Archive for the 'colour photography' Category

10
Jun
18

Exhibition: ‘(un)expected families’ at the Museum of Fine Arts, Boston

Exhibition dates: 9th December 2017 – 17th June 2018

 

Christopher Churchill (American, born in 1977) 'Hutterite Classroom, Gildford, MT' 2005

 

Christopher Churchill (American, born in 1977)
Hutterite Classroom, Gildford, MT
2005
Gelatin silver print
Gift of Elisa Fredrickson / Museum of Fine Arts, Boston
Photograph: © Museum of Fine Arts, Boston

 

 

It’s hard to get a sense of this exhibition from the media images, therefore difficult to make any constructive comment on the strength of the exhibition.

Apparently, “The exhibition’s gallery feels very domestic. Groups of photos hang on the walls – different sizes, colors, formats and frames – like you’d see in a living room or hallway. MFA curator Karen Haas confirms that evocation is absolutely intentional.

“Photographers from the very beginning have been fascinated by the way that the camera could capture images of loved ones, freeze them in time,” she says. “They form sort of reliquaries of memory, and these sorts of relationships to the objects – that idea of the photograph as a talisman-like object I think has been somewhat forgotten in our contemporary world.” …

Haas’ goal in creating this show is to illustrate how broad and diverse family configurations can be – without defining them. “The families that we’re born into, generational families,” she describes, “but also romantic unions, couples and chosen families – families we have chosen for ourselves.” And that includes the military and the church, Haas says. “I think the family is such a basic social construct – so basic to so many of our lives – that I hope that these kinds of images will really resonate with people.” (Text from The ARTery website)

Outsider family, insider family, single parent family, nuclear family, extended family, reconstituted family, childless family, gay family, step family, “family has always taken diverse forms: affluent and destitute, cohesive and fractured, expected and unexpected. Taken together, the photographs challenge visitors to consider what family means to them.”

But what is most important is this: “There is no right or wrong answer when it comes to what is the best type of family structure. As long as a family is filled with love and support for one another, it tends to be successful and thrive. Families need to do what is best for each other and themselves, and that can be achieved in almost any unit.” (Types of Family Structure)

Families all have secrets, no matter how perfect they may seem to the outside world. Whether it be domestic violence behind closed doors or skeletons in the closet there is always more than meets the eye. And that’s where these photographs of families fail in their representation of the family. That, and the title of the exhibition – (un)expected families – because in the 21st century, nothing should be unexpected. By adding emphasis to the (un), the title merely propagates a form of discrimination, of outsider as different and therefore worthy of abuse because of that very difference. Expected families: we are all human beings and therefore anything is to be expected.

Marcus

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

 

Bringing together more than 80 pictures taken by American photographers from the 19th century to today, (un)expected families explores the definition of the American family – from the families we are born into to the ones we have chosen for ourselves. The works on view depict a wide range of relationships, including multiple generations, romantic unions, and alternative family structures. Using archival, vernacular, and fine art photographs, (un)expected families offers a variety of perspectives on the American family, from Dorothea Lange’s depiction of a migrant family at the time of the Dust Bowl to Louie Palu’s portraits of US Marines fighting in Afghanistan. The exhibition illustrates that the family has always taken diverse forms: affluent and destitute, cohesive and fractured, expected and unexpected. Taken together, the photographs challenge visitors to consider what family means to them. (un)expected families features celebrated practitioners like Nan Goldin, Carrie Mae Weems, LaToya Ruby Frazier, and Harry Callahan, as well as a number of renowned Boston-area artists, such as David Hilliard, Nicholas Nixon, Abe Morell, and Sage Sohier.

 

Lewis W. Hine (American, 1874-1940) 'Home Workers, New York' 1915

 

Lewis W. Hine (American, 1874-1940)
Home Workers, New York
1915
Lewis W. Hine/Museum of Fine Arts, Boston

 

Dorothea Lange (American, 1895-1965) 'Migrant family, Texas' 1936

 

Dorothea Lange (American, 1895-1965)
Migrant family, Texas
1936
Gelatin silver print
Sophie M. Friedman Fun
Dorothea Lange/Museum of Fine Arts, Boston
Photograph: © Museum of Fine Arts, Boston

 

Louis Faurer (American, 1916-2001) 'Ritz Bar, New York' 1947-48

 

Louis Faurer (American, 1916-2001)
Ritz Bar, New York
1947-48
Estate of Louis Faurer/Museum of Fine Arts, Boston

 

Duane Michals (American, born in 1932) 'When he was young, he could not imagine being old. And now that he is old, he cannot imagine ever having been young' 1979

 

Duane Michals (American, born in 1932)
When he was young, he could not imagine being old. And now that he is old, he cannot imagine ever having been young
1979
Gelatin silver print
Duane Michals, courtesy of the DC Moore Gallery, New York, and Osmos, New York

 

Nicholas Nixon (American, born in 1947) 'Yazoo City, Mississippi' 1979

 

Nicholas Nixon (American, born in 1947)
Yazoo City, Mississippi
1979
Gelatin silver contact print
Museum purchase with funds donated by the National Endowment for the Arts and Richard L. Menschel, Bela T. Kalman, Judge and Mrs. Matthew Brown, Mildred S. Lee, and Barbara M. Marshall
© Nicholas Nixon, Courtesy Fraenkel Gallery, San Francisco
Photograph: © Museum of Fine Arts, Boston

 

Nan Goldin (American, born in 1953) 'Jimmy Paulette and Tabboo! in the bathroom, New York' 1991

 

Nan Goldin (American, born in 1953)
Jimmy Paulette and Tabboo! in the bathroom, New York
1991
Cibachrome print
Horace W. Goldsmith Foundation Fund for Photography
© Nan Goldin
Photograph: © Museum of Fine Arts, Boston

 

 

“I used to think that I could never lose anyone if I photographed them enough. But in fact my pictures show me just how much I’ve lost.” ~ Nan Goldin

 

Tina Barney (American, born in 1945) 'Thanksgiving' 1992

 

Tina Barney (American, born in 1945)
Thanksgiving
1992
Chromogenic print
Contemporary Curator’s Fund, including funds donated by Barbara and Thomas Lee
Tina Barney/Museum of Fine Arts, Boston
© Tina Barney
Photograph: © Museum of Fine Arts, Boston

 

Sage Sohier (American, born in 1954) 'Mum in her bathtub, Washington, D.C.' 2002

 

Sage Sohier (American, born in 1954)
Mum in her bathtub, Washington, D.C.
2002
Inkjet print
Living New England Artists Purchase Fund, created by the Stephen and Sybil Stone Foundation
Courtesy Museum of Fine Arts, Boston

 

Nicholas Nixon (American, born in 1947) 'Tammy Hindle' 2006

 

Nicholas Nixon (American, born in 1947)
Tammy Hindle
2006
Digital inkjet print
Gift of James N. Krebs
© Nicholas Nixon, Courtesy Fraenkel Gallery, San Francisco
Photograph: © Museum of Fine Arts, Boston

 

Julie Mack (American, born in 1982) 'Self-portrait (Julie) with family in SUV, Michigan' 2007

 

Julie Mack (American, born in 1982)
Self-portrait (Julie) with family in SUV, Michigan
2007
Chromogenic print
James N. Krebs Purchase Fund for 21st Century Photography
© Julie Mack. Courtesy Laurence Miller Gallery, New York
Photograph: © Museum of Fine Arts, Boston

 

David Hilliard  (America, born 1964) 'Rock Bottom' 2008

 

David Hilliard  (America, born 1964)
Rock Bottom
2008
Panorama Construction

 

 

Rock Bottom features, in the left panel, a close up sharp focus portrait of Hilliard’s father standing in a lake, with a severe and harsh facial expression, yet vulnerably placing his hands on his chest between his two sailor swallow’s tattoos. In the right panel, Hilliard himself appears somewhat further from the camera. With a gentler facial expression, the photographer contrasts with his tense patriarchal figure, but features a similar hairy chest and matching tattoos  –  giving the viewer a hint on the subject’s father-son relationship. The middle panel is exclusive for environmental portraiture and the creation of meaning in the composition: a sunny day at the lake, where the blue skies and soft clouds perfectly reflect on the water and separate the subject matters. The real meaning of the juxtaposition relies on the knowledge of Hilliard’s personal life and the presence of the middle panel: although the father accept his son’s homosexuality, the issue has clearly been a source of tension between them, creating both emotional and physical distance between the subject matters. Represented by the central panel, a stunning view divides the two generations both visually and metaphorically, symbolizing the idea of emotional distance in an atypical form.

Like most of Hilliard’s photographs, Rock Bottom exposes how physical distance is often manipulated to represent emotional distance. The presence of the middle panel, exclusively dedicated to environmental portraiture and the emphasis on the importance of our surroundings, also suggests the emotional distance between the subjects. The lack of elements and presence of great depth of field of the center panel insinuates that, regardless of the level of intimacy between the subject matters  – distance is always palpable.

Marina Pedrosa. “David Hilliard: Building Meaning Through Composition,” on the medium website [Online] Cited 22/08/2018

 

Julie Blackmon (American, born in 1966) 'Baby Toss' 2009

 

Julie Blackmon (American, born in 1966)
Baby Toss
2009
Elizabeth and Michael Marcus
Courtesy, Museum of Fine Arts, Boston
Photograph: © Museum of Fine Arts, Boston

 

LaToya Ruby Frazier (American, born in 1982) 'Mom' 2008

 

LaToya Ruby Frazier (American, born in 1982)
Mom
2008
Gelatin silver print
From “The Notion of Family” (Aperture, 2014)
Photograph: © Museum of Fine Arts, Boston

 

Caleb Cole (American, born in 1981) 'The Big Sister' 2012

 

Caleb Cole (American, born in 1981)
The Big Sister
2012
From the series Odd One Out (2010-Present)
Archival pigment print
49 × 68 cm (19 5/16 × 26 3/4 in.)
Museum purchase with funds donated by James N. Krebs

 

 

Bringing together more than 80 pictures taken by photographers from the 19th century to today, (un)expected families at the Museum of Fine Arts, Boston (MFA), explores the definition of the American family – from the families we’re born into to the ones we’ve chosen. The photographs in the exhibition, on view from December 9, 2017 through June 17, 2018, depict a wide range of relationships – multiple generations, romantic unions and alternative family structures – whether connected by DNA, shared life experiences, common interests or even a social media network. Encompassing both carefully staged portraits and serendipitous snapshots, the selection of vernacular, documentary and fine art photographs in (un)expected families illustrates that the concept of family has long taken many forms – a subject that has fascinated photographers since the invention of the camera – and challenges visitors to consider what family means to them. Drawn primarily from the MFA’s holdings, the exhibition includes photographs by celebrated artists such as Nan Goldin, Gordon Parks, Nicholas Nixon, Sally Mann, Diane Arbus, Tina Barney, Emmet Gowin and Bruce Davidson. Loans from private collections include Victorian-era “hidden mother” photographs of children and turn-of-the-century portraits of women in intimate relationships sometimes referred to as “Boston marriages.” Additionally, (un)expected families highlights many New England photographers whose work centers on familial relationships, debuting eight photographs – acquired specifically for the exhibition – by Zoe Perry-Wood, Arno Rafael Minkkinen, Amber Tourlentes, Caleb Cole, Tanja Hollander, David Hilliard and Jeannie Simms. An interactive component of (un)expected families invites visitors to share thoughts about their own families on response cards. A selection will be displayed in the gallery on a rotating basis, and all will be archived as part of the permanent exhibition record. Additionally, a free family guide engages children with close looking and drawing activities. The exhibition is generously supported by an anonymous donor.

“Almost as soon as exposure times became short enough to make portraiture feasible, photographers have been drawn to capture likenesses of loved ones. Perhaps that power to freeze a moment in time is what explains why family photographs are so often described as the first thing one would save from a burning building,” said Karen Haas, Lane Curator of Photographs. “I find it particularly fascinating that there seems to be a growing interest among contemporary photographers to focus on families in their work – even as with the rise of smartphones and social media, our own personal pictures are increasingly relegated to the ether, rarely experienced as tangible objects.”

The images presented in (un)expected families span 150 years. Among the oldest pictures are photographs of “hidden mothers” (1860s-70s), depicting infants in the laps of concealed adults – a trick to keep the children still during long sittings or exposures. The mothers or nursemaids were draped with scarves or blankets, or hidden behind furniture or painted backdrops. Similarly, the contemporary photograph Nayla, Ted, Alexandra, Nick, March 30, 1995 (1995) by Cambridge-based Elsa Dorfman (born 1937) focuses solely on the children. While names of the parents are among those handwritten on the bottom of the large-scale Polaroid, only their legs are visible in the composition. Another contemporary photograph juxtaposed with the Victorian-era “hidden mothers,” which were made during a period of high infant mortality rates, is Tammy Hindle (2006) by Nicholas Nixon (born 1947). Part of Nixon’s series documenting a family’s heartbreaking loss of a child, the image shows the mother, Tammy, carrying a portrait of the baby, Claire, to the funeral service, their bodies appearing to magically merge in the reflection within the picture frame.

Father-and-son relationships are explored in images by Dawoud Bey (born 1953), Duane Michals (born 1932) and Jim Goldberg (born 1953), all of which incorporate texts that amplify the moving and often painful stories behind the images, as well as recently acquired photographs by David Hilliard (born 1964) and Arno Rafael Minkkinen (born 1945). Hilliard’s triptych Rock Bottom (2008) is one of an extended series of panoramic photographs that trace the shifting narrative of the gay artist’s complicated relationship with his father. The beautifully choreographed self-portrait visually links the two men, unmistakably related to each other and sporting identical swallow tattoos, across a serene expanse of lake. Minkkinen’s 31-12-86, Self-Portrait with Daniel, Andover (1986), recently gifted to the MFA by the artist, is one of a little-known series of portraits that he took of his son Daniel as the boy grew and matured from infancy to adolescence. The photograph shows Daniel sitting on a bed, bathed in raking light and looking directly at his father’s large-format camera. With his head hidden from view, Minkkinen’s outstretched arms perfectly echo the curve of the headboard and create a haunting embrace that speaks to a parent’s deep-seated desire to encircle and protect a child.

Seventeen photographs representing multiple generations of a family are arranged in a salon-style hang, ranging from intimate depictions of parents with children, such as Baby Toss (2009) by Julie Blackmon (born 1966); to pairs of siblings, such as Twins at WDIA, Memphis (about 1948) by Ernest C. Withers (1922–2007); to a 1925 panorama capturing an extended family reunion encompassing about 200 people. The display also features recently acquired photographs by Sage Sohier (born 1954) and Jeannie Simms (born 1967). Sohier’s Mum in her bathtub, D.C. (2002) is from an extended series devoted to her mother, a former fashion model who had posed for Richard Avedon and Irving Penn in the 1940s. Simms’ Arnie, Susan & Elijah, Jamaica Plain, MA (2015) is from a series documenting the lives of couples married in Cambridge after Massachusetts became the first U.S. state to issue same-sex marriage licenses on May 17, 2004.

Recently acquired works by Amber Tourlentes (born 1970), Zoe Perry-Wood (born 1959) and Jess Dugan (born 1986) also document the experience of LGBTQ couples, families and individuals. Tourlentes has regularly made LGBTQ family portraits on the Town Hall stage in Provincetown, Massachusetts, during its annual Family Week, sometimes revisiting the same subjects over the course of several years. Perry-Wood has spent the last decade photographing another annual event, the Boston Alliance of Gay and Lesbian Youth (BAGLY) Prom, which offers a safe and celebratory occasion for young couples – an alternative to more traditional high-school proms. Allowing her subjects to pose in front of the camera in a studio-like setting, as seen in José and Luis (2015), Perry-Wood helps to give them a sense of personal agency and collective pride at a pivotal moment in their lives. Unlike Tourlentes and Perry-Wood, Dugan photographs her subjects – friends within the LGBTQ community – in natural light and the privacy of their own living spaces, exploring issues of gender, identity and social connection through large-format portraits such as Devotion, from the series Every Breath We Drew (2012).

With the invention of the small and affordable Kodak camera in the late 19th century, followed by the instant camera in the 1940s, many Americans no longer felt the need to visit formal portrait studios in order to record their personal lives. Among the casual snapshots featured in (un)expected families are Polaroids of Caroline Kennedy and her cousin Tina Radziwill, taken by Andy Warhol (1928-1987) in the summer of 1972 and exhibited at the MFA for the first time. The artist – along with filmmaker Jonas Mekas and photographer Peter Beard – was hired by Jacqueline Kennedy Onassis to teach the children filmmaking and photography. Also on view are an album of photographs commemorating a fraternity at Baker University in Kansas (1910s) and six snapshots depicting “Boston marriages” (1920s-30s) – a turn-of-the-century term used to describe two women living together without the support of a man – romantic relationships in some cases and simply platonic partnerships in others.

Several groupings in the exhibition are centered on places of family life. Working roughly 50 years apart, one on New York’s Lower East Side and the other in Harlem, Lewis Hine (1874-1940) and Bruce Davidson (born 1933) both found the kitchen table an ideal site for their documentary photographs of tenement families in New York City. The groundbreaking Kitchen Table series (1990) by Carrie Mae Weems (born 1953) – featuring the photographer herself as the central figure, alongside lovers, children and friends – speaks to all those who have loved, quarrelled and come together around a communal table. Similarly, Tina Barney (born 1945) often acts as both guide and participant in her photographs – including Thanksgiving (1992) – which portray complex family moments in the wealthy East Coast social scene that she grew up in. In another selection of photographs by Julie Mack (born 1982), Mary Ellen Mark (1940-2015) and Dorothea Lange (1895-1965), the car is shown as a setting for a contemporary family self-portrait, a shelter for a homeless family in Los Angeles, and a vehicle for escape for migrant farm workers and their families during the Dust Bowl.

