mm colour slide

 

Unknown photographer (Australian?). 'Nude portrait' 1960s?

 

Unknown photographer (British? Australian?)
Nude portrait
1960s?
35mm colour slide

 

Unknown photographer (Australian?). 'Nude portrait' 1960s?

 

Unknown photographer (British? Australian?)
Nude portrait
1960s?
35mm colour slide

 

Unknown photographer (Australian?). 'Nude portrait' 1960s?

 

Unknown photographer (British? Australian?)
Nude portrait
1960s?
35mm colour slide

 

Unknown photographer (Australian?). 'Nude portrait' 1960s?

 

Unknown photographer (British? Australian?)
Nude portrait
1960s?
35mm colour slide

 

Unknown photographer (Australian?). 'Nude portrait' 1960s?

 

Unknown photographer (British? Australian?)
Nude portrait
1960s?
35mm colour slide

 

Unknown photographer (Australian?). 'Nude portrait' 1960s?

 

Unknown photographer (British? Australian?)
Nude portrait
1960s?
35mm colour slide

 

Unknown photographer (Australian?). 'Nude portrait' 1960s?

 

Unknown photographer (British? Australian?)
Nude portrait
1960s?
35mm colour slide

 

Unknown photographer (Australian?). 'Nude portrait' 1960s?

 

Unknown photographer (British? Australian?)
Nude portrait
1960s?
35mm colour slide

 

Unknown photographer (Australian?). 'Nude portrait' 1960s?

 

Unknown photographer (British? Australian?)
Nude portrait
1960s?
35mm colour slide

 

Unknown photographer (Australian?). 'Nude portrait' 1960s?

 

Unknown photographer (British? Australian?)
Nude portrait
1960s?
35mm colour slide

 

Unknown photographer (Australian?). 'Nude portrait' 1960s?

 

Unknown photographer (British? Australian?)
Nude portrait
1960s?
35mm colour slide

 

Unknown photographer (Australian?). 'Nude portrait' 1960s?

 

Unknown photographer (British? Australian?)
Nude portrait
1960s?
35mm colour slide

 

Unknown photographer (Australian?). 'Nude portrait' 1960s?

 

Unknown photographer (British? Australian?)
Nude portrait
1960s?
35mm colour slide

 

Unknown photographer (Australian?). 'Nude portrait' 1960s?

 

Unknown photographer (British? Australian?)
Nude portrait
1960s?
35mm colour slide

 

Unknown photographer (Australian?). 'Nude portrait' 1960s?

 

Unknown photographer (British? Australian?)
Nude portrait
1960s?
35mm colour slide

 

Unknown photographer (Australian?). 'Nude portrait' 1960s?

 

Unknown photographer (British? Australian?)
Nude portrait
1960s?
35mm colour slide

 

Unknown photographer (Australian?). 'Nude portrait' 1960s?

 

Unknown photographer (British? Australian?)
Nude portrait
1960s?
35mm colour slide

 

Vincent van Gogh (1853 - 1890) ‘The Bedroom’ Arles, October 1888

 

Vincent van Gogh (1853-1890)
The Bedroom
Arles, October 1888
Oil on canvas
72.4 cm x 91.3 cm
Van Gogh Museum, Amsterdam

 

 

While he was in Arles, Van Gogh made this painting of his bedroom in the Yellow House. He prepared the room himself with simple furniture and with his own work on the wall. The bright colours were meant to express absolute ‘repose’ or ‘sleep’. Research shows that the strongly contrasting colours we see in the work today are the result of discolouration over the years. The walls and doors, for instance, were originally purple rather than blue. The apparently odd angle of the rear wall, meanwhile, is not a mistake on Van Gogh’s part – the corner really was skewed. The rules of perspective seem not to have been accurately applied throughout the painting, but this was a deliberate choice. Vincent told Theo in a letter that he had deliberately ‘flattened’ the interior and left out the shadows so that his picture would resemble a Japanese print. Van Gogh was very pleased with the painting: ‘When I saw my canvases again after my illness, what seemed to me the best was the bedroom.’

Text from the Van Gogh Museum website [Online] Cited 21/02/2021

 

Unknown photographer (Australian?). 'Nude portrait' 1960s?

 

Unknown photographer (British? Australian?)
Nude portrait
1960s?
35mm colour slide

 

Unknown photographer (Australian?). 'Nude portrait' 1960s?

 

Unknown photographer (British? Australian?)
Nude portrait
1960s?
35mm colour slide

 

Unknown photographer (Australian?). 'Nude portrait' 1960s?