Alongside biologically related families and romantic unions, the exhibition highlights bonds among close-knit communities – “chosen families” – often documented by photographers embedded within the groups. Louie Palu (born 1968) spent several years covering the conflict in Afghanistan, producing portraits of U.S. Marines that capture the terrible toll of war etched on their faces and reflected in their eyes. Danny Lyon (born 1942) was a student at the University of Chicago when he first befriended members of the Chicago Outlaws, a notorious motorcycle club. For a number of years, he documented the individual gang members, their families and friends, as well as races, meetings, social gatherings, rides throughout the Midwest and even their funerals. Nan Goldin (born 1953) uses her camera as a form of diary to record the lives of friends, whom she considers a surrogate family. In Jimmy Paulette and Tabboo! in the bathroom, NYC (1991), Goldin represents two drag queens in New York City’s East Village, working in her characteristically direct, snapshot-like style. For the artist, who has lost many in her circle to HIV-AIDS, such images form tangible records of powerful human connections in fragile times.

Ethel Shariff in Chicago (1963) by Gordon Parks (1912–2006) and Hutterite Classroom, Gilford, MT (2005) by Christopher Churchill (born 1977) are among the photographs depicting religious communities. Ethel Shariff, the eldest daughter of longtime Nation of Islam head Elijah Mohammed, stands at the apex of Parks’ group portrait, surrounded by fellow members of the organization’s women’s corps. Churchill’s photograph is from a series of pictures on the theme of American faith – a project he undertook in the years just after 9/11. Traveling across the country, he visited various sacred landscapes, places of worship and religious communities including the Hutterites, a branch of the Anabaptists who trace their beginnings back to the Protestant Reformation. For Churchill, the series became an exploration into the very basic human need to be connected to something greater than ourselves. Similarly, Tanja Hollander (born 1972) traveled all over the world – across the U.S. and Europe, but also as far away as Kuala Lumpur and New Zealand – for five years, tracking down all of her hundreds of Facebook friends and making portraits of them set in their own homes. Shot with an iPhone or a simple point-and-shoot camera, these intimate pictures – two of which were acquired for the exhibition – present a fascinating commentary on the role of social media and interpersonal relationships in the 21st century.

Additional highlights of (un)expected families include photographs in a variety of formats. Caleb Cole (born 1981) is a local photographer particularly fascinated by the dynamics of family photographs found at estate sales and flea markets in which one of the subjects – in contrast to the rest of the smiling faces – appears especially sad or downcast. Cole digitally alters these vernacular images to isolate the single, lonely figure, all the while maintaining the shapes of the remaining sitters so that the “odd one out” is set off against the blank, white expanse of the group. In The Big Sister (2012), a recent acquisition, a young girl whose parents have just introduced her to a new baby looks dejectedly off into space as if desperately wishing she could return to her former status as an only child. Digital projections from the series To Majority Minority (2014-15) by Annu Palakunnathu Matthew (born 1964) are also based on found snapshots, sourced from photo albums of immigrant families that have come to the U.S. from all over the world. Working with the owners of these albums, Matthew digitises the images and then recreates the figures and their poses using contemporary family members in place of the original sitters. By presenting them as projections that seamlessly flow from one generation into another, the artist measures the passage of time through the faces of subsequent generations, and the accompanying texts tell stories inspired by the treasured photographs of their ancestors.

Press release from Museum of Fine Arts, Boston

 

Photographer unknown (American) 'Untitled [Hidden Mother]' c. 1860s-70s

 

Photographer unknown (American)
Untitled [Hidden Mother]
c. 1860s-70s
Hand-coloured tintype
Collection of Lee Marks and John C. DePrez, Jr., Shelbyville, Indiana
Museum of Fine Arts, Boston
Photograph: © Museum of Fine Arts, Boston

 

Elaine Mayes (American, born in 1936) 'Group Portrait, Haight-Ashbury, San Francisco' c. 1970

 

Elaine Mayes (American, born in 1936)
Group Portrait, Haight-Ashbury, San Francisco
c. 1970
Elaine Mayes/Museum of Fine Arts, Boston

 

Ernest C. Withers (American, 1922–2007) 'Twins at WDIA, Memphis' about 1948

 

Ernest C. Withers (American, 1922–2007)
Twins at WDIA, Memphis
about 1948
Gelatin silver print
Sophie M. Friedman Fund / Museum of Fine Arts, Boston
Photograph: © Museum of Fine Arts, Boston

 

Consuelo Kanaga (American, 1894-1978) 'She is a Tree of Life to Them' 1950

 

Consuelo Kanaga (American, 1894-1978)
She is a Tree of Life to Them
1950
Gelatin silver print
Lucy Dalbiac Luard Fund
Consuelo Kanaga/Museum of Fine Arts, Boston
Photograph: © Museum of Fine Arts, Boston

 

Gordon Parks (American, 1912-2006) 'Ethel Shariff in Chicago' 1963

 

Gordon Parks (American, 1912-2006)
Ethel Shariff in Chicago
1963
Gelatin silver print
Gift of Gus and Arlette Kayafas in honor of Karen E. Haas / Museum of Fine Arts, Boston
Photograph: © Museum of Fine Arts, Boston

 

Roswell Angier (American, born in 1940) 'Mr. and Mrs. Steve Mills, Pilgrim Theatre, Boston' 1973

 

Roswell Angier (American, born in 1940)
Mr. and Mrs. Steve Mills, Pilgrim Theatre, Boston
1973
Gelatin silver print
Polaroid Foundation Purchase Fund, reproduced with permission / Museum of Fine Arts, Boston
Photograph: © Museum of Fine Arts, Boston

 

Jock Sturges (American, born in 1947) 'Misty Dawn and Alisa, Northern California' 1989

 

Jock Sturges (American, born in 1947)
Misty Dawn and Alisa, Northern California
1989
Gelatin silver print
Gift of Elizabeth Lea
© Jock Sturges
Photograph: © Museum of Fine Arts, Boston

 

Milton Rogovin (American, 1909–2011) 'Felix and his Wife, Buffalo' 1992

 

Milton Rogovin (American, 1909–2011)
Felix and his Wife, Buffalo
1992
From the series Lower West Side Revisited
Gelatin silver print
Gift of Denise Jarvinen and Pierre Cremieux
© Milton Rogovin, Copyright 1952-2002 / Museum of Fine Arts, Boston
Photograph: © Museum of Fine Arts, Boston

 

Louie Palu (Canadian, born in 1968) 'U.S. Marine Gysgt. Carlos "OJ" Orjuela, age 31. Garmsir, Helmand, Afghanistan' 2008

 

Louie Palu (Canadian, born in 1968)
U.S. Marine Gysgt. Carlos “OJ” Orjuela, age 31. Garmsir, Helmand, Afghanistan
2008
Inkjet print
Museum purchase with funds donated in honour of Linda and Alex Beavers
Louie Palu/Museum of Fine Arts, Boston
Photograph: © Museum of Fine Arts, Boston

 

 

And then there’s Louie Palu’s black and white portraits of Marines. These are some of the few single-person portraits among images of families or groups. Paired with a group photo, there is an initial sense of loneliness. But isolate the image and it’s a different story.

“In the military, you arrive alone and leave the military alone but live on a battlefield as part of a close group of people who will do everything to support you and are willing to risk their life to save yours,” he said. “When you are a soldier, your comrades can define a life-changing experience not a single member of your biological family will ever understand. When you come home, your mother, father, wife, brothers, sisters and children can never connect to that experience like your comrades can. When you are in a group, you are strong, and when you are alone, you are not.” (Text from the New York Times website)

 

Andy Warhol (American, 1928-1987) 'Red Book: Tina Radziwill and Caroline Kennedy, Montauk' 1972

 

Andy Warhol (American, 1928-1987)
Red Book: Tina Radziwill and Caroline Kennedy, Montauk
1972
Polaroid photograph
Sheet: 10.8 x 8.6 cm (4 1/4 x 3 3/8 in.)
Gift of The Andy Warhol Foundation for the Visual Arts
© The Andy Warhol Foundation for the Visual Arts, Inc. / Artists Rights Society (ARS), New York, NY

 

Elsa Dorfman (American, born in 1937) 'Nayla, Ted, Alexandra, Nick, March 30, 1995' 1995

 

Elsa Dorfman (American, born in 1937)
Nayla, Ted, Alexandra, Nick, March 30, 1995
1995
Polaroid polacolor
Gift of Elsa Dorfman in memory of Dorothy Glaser
© Elsa Dorfman, 2013, all rights reserved / Museum of Fine Arts, Boston
Photograph: © Museum of Fine Arts, Boston

 

Dawoud Bey (American, born in 1953) 'Kevin' 2005

 

Dawoud Bey (American, born in 1953)
Kevin
2005
From the series Class Pictures
Chromogenic print
Museum purchase with funds donated by the Friends of Photography and The Heritage Fund for a Diverse Collection
© Dawoud Bey
Photograph: © Museum of Fine Arts, Boston

 

 

Dawoud Bey (1953-) is a photographer known for his colour portraits of various subjects, perhaps most notably teenagers. This 2005 photograph is of a teen named Kevin and is from Bey’s series Class Pictures, which is a study of high school students across the country

 

Jess T. Dugan. 'Devotion' 2012

 

Jess T. Dugan
Devotion
2012
From the series Every Breath We Drew
Jess T. Dugan/Museum of Fine Arts, Boston
© Jess T. Dugan

 

Tanja Hollander (American, born in 1972) 'Brittany Marcoux and Brian McGuire, Swansea, Massachusetts' 2012

 

Tanja Hollander (American, born in 1972)
Brittany Marcoux and Brian McGuire, Swansea, Massachusetts
2012
Inkjet print
Museum purchase with funds donated by James N. Krebs
Courtesy, Museum of Fine Arts, Boston
© Tanja Hollander

 

 

Annu Palakunnathu Matthew
To Majority Minority – Thuan
2014-15

 

 

The word immigrant conjures up families passing through Ellis Island or young men climbing across the southwest border fence. The United States of America of yesterday, filled with immigrants of European descent is giving way to a new multi-coloured and multicultural America. By 2050 “minority” populations in the U.S. will become the majority of the population. In this new multi-coloured America, we need to reframe our understanding of our newest immigrants in terms of their cultures, religions and stories.

In this project, I explore the generational transition from immigrant to native within families, starting with portrait photographs from these immigrant’s albums. These old photographs reflect where they have come from, revealing family histories and shared stories of immigration. The final portrait animation helps us empathise with these new Americans beyond the stereotype of the family at Ellis Island or the presumed terrorist.

 

 

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25
May
18

Exhibition: ‘Sally Mann: A Thousand Crossings’ at the National Gallery of Art, Washington

Exhibition dates: 4th March – 28th May 2018

 

Sally Mann (American, b. 1951) 'Was Ever Love' 2009

 

Sally Mann (American, b. 1951)
Was Ever Love
2009
Gelatin silver print
38.1 x 34.3 cm (15 x 13 1/2 in.)
The Museum of Fine Arts, Houston, Museum purchase funded by the S.I. Morris Photography Endowment
© Sally Mann

 

 

“These are the places and things most of us drive by unseeing, scenes of Southern dejection we’d contemplate only if our car broke down and left us by the verdant roadside.”

.
Sally Mann

 

“Aurore’s conception of place had undergone a transformation on her return to Nohant from the Pyrenees. Her reflections on place were intimately bound up with a new perspective on identity, and this implicated others, both alive and dead. Her sense of fusedness with others involved a temporal complexity which, in its turn, was bound up with the notion of history. And historical events were soon to become very much a part of her life. Thus the timeless melancholy of a place outside history had become the urgent historical now. She was caught up in Nohant’s past, her past, and projecting the now into the future, she imagined what the now would look like with hindsight.”

.
Belinda Jack. George Sand: A Women’s Life Writ Large. London: Vintage, 2001, p. 155.

 

 

(Un)seeing: the quality of the affection … that has carved the trace in the mind

I did some research on The University of Melbourne library website on articles written on the work of Sally Mann. The titles included, What Remains: Sally Mann’s Encounter with Death and Wet Collodion (Lisa Wright, Afterimage 2004); The Disturbing Photography of Sally Mann (Richard Woodward, New York Times 1992); The camera of Sally Mann and the spaces of childhood (James Steward, Michigan Quarterly Review 2000); and Death and Memory in the Photography of Sally Mann (Mary Perkins, MA Thesis 2008). Everything you could possibly want to know is there. The passage of time and the transience of life. Time, memory and experience. Childhood, death and desire. Family, place and seeing.

Reviewing the book What Remains, my favourite body of work by Mann, Wright insightfully observes, “In her photographs Mann invokes fear, peace and continuing joy that make up existence and its inevitable demise… Lacking the ingredients of the grotesque, avoiding shock as a strategy to attract the viewer’s attention, her images are true inquisitions into the very nature of death and its effect on the living. Definitely and subtly combining content and form, Mann captures the horror and sublime beauty of what our western culture tends to carefully hide. The wet collodion process she utilises serves to strengthen the haunting and archaic beauty of her pictures, their eeriness, giving the impression that the very images themselves are subject to the same death and decay as their subjects.”

In the body of work What Remains this turns out to be the death of her pet greyhound and the bones that remain, the breakdown of the human body after death when she “photographed bodies that were in various states of decomposition on the grounds of a forensic study site”, the photographs of the Civil War battlefield of Antietam, contested ground which still makes the American South what it is today, and tightly-cropped portraits of her children in adolescence. As in all of Mann’s work, there is a quality of affection which carves a trace in the mind. Not affectation, nor affliction, but affection. It is a personal affection for something that she sees that others don’t. “These are the places and things most of us drive by unseeing…” which she acknowledges and offers to the viewer. Unseeing is defined as, not seeing; especially: not consciously observing, whereas I believe what Mann does is subconsciously recognise and feel and then consciously observe, hence (un)seeing.

In her photography in which the senses are fully engaged, there is a fusedness with the object of her affection, whether it be battlefields or bodies, rivers or recreation. In the biography of the writer and bohemian George Sand that I am reading at the moment, there is a wonderful quotation that I have posted above which I believe has relevance here; specifically, the notion of how the past, present and future time becomes conflated into an eternal present (something that photography does so well), and how past history and people still illuminate the present and the future. “Her reflections on place were intimately bound up with a new perspective on identity, and this implicated others, both alive and dead. Her sense of fusedness with others involved a temporal complexity which, in its turn, was bound up with the notion of history.”

Mann’s sense of fusedness with others, both alive and dead, leads to a temporal complexity bound up with the notion of history. How she iterates such concepts within her sensual photographs “with affection” is at the core of her art: the discontinuity of life in all its contexts, made eternal. What a simply breath—- taking artist.

Marcus

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

 

 

Sally Mann The First Letter 1994

 

Sally Mann. “The First Letter,” from ‘Sally Mann: Correspondence with Melissa Harris’. Aperture 1995; 138, p. 124 [Online] Cited 25/05/2018

 

Sally Mann wall text

 

Sally Mann (American, b. 1951) 'The Ditch' 1987

 

Sally Mann (American, b. 1951)
The Ditch
1987
Gelatin silver print
47.5 x 58 cm (18 11/16 x 22 13/16 in.)
The Art Institute of Chicago, Gift of Sally Mann and Edwynn Houk Gallery, 2000.41
The Art Institute of Chicago / Art Resource, NY
© Sally Mann

 

Sally Mann (American, b. 1951) 'Easter Dress' 1986

 

Sally Mann (American, b. 1951)
Easter Dress
1986
Gelatin silver print
47 x 57.8 cm (18 1/2 x 22 3/4 in.)
Patricia and David Schulte
© Sally Mann

 

Sally Mann wall text

 

Sally Mann (American, b. 1951) 'Blowing Bubbles' 1987

 

Sally Mann (American, b. 1951)
Blowing Bubbles
1987
Gelatin silver print
High Museum of Art, Atlanta
Purchase with funds from Lucinda W. Bunnen for the Bunnen Collection
© Sally Mann

 

Sally Mann wall text

 

 Gertrude Käsebier. 'Mother and Child' 1899

 

Gertrude Käsebier
Mother and Child
1899
The Art Institute of Chicago, Gift of Mina Turner

 

 

Mann often drew inspiration from earlier artists, including the pioneering early twentieth-century photographer Gertrude Käsebier, celebrated for powerful and tender pictures that convey the bonds between parents and children. (Wall text)

 

Sally Mann (American, b. 1951) 'Jessie Bites' 1985

 

Sally Mann (American, b. 1951)
Jessie Bites
1985
Gelatin silver print
Lent by The Metropolitan Museum of Art
© Sally Mann

 

Sally Mann wall text

 

Sally Mann (American, b. 1951) 'The Last Time Emmett Modeled Nude' 1987

 

Sally Mann (American, b. 1951)
The Last Time Emmett Modeled Nude
1987
Gelatin silver print
Addison Gallery of American Art, Phillips Academy, Andover, Massachusetts
© Sally Mann

 

Sally Mann wall text

 

Sally Mann (American, b. 1951) 'Gorjus' 1989

 

Sally Mann (American, b. 1951)
Gorjus
1989
Gelatin silver print
Sayra and Neil Meyerhoff
© Sally Mann

 

Sally Mann wall text

 

Sally Mann (b. 1951) 'Cherry Tomatoes' 1991

 

Sally Mann (b. 1951)
Cherry Tomatoes
1991
Gelatin silver print
47.6 x 59 cm (18 3/4 x 23 1/4 in.)
National Gallery of Art, Washington, Corcoran Collection
Gift of David M. Malcolm in memory of Peter T. Malcolm
© Sally Mann

 

Sally Mann (American, b. 1951) 'Emmett floating at Camp' 1991

 

Sally Mann (American, b. 1951)
Emmett floating at Camp
1991
Private collection
© Sally Mann

 

Sally Mann (American, born 1951) 'Bloody Nose' 1991

 

Sally Mann (American, born 1951)
Bloody Nose
1991
Silver dye bleach print
Private collection

 

Sally Mann wall text

 

Sally Mann (American, born 1951) 'Bean's Bottom' 1991

 

Sally Mann (American, born 1951)
Bean’s Bottom
1991
Silver dye bleach print
Private collection

 

 

Sally Mann wall text

 

Sally Mann (American, b. 1951) 'On the Maury' 1992

 

Sally Mann (American, b. 1951)
On the Maury
1992
Gelatin silver print
25.4 x 20.3 cm (10 x 8 in.)
Private collection
© Sally Mann

 

Sally Mann wall text

 

Sally Mann (American, b. 1951) 'Virginia, Untitled (Blue Hills)' 1993

 

Sally Mann (American, b. 1951)
Virginia, Untitled (Blue Hills)
1993
Gelatin silver print, printed 1997
77.5 x 97.8 cm (30 1/2 x 38 1/2 in.)
Lent by The Metropolitan Museum of Art, Purchase, The Horace W. Goldsmith Foundation Gift, through Joyce and Robert Menschel, 1998 (1998.49)
© The Metropolitan Museum of Art / Art Resource, NY
© Sally Mann

 

Sally Mann wall text

 

Gustave Le Gray. 'Beech Tree, Forest of Fontainbleau' c. 1856

 

Gustave Le Gray
Beech Tree, Forest of Fontainbleau
c. 1856
National Gallery of Art, Washington, Patrons’ Permanent Fund

 

Sally Mann (American, b. 1951) 'Deep South, Untitled (Scarred Tree)' 1998

 

Sally Mann (American, b. 1951)
Deep South, Untitled (Scarred Tree)
1998
Gelatin silver print
96.5 x 121.9 cm (38 x 48 in.)
National Gallery of Art, Washington, Alfred H. Moses and Fern M. Schad Fund
© Sally Mann

 

Sally Mann wall text

 

Sally Mann (b. 1951) 'Deep South, Untitled (Fontainebleau)' 1998

 

Sally Mann (b. 1951)
Deep South, Untitled (Fontainebleau)
1998
Gelatin silver print, printed 2017
94.9 x 120 cm (37 3/8 x 47 1/4 in.)
National Gallery of Art, Washington, Promised Gift of Stephen G. Stein Employee Benefit Trust
© Sally Mann

 

Sally Mann wall text

 

Sally Mann (American, b. 1951) 'Deep South, Untitled (Three Drips)' 1998

 

Sally Mann (American, b. 1951)
Deep South, Untitled (Three Drips)
1998
Gelatin silver print, printed 1999
96.4 x 120.3 cm (37 15/16 x 47 3/8 in.)
National Gallery of Art, Washington, Gift of the Collectors Committee and The Sarah and William L Walton Fund
© Sally Mann

 

Sally Mann wall text

Sally Mann (b. 1951) 'Deep South, Untitled (Valentine Windsor)' 1998

 

Sally Mann (b. 1951)
Deep South, Untitled (Valentine Windsor)
1998
Gelatin silver print
Virginia Museum of Fine Arts, Richmond
Gift of the Massey Charitable Trust
© Sally Mann

 

Sally Mann wall text

 

Sally Mann (b. 1951) 'Deep South, Untitled (Stick)' 1998

 

Sally Mann (b. 1951)
Deep South, Untitled (Stick)
1998
Gelatin silver print, printed 1999
Courtesy of the New Orleans Museum of Art: Collection of H. Russell Albright, M.D.
© Sally Mann

 

Sally Mann (b. 1951) 'Deep South, Untitled (Bridge on Tallahatchie)' 1998

 

Sally Mann (b. 1951)
Deep South, Untitled (Bridge on Tallahatchie)
1998
Gelatin silver print
93.98 x 120.65 cm (37 x 47 1/2 in.)
Markel Corporate Art Collection
© Sally Mann

 

Sally Mann wall text

 

Sally Mann (b. 1951) 'Deep South, Untitled (Emmett Till River Bank)' 1998

 

Sally Mann (b. 1951)
Deep South, Untitled (Emmett Till River Bank)
1998
Gelatin silver print
Peabody Essex Museum, Salem, Massachusetts
© Sally Mann

 

Sally Mann wall text

 

 

For more than 40 years, Sally Mann (b. 1951) has made experimental, elegiac, and hauntingly beautiful photographs that explore the overarching themes of existence: memory, desire, death, the bonds of family, and nature’s magisterial indifference to human endeavour. What unites this broad body of work – figure studies, landscapes, and architectural views – is that it is all bred of a place, the American South. Using her deep love of her homeland and her knowledge of its historically fraught heritage, Mann asks powerful, provocative questions – about history, identity, race, and religion – that reverberate across geographic and national boundaries.

Sally Mann: A Thousand Crossings, the first major survey of this celebrated artist to travel internationally, investigates how Mann’s relationship with her native land – a place rich in literary and artistic traditions but troubled by history – has shaped her work. The exhibition brings together 109 photographs, many exhibited for the first time. On view in the West Building of the National Gallery of Art, Washington, from March 4 through May 28, 2018, the exhibition is accompanied by a fully illustrated catalog, presenting an in-depth exploration of the evolution of Mann’s art, and a short film highlighting her technical process.

“In her compelling photographs, Mann uses the personal to allude to the universal, considering intimate questions of family, memory, and death while also evoking larger concerns about the influence of the South’s past on its present,” said Earl A. Powell III, director, National Gallery of Art, Washington. “With the acquisition of works from the Corcoran Gallery of Art in 2014, the National Gallery is now one of the largest repositories of Mann’s photographs. We are grateful for the opportunity to work closely with the artist in presenting a wide selection of the work she has created over four decades. ”

 

Exhibition Highlights

The seeds for Sally Mann: A Thousand Crossings were planted in 2014, when National Gallery of Art curators undertook a review of photographs from the Corcoran Gallery of Art after its collections were placed under the stewardship of the National Gallery. Among the Corcor­an’s works were 25 photographs by Sally Mann, made from the mid-1970s to the early 2000s. With the addition of these works, plus several more acquired through purchase, the National Gallery became one of the largest public repositories of Mann’s photographs in the country. The curators’ interest in mounting an exhibition of Mann’s art deepened when they realised that despite her immense talent and prominence, the full range of Mann’s work had not yet received sufficient and widespread scholarly and critical attention.

Sally Mann: A Thousand Crossings is organised into five sections – Family, The Land, Last Measure, Abide with Me, and What Remains. The exhibition opens with works from the 1980s, when Mann began to photograph her three children at the family’s remote summer cabin on the Maury River near Lexington, Virginia. Taken with an 8 x 10 inch view camera, the family pictures refute the stereotypes of childhood, offering instead unsettling visions of its complexity. Rooted in the experience of a particular natural environment – the arcadian woodlands, rocky cliffs, and languid rivers – these works convey the inextricable link between the family and their land, and the sanctuary and freedom that it provided them.

The exhibition continues in The Land with photographs of the swamplands, fields, and ruined estates Mann encountered as she traveled across Virginia, Georgia, Louisiana, and Mississippi in the 1990s. Hoping to capture what she called the “radical light of the American South,” Mann made pictures in Virginia that glow with a tremulous light, while those made in Georgia and Mississippi are more blasted and bleak. In these photographs, Mann was also experimenting with antique lenses and the 19th-century collodion wet plate process and printing in a much larger size (30 x 38 and 40 x 50 inches). The resulting photographic effects, including light flares, vignetting, blurs, streaks and scratches, serve as metaphors for the South as a site of memory, defeat, ruin, and rebirth. Mann then used these same techniques for her photographs of Civil War battlefields in the exhibition’s third section, Last Measure. These brooding and elusive pictures evoke the land as history’s graveyard, silently absorbing the blood and bones of the many thousands who perished in battles such as Antietam, Appomattox, Chancellorsville, Cold Harbor, Fredericksburg, Manassas, Spotsylvania, and the Wilderness.

The fourth section, Abide with Me, merges four series of photographs to explore how race and history shaped the landscape of Virginia as well as Mann’s own childhood and adolescence. Expanding her understanding of the land as not only a vessel for memory but also a story of struggle and survival, Mann made a series of starkly beautiful tintypes between 2006 and 2015 in the Great Dismal Swamp – home to many fugitive slaves in the years before the Civil War – and along nearby rivers in southeastern Virginia where Nat Turner led a rebellion of enslaved people on August 21, 1831. Here, Mann’s use of the tintype process – essentially a collodion negative on a sheet of darkened tin – yields a rich, liquid-like surface with deep blacks that mirror the bracken swamp and rivers. Merging her techniques with metaphoric possibilities, she conveyed the region’s dual history as the site of slavery and death but also freedom and sanctuary. Mann also photographed numerous 19th-century African American churches near her home in Lexington. Founded in the decades immediately after the Civil War when African Americans in Virginia could worship without the presence of a white minister for the first time, these humble but richly evocative churches seem alive with the spirit that inspired their creation and the memories of those who prayed there.

Also included in Abide with Me are photographs of Virginia “Gee-Gee” Carter, the African American woman who worked for Mann’s family for 50 years. A defining and beloved presence in Mann’s life, Carter was also the person who taught Mann the profoundly complicated and charged nature of race relations in the South. The final component of this section is a group of pictures of African American men rendered in large prints (50 x 40 inches) made from collodion negatives. Representing Mann’s desire to reach across “the seemingly untraversable chasm of race in the American South,” these beautiful but provocative photographs examine an “abstract gesture heated up in the crucible of our association,” as Bill T. Jones, who in part inspired the series, once said.

The final section of the exhibition, What Remains, explores themes of time, transformation, and death through photographs of Mann and her family. Her enduring fascination with decay and the body’s vulnerability to the ravages of time is evident in a series of spectral portraits of her children’s faces and intimate photographs detailing the changing body of her husband Larry, who suffers from muscular dystrophy. The exhibition closes with several riveting self-portraits Mann made in the wake of a grave riding accident. Here, her links to southern literature and her preoccupation with decay are in full evidence: the pitted, scratched, ravaged, and cloudy surfaces of the ambrotypes function as analogues for the body’s corrosion and death. The impression of the series as a whole is of an artist confronting her own mortality with composure and conviction.

 

Sally Mann

Born in 1951 in Lexington, Virginia, Sally Mann continues to live and work in Rockbridge County. Mann developed her first roll of film in 1969 and began to work as a professional photographer in 1972. She attended Bennington College, Vermont, and graduated in 1974 with a BA in literature from Hollins College, Roanoke, Virginia where she earned an MA in creative writing the following year. She has exhibited widely and published her photographs in the books Second Sight: The Photographs of Sally Mann (1983), Sweet Silent Thought: Platinum Prints by Sally Mann (1987), At Twelve: Portraits of Young Women (1988), Immediate Family (1992), Still Time (1994), Mother Land: Recent Landscapes of Georgia and Virginia (1997), What Remains (2003), Deep South (2005), Sally Mann: Photographs and Poetry (2005), Proud Flesh (2009), Sally Mann: The Flesh and the Spirit (2010), and Remembered Light: Cy Twombly in Lexington (2016). Mann’s best selling memoir, Hold Still: A Memoir with Photographs (2015), was a finalist for the National Book Award. She has received numerous honours as well as grants from the National Endowment for the Arts, the National Endowment for the Humanities, and the Guggenheim Foundation. In 2011 Mann delivered the prestigious William E. Massey Sr. Lectures in the History of American Civilization at Harvard University.

 

Sally Mann wall text

 

Sally Mann (American, b. 1951) 'Battlefields, Antietam (Cornfield)' 2001

 

Sally Mann (American, b. 1951)
Battlefields, Antietam (Cornfield)
2001
Gelatin silver print
97.16 x 122.87 cm (38 1/4 x 48 3/8 in.)
Virginia Museum of Fine Arts, Richmond, The National Endowment for the Arts Fund for American Art
Virginia Museum of Fine Arts
© Sally Mann

 

Sally Mann wall text

 

Sally Mann (b. 1951) 'Battlefields, Fredericksburg (Cedar Trees)' 2001

 

Sally Mann (b. 1951)
Battlefields, Fredericksburg (Cedar Trees)
2001
Gelatin silver print, printed 2003
97.8 x 123.2 cm (38 1/2 x 48 1/2 in.)
Waterman/Kislinger Family
© Sally Mann

 

 

To achieve the textural, almost gritty appearance of her battlefield photographs, Mann coated the surface with a varnish mixed with diatomaceous earth – the fossilised remains of tiny marine creatures. (Wall text)

 

Sally Mann (American, b. 1951) 'Battlefields, Antietam (Black Sun)' 2001

 

Sally Mann (American, b. 1951)
Battlefields, Antietam (Black Sun)
2001
Gelatin silver print
Courtesy of Edwynn Houk Gallery, New York
© Sally Mann

 

Sally Mann wall text

 

Sally Mann (b. 1951) 'Battlefields, Antietam (Starry Night)' 2001

 

Sally Mann (b. 1951)
Battlefields, Antietam (Starry Night)
2001
Gelatin silver print
96.52 x 122.56 cm (38 x 48 1/4 in.)
Alan Kirshner and Deborah Mihaloff Art Collection
© Sally Mann

 

Sally Mann (American, b. 1951) 'Battlefields, Cold Harbor (Battle)' 2003

 

Sally Mann (American, b. 1951)
Battlefields, Cold Harbor (Battle)
2003
Gelatin silver print
99.1 x 124.5 cm (39 x 49 in.)
National Gallery of Art, Washington, Gift of the Collectors Committee and The Sarah and William L Walton Fund
© Sally Mann

 

Sally Mann wall text

 

Sally Mann (b. 1951) 'Battlefields, Antietam (Trenches)' 2001

 

Sally Mann (b. 1951)
Battlefields, Antietam (Trenches)
2001
gelatin silver print
96.8 x 122.6 cm (38 1/8 x 48 1/4 in.)
National Gallery of Art, Washington, Promised Gift of Stephen G. Stein Employee Benefit Trust
© Sally Mann

 

 

Sally Mann wall text

 

Sally Mann (American, b. 1951) 'St. Paul United Methodist' 2008-2016

 

 

Sally Mann (American, b. 1951)
First Baptist Church of Goshen, St. Paul United Methodist
2008-2016
Gelatin silver print
Collection of the artist
© Sally Mann

 

Located twenty miles north of Lexington, the First Baptist Church of Goshen is now abandoned.