 

Unknown photographer (British? Australian?)
Nude portrait
1960s?
35mm colour slide

 

Hanimex slide carousel and box

Hanimex slide carousel and box

 

Hanimex slide carousel and box

 

35mm colour slide

 

35mm colour slide

 

Unknown photographer (Australian?). 'Nude portrait' 1960s?

 

Unknown photographer (British? Australian?)
Nude portrait
1960s?
35mm colour slide

 

Unknown photographer (Australian?). 'Nude portrait' 1960s?

 

Unknown photographer (British? Australian?)
Nude portrait
1960s?
35mm colour slide

 

Unknown photographer (Australian?). 'Nude portrait' 1960s?

 

Unknown photographer (British? Australian?)
Nude portrait
1960s?
35mm colour slide

 

Unknown photographer (Australian?). 'Nude portrait' 1960s?

 

Unknown photographer (British? Australian?)
Nude portrait
1960s?
35mm colour slide

 

Unknown photographer (Australian?). 'Nude portrait' 1960s?

 

Unknown photographer (British? Australian?)
Nude portrait
1960s?
35mm colour slide

 

Unknown photographer (Australian?). 'Nude portrait' 1960s?

 

Unknown photographer (British? Australian?)
Nude portrait
1960s?
35mm colour slide

 

Unknown photographer (Australian?). 'Nude portrait' 1960s?

 

Unknown photographer (British? Australian?)
Nude portrait
1960s?
35mm colour slide

 

Unknown photographer (Australian?). 'Nude portrait' 1960s?

 

Unknown photographer (British? Australian?)
Nude portrait
1960s?
35mm colour slide

 

Unknown photographer (Australian?). 'Nude portrait' 1960s?

 

Unknown photographer (British? Australian?)
Nude portrait
1960s?
35mm colour slide

 

Unknown photographer (Australian?). 'Nude portrait' 1960s?

 

Unknown photographer (British? Australian?)
Nude portrait
1960s?
35mm colour slide

 

Unknown photographer (Australian?). 'Nude portrait' 1960s?

 

Unknown photographer (British? Australian?)
Nude portrait
1960s?
35mm colour slide

 

Unknown photographer (Australian?). 'Nude portrait' 1960s?

 

Unknown photographer (British? Australian?)
Nude portrait
1960s?
35mm colour slide

 

Sun Bathing Review Summer 1949

Sun Bathing Review Summer 1949

 

Sun Bathing Review
Summer 1949

 

Eve in the Sun about 1956

 

Rosemary Andrée
My life story
1945

Eve in the Sun
about 1956

 

"Are We Slaves to Sex?" in 'Figure and Vigour' Vol. 1, No. 5 November 1952

 

“Are We Slaves to Sex?”
Figure and Vigour Vol. 1, No. 5
November 1952

 

Sun Bathing Review Autumn 1955

 

Sun Bathing Review
Autumn 1955

 

Australasian Post December 8 1955

 

“Spanked Women!”
Australasian Post
December 8 1955

 

Sunbathing For Health January 1956

 

Sunbathing For Health
January 1956

 

Health And Efficiency February 1956

 

Health And Efficiency
February 1956

 

Health And Efficiency February 1957

Health And Efficiency February 1957

 

Health And Efficiency
February 1957
Adverts for Photographic Art Albums

 

The Naturist Vol. XX, No. 7 June 1957

 

The Naturist Vol. XX, No. 7
June 1957

 

The Naturist Vol. XX, No. 10 September 1957

The Naturist Vol. XX, No. 10 September 1957

 

The Naturist Vol. XX, No. 10
September 1957

 

'Sun Bathing Review' Vol. 16, No. 61 Spring 1958

 

Sun Bathing Review Vol. 16, No. 61
Spring 1958

 

The Naturist Monthly Vol. XXII, No. 3 February 1959

The Naturist Monthly Vol. XXII, No. 3 February 1959

 

The Naturist Monthly Vol. XXII, No. 3
February 1959

 

The Naturist Monthly Vol. XXII, No. 3 February 1959

 

Advert for Nudist Life at Spielplatz by Charles Sennet.
The Naturist Monthly Vol. XXII, No. 3
February 1959

 

 

Spielplatz

  1. playground
  2. playing field

 

Health and Sunshine 1 Jan. 1943

 

Herbert Rittlinger (German, 1909-1978)
“An Island Paradise”
Health and Sunshine
Special Edition XIV
1960s

 

 

Herbert Rittlinger was not only known for his writing. His photographic work is equally popular. He dealt with nude photography in the sense of naturism. He also published several photo textbooks and illustrated books. For years he was also the author of a monthly column on the subject of “nude photography” in the photo magazine. From 1963 until his death he was a member of the DGPh (German Society for Photography). Above all, he dealt with the subject of water sports in photography and writing.