 

Sally Mann (b. 1951) 'St. Paul African Methodist Episcopal' 2008-2016

 

Sally Mann (b. 1951)
St. Paul African Methodist Episcopal
2008-2016
Gelatin silver print
Collection of the artist
© Sally Mann

 

Sally Mann wall text

 

Sally Mann (American, b. 1951) 'Oak Hill Baptist' 2008-2016

 

Sally Mann (American, b. 1951)
Oak Hill Baptist, Mt. Tabor United Methodist
2008-2016
Gelatin silver print
Collection of the artist
© Sally Mann

 

 

Founded in the late 1870s or early 1880s, Oak Hill Baptist Church in Middlebrook, Virginia, remains active today. Mt. Tabor United Methodist Church nestles near the edge of Round Hill, a traditionally African American community in New Hope, Virginia. It replaced a log structure built prior to 1850. Here, the church appears as an apparition, an effect achieved by overexposing the negative. (Wall text)

 

Sally Mann (American, born 1951) 'Beulah Baptist 01:01' 2008-2016

 

Sally Mann (American, born 1951)
Beulah Baptist 01:01
2008-2016
Gelatin silver print
Collection of the artist
© Sally Mann

 

Sally Mann (American, b. 1951) 'The Two Virginias #4' 1991

 

Sally Mann (American, b. 1951)
The Two Virginias #4
1991
Gelatin silver print
Collection of The Estée Lauder Companies Inc.
© Sally Mann

 

Sally Mann wall text

 

Sally Mann (American, b. 1951) 'Blackwater 9' 2008-2012

 

Sally Mann (American, b. 1951)
Blackwater 9
2008-2012
Tintype
Plate: 38.1 x 34.3 cm (15 x 13 1/2 in.)
Collection of the artist
© Sally Mann

 

Sally Mann wall text

 

Sally Mann (American, b. 1951) 'Blackwater 20' 2008-2012

 

Sally Mann (American, b. 1951)
Blackwater 20
2008-2012
Tintype
Plate: 38.1 x 34.3 cm (15 x 13 1/2 in.)
Collection of the artist
© Sally Mann

 

Sally Mann (American, b. 1951) 'Blackwater 25' 2008-2012

 

Sally Mann (American, b. 1951)
Blackwater 25
2008-2012
Tintype
Plate: 38.1 x 34.3 cm (15 x 13 1/2 in.)
Collection of the artist
© Sally Mann

 

Sally Mann (American, b. 1951) 'Blackwater 3' 2008-2012

 

Sally Mann (American, b. 1951)
Blackwater 3
2008-2012
tintype
Plate: 38.1 x 34.3 cm (15 x 13 1/2 in.)
Collection of the artist
Image © Sally Mann

 

Sally Mann wall text

 

Sally Mann (American, b. 1951) 'Blackwater 17' 2008-2012

 

Sally Mann (American, b. 1951)
Blackwater 17
2008-2012
Tintype
Plate: 38.1 x 34.3 cm (15 x 13 1/2 in.)
Collection of the artist
© Sally Mann

 

 

Sally Mann wall text

 

Sally Mann (American, b. 1951) 'The Turn' 2005

 

Sally Mann (American, b. 1951)
The Turn
2005
Gelatin silver print
Private colleciton
© Sally Mann

 

Sally Mann (American, b. 1951) 'Semaphore' 2003

 

Sally Mann (American, b. 1951)
Semaphore
2003
Gelatin silver print
38.1 x 34.3 cm (15 x 13 1/2 in.)
The Museum of Fine Arts, Houston, Museum purchase, 2010.264
© Sally Mann

 

Sally Mann (American, b. 1951) 'Hephaestus' 2008

 

Sally Mann (American, b. 1951)
Hephaestus
2008
Gelatin silver print
38.1 x 34.3 cm (15 x 13 1/2 in.)
Virginia Museum of Fine Arts, Richmond, Kathleen Boone Samuels Memorial Fund
Virginia Museum of Fine Arts
© Sally Mann

 

Sally Mann (b. 1951) 'Ponder Heart' 2009

 

Sally Mann (b. 1951)
Ponder Heart
2009
Gelatin silver print
38.1 x 34.3 cm (15 x 13 1/2 in.)
National Gallery of Art, Washington, Alfred H. Moses and Fern M. Schad Fund
© Sally Mann

 

Sally Mann wall text

 

Sally Mann (American, b. 1951) 'Speak, Memory' 2008

 

Sally Mann (American, b. 1951)
Speak, Memory
2008
Gelatin silver print
38.1 x 34.3 cm (15 x 13 1/2 in.)
Courtesy Gagosian
© Sally Mann

 

 

Here Mann referenced Vladimir Nabokov’s autobiography Speak, Memory, which addresses memory’s changeability over time and life’s fleeting nature: “The cradle rocks above an abyss, and common sense tells us that our existence is but a brief crack of light between two eternities of darkness.” (Wall text)

 

Sally Mann (American, b. 1951) 'The Quality of the Affection' 2006

 

Sally Mann (American, b. 1951)
The Quality of the Affection
2006
Gelatin silver print
38.1 x 34.3 cm (15 x 13 1/2 in.)
Private collection
© Sally Mann

 

 

The title of this photograph of Mann’s husband, Larry, is drawn from Ezra Pound’s Cantos, a long, ambitious poem that Mann explored in her 1975 master’s thesis in creative writing. Reflecting on time, memory and experience, Pound concluded:

nothing matters but the quality

of the affection –

in the end – that has carved the trace in the mind

 

Sally Mann (American, b. 1951) 'Memory's Truth' 2008

 

Sally Mann (American, b. 1951)
Memory’s Truth
2008
Gelatin silver print
Courtesy Gagosian
© Sally Mann

 

 

Mann took the title from Salman Rushdie’s Midnight Children, which asserts that memory has its own kind of truth: “It selects, eliminates, alters, exaggerates, minimizes, glorifies, and vilifies also; but in the end it creates its own reality.” (Wall text)

 

Sally Mann (American, born 1951) 'Triptych' 2004

 

Sally Mann (American, born 1951)
Triptych
2004
3 gelatin silver prints
The Sir Elton John Photography Collection
© Sally Mann

 

 

Ethereal and indistinct, receding and dissolving, these larger-then-life faces express Mann’s long-standing fascination with the fragility of physical presence. (Wall text)

 

Sally Mann (American, born 1951) 'Jessie #25' 2004

 

Sally Mann (American, born 1951)
Jessie #25
2004
Gelatin silver print
Courtesy of Edwynn Houk Gallery, New York
© Sally Mann

 

Sally Mann (American, born 1951) 'Virginia #6' 2004

 

Sally Mann (American, born 1951)
Virginia #6
2004
Gelatin silver print
Courtesy of Edwynn Houk Gallery, New York
© Sally Mann

 

 

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20
May
18

Exhibition: ‘Stephen Shore’ at The Museum of Modern Art (MoMA), New York

Exhibition dates: 19th November, 2017 – 28th May, 2018

Stephen Shore is organised by Quentin Bajac, The Joel and Anne Ehrenkranz Chief Curator of Photography, with Kristen Gaylord, Beaumont and Nancy Newhall Curatorial Fellow, Department of Photography, MoMA.

 

 

Stephen Shore (American, b. 1947) 'West 9th Avenue, Amarillo, Texas, October 2, 1974'

 

Stephen Shore (American, b. 1947)
West 9th Avenue, Amarillo, Texas, October 2, 1974
1974
Chromogenic colour print, printed 2013
17 × 21 3/4″ (43.2 × 55.2 cm)
The Museum of Modern Art, New York
Acquired through the generosity of an anonymous donor
© 2017 Stephen Shore

 

 

The truth in the detail of day-to-day life

1970s colour photography is the key period in the work of Stephen Shore. These classical, formal colour photographs capture “mundane aspects of American popular culture in straightforward, unglamorous images.” They are what made him famous. They are, historically, conceptually and emotionally, his most effective means of communication as an artist.

American Surfaces and Uncommon Places made Shore “one of the most prominent figures of the American New Color movement,” showing colour just as colour.

I know that is a strange thing to say, but Shore was showing the world in a different light… and he was using an aesthetic based on the straight forward use of colour. Colour is just there, part of the form of the image. Of course there are insightful subjective judgements about what to photograph in American surburbia, but this subjectivity and the use of colour within it is subsumed into the song that Shore was composing. It all comes back to music. Here’s a Mozart tune, this is his aesthetic, for eternity.

I remember seeing two vintage Stephen Shore chromogenic colour prints from 1976 where the colours were still true and had not faded in the exhibition American Dreams: 20th century photography from George Eastman House at Bendigo Art Gallery. This was incredible experience – seeing vintage prints from one of the masters of colour photography; noticing that they are not full of contrast like a lot of today’s colour photographs – more like a subtle Panavision or Technicolor film from the early 1960s. Rich, subtle, beautiful hues with the photograph containing this amazing presence, projected through the construction of the image and the physicality of the print.

Shore has a fantastic eye and his colour photographs are beautifully resolved. The subjectivity is not pushed, because his song was in tune, and he just sang it. Like his contemporaries, Wiliam EgglestonRichard Misrach and Joel Meyerwitz, there are some artists who just know how to play the tune.

Marcus

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

 

Stephen Shore encompasses the entirety of the artist’s work of the last five decades, during which he has conducted a continual, restless interrogation of image making, from the gelatin silver prints he made as a teenager to his current engagement with digital platforms. One of the most significant photographers of our time, Stephen Shore (American, b. 1947) has often been considered alongside other artists who rose to prominence in the 1970s by capturing the mundane aspects of American popular culture in straightforward, unglamorous images. But Shore has worked with many forms of photography, switching from cheap automatic cameras to large-format cameras in the 1970s, pioneering the use of colour before returning to black and white in the 1990s, and in the 2000s taking up the opportunities of digital photography, digital printing, and social media.

The artist’s first survey in New York to include his entire career, this exhibition will both allow for a fuller understanding of Shore’s work, and demonstrate his singular vision – defined by an interest in daily life, a taste for serial and often systematic approaches, a strong intellectual underpinning, a restrained style, sly humour, and visual casualness – and uncompromising pursuit of photography’s possibilities.

 

 

Stephen Shore (American, b. 1947) 'New York, New York' 1964

 

Stephen Shore (American, b. 1947)
New York, New York
1964
Gelatin silver print
9 1/8 × 13 1/2″ (23.2 × 34.3 cm)
Courtesy the artist
© 2017 Stephen Shore

 

Stephen Shore (American, b. 1947) '1:35 a.m., in Chinatown Restaurant, New York, New York' 1965-67

 

Stephen Shore (American, b. 1947)
1:35 a.m., in Chinatown Restaurant, New York, New York
1965-67
Gelatin silver print, printed c. 1995
9 × 13 1/2″ (22.9 × 34.3 cm)
Courtesy the artist
© 2017 Stephen Shore

 

Stephen Shore (American, b. 1947) 'Kanab, Utah, June 1972'

 

Stephen Shore (American, b. 1947)
Kanab, Utah, June 1972
1972
Chromogenic colour print, printed 2017
3 1/16 × 4 5/8″ (7.8 × 11.7 cm)
Courtesy the artist
© 2017 Stephen Shore

 

Stephen Shore (American, b. 1947) 'Amarillo, Texas, July 1972'

 

Stephen Shore (American, b. 1947)
Amarillo, Texas, July 1972
1972
Chromogenic colour print, printed 2017
3 1/16 × 4 5/8″ (7.8 × 11.7 cm)
Courtesy the artist
© 2017 Stephen Shore

 

Stephen Shore (American, b. 1947) 'Washington, D.C., November 1972'

 

Stephen Shore (American, b. 1947)
Washington, D.C., November 1972
1972
Chromogenic colour print, printed 2017
3 1/16 × 4 5/8″ (7.8 × 11.7 cm)
Courtesy the artist
© 2017 Stephen Shore

 

Stephen Shore (American, b. 1947) 'Second Street, Ashland, Wisconsin, July 9, 1973'

 

Stephen Shore (American, b. 1947)
Second Street, Ashland, Wisconsin, July 9, 1973
1973. Chromogenic colour print, printed 2017
17 × 21 3/4″ (43.2 × 55.2 cm)
Courtesy the artist
© 2017 Stephen Shore

 

Stephen Shore (American, b. 1947) 'U.S. 97, South of Klamath Falls, Oregon, July 21, 1973'

 

Stephen Shore (American, b. 1947)
U.S. 97, South of Klamath Falls, Oregon, July 21, 1973
1973
Chromogenic colour print, printed 2002
17 3/4 x 21 15/16″ (45.1 x 55.7 cm)
The Museum of Modern Art, New York. The Photography Council Fund
© 2017 Stephen Shore

 

Stephen Shore (American, b. 1947) 'Breakfast, Trail's End Restaurant, Kanab, Utah, August 10, 1973'

 

Stephen Shore (American, b. 1947)
Breakfast, Trail’s End Restaurant, Kanab, Utah, August 10, 1973
1973
Chromogenic colour print
16 7/8 × 21 1/4″ (42.8 × 54 cm)
The Museum of Modern Art, New York. Purchase
© 2017 Stephen Shore

 

Stephen Shore (American, b. 1947) 'West Third Street, Parkersburg, West Virginia, May 16, 1974'

 

Stephen Shore (American, b. 1947)
West Third Street, Parkersburg, West Virginia, May 16, 1974
1974
Chromogenic colour print
8 × 10 1/2″ (20.3 × 26.7 cm)
Courtesy the artist
© 2017 Stephen Shore

 

Stephen Shore (American, b. 1947) 'Lookout Hotel, Ogunquit, Maine, July 16, 1974'

 

Stephen Shore (American, b. 1947)
Lookout Hotel, Ogunquit, Maine, July 16, 1974
1974
Chromogenic colour print, printed 2013
17 × 21 3/4″ (43.2 × 55.2 cm)
The Museum of Modern Art, New York
Acquired through the generosity of an anonymous donor
© 2017 Stephen Shore

 

 

The Museum of Modern Art presents the most comprehensive exhibition ever organised of photographer Stephen Shore’s work, on view from November 19, 2017, until May 28, 2018. The exhibition tracks the artist’s work chronologically, from the gelatin silver prints he made as a teenager to his current work with digital platforms. Stephen Shore establishes the artist’s full oeuvre in the context of his time – from his days at Andy Warhol’s Factory through the rise of American colour photography and the transition to large-scale digital photography – and argues for his singular vision and uncompromising pursuit of photography’s possibilities. The exhibition will include hundreds of photographic works along with additional materials including books, ephemera, and objects. Stephen Shore is organised by Quentin Bajac, The Joel and Anne Ehrenkranz Chief Curator of Photography, with Kristen Gaylord, Beaumont and Nancy Newhall Curatorial Fellow, Department of Photography, MoMA.

Born in 1947, Shore spearheaded the New Color Photography movement in the United States in the 1970s, and became a major catalyst in the renewal of documentary photography in the late 1990s, both in the US and Europe, blending the tradition of American photographers such as Walker Evans with influences from various artistic movements, including Pop, Conceptualism, and even Photo-Realism. Shore’s images seem to achieve perfect neutrality, in both subject matter and approach. His approach cannot be reduced to a style but is best summed up with a few principles from which he has seldom deviated: the search for maximum clarity, the absence of retouching and reframing, and respect for natural light. Above all, he exercises discipline, limiting his shots as much as possible – one shot of a subject, and very little editing afterward.

Shore started developing negatives from his parents when he was only six, received his first camera when he was nine, and sold prints to Edward Steichen, then director of MoMA’s Department of Photography, at the age of 14. In the early 1960s Shore became interested in film, both narrative and experimental, and he showed his short film Elevator in 1965 at the Film-Makers’ Cinematheque, where he first met Andy Warhol. That spring, he dropped out of high school and started photographing at Warhol’s studio, The Factory, initially on an almost daily basis, then more sporadically, until 1967. Elevator has been restored by conservators and will be screened in the exhibition for the first time since the 1960s.

In 1969, Shore used serial black-and-white projects to deconstruct the medium and rebuild it on a more detached, intellectual foundation. In these works, many shot in Amarillo, Texas, with his friend Michael Marsh as his main model, Shore was striving to free himself from certain photographic conventions: the concept of photography as the art of creating isolated and “significant” images, and the related cult of the “decisive moment”; perfect framing; and the expressive subjectivity of the photographer. The principle of multiplicity prevails in Shore’s work of that period – series, suites, and sequences that resist all narrative temptation. In their attempt to eliminate subjectivity, these series are related to a number of Conceptual photographic works by other artists of the same period.

In November 1971 Shore curated an exhibition called All the Meat You Can Eat at the 98 Greene Street Loft. Embracing a century of photography, the show was composed largely of found images collected by Shore and two friends, Weston Naef, then a curator at The Metropolitan Museum of Art, and Michael Marsh. It also included images by Shore, such as shots taken with a Mick-a-Matic camera and colour photos that would serve as the basis for the postcards in his series Greetings from Amarillo, “Tall in Texas.” Stephen Shore will include a reconstructed version of this display, using material from Shore’s archives – some that was originally in the exhibition and some that has been selected by Shore for this installation.

In the early 1970s Shore turned to colour photography, a format that at that time was still largely overlooked by art photographers. In March 1972, he started taking snapshots of his daily life, embarking in June and July of the same year on a road trip to the southern US. For two months he photographed his everyday life in an almost systematic way – unremarkable buildings, main streets, highway intersections, hotel rooms, television screens, people’s faces, toilet seats, unmade beds, a variety of ornamental details, plates of food, shop windows, inscriptions, and commercial signs. In September and October 1972, images from the series were shown at Light Gallery in New York under the title American Surfaces. The MoMA display of this work echoes that initial presentation, in which the small Kodacolor prints were attached directly to the wall, unframed, in a grid of three rows.

Begun in 1973 and completed almost 10 years later, Shore’s next project, Uncommon Places, inhabits the same world and deals with the same themes as American Surfaces. Yet because of Shore’s move from a handheld 35mm camera to a large-format one, Uncommon Places features fewer details and close-ups and a more detached approach. Appearing in the context of accelerated change in the national landscape, especially in areas of suburban sprawl, it betrays a more contemplative reading of individual images. Before being published as a book in 1982, the series was exhibited both in the US and abroad, especially in Germany, making Shore one of the most prominent figures of the American New Color movement. Though he is best known for his large-format work of this period, Shore was at the same time experimenting with other photographic formats. The exhibition will include a selection of stereo images he made in 1974 that were never published, and have not been exhibited since 1975.

While working on what would become Uncommon Places, Shore began to accept photographic commissions, not only for editorial work but also for institutions and companies. If some of these commissions seem quite distant from Uncommon Places, most of them still show some affinity with the series in their attention to architecture and exploration of “Americanness.” He took photographs focusing on contemporary vernacular architecture that the architects Robert Venturi and Denise Scott Brown used in their 1976 exhibition Signs of Life: Symbols in the American City. This exhibition will feature some of the original, gridded transparencies from Signs of Life that incorporate images by Shore and other photographers, not seen since 1976. Finally, some commissions he did for magazines alternate between urban landscapes, portraits, and architectural details in a direct extension of Uncommon Places. Shore would include a number of commissioned photographs in his personal body of work, showing how porous the borders were between the two groups of images, and Stephen Shore will include examples both of the photographs in context in books and periodicals, and of others that were not subsequently published.

Starting in the late 1970s, Shore gradually abandoned urban and suburban areas and turned to the natural landscape, a subject he would concentrate on almost exclusively during the next decade. These included the landscapes of Montana (1982-83), where he settled with his wife in 1980, Texas (1983-88), and the Hudson Valley (1984-86), where he moved in 1982, but also more international locations: the Highlands of Scotland (1988); Yucatán, in Mexico (1990); and finally the Po Valley, with a series in Luzzara, Italy (1993). This period corresponds also to a reduced public visibility of his photographic work, marked by fewer exhibitions, publications, and commissions.

In the early 2000s Shore began experimenting with digital tools and technologies that had only recently become available. Between 2003 and 2010, he made dozens of print-on-demand books, which were each printed in limited editions of 20 copies, making them similar to artist’s books. But the ease of production, speed of execution, democratic nature of the technique used, and modesty of the finished product are in direct line with the snapshots of American Surfaces and the immediacy of Polaroid images. In the choice of subjects and approaches, the series of books seems both literally and figuratively to be a mini-version of Shore’s entire oeuvre, blending and reworking the themes that have always been important to him – an exhaustive exploration of a particular subject or place, a penchant for the vernacular, an interest in sequence, a tendency toward autobiography, a search for a kind of immediacy, and a dry sense of humour – while still retaining its autonomy and specificity. A few years later he created Winslow, Arizona in a single day in 2013. The precise temporal duration of the series – one day from sunrise to sunset – links it to some of Shore’s print-on-demand books, but it takes on a new performance-based dimension. Over 180 of the pictures Shore took that day were presented, unedited and in the order in which they were shot, in a slide show, projected on a drive-in screen in Barstow, California, a few days after he took them.

In 1996 and 1997 Shore, who had always been fascinated by archaeology, undertook photographic projects around excavation sites in Israel and Italy, shooting solely in black and white. Within the archaeological remains of these vanished cities, Shore was especially interested in the human dimension, both domestic and secular, seen in bones, pottery, and vestiges of dwellings and shops. Then, between September of 2009 and the spring of 2011, Shore returned to the region five times, photographing throughout the entire territory from north to south, or From Galilee to the Negev, as he titled the book he published of a selection of his photographs in Israel and the West Bank. As indicated by the title and structure of the book, with chapters organised geographically, the project was guided by a topographical exploration. It mixes various temporalities – which are echoed by the diversity of the images – bringing together the “short term” of people and events with and the “long term” of the landscape and planet.

The photographs Shore took in Ukraine in the summer of 2012 and the fall of 2013 have as their subject the country’s Jewish community, specifically survivors of the Holocaust who are assisted today by the Survivor Mitzvah Project. Following three years of photographing primarily in Israel, the series provided Shore with the opportunity to continue working with subjects related to his Jewish roots. In a break from his norm, Shore structured the Ukraine series around the human figure. Survivors in Ukraine, the book of photographs he published in 2015, provides accounts of 22 survivors, all more than 80 years old, through a wide range of images: close-ups, busts, and full-length portraits; fragmentary portraits of hands, arms, and legs; views of dwellings and interiors; and still-life details of meals, belongings, and memorials to departed family members.

In the summer of 2014 Shore decided to devote most of his photographic activity to Instagram, where he posts images almost every day. While he continues to take on commissions, the bulk of his personal production over the past three years has been through the social networking app; he considers this output his current “work.” With Instagram Shore has reestablished a rapid, instantaneous practice, one that requires him to be on constant alert. It also presents a new, dual aesthetic challenge for Shore in the square format and the small size of the image. These constraints encourage a simplification of the picture, making it more a “notation” than a constructed image. Tablets will be stationed within a gallery of the exhibition, allowing viewers to scroll through Shore’s Instagram feed, which will feature new images as Shore continues to post them.

Press release from MoMA

 

Stephen Shore (American, b. 1947) 'Beverly Boulevard and La Brea Avenue, Los Angeles, California, June 21, 1975'

 

Stephen Shore (American, b. 1947)
Beverly Boulevard and La Brea Avenue, Los Angeles, California, June 21, 1975
1975
Chromogenic colour print, printed 2013
17 × 21 3/4″ (43.2 × 55.2 cm)
The Museum of Modern Art, New York
Acquired through the generosity of Thomas and Susan Dunn
© 2017 Stephen Shore

 

Stephen Shore (American, b. 1947) 'U.S. 93, Wikieup, Arizona, December 14, 1976'

 

Stephen Shore (American, b. 1947)
U.S. 93, Wikieup, Arizona, December 14, 1976
1976
Chromogenic colour print, printed 2013
17 × 21 3/4″ (43.2 × 55.2 cm)
The Museum of Modern Art, New York
Acquired through the generosity of Thomas and Susan Dunn
© 2017 Stephen Shore

 

Stephen Shore (American, b. 1947) 'Giverny, France, 1977'

 

Stephen Shore (American, b. 1947)
Giverny, France, 1977
1977
Chromogenic colour print
7 11/16 x 9 5/8″ (19.5 x 24.5 cm)
The Museum of Modern Art, New York
Gift of the Estate of Lila Acheson Wallace
© 2017 Stephen Shore

 

Stephen Shore (American, b. 1947) 'Graig Nettles, Fort Lauderdale, Florida, March 1, 1978'

 

Stephen Shore (American, b. 1947)
Graig Nettles, Fort Lauderdale, Florida, March 1, 1978
1978
Chromogenic colour print
7 11/16 x 9 11/16″ (19.5 x 24.6 cm)
The Museum of Modern Art, New York
Acquired with matching funds from Blanchette Hooker Rockefeller and the National Endowment for the Arts, 1978
© 2017 Stephen Shore

 

Stephen Shore (American, b. 1947) 'Merced River, Yosemite National Park, California, August 13, 1979'

 

Stephen Shore (American, b. 1947)
Merced River, Yosemite National Park, California, August 13, 1979
1979
Chromogenic colour print, printed 2013
35 7/8 x 44 15/16″ (91.2 x 114.2 cm)
The Museum of Modern Art, New York. Gift of the artist
© 2017 Stephen Shore

 

Stephen Shore (American, b. 1947) 'Gallatin County, Montana, August 2, 1983'

 

Stephen Shore (American, b. 1947)
Gallatin County, Montana, August 2, 1983
1983
Chromogenic colour print, printed 2017
36 × 45″ (91.4 × 114.3 cm)
Courtesy the artist
© 2017 Stephen Shore

 

Stephen Shore (American, b. 1947) 'County of Sutherland, Scotland, 1988'

 

Stephen Shore (American, b. 1947)
County of Sutherland, Scotland, 1988
1988
Chromogenic colour print
35 1/2 × 45 1/2″ (90.2 × 115.6 cm)
The Museum of Modern Art, New York
Gift of Susan and Arthur Fleischer, Jr.
© 2017 Stephen Shore

 

Stephen Shore (American, b. 1947) 'Sderot, Israel, September 14, 2009'

 

Stephen Shore (American, b. 1947)
Sderot, Israel, September 14, 2009
2009. Chromogenic colour print
17 × 21 3/4″ (43.2 × 55.2 cm)
The Museum of Modern Art, New York
Gift of the artist
© 2017 Stephen Shore

 

Stephen Shore (American, b. 1947) 'Peqi'in, Israel, September 22, 2009'

 

Stephen Shore (American, b. 1947)
Peqi’in, Israel, September 22, 2009
2009. Chromogenic colour print
17 × 21 3/4″ (43.2 × 55.2 cm)
The Museum of Modern Art, New York
Gift of the artist
© 2017 Stephen Shore

 

Stephen Shore (American, b. 1947) 'Uman, Cherkaska Province, Ukraine, July 22, 2012'

 

Stephen Shore (American, b. 1947)
Uman, Cherkaska Province, Ukraine, July 22, 2012
2012
Chromogenic colour print, printed 2017
16 × 20″ (40.6 × 50.8 cm)
Courtesy the artist
© 2017 Stephen Shore

 

 

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09
May
18

Exhibition: ‘Balthasar Burkhard’ at Fotomuseum Winterthur and Fotostiftung Schweiz, Winterthur, Zurich

Exhibition dates: 10th February – 21st May 2018

 

Balthasar Burkhard

Balthasar Burkhard

 

 

As is so often the case with an artist, it is the early work that shines brightest in this posting.

The works from On the Alp possess an essential power; the daring capture of actions and performances by the international avant-garde of the day make you wish you had been there; and the installation photograph of ‘The Knie’, Kunsthalle Basel in 1983 (below) makes me want to see more of his 1980s installations, with their shift in scale and repetitive nature. There are no more examples online, but a couple of photographs can be seen in the first installation photograph below.

I can leave the underwhelming aerial, cloud and landscape work well alone. There are many people in the history of photography who have taken better photographs of such subject matter. His life-sized photographs of animals again do nothing for me. They possess a reductive minimalism riffing on the canvas backgrounds of Avedon blown up to enormous size (as in most contemporary photography, as if by making something large the photograph gains aura and importance) but they lead nowhere. Perhaps in their actual presence (the physicality of the print) I might be transported to another place, but in reproduction they are a one-dimensional non sequitur.

From the energy of the earlier work emerges “a beauty contest between animals in a photo-shoot”, scrupulous studio photos that demand to be taken seriously, but mean very little. Here, passion has lost out to rigorous and deathly control.

Marcus

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Many thankx to Fotomuseum Winterthur and Fotostiftung Schweiz for allowing me to publish the photographs in the posting. Please click on the photographs for a larger version of the image.

 

Together, Fotomuseum Winterthur and Fotostiftung Schweiz will showcase the oeuvre of Swiss artist Balthasar Burkhard (1944-2010) in a major retrospective. Burkhard’s work spans half a century: from his early days as a trainee photographer with Kurt Blum to his seminal role in chronicling the art of his time, eventually becoming a photographic artist in his own right who brought photography into the realms of contemporary art in the form of the monumental tableau. More than 150 works and groups of works chart not only the progress of his own photographic career, but also the emergence of photography as an art form in the second half of the twentieth century. An exhibition in collaboration with Museum Folkwang, Essen, and Museo d’arte della Svizzera italiana, Lugano.

 

 

Balthasar Burkhard (1944-2010) from 'On the Alp' 1963

 

Balthasar Burkhard (1944-2010)
from On the Alp
1963
© Estate Balthasar Burkhard

 

Balthasar Burkhard (1944-2010) 'oT (Urs Luthi, Balthasar Burkhard, Jean-Frederic Schnyder), Amsterdam' 1969

 

Balthasar Burkhard (1944-2010)
oT (Urs Luthi, Balthasar Burkhard, Jean-Frederic Schnyder), Amsterdam
1969
© Estate Balthasar Burkhard

 

Balthasar Burkhard (1944-2010) 'Untitled (Jean-Christophe Ammann at Andy Warhol's Factory), New York' 1972

 

Balthasar Burkhard (1944-2010)
Untitled (Jean-Christophe Ammann at Andy Warhol’s Factory), New York
1972
© Estate Balthasar Burkhard

 

Jean-Christophe Ammann. 'oT (Balthasar Burkhard), USA' 1972

 

Jean-Christophe Ammann
oT (Balthasar Burkhard), USA
Venice, 1972
© Estate Balthasar Burkhard

 

 

Together, Fotomuseum Winterthur and Fotostiftung Schweiz have launched a major retrospective exhibition dedicated to the lifetime achievement of Swiss artist Balthasar Burkhard (1944-2010). His oeuvre is almost unparalleled in the way it reflects not only the self-invention of a photographer but also the emancipation of photography as an artistic medium in its own right during the second half of the twentieth century.

The exhibition charts the many facets of Burkhard’s career, step by step, from his apprenticeship with Kurt Blum – in which he adhered closely to the traditional reportage and illustrative photography of the 1960s, and undertook his first independent photographic projects – to his role alongside legendary curator Harald Szeemann, and his documentation of Bern’s bohemian scene in the 1960s and 1970s. Balthasar Burkhard is the author of many iconic images of such groundbreaking exhibitions as When Attitudes Become Form at Kunsthalle Bern in 1969 and the 1972 documenta 5, capturing radical and frequently ephemeral works, actions and performances by the international avant-garde of the day.

Meanwhile, Burkhard endeavoured to make his mark both as a photographer and as an artist, developing his first large-scale photographic canvases in collaboration with his friend and colleague Markus Raetz, trying out his skills as an actor in the USA, and ultimately being invited to hold his own highly influential exhibitions at Kunsthalle Basel and Musée Rath in Geneva in 1983 and 1984. These enabled him to liberate photography from its purely documentary role by creating monumental tableaux in which he developed the motif of the body into sculptural human landscapes and site-specific architectures.

Throughout the course of his career, Burkhard turned time and again to portraiture. Whereas his early photographs tended to show artists in action within their own setting, his later portraits adopted an increasingly formalised approach. During the 1990s, he transposed this stylistic reduction to a wide-ranging series of animal portraits reminiscent of the encyclopaedic style of nineteenth century photography.

Another milestone of Burkhard’s oeuvre can be found in his vast aerial photographs of major mega cities such as Tokyo and Mexico City. These images, shot from an aircraft, like his images of the earth’s deserts, were destined to become a personal passion. Balthasar Burkhard’s quest for a morphology, for a formula that could encapsulate both nature and culture, is particularly evident in his later work, which ranges from pictures of waves and clouds, Swiss mountains and rivers, to the delicate fragility of plants. His interest was always focused on the materiality of the image. Alongside the highly idosyncratic and somewhat darkly sombre tonality of his prints, Burkhard constantly sought to explore every aspect of photography’s aesthetic and technical potential.

Encompassing half a century of creativity, the joint exhibition by Fotomuseum and Fotostiftung not only shows individual works, but also reflects on Balthasar Burkhard’s own view of how his photographs should be presented, underpinned by a wealth of documents from the archives of the artist. The exhibition is divided in two parts and shown in parallel in the exhibition spaces of Fotomuseum and Fotostiftung.

Press release

 

Balthasar Burkhard (1944-2010) / Markus Raetz. 'The Bed' 1969/70

 

Balthasar Burkhard (1944-2010) / Markus Raetz
The Bed
1969/70
© Estate Balthasar Burkhard

 

Balthasar Burkhard (1944-2010) 'oT (Michael Heizer, Berne Depression), Berne' 1969

 

Balthasar Burkhard (1944-2010)
oT (Michael Heizer, Berne Depression), Berne
1969
© J. Paul Getty Trust. Getty Research Institute, Los Angeles

 

Balthasar Burkhard (1944-2010) 'Untitled (Richard Serra, Splash Piece), Berne' 1969

 

Balthasar Burkhard (1944-2010)
Untitled (Richard Serra, Splash Piece), Berne
1969
© J. Paul Getty Trust. Getty Research Institute, Los Angeles

 

Balthasar Burkhard (1944-2010) 'oT (Harald Szeemann, the last day of documenta 5), Kassel' 1972

 

Balthasar Burkhard (1944-2010)
oT (Harald Szeemann, the last day of documenta 5), Kassel
1972
© Estate Balthasar Burkhard

 

 

With this major retrospective, Fotomuseum Winterthur and Fotostiftung Schweiz pay homage to the Swiss artist Balthasar Burkhard (1944-2010). His oeuvre is almost unparalleled in the way it reflects not only the self-invention of a photographer, but also the emancipation of photography as an artistic medium in its own right during the second half of the twentieth century.

Together, the two institutions chart the many and varied facets of Burkhard’s career, step by step. Fotostiftung presents early works from the days of his apprenticeship with Kurt Blum and his first independent documentary photographs. The exhibition also traces Burkhard’s role as a photographer alongside the curator Harald Szeemann and capturing images of Bern’s bohemian scene in the 1960s and 1970s. During that time, Burkhard carved his niche as a photographer and artist, developing his first large-scale photographic canvases in collaboration with his friend Markus Raetz and eventually breaking away from the European art world in search of both himself and new inspiration in the USA.

The second part of the exhibition at Fotomuseum shows the work created by Burkhard after his return to Europe, and his exploration of the photographic tableau. It was during this phase that he largely succeeded in emancipating photography from its purely documentary function. Using monumental formats, he translated the motif of the human body into sculptural landscapes and site-specific architectures. He went on to apply his stylistic device of formal reduction to portraits and landscapes. This marked the beginning of a series of experiments in the handling of photographic techniques. From long-distance aerial photographs of mega-cities such as Mexico City and Tokyo to close-up studies of flowers and plants, Burkhard seemed to be constantly seeking a formula that would embrace both nature and culture, encapsulating a sensory and sensual grasp of visible reality.

Encompassing half a century of creativity, the exhibition not only shows individual works, but is also underpinned by applied projects, films and many documents from the archives of the artist. This wealth of material allows a reflection both on Balthasar Burkhard’s own view of how his photographs should be presented in the exhibition space as well as his constant weighing-up of other media.

 

Part I (Fotostiftung Schweiz)

Early photographs

Balthasar Burkhard was just eight years old when his father gave him a camera to take along on a school excursion. Burkhard himself describes this early experience with the camera as the starting point of his career. It was also his father who suggested an apprenticeship with Kurt Blum, one of Switzerland’s foremost photographers, ranking along-side Paul Senn, Jakob Tuggener and Gotthard Schuh. Blum taught the young Balz, as he was nicknamed, all the finer points of darkroom technique as well as the art of large-format photography. The earliest work from Burkhard’s apprentice years is a reportage of the school, in the form of a book, while his documentation of the Distelzwang Society’s historic guildhall in the old quarter of Bern was clearly a lesson in architectural photography. Yet, no sooner had he completed his apprenticeship than Burkhard was already embarking on his very own independent projects inspired by post-war humanist photography, such as Auf der Alp, a study of rural Alpine life, for which he was awarded the Swiss Federal Grant for Applied Arts in 1964.