In many of his books, he joined committed to nudism a (nude), even in the more prudish 1950s. Rittlinger wrote as early as 1950 about the then disreputable term “nudity culture”:

“But to apply this beautiful expression to the very simple, very natural and in the appropriate place quite often practiced nudism, or to the honest nudist groups (many of their members are not by chance canoeists!) With their […] free and sporty and clean atmosphere – is impolite and, at best, shows gross ignorance. Only – the obscenity of the philistine is by no means “impolite” anymore, but rather malicious! “Naturism” (FKK) is also not a happy word. But it has asserted and naturalised itself from the distance to all speculative machinations. From the proper sportswear to Petrarcaup to here the jump is not that big: Our shores of the sun also call for ultimate physical freedom. What the gift of nudity in the air and sun means for women in particular, who withdraw three quarters of their bodies from the vital demand “let air on their skin”, even when doing sport, will be best appreciated by them. Fortunately, under the thicket of narrow and conventional convention, most people have enough cleanliness of sensation to enjoy fresh naturalness. In the face of venerable, dreamy Moselle towns, or under the peering amused or even evil glances of the honest rural population, any unintended challenge is strictly forbidden, if only for reasons of [good …] taste. But if you are in a lonely area.” ~ The new school of canoeing. River-sea-whitewater-open-air life. p. 295.

.
Herbert Rittlinger’s text and images in the “Sun Friends” and “HELIOS” magazine described the ideal opportunities to combine canoeing with naturism. So also the special editions written and illustrated by Rittlinger: “Dalmatian Summer”, “We moved to Friuli” and “Sun trip to Provence” from these then leading nudist publishers.

Text translated from the German Wikipedia entry

 

Health and Sunshine Special Edition XIX

 

Hans-Joachim Fritzsch
“Naked in the Sun”
Health and Sunshine
Special Edition XIX
1960s

 

Health and Sunshine 1960s

 

Health and Sunshine
1960s

Health and Efficiency April 1960

Health and Efficiency April 1960

Health and Efficiency April 1960

Health and Efficiency April 1960

Health and Efficiency April 1960

 

Health and Efficiency
April 1960

 

Australasian Post Jan 28 1965

 

Australasian Post
Jan 28 1965

 

Topless Girl Australasian Post Jan 28 1965

Topless Girl Australasian Post Jan 28 1965

 

“Topless Girl Tells”
Australasian Post
Jan 28 1965

 

"I am a nudist" from 'Australasian Post' November 18, 1965

 

“I am a nudist” from Australasian Post
November 18, 1965

 

'New Zealand Naturist Magazine' #39 June 1966 Naturism Nudism Adult Pamphlet

 

New Zealand Naturist Magazine #39
June 1966
Naturism Nudism Adult Pamphlet

 

Australasian Post July 27 1967 Arax

 

Australasian Post
July 27 1967
Photos by Arax (Krikor (Gregor) Djololian – Studio Arax)

 

Australasian Post November 9 1967

 

Australasian Post
November 9 1967

 

Australasian Post November 9 1967

 

Australasian Post
November 9 1967

 

Australasian Post Nov 27 1969

 

Australasian Post
November 27 1969

 

Australasian Post May 29 1969

 

Australasian Post
May 29 1969

 

Sun Seeker Magazine 1 Jan 1970

Sun Seeker 1 Jan 1970

 

Sun & Health Limited (Publisher)
Frank Stephens (Editor)
Sun Seeker No. 190
1 Jan 1970

 

Sun Lovers First Bumper Book Jan 1972

 

Sun Lovers First Bumper Book
Jan 1972

 

 

Health And Efficiency Number 851
March 1972

 

Gay male porn 1970s

Gay male porn 1970s

Gay male porn 1970s

Gay male porn 1970s

Gay male porn 1970s

 

Photographs from GAY magazine
mid-1970s
Barry Lowe papers
© Australian Queer Archives
With permission

 

 

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14
Feb
21

Exhibition: Gordon Parks and “The Atmosphere of Crime” at the Museum of Modern Art (MoMA), New York

Collection 1940s-1970s, Room 409
From ‘New art from wall to wall’ ongoing

 

 

Gordon Parks (American, 1912-2006) 'Shooting Victim in Cook County Morgue, Chicago, Illinois' 1957

 

Gordon Parks (American, 1912-2006)
Shooting Victim in Cook County Morgue, Chicago, Illinois
1957
Pigmented inkjet print, printed 2019
11 7/8 × 17 15/16″ (30.1 × 45.6cm)
The Museum of Modern Art, New York
The Family of Man Fund