 

Chronicler of Bohemian Life in Bern

Even during his apprenticeship, Burkhard moved in the Bernese art circles to which his teacher Kurt Blum also belonged. In 1962, he created a first portrait, in book form, of painter and writer Urs Dickerhof. Shortly after that, he became friends with his near-contemporary Markus Raetz, and started taking photographs for the charismatic curator Harald Szeemann, who was director of Kunsthalle Bern from 1961 to 1969. Burkhard immersed himself in the vibrantly dynamic Swiss art scene, documenting the often controversial exhibitions of conceptual art at the Kunsthalle, and capturing the lives of Bern’s bohemian set with his 35mm camera. These visual mementos would later be collated in a kind of photographic journal. Initial collaborative projects with artists included a 1966 artists’ book about the village of Curogna (Ticino) and a window display for the Loeb department store in Bern featuring photographic portraits of the Bernese artist Esther Altorfer, devised in collaboration with Markus Raetz and his later wife, fashion designer Monika Raetz-Müller.

 

Landscapes 1969

Inspired by his friend Raetz, Burkhard photographed bleak and rugged snow-covered landscapes in the Bernese Seeland region. Heaps of earth piled up along the wayside reminded him of Robert Smithson’s Earthworks, which had just emerged in contemporary art. As Burkhard would later explain, “I wanted to leave out everything relating to myself, so that I could truly relate to what remained. I distanced myself from my subject-matter. I succeeded in stepping back both from myself and from my work.”

A close-up of bare agricultural soil, vaguely reminiscent of a lunar landscape, forms the basis for an object with a neon tube created in 1969 for the legendary exhibition When Attitudes Become Form in collaboration with Harald Szeemann, Markus Raetz and Jean-Frédéric Schnyder. In 1969, Burkhard’s brown-toned landscapes were included in the 1969 exhibition photo actuelle suisse in Sion. They were subsequently published as his first independent portfolio by Allan Porter in the May issue of Camera magazine, which was dedicated to avant-garde European photography and its affinity with contemporary art.

 

The Amsterdam Canvases 1969-70

When Markus Raetz took a studio in Amsterdam in 1969, he and Burkhard continued to work on joint projects. Photographs of everyday motifs were enlarged, practically life-sized, onto canvas, and caused a sensation in the spring 1970 exhibition Visualisierte Denkprozesse (Visualised thought processes) at Kunstmuseum Luzern, curated by Jean-Christophe Ammann, who wrote: “On huge canvases, they [Raetz and Burkhard] showed, among other things, a spartan studio space, a bedroom, a kitchen, a curtain. They relativised the purely object-like character by hanging the canvases on clips. The resulting folds enriched the images by adding a new dimension.” In other words, the folds in the canvas created a “quasi ironic and disillusioning barrier.” Burkhard’s large-format works foreshadowed the monumental photographic tableaux that would eventually herald the ultimate march of photography into the museum space some ten years later.

 

Documentarist of the International Art Scene

By the end of the 1960s, Harald Szeemann and his polarising, controversial exhibitions were drawing increasing attention far beyond the boundaries of Switzerland. In particular, his (in)famous 1969 show When Attitudes Become Form unleashed heated debates that ultimately led to Szeemann’s resignation as director of Kunsthalle Bern. Then, in 1970, he shocked the members and visitors of the Kunstverein in Cologne with an exhibition dedicated to Happening & Fluxus. Here, too, Burkhard was on hand with his camera. Jean-Christophe Ammann, with whom Burkhard undertook a research trip to the USA in 1972, photographing many artists’ studios, proved no less controversial a figure. Moreover, Burkhard also photographed artists, actions and installations at the 1972 documenta 5 in Kassel, which was headed by none other than Szeemann himself. Given the expanded concept of art that prevailed at the time, which strengthened the role of performance art and installation works alike, photography, too, gained a newfound core significance. Indeed, it was only through photography that many of these innovative works were preserved for posterity.

 

Chicago and the Self-Invention of the Artist

Following a relatively unproductive period in the wake of documenta 5, during which he worked, among other things, on an unfinished documentary project about the small Swiss town of Zofingen, Burkhard spent the years between 1975 and 1978 in Chicago, where he taught photography at the University of Illinois. It was while he was there that he once again reprised the series of photo canvases he had been working on in Amsterdam between 1969 and 1970. This led to new large-format works portraying everyday scenes such as the back seat of an automobile or the interior of a home with a TV, as well as three now lost photographs of roller skaters and a very androgynous back-view nude study of a young man. In 1977 the Zolla/Lieberman Gallery in Chicago presented these canvases together with a selection of the Amsterdam works in what was Burkhard’s first solo exhibition. Critics were impressed by his “soft photographs”. The Chicago Tribune, for instance, enthused: “‘European’ grace is wedded to ‘American’ strength in a supreme artistic fiction that suggests the wide-screen format of film.”

 

Self-Portraits

In Chicago, Burkhard rekindled his friendship with performance and conceptual artist Thomas Kovachevic, whom he had first met at documenta 5 and who now introduced him to the local art scene. At the same time, Burkhard toyed with the notion of trying his chances as a film actor in Hollywood. With Kovachevich’s help, he produced a series of self-portraits, both Polaroids and slides, which he presented in a small snakeskin-covered box as his application portfolio. He approached Alfred Hitchcock and Joshua Shelley of Columbia Pictures, albeit unsuccessfully. His only film role was in Urs Egger’s 1978 Eiskalte Vögel (Icebound; screened in seminar room I). Burkhard later transformed some of his self-portraits into large-scale canvases, through which he asserted his newfound sense of identity as an artist, making himself the subject-matter of his own artistic work. One of these was also shown in the Photo Canvases exhibition at Zolla/Lieberman Gallery.

 

Balthasar Burkhard (1944-2010) 'feet 2' 1980

 

Balthasar Burkhard (1944-2010)
feet 2
1980
© Estate Balthasar Burkhard

 

Balthasar Burkhard (1944-2010) 'The Knie', Kunsthalle Basel (installation view) 1983

 

Balthasar Burkhard (1944-2010)
‘The Knie’, Kunsthalle Basel 
(installation view)
1983
© Estate Balthasar Burkhard

 

Balthasar Burkhard (1944-2010) 'Study of The Head' c. 1983

 

Balthasar Burkhard (1944-2010)
Study of The Head
c. 1983
© Estate Balthasar Burkhard

 

Balthasar Burkhard (1944-2010) 'Design for Body II' c. 1983

 

Balthasar Burkhard (1944-2010)
Design for Body II
c. 1983
© Estate Balthasar Burkhard

 

 

 

Part II (Fotomuseum Winterthur)

Body and Sculpture

The 1980s heralded the advent of a particularly productive period for Balthasar Burkhard in which he adopted a more sculptural approach to photography, treating his prints as an integral part of the exhibition architecture. Just as he himself had witnessed how the generation of artists before him had called the classic exhibition space into question, so too did his own latest works now begin to take control of that space. Burkhard became one of the foremost proponents of large-scale photographic tableaux, as evidenced by his groundbreaking exhibitions at Kunsthalle Basel in 1983 and Museé Rath, Geneva, in 1984.

It was in the photo canvases he made in Chicago during the late 1970s that Burkhard first turned towards the motif of the body as a sculptural form with which he would continue to experiment over the coming years. Such an overtly sculptural approach to the body and to the nude as landscape soon began to demand a larger format than Burkhard had previously been using. An arm, almost four metres long, framed by heavy steel, or the multipart installation Das Knie (Knee), reflect the very core of his creative oeuvre in all its many facets: monumentality, fragmentation and the breaking of genre boundaries by transposing two-dimensional images into spatially commanding installations.

 

Portraits: Types and Individuals

The increasing formal reduction of Balthasar Burkhard’s images continued in the field of portraiture. He invited fellow artists such as Lawrence Weiner and Christian Boltanski to sit for him. With this series, it seemed that he had finally put behind him his days as a chronicler of the art scene, reliant on the techniques of applied photography.

Portraits of a rather different kind are his profiles of animals, in an equally reduced setting, against the backdrop of a tarpaulin. Redolent of Renaissance drawings or nineteenth century animal photography, his images of sheep, wolves and lions come across as representing ideal and typical examples of their species without anthropomorphising them, while at the same time wrenching them out of their natural environment. These images reached a broad audience through the popular 1997 children’s book “Click!”, said the Camera, which was republished in its second edition in 2017.

 

Architectural Photography

Given his increasing success in the art world, Burkhard could well afford to be selective about his choice of commissioned works. He had already been taking photographs for architects connected with the Bern-based firm Atelier 5 back in the 1960s, and was still accepting commissions in this field in the 1990s. Burkhard’s photographic essay on the Ricola building designed by Swiss architects Herzog & de Meuron indicates just how thoroughly his own distinctive artistic syntax permeates his commissioned and architectural photography, right through to the details of fragments and materials. These photographs were shown in the Swiss Pavilion at the Venice Biennale of Architecture in 1991, having been explicitly designed for this particular exhibition space. As in his artistic oeuvre, Burkhard operates here with spatially commanding installations, skilfully dovetailing the architectural motif with the presentational form.

 

Aerial Photography

In the 1990s, before the art world had even begun to turn its attention to the subject of megacities, Burkhard was already taking a keen interest in the world’s major conurbations. Following in the footsteps of his father, who had been a Swiss airforce pilot, he took bird’s-eye-view photographs from a plane. His panoramic shots of cities such as London, Mexico City and Los Angeles were preceded by small-format studies of clouds: the so-called Nuages series. Having incorporated a study of rural Switzerland into his formative training in 1963 with the series Auf der Alp (On the Alp), he returned once more to focus on the landscape of his homeland in the early 2000s with an entire series of aerial photographs of the Bernina mountain range.

 

Landscape and Flora

In the last two decades of his life, Burkhard concentrated primarily on landscape and flora, turning to historical precedents both in his techniques and in his choice of motif. The desert formations of Namibia, in which all sense of proportion is lost amid the remote and untouched wilderness, set a counterpoint to the sprawling urban expanses of Mexico City and London. The diptych Welle (Wave), by contrast, pays homage to the work of French artist Gustave Courbet, with Burkhard making a pilgrimage to the tide swept shores where the father of Realism had painted in 1870.

In another series, Burkhard adapts the aesthetics of botanical plant studies, which were as widely used around the turn of the twentieth century as the complex photographic process of heliography, and transposes these to larger-than-life formats. Whereas Burkhard, as a young photographer, had captured the exuberant art scene of the 1960s and 1970s, snapshot-style, he later went on, as an artist-photographer, to explore the potential of the photographic tableau, diligently researching near-forgotten techniques and the sensual details of the visible world.

 

Artwork and Commissioned Work

The site-specific installations of his photographs and Burkhard’s own dedicated approach to museum spaces warrant an excursion into the archives of the artist, paying particular attention to four exemplary exhibitions.

One spectacular and iconic show was the Fotowerke (Photo works) exhibition at Kunsthalle Basel in 1983. Curated by artist Rémy Zaugg, the installations can be reconstructed thanks to the catalogue and copious documentation. Contact prints and studies, for instance, help to give an insight into the no longer extant thirteen metre work Körper I (Body I) as well as shedding light on the choice of motif for further body fragments.

A 1984 solo exhibition at the Le Consortium in Dijon, on the other hand, shows how Burkhard responded with his group of works Das Knie (Knee) to an entirely different installation context within the given space. Similarly, at the Musée Rath in Geneva that same year, Burkhard, together with his friend Niele Toroni, instigated a radical juxtaposition of photography and painting based on the pillars of the exhibition venue.

At Grand-Hornu in the Belgian town of Mons, by contrast, his life-sized photographs of animals were mounted at eye level. While Burkhard chose a large format for the exhibition venue, the images in his children’s book “Click!”, said the Camera tell of a beauty contest between animals in a photo-shoot. This apparent discrepancy between artwork and commissioned work never seemed to be relevant to Burkhard. The sheer volume of his studio photos, alone, indicates just how scrupulously precise he was about the way he wanted to be perceived as a serious photographer.

Wall text from the exhibition

 

Installation view of the exhibition 'Balthasar Burkhard' at Fotomuseum Winterthur and Fotostiftung Schweiz, Winterthur, Zurich February - May 2018

Installation view of the exhibition 'Balthasar Burkhard' at Fotomuseum Winterthur and Fotostiftung Schweiz, Winterthur, Zurich February - May 2018

Installation view of the exhibition 'Balthasar Burkhard' at Fotomuseum Winterthur and Fotostiftung Schweiz, Winterthur, Zurich February - May 2018

Installation view of the exhibition 'Balthasar Burkhard' at Fotomuseum Winterthur and Fotostiftung Schweiz, Winterthur, Zurich February - May 2018

Installation view of the exhibition 'Balthasar Burkhard' at Fotomuseum Winterthur and Fotostiftung Schweiz, Winterthur, Zurich February - May 2018

 

Installation views of the exhibition Balthasar Burkhard at Fotomuseum Winterthur and Fotostiftung Schweiz, Winterthur, Zurich February – May 2018

 

Balthasar Burkhard (1944-2010) 'Balthasar Burkhard in his studio' 1995

 

Balthasar Burkhard (1944-2010)
Balthasar Burkhard in his studio
1995
© Estate Balthasar Burkhard

 

Balthasar Burkhard (1944-2010) 'Camel' 1997

 

Balthasar Burkhard (1944-2010)
Camel
1997
© Estate Balthasar Burkhard

 

Balthasar Burkhard (1944-2010) 'Bull' 1996

 

Balthasar Burkhard (1944-2010)
Bull
1996
© Estate Balthasar Burkhard

 

Balthasar Burkhard (1944-2010) 'The Reindeer' 1996

 

Balthasar Burkhard (1944-2010)
The Reindeer
1996
© Estate Balthasar Burkhard

 

Balthasar Burkhard (1944-2010) 'Mexico City' 1999

 

Balthasar Burkhard (1944-2010)
Mexico City
1999
© Estate Balthasar Burkhard

 

Balthasar Burkhard (1944-2010) 'Mexico City' 1999

 

Balthasar Burkhard (1944-2010)
Mexico City
1999
© Estate Balthasar Burkhard

 

Balthasar Burkhard (1944-2010) 'Nuages ​​8' 1999

 

Balthasar Burkhard (1944-2010)
Nuages ​​8
1999
© Estate Balthasar Burkhard

 

Balthasar Burkhard (1944-2010) 'Ecosse' (Scotland) 2000

 

Balthasar Burkhard (1944-2010)
Ecosse (Scotland)
2000
© Estate Balthasar Burkhard

 

Balthasar Burkhard (1944-2010) 'Bernina' 2003

 

Balthasar Burkhard (1944-2010)
Bernina
2003
© Estate Balthasar Burkhard

 

Balthasar Burkhard (1944-2010) 'Silberen' 2004

 

Balthasar Burkhard (1944-2010)
Silberen
2004
© Estate Balthasar Burkhard

 

Balthasar Burkhard (1944-2010) 'Rio Negro' 2002

 

Balthasar Burkhard (1944-2010)
Rio Negro
2002
© Estate Balthasar Burkhard

 

 

Fotostiftung Schweiz
Grüzenstrasse 45
CH-8400 Winterthur (Zürich)
Tel: +41 52 234 10 30

Opening hours:
Daily 11 am – 6 pm
Wednesday 11 am – 8 pm
Closed on Mondays

Fotostiftung Schweiz website

Fotomuseum Winterthur
Grüzenstrasse 44 + 45
CH-8400
Winterthur (Zürich)

Opening hours:
Tuesday to Sunday 11 am – 6 pm
Wednesday 11 am – 8 pm
Closed on Mondays

Fotomuseum Winterthur website

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06
May
18

Exhibition: ‘The Polaroid Project’ at the Museum für Kunst und Gewerbe Hamburg

Exhibition dates: 16th March – 17th June 2018

 

Anna Reynolds. 'Marcus / Mutilation of the Soul' October 1992

 

Anna Reynolds
Marcus / Mutilation of the soul
October 1992
Phillip Institute, Melbourne
Polaroid

 

 

I love Polaroid photography. As “instant” photography it can have immediacy, but it can also be used for conceptual work as can be see in this posting. You can manipulate the image while it is still developing, and you can also later reclaim the negative from the Polaroid itself, providing a useful scannable or printable negative for further experimentation.

The idea of “instant” photography bemuses me. Nothing is ever “instant”. For example, in the Polaroid image of me above (and in all of the images below), there was thought, an idea, a process, and imagination going on well before the photograph was taken, and during its development (the manipulation of the Polaroid around the figure). Even a simple, vernacular photograph of a family scene contains the fact that the person behind the camera made a conscious decision to capture something that they saw, and press the shutter at a particular moment. It is never a “snapshot” for the process of taking a photograph is always a sub/conscious, imaginative, exclamation of choice.

So there is this space and time of in/decision; there is also the space and time of waiting (and manipulating if so desired) for the Polaroid to develop. That is the magical part for me… to see the image develop not in the drip tray of the darkroom, but holding the image in your hand, watching it emerge from the ether right in front of your eyes. Instant no, unforgettable, yes.

Marcus

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Many thankx to the Museum für Kunst und Gewerbe Hamburg for allowing me to publish the photographs in the posting. Please click on the photographs for a larger version of the image.

 

The Polaroid Project will shed light on the broad aesthetic spectrum made possible by the groundbreaking technology of instant photography, showcasing around 220 works by over 100 artists. Polaroid – a brand that has long since become a legend – revolutionised photography in a way that can still be felt today and which lives on in photo apps and on Instagram. The exhibition was developed by the Foundation for the Exhibition of Photography, Minneapolis/ New York/ Paris/ Lausanne, the MIT Museum in Cambridge (Massachusetts), and WestLicht. Schauplatz für Fotografie (Vienna), in cooperation with MKG, and will be shown at numerous international museums.

 

James Nitsch. 'Razor Blade' 1976

 

James Nitsch
Razor Blade
1976
Polaroid SX-70 assemblage with razor blade
10.7 x 8.8 cm
© James Nitsch

 

Guy Bourdin. 'Charles Jourdan' 1978

 

Guy Bourdin
Charles Jourdan 1978
1978
C-Print
88.9 x 116.8 cm
© The Guy Bourdin Estate 2017 / Courtesy of Louise Alexander Gallery

 

André Kertész. 'August 13' 1979

 

André Kertész
August 13, 1979
1979
Polaroid SX-70
10.7 x 8.8 cm
© The Estate of André Kertész, courtesy Stephen Bulger Gallery

 

Victor Landweber. 'Garbage Candy' 1979

 

Victor Landweber
Garbage Candy
1979
Polaroid Polacolor Type 669 composite, bound in a book
10.8 x 16.1 cm
© Victor Landweber, Collection Center for Creative Photography, The University of Arizona

 

Bruce Charlesworth. 'Untitled' 1979

 

Bruce Charlesworth
Untitled
1979
Hand-painted Polaroid SX-70
10.7 x 8.8 cm
© Bruce Charlesworth 1979

 

Barbara Crane. 'Private Views' 1981

 

Barbara Crane
Private Views
1981
Polaroid Polacolor 4×5 Type 58
10.2 x 12.7 cm
© Barbara Crane

 

Sandi Fellman. 'Grey Lion, Tokyo, Japan' 1983

 

Sandi Fellman
Grey Lion, Tokyo, Japan
1983
Polaroid 20 x 24 Polacolor
73.7 x 56 cm
© Sandi Fellman

 

Şahin Kaygun. 'Buttock' 1983

 

Şahin Kaygun
Buttock
1983
Hand coloured, manipulated Polaroid Type 600 High Speed
10.7 x 8.8 cm
© Şahin Kaygun

 

David Levinthal. 'Untitled' 1983-85

 

David Levinthal
Untitled from the series Modern Romance
1983-1985
Polaroid SX-70
10.7 x 8.8 cm
© David Levinthal, ARS, NY and DACS, London 2017

 

 

In the exhibition The Polaroid Project, the Museum für Kunst und Gewerbe Hamburg presents for the first time the full scope of the phenomenon of the Polaroid photograph. Based on some 220 photos by over 100 artists, as well as 90 camera models and prototypes, the show sheds light on the whole aesthetic spectrum of instant photography and on the innovative technology that made this visual revolution possible. Polaroid stands for a technology, an industry, a company, and its products. Presented to the public for the first time in 1947 by Edwin Land in New York, instant camera film made the photo lab superfluous. As if by magic, the picture gradually appears before the eyes of the photographer and subject. Polaroid – a brand that has long since attained legendary status – thus transformed our handling of photography in a way that is still pervasive today, living on in photo apps and Instagram. In the heyday of the company in the mid-20th century, Polaroid sold its cameras and film to millions of amateurs and professionals. The technical and aesthetic qualities of the new medium, and above all the immediacy and spontaneity of the photos, made it an exciting field of experimentation for artists as well.

Polaroid itself has worked closely with photographers from the start. One of the earliest advisors to Edwin Land, inventor and founder of the Polaroid Corporation, was Ansel Adams, the godfather of American landscape photography. In its Artist Support Program, the company provides film and cameras to both established figures and nascent talents in the art and photography scene. In return, it receives not only feedback on its products but also selected works for the company collection. For artists, the inventions from Land’s company offer a playground for their own discoveries, one that provides fresh inspiration for their photography. It thus came about that the exponents of Pop Art – chief among them Andy Warhol – raised the status of the Polaroid photo to a whole new level with their excessive use of the medium, securing for it a place in the artistic sphere.

Press release from the Museum für Kunst und Gewerbe Hamburg

 

Dennis Hopper. 'Los Angeles, Back Alley' 1987

 

Dennis Hopper
Los Angeles, Back Alley
1987
Polaroid SX-70
10.7 x 8.8 cm
© Dennis Hopper, Courtesy of The Hopper Art Trust

 

Pierre-Louis Martin. 'Graines de Pissenlit' 1990

 

Pierre-Louis Martin
Graines de Pissenlit
1990
Gelatin silver print from Polaroid-Film Type 55
48.9 x 40 cm
© Pierre-Louis Martin

 

Shelby Lee Adams. 'Esther and Bee Jay' 1991

 

Shelby Lee Adams
Esther and Bee Jay
1991
Polaroid Polapan 4×5 Type 52
12.7 x 10.2 cm
© Shelby Lee Adams

 

Kunihiro Shinohara. 'Cosmic #9' 1993-2000

 

Kunihiro Shinohara
Cosmic #9
1993-2000
Inkjet print from Polaroid-Film Type 55
29.8 x 22.3 cm
© Kunihiro Shinohara

 

Mark Klett. 'Contemplating the View at Muley Point, Utah' 1994

 

Mark Klett
Contemplating the View at Muley Point, Utah
1994
Gelatin silver print from Polaroid-Film Type 55
40.6 x 50.8 cm
© Mark Klett

 

Ellen Carey. 'Pulls (CMY)' 1997

 

Ellen Carey
Pulls (CMY)
1997
Polaroid 20 x 24 Polacolor-Montage
210.8 x 167.6 cm
© Ellen Carey, Jayne H. Baum Gallery, NYC, NY and M+B Gallery, LA, CA

 

Timothy White. 'Untitled' 1998

 

Timothy White
Untitled
1998
Inkjet print from Polaroid-Film Type 665
50.8 x 40.6 cm
© Timothy White

 

Toshio Shibata. 'Untitled (# 228)' 2003

 

Toshio Shibata
Untitled (#228)
2003
Gelatin silver print from Polaroid-Film, Type 55
61 x 50.8 cm
© Toshio Shibata

 

Chen Wei. 'Everlasting Radio Wave-Test #5' 2008

 

Chen Wei
Everlasting Radio Wave-Test #5
2008
Fujifilm FP-100C
8.5 x 10.8 cm
© Chen Wei

 

Paolo Gioli. 'This Is Not My Face' 2010

 

Paolo Gioli
Questo volto non è il mio volto (This Face Is Not My Face)
2010
Polaroid 20 x 24 Polacolor and Polacolor transfer on acrylic
71 x 55 cm
© Paolo Gioli

 

 

Museum für Kunst und Gewerbe Hamburg
Steintorplatz, 20099 Hamburg

Opening hours:
Tuesday to Sunday 10 am – 6 pm
Thursday 10 am – 9 pm
Closed Mondays

Museum fur Kunst und Gewerbe Hamburg website

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04
May
18

Exhibition: ‘Susan Meiselas: Mediations’ at Jeu de Paume, Paris

Exhibition dates: 6th February – 20th May 2018

Curators: Carles Guerra and Pia Viewing

 

 

Susan Meiselas (b. 1948, Baltimore) 'Sandinistes aux portes du quartier général de la Garde nationale à Esteli : "L'homme au cocktail Molotov", Nicaragua' 16 juillet 1979

 

Susan Meiselas (b. 1948, Baltimore)
Sandinistes aux portes du quartier général de la Garde nationale à Esteli : “L’homme au cocktail Molotov”, Nicaragua
16 juillet 1979
© Susan Meiselas/ Magnum Photos

NICARAGUA. Esteli. 1979. Sandinistas at the walls of the Esteli National Guard headquarters

 

 

The second of a double header from Jeu de Paume, Paris.

Whatever you write or say doesn’t matter. It’s the images that matter, the work before you.

Meiselas’ work offers respect, that is the key word, respect for the individuality of the people she photographs. You can feel it in her images; it is what gives them their power. Unlike the previous posting on the work of Raoul Hausmann, where it was all about the photographer, here the work is authored but the photographs are all about the subject: their place in the world, their trials and tribulations.

Meiselas’ photographs are very strong – graphic work (in form and declaration) balanced with an existential, human touch. Meiselas questions the nature of the original photograph and photographic process in order to understand how the photograph and its ongoing testimonies change in specific times and places, by developing multilayered narratives which integrate the participation of her subjects into her works. As such they are as much meditations on the human condition as much as mediations between place, her role as witness, storytelling, and how the meaning of images changes according to the context of their diffusion, which is facilitated by technology.

On the compilation of her visual histories, I can’t put it better than the text below:

“Lauded documentary photographer Susan Meiselas has been working at the nexus of history, politics, ethnography, art, and storytelling throughout her prolific career, producing multi-layered photographic narratives about individuals and societies across the U.S. and the world. Sensitive to both the potential and limitations of images, the 1992 MacArthur Fellow approaches her projects aware of their inevitable impartiality and incompleteness, supplementing her own photographs with texts, interviews, archival images, and other forms of documentation. “My projects are authored but I’d like to think they are not authoritative,” she says.

“About Susan Meiselas” on the Artsy website

Marcus

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

 

A member of Magnum Photos since 1976, Susan Meiselas questions documentary practice. She became known through her work in conflict zones of Central America in the 1970s and 1980s in particular due to the strength of her colour photographs. Covering many subjects and countries, from war to human rights issues and from cultural identity to the sex industry, Meiselas uses photography, film, video and sometimes archive material, as she relentlessly explores and develops narratives integrating the participation of her subjects in her works. The exhibition highlights Susan Meiselas’ unique personal as well as geopolitical approach, showing how she moves through time and conflict and how she constantly questions the photographic process and her role as witness.

 

 

“It is important to me – in fact, it is central to my work – that I do what I can to respect the individuality of the people I photograph, all of whom exist in specific times and places.”

.
“This photograph is for whom. And so, for a long time that’s been the question motivating almost everything that I do.”

.
Susan Meiselas

 

 

Susan Meiselas: Mediations at Jeu de Paume on Vimeo

 

Susan Meiselas (b. 1948, Baltimore) 'Sharif and Son' 1971

 

Susan Meiselas (b. 1948, Baltimore)
Sharif and Son
1971
Série 44 Irving Street, 1971
© Susan Meiselas/Magnum Photos

 

 

Susan Meiselas (b. 1948, Baltimore)
Lena après le spectacle, Essex Junction, Vermont, 1973
1973
Série Carnival Strippers, 1972-1975
© Susan Meiselas/Magnum Photos

USA. Essex Junction, Vermont. 1973. Lena on the Bally Box

 

Susan Meiselas (b. 1948, Baltimore) 'Lena juchée sur sa caisse, Essex Junction, Vermont, 1973' 1973

 

Susan Meiselas (b. 1948, Baltimore)
Lena juchée sur sa caisse, Essex Junction, Vermont, 1973
1973
Série Carnival Strippers, 1972-1975
© Susan Meiselas/ Magnum Photos

USA. Essex Junction, Vermont. 1973. Lena after the show

 

 

“Meiselas is known for her searing, visceral photographs of civil unrest and political revolution around the world, from Central America to Kurdistan. However, it is her “Carnival Strippers” that defines her career for many.”

“A History of Magnum Photos in Ten Photographers” on the Artsy website.
See what they mean on the Susan Meiselas: “Carnival Strippers” 1972 – 1975 web page.

 

Susan Meiselas (b. 1948, Baltimore) 'Debbie et Renee, Rockland, Maine, 1972' 1972

 

Susan Meiselas (b. 1948, Baltimore)
Debbie et Renee, Rockland, Maine, 1972
1972
Série Carnival Strippers, 1972-1975
© Susan Meiselas/Magnum Photos

USA. Rockland, Maine. 1972. Debbie and Renee

 

 

Meiselas’s first major photographic essay focused on the lives of women performing striptease at New England country fairs, whom she photographed during three consecutive summers while teaching photography in New York City public school classrooms. Carnival Strippers was originally published in 1976 with a new edition of the book (which included a CD of the audio recordings) produced by Steidl/Whitney in 2003. In 1976, Meiselas was invited to join the photographic cooperative Magnum Photos. Beginning in 1976, she photographed a group of young girls living in her neighbourhood of Little Italy, New York. Entitled Prince Street Girls, they inspired an on-going relationship.

Meiselas is best known for her coverage of the insurrection in Nicaragua and her documentation of human rights issues in Latin America for over a decade. In 1978 Meiselas made her first trip to Nicaragua, and that year one of her iconic images was published on the cover of the New York Times Magazine. In 1981, she published Nicaragua: June 1978-July 1979, reprinted in 2008 (with a DVD of the film “Pictures from a Revolution”) and in 2016 (with a customize AR app, to trigger film clips from the photographs). Her image of Pablo Jesús Aráuz, the ‘Molotov Man’, made on July 16, 1979 just before the triumph of the Sandinistas, has become an icon of the revolution. The image is shown recontextualised in the installation The Life of an Image: ‘Molotov Man’, 1979–2009. Meiselas served as an editor for two collaborative projects, both of which support and highlight the work of regional photographers. The first, El Salvador: The Work of Thirty Photographers, Writers and Readers, 1983, also features her own images. The second project, Chile from Within, W. W. Norton, 1991, focuses on work by photographers living under the Pinochet regime. Meiselas has also co-directed four films: Living at Risk: The Story of a Nicaraguan Family, 1986 ; Voyages, on her work in Nicaragua produced in collaboration with director M. Karlin, Pictures from a Revolution, 1991, with R. P. Rogers and A. Guzzetti; and Reframing History, 2004.

In 1992, Meiselas produced Kurdistan: In the Shadow of History, Random House, 1997; University of Chicago Press, 2008. The book was produced along with akaKURDISTAN, 1998, an online archive of collective memory, currently shown as a physical map with story books made by contributors from the Kurdish diaspora worldwide. Pandora’s Box, Trebruk/Magnum Editions, 2003, is an exploration of an underground New York S&M club that began in 1995. Both projects are shown as exhibition works.

 

Susan Meiselas (b. 1948, Baltimore) 'Mississippi' 1974

 

Susan Meiselas (b. 1948, Baltimore)
Mississippi
1974
Série Porch Portraits, 1974
© Susan Meiselas/Magnum Photos

 

Susan Meiselas (b. 1948, Baltimore) 'Caroline du Sud' 1974

 

Susan Meiselas (b. 1948, Baltimore)
Caroline du Sud
1974
Série Porch Portraits, 1974
© Susan Meiselas/Magnum Photos

 

Susan Meiselas (b. 1948, Baltimore) 'Dee et Lisa, Mott Street, Little Italy, New York, 1976' 1976

 

Susan Meiselas (b. 1948, Baltimore)
Dee et Lisa, Mott Street, Little Italy, New York, 1976
1976
Série Prince Street Girls, 1975-1990
© Susan Meiselas/ Magnum Photos

 

Susan Meiselas (b. 1948, Baltimore) 'Roseann sur la route pour Manhatten Beach, New York, 1978' 1978

 

Susan Meiselas (b. 1948, Baltimore)
Roseann sur la route pour Manhatten Beach, New York, 1978
1978
Série Prince Street Girls, 1975-1990
© Susan Meiselas/Magnum Photos

USA. New York CIty. 1978. Roseann on the way to Manhattan Beach

 

Alain Dejean Sygma. 'Portrait de Susan Meiselas, Monimbo, Nicaragua' Septembre 1978

 

Alain Dejean Sygma
Portrait de Susan Meiselas, Monimbo, Nicaragua
Septembre 1978
© Alain Dejean Sygma

 

 

The retrospective devoted to the American photographer Susan Meiselas (b. 1948, Baltimore) brings together a selection of works from the 1970s to the present day. A member of Magnum Photos since 1976, Susan Meiselas questions documentary practice. She became known through her work in conflict zones of Central America in the 1970s and 1980s in particular due to the strength of her colour photographs. Covering many subjects and countries, from war to human rights issues and from cultural identity to the sex industry, Meiselas uses photography, film, video and sometimes archive material, as she relentlessly explores and develops narratives integrating the participation of her subjects in her works. The exhibition highlights Susan Meiselas’s unique personal as well as geopolitical approach, showing how she moves through time and conflict and how she constantly questions the photographic process and her role as witness.

Her early works already illustrate her interest for documentary photography. Her very first project, 44 Irving Street (1971), was a series of black and white portraits. Here, she used her camera as a means of interacting with the other tenants of the boarding house where she lived during her time as a student. For Carnival Strippers (1972-1975), Meiselas followed strippers working in carnivals in New England over the course of three consecutive summers. The reportage is completed with audio recordings of the women, their clients and managers.

From this period originates also Prince Street Girls (1975-1992), which was shot in the district known as Little Italy, in New York, where Susan Meiselas still lives. She photographed a group of young girls over several years, capturing the changes that took place in their lives as they were growing up, constituting a chronicle of the evolving relationship between the young girls and the photographer.

Three important series represent the center of the exhibition: Nicaragua, El Salvador and Kurdistan. Made between the late 1970s and 2000, the works reveal the way in which the artist challenges and practises photography. During the course of her extensive travels in Latin America, over a number of decades, in times of war and peace, Meiselas returns to the sites where she took the original photographs, using the images to find the people she had met in order to pursue a record of their testimonies. With her project Mediations (1982), Susan Meiselas reveals how the meaning of images changes according to the context of their diffusion. Her novel approach is almost prophetic in a world where the diffusion of the image is facilitated by technology.

As from 1997, Meiselas addresses each conflict in a different way according to the context. Kurdistan: In the Shadow of History (1997) is an archive of the visual history of a people without a nation. Meiselas, who gathered those elements all around the world in collaboration with Kurdish people, constructed her work as an installation composed of a compilation of documents, photographs and videos.

In 1992, Meiselas, asked to contribute to an awareness campaign exposing domestic violence, began by photographing crime scenes, accompanying a team of police investigators, and then selected a number of documents with photographs from the archives of the San Francisco Police Department. This research led her to create Archives of Abuse, collages of police reports and photographs, exhibited in the city’s public spaces as posters on bus shelters.

For the retrospective at the Jeu de Paume, Susan Meiselas has created a new work, begun in 2015, based on her involvement with Multistory, a regional arts organisation based in the United Kingdom. This last series A Room of Their Own was made collaboratively in a refuge for women and focuses on domestic violence. The installation includes five narrative video works, featuring Meiselas’s photographs, first-hand testimonies, collages and drawings.

The exhibition of the Jeu de Paume is the most comprehensive retrospective of her work ever held in France. It retraces her trajectory since the 1970s as a visual artist who associates her subjects to her approach and questions the status of images in relation to the context in which they are perceived.

Press release from Jeu de Paume

 

Susan Meiselas (b. 1948, Baltimore) 'Masque traditionnel utilisé lors de l'insurrection populaire, Masaya, Nicaragua' 1978

 

Susan Meiselas (b. 1948, Baltimore)
Masque traditionnel utilisé lors de l’insurrection populaire, Masaya, Nicaragua
[Traditional mask used during the popular uprising, Masaya, Nicaragua]

1978
© Susan Meiselas/Magnum Photos

 

 

In the late 1970s, without an assignment of any sort, Susan Meiselas went to Nicaragua to cover the popular insurrection following the assassination of the editor of the opposition newspaper La Prensa. She became one of the most celebrated photojournalists in the world for her colour photographs of the Sandinista Popular Revolution. Some of them became icons of the Nicaraguan revolution. She didn’t see the insurrection as a series of isolated news events as a photojournalist would, but rather a historical process that was unfolding every day. Her approach was specific to the context of the conflict and the terrain.

 

Susan Meiselas (b. 1948, Baltimore) 'Fouille de toutes les personnes voyageant en voiture, en camion, en bus ou à pied, Ciudad Sandino, Nicaragua' 1978

 

Susan Meiselas (b. 1948, Baltimore)
Fouille de toutes les personnes voyageant en voiture, en camion, en bus ou à pied, Ciudad Sandino, Nicaragua
1978
© Susan Meiselas/Magnum Photos

NICARAGUA. Cuidad Sandino. Searching everyone traveling by car, truck, bus or foot

 

Susan Meiselas (b. 1948, Baltimore) 'Retour chez soi, Masaya, Nicaragua' 1978

 

Susan Meiselas (b. 1948, Baltimore)
Retour chez soi, Masaya, Nicaragua
1978
© Susan Meiselas/Magnum Photos

NICARAGUA. Masaya. September, 1978. Returning home

 

Susan Meiselas (b. 1948, Baltimore) 'Muchachos attendant la riposte de la Garde nationale, Matagalpa, Nicaragua' 1978

 

Susan Meiselas (b. 1948, Baltimore)
Muchachos attendant la riposte de la Garde nationale, Matagalpa, Nicaragua
1978
© Susan Meiselas/ Magnum Photos

NICARAGUA. Matagalpa. Muchachos await the counterattack by the National Guard

 

Susan Meiselas (b. 1948, Baltimore) 'Soldats fouillant la passagers du bus sur l’autoroute Nord, El Salvador' 1980

 

Susan Meiselas (b. 1948, Baltimore)
Soldats fouillant la passagers du bus sur l’autoroute Nord, El Salvador
1980
© Susan Meiselas/ Magnum Photos

EL SALVADOR. 1980. Soldiers search bus passengers along the Northern Highway

 

Susan Meiselas (b. 1948, Baltimore) 'Route pour Aguilares, El Salvador' 1983

 

Susan Meiselas (b. 1948, Baltimore)
Route pour Aguilares, El Salvador
1983
© Susan Meiselas/Magnum Photos

EL SALVADOR. 1983. Road to Aguilares.

 

 

With Mediations, 1982, the project that lends its title to this retrospective exhibition, Meiselas revealed the effects that the circulation of images produces on their meaning. At a time when, thanks to new technologies, photography has become the object of an all-reaching exchange, Meiselas’s attitude becomes unprecedented, while her archival projects constitute a valuable precedent. Two of them, the ones devoted to Nicaragua and Kurdistan, are widely represented in this exhibition.

 

Susan Meiselas (b. 1948, Baltimore) 'Veuve sur le charnier de Koreme, nord de l'Irak' 1992

 

Susan Meiselas (b. 1948, Baltimore)
Veuve sur le charnier de Koreme, nord de l’Irak
1992
© Susan Meiselas/Magnum Photos

NORTHERN IRAQ. Kurdistan. June, 1992. Widow at mass grave found in Koreme

 

 

The retrospective emphasises the development of Susan Meiselas’ photographic practice from the 1970s onwards. In most of her early work, she addresses the subjects of her portrait-based images by including them in one way or another in the process of her work. In 44 Irving Street, (1972), she asks the persons portrayed to comment on their representation and in Carnival Strippers (1975), a sound recording of the context in which the photographs are taken gives further perspective on the strippers lives. In addition to this aspect, her interest in archival documentation and the compilation of visual histories can also be traced back to this period (Lando, 1975) and one can see this develop in her research work on Kurdistan. Her treatment of images reveals that, in her artistic practice, she considers the photographic frame as a moment in time complementary to other forms of framing and capturing reality, which may be seen and reviewed over time.

 

Susan Meiselas (b. 1948, Baltimore) 'Blocs de béton signalant la fosse commune de Koreme, nord de l'Irak' 1992

 

Susan Meiselas (b. 1948, Baltimore)
Blocs de béton signalant la fosse commune de Koreme, nord de l’Irak
[Concrete blocks signaling Koreme Mass grave, northern Iraq]

1992
© Susan Meiselas/ Magnum Photos

 

 

Jeu de Paume
1, Place de la Concorde
75008 Paris
métro Concorde
Tel: 01 47 03 12 50

Opening hours:
Tuesday: 11.00 – 21.00
Wednesday – Sunday: 11.00 – 19.00
Closed Monday

Jeu de Paume website

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11
Apr
18

Vale Polixeni Papapetrou (1960-2018)

April 2018

 

My god, what a loss.

I am very sorry to hear of the passing of Polixeni Papapetrou. Sadness indeed…

Poli was a wonderful spirit and an incredibly gifted artist. Condolences to Robert Nelson and all of the family.

A selection of some of my favourite Papapetrou images are posted below – but really, there are so many memorable images, she leaves behind an indelible and lasting legacy.

From an earlier posting:

 

“What we should do is honour this talented and determined artist for creating so many memorable images over the years, for following her passion and her heart with courage and conviction. For the rest of my life I will always remember the spaces, the ambiguous vistas, the fantastical archetypes, the fables of her work. Images of drag queens and Dreamkeepers, Ghillies and goblins are etched in my memory. I will always remember them. You can’t ask much more from the work of an artist than that.”

 

You can kill the dreamer, but you cannot kill the dream.

Marcus

 

 

Polixeni Papapetrou. 'Drag queen wearing cut out dress' 1993

 

Polixeni Papapetrou (1960-2018)
Drag queen wearing cut out dress
1993
From the series Drag Queens 1988-1999
Gelatin silver photograph
28.5 x 28.5 cm
Courtesy the artist and Nellie Castan Gallery, Melbourne and Stills Gallery, Sydney

 

 

“Art does not reproduce the visible; rather, it makes visible.”

.
Paul Klee. Creative Credo [Schöpferische Konfession] 1920

 

 

Polixeni Papapetrou. 'Three young men paying homage to Elvis on the 13th anniversary of Elvis’ death, Elvis Memorial Melbourne' 1990

 

Polixeni Papapetrou (1960-2018)
Three young men paying homage to Elvis on the 13th anniversary of Elvis’ death, Elvis Memorial Melbourne
1990
From the series Elvis Immortal 1987-2002
Selenium toned gelatin silver photograph
40.7 x 40.7 cm
Courtesy the artist and Nellie Castan Gallery, Melbourne and Stills Gallery, Sydney

 

Polixeni Papapetrou. 'Mr Wrestling' 1992

 

Polixeni Papapetrou (1960-2018)
Mr Wrestling
1992
From the series Wrestlers 1992
Pigment ink print
100 x 100cm

 

Polixeni Papapetrou. 'Indian Brave' 2002

 

Polixeni Papapetrou (1960-2018)
Indian Brave
2002
From the series Phantomwise 2002-03
Pigment ink print
85 x 85 cm
Courtesy the artist and Nellie Castan Gallery, Melbourne and Stills Gallery, Sydney

 

Polixeni Papapetrou. 'Lost' 2005

 

Polixeni Papapetrou (1960-2018)
Lost
2005
From the series Fairy Tales 2004-2014
Type C print
100 x 100 cm
Courtesy the artist, Michael Reid Gallery, Sydney + Berlin and Jarvis Dooney Galerie, Berlin
Reproduced with permission

 

Polixeni Papapetrou. 'In the Wimmera 1864 #1' 2006

 

Polixeni Papapetrou (1960-2018)
In the Wimmera 1864 #1
2006
From the series Haunted country 2006
Pigment ink print
105 x 105cm
Geelong Gallery Collection

 

 

In the Wimmera 1864 #1 from the Haunted country series is amongst the earliest works by the artist to have been staged in the Australian landscape and is one in which she explores the narrative of the ‘lost child’. The work references the story of three children lost in Mallee scrub near their home outside Horsham in the Wimmera District and is reminiscent, as the artist intends, of Frederick McCubbin’s late 19th century paintings of children lost or at least wandering absent-mindedly through the Australia bush. (Text from the Culture Victoria website)

 

Polixeni Papapetrou. 'Hanging Rock 1900 #3' 2006

 

Polixeni Papapetrou (1960-2018)
Hanging Rock 1900 #3
2006
From the series Haunted country 2006
Pigment ink print
105 x 105 cm

 

Polixeni Papapetrou. 'The Provider' 2009

 

Polixeni Papapetrou (1960-2018)
The Provider
2009
From the series Between Worlds 2009-2012
Pigment print
105 x 105cm

 

Polixeni Papapetrou. 'The Mourner' 2012

 

Polixeni Papapetrou (1960-2018)
The Mourner
2012
From the series Between Worlds 2009-2012
Pigment print
105 x 105cm

 

Polixeni Papapetrou. 'The Joy Pedlars' 2011 from 'The Dreamkeepers' 2011

 

Polixeni Papapetrou (1960-2018)
The Joy Pedlars
2011
From the series The Dreamkeepers 2012
Pigment print
105 x 105cm

 

Polixeni Papapetrou. 'The Wanderer No. 3', 2012 from 'The Dreamkeepers'

 

Polixeni Papapetrou (1960-2018)
The Wanderer No. 3
2012
From the series The Dreamkeepers 2012
Pigment print
105 x 105cm

 

Polixeni Papaetrou (1960-2018) 'Ocean Man' 2013

 

Polixeni Papaetrou (1960-2018)
Ocean Man
2013
From the series The Ghillies 2013
120 cm x 120 cm
National Gallery of Victoria, Melbourne
Purchased NGV Foundation, 2013

 

Polixeni Papaetrou. 'Scrub Man' 2012

 

Polixeni Papaetrou (1960-2018)
Scrub Man
2012
From the series The Ghillies 2013
120 cm x 120 cm
National Gallery of Victoria, Melbourne
Purchased NGV Foundation, 2013

 

 

Review of the exhibition Polixeni Papapetrou: Lost Psyche at Stills Gallery, 2014

When “facing” adversity, it is a measure of a person’s character how they hold themselves, what face they show to the world, and how their art represents them in that world. So it is with Polixeni Papapetrou. The courage of this artist, her consistency of vision and insightful commentary on life even while life itself is in the balance, are inspiring to all those that know her.

Papapetrou has always created her own language, integrating the temporal dissemination of the historical “case” into a two-dimensional space of simultaneity and tabulation (the various archetypes and ancient characters), into an outline against a ground of Cartesian coordinates.1 In her construction, in her observation and under her act of surveillance, Papapetrou moves towards a well-made description of the states of the body in the tables and classification of the psychological landscape. Her tableaux (the French tableau signifies painting and scene (as in tableau vivant), but also table (as in a table used to organize data)) are a classification and tabulation that is an exact “portrait” of “the” illness, the lost psyche of the title. Her images lay out, in a very visible way, the double makeover: of the outer and inner landscape.

These narratives are above all self-portraits. The idea that image, archetype and artist might somehow be one and the same is a potent idea in Papapetrou’s work. What is “rendered” visible in her art is her own spirit, for these visionary works are nothing less than concise, intimate, focused self-portraits. They speak through the mask of the commedia dell’ arte of a face half turned to the world, half immersed in imaginary worlds. The double skin (as though human soul, the psyche, is erupting from within, forcing a face-off) and triple skin (evidenced in the lack of depth of field of the landscape tableaux) propose an opening up, a revealing of self in which the anatomy (anatemnein: to tear, to open a body, to dissect) of the living is revealed. The images become an autopsy on the living and the dead: “a series of images, that would crystallize and memorize for everyone the whole time of an inquiry and, beyond that, the time of a history.”2

Papapetrou’s images become the “true retina” of seeing, close to a scientific description of a character placed on a two dimensional background (notice how the stylised clouds in The Antiquarian, 2014 match the fur hat trim). In the sense of evidence, the artist’s archetypes proffer a Type that is balanced on the edge of longing, poetry, desire and death, one that the objectivity of photography seeks to fix and stabilise. These images serve the fantasy of a memory: of a masked archetype in a made over landscape captured “exact and sincere” by the apparatus of the camera. A faithful memory of a tableau in which Type is condensed into a unique image: the visage fixed to the regime of representation,3 the universal become singular. This Type is named through the incorporated Text, the Legend: I am Day Dreamer, Immigrant, Merchant, Poet, Storyteller.

But even as these photographs seek to fix the Type, “even as the object of knowledge is photographically detained for observation, fixed to objectivity,”4 the paradox is that this kind of knowledge slips away from itself, because photography is always an uncertain technique, unstable and chaotic, as ever the psyche. In the cutting-up of bodies, cutting-up on stage, a staging aimed at knowledge – the facticity of the masked, obscured, erupting face; the corporeal surface of the body, landscape, photograph – the image makes visible something of the movements of the soul. In these heterotopic images, sites that relate to more stable sites, “but in such a way as to suspect, neutralize, or invert the set of relations that they happen to designate, mirror or reflect,”5 Papapetrou’s psyche, “creates the chain of tradition which passes a happening on from generation to generation.”6 In her commedia dell’ arte, an improvised comedy of craft, of artisans (a worker in a skilled trade), the artist fashions the raw material of experience in a unique way.7 We, the audience, intuitively recognise the type of person being represented in the story, through their half masks, their clothing and context and through the skilful dissemination of collective memory and experience.

Through her storytelling Papapetrou moves towards a social and spiritual transformation, one that unhinges the lost psyche. Her landscape narratives are a narrative of a recognisable, challenging, unstable non-linear art, an art practice that embraces “the speculative mystery of ancient roles…  They’re all souls with divided emotions, torn between dream and reality, who like us, converge on the collective stage that is the world.” They are archetype as self-portrait: portraits of a searching, erupting, questioning soul, brave and courageous in a time of peril. And the work is for the children (of the world), for without art and family, extinction.

Dr Marcus Bunyan for the Art Blart blog

 

Footnotes

1. Adapted from Didi-Huberman, Georges. Invention of Hysteria: Charcot and the Photographic Iconography of the Salpetriere (trans. Alisa Hartz). Cambridge, Mass.: MIT Press, 2003, p. 24-25. I am indebted to the ideas of Georges Didi-Huberman for his analysis of the ‘facies’ and the experiments of Jean-Martin Charcot on hysteria at the Hôpital Salpêtrière in Paris in the 1880s.
2. 
Ibid., p. 48
3. Ibid., p. 49
4. Ibid., p. 59
5. Foucault, Michel. “Of Other Spaces,” in Diacritics Spring 1986, p. 24 quoted in Fisher, Jean. “Witness for the Prosecution: The Writings of Coco Fusco,” in Fusco, Coco. The Bodies That Were Not Ours. London: Routledge, 2001, pp. 226-227
6. Fisher, Ibid., p. 227-228
7. “One can go on and ask oneself whether the relationship of the storyteller to his material, human life, is not in itself a craftsman’s relationship, whether it is not his very task to fashion the raw material of experience, his own and that of others, in a solid, useful, and unique way.”
Benjamin
, Walter. Illuminations (trans. by Harry Zohn; edited by Hannah Arendt). New York: Schocken Books, 1968 (2007), p. 108

 

Polixeni Papapetrou. 'The Immigrant' 2014

 

Polixeni Papapetrou (1960-2018)
The Immigrant
2014
From the series Lost Psyche 2014
Pigment print
100 x 150 cm

 

Polixeni Papapetrou. 'The Storyteller' 2014

 

Polixeni Papapetrou (1960-2018)
The Storyteller
2014
From the series Lost Psyche 2014
Pigment print
100 x 150 cm

 

 

Polixeni Papapetrou website

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Dr Marcus Bunyan

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

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