Archive for the 'colour photography' Category

25
Nov
16

Exhibitions: ‘Beyond Eden: Polixeni Papapetrou / Dutch masters of light: Hendrik Kerstens & Erwin Olaf / Glamour stakes: Martin Parr at Monash Gallery of Art, Melbourne

Exhibition dates: 22nd October 2016 – 4th December 2016

 

There was hardly standing room at the opening of Beyond Eden: Polixeni Papapetrou at Monash Gallery of Art, Melbourne. As for car parking, I had to park the car on the grass out the back of the gallery it was so full. Inside, it was great to see Poli and the appreciative crowd really enjoyed her work.

It was the usual fair from the exhibition Glamour stakes: Martin Parr, a whirl of movement, colour, intensity – in the frenetic construction of the picture plane; in the feverish nature of encounter between camera and subject – and obnoxious detail in photographs from the series Luxury (2003 – 2009). Low depth of field, flash photography, fabulous hats, and vibrant colours feature in images that ‘document leisure and consumption and highlight the unintentional, awkward and often ugly sides of beauty, fashion and wealth’. Sadly, after a time it all becomes a bit too predictable and repetitive.

The pick of the bunch in the exhibition Dutch masters of light: Hendrik Kerstens & Erwin Olaf was the work of Hendrik Kerstens. Simple, elegant portrait compositions that feature, and subvert, the aesthetics of 17th-century Dutch master paintings. I love the humour and disruption in the a/historical account, “the différance [which] simultaneously contains within its neo-graphism the activities of differing and deferring, a distancing acted out temporally as well as spatially.” (Geoffrey Batchen)

Marcus

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

 

 

Installation view of 'Beyond Eden: Polixeni Papapetrou' at Monash Gallery of Art, Melbourne

Installation view of 'Beyond Eden: Polixeni Papapetrou' at Monash Gallery of Art, Melbourne

 

Installation view of Beyond Eden: Polixeni Papapetrou at Monash Gallery of Art, Melbourne, featuring three images from the series It’s all about me (2016)
© Marcus Bunyan, the artist and the Monash Gallery of Art

 

Polixeni Papapetrou (born Australia 1960) 'It's all about me' (installation view) 2016

 

Polixeni Papapetrou (born Australia 1960)
It’s all about me (installation view)
2016
From the series It’s all about me
Pigment ink-jet print
Collection of the artist
© Marcus Bunyan, the artist and the Monash Gallery of Art

 

Polixeni Papapetrou (born Australia 1960) 'Ask me again when I'm drunk' (installation view) 2016

 

Polixeni Papapetrou (born Australia 1960)
Ask me again when I’m drunk (installation view)
2016
From the series It’s all about me
Pigment ink-jet print
Collection of the artist
© Marcus Bunyan, the artist and the Monash Gallery of Art

 

 

It’s all about me comprises five photographs of the artist’s daughter wearing doll-like masks and sporting a series of T-shirts bearing sassy slogans. As in much of Papapetrou’s work, the aesthetic of role-playing is used to suggest an awkward relationship between social appearances and an authentic self. These works specifically explore the complex world that contemporary teenage live in and the way identities are created and manipulated through fashion, social media and the internet. In this respect, the gauche quality of the photographs reflects the awkward self-importance of teenagers reaching for adulthood.

 

Installation view of 'Beyond Eden: Polixeni Papapetrou' at Monash Gallery of Art, Melbourne

Installation view of 'Beyond Eden: Polixeni Papapetrou' at Monash Gallery of Art, Melbourne

Installation view of 'Beyond Eden: Polixeni Papapetrou' at Monash Gallery of Art, Melbourne

Installation view of 'Beyond Eden: Polixeni Papapetrou' at Monash Gallery of Art, Melbourne

Installation view of 'Beyond Eden: Polixeni Papapetrou' at Monash Gallery of Art, Melbourne

Installation view of 'Beyond Eden: Polixeni Papapetrou' at Monash Gallery of Art, Melbourne

 

Installation views of Beyond Eden: Polixeni Papapetrou at Monash Gallery of Art, Melbourne, featuring photographs from the series Eden (2016) © Marcus Bunyan, the artist and the Monash Gallery of Art

 

Installation view of 'Beyond Eden: Polixeni Papapetrou' at Monash Gallery of Art, Melbourne

 

Polixeni Papapetrou (seated) surrounded by friends, family and well wishers at the opening of her exhibition Beyond Eden: Polixeni Papapetrou at Monash Gallery of Art, Melbourne © Marcus Bunyan, the artist and the Monash Gallery of Art

 

Polixeni Papapetrou. 'Flora' 2016

 

Polixeni Papapetrou (born Australia 1960)
Flora
2016
From the series Eden
Pigment print
127.3 x 85 cm
Courtesy of the artist and STILLS Gallery, Sydney

 

 

In Roman mythology, Flora (Latin: Flōra) was a Sabine-derived goddess of flowers and of the season of spring – a symbol for nature and flowers (especially the may-flower). While she was otherwise a relatively minor figure in Roman mythology, being one among several fertility goddesses, her association with the spring gave her particular importance at the coming of springtime, as did her role as goddess of youth. Her name is derived from the Latin word “flos” which means “flower”. In modern English, “Flora” also means the plants of a particular region or period.

 

Polixeni Papapetrou. 'Blinded' from 'Eden', 2016

 

Polixeni Papapetrou (born Australia 1960)
Blinded
2016
From the series Eden
Pigment print
127.3 x 85 cm
Courtesy of the artist and STILLS Gallery, Sydney

 

Polixeni Papapetrou. 'Eden' 2016

 

Polixeni Papapetrou (born Australia 1960)
Eden
2016
From the series Eden
Pigment print
127.3 x 85 cm
Courtesy of the artist and STILLS Gallery, Sydney

 

 

Beyond Eden: Polixeni Papapetrou

Polixeni Papapetrou is a Melbourne-based photographic artist. She first began taking photographs in the 1980s, creating documentary-style portraits of drag queens, body builders and Elvis fans. Soon after the birth of her first child, Papapetrou’s artistic practice began to focus on projects that employed her children, Olympia and Solomon, as models. She is now known nationally and internationally for her staged images that show her children dressed in costumes and masks while performing in front of real and imaginary backgrounds.

This exhibition brings together three recent bodies of work by Papapetrou: Lost psyche (2014), It’s all about me (2016) and Eden (2016). Each of these studio-based series explores themes that have been central to Papapetrou’s practice for the past 30 years. In particular, they highlight her long-term interest in social identity being elaborated through the processes of role-playing and performance.

It is important to note that Papapetrou composes her photographs using a range of historical and contemporary references, thereby embedding these staged performances in a network of competing forces. As a result, there is often a purposefully awkward style to the images, which suggests that identity is continually being inherited, negotiated and perpetuated through the history of representation.

As with much of Papapetrou’s work, the series included in this exhibition either partly or wholly feature the artist’s children, who are now in their late teenage years. By photographing her children and at the same time concealing their identities, Papapetrou is able to create portraits that are grounded in her personal experience of parenting but reflect on more universal themes of childhood innocence and the transience of life.

Text from the Monash Gallery of Art website

 

Installation view of 'Dutch masters of light: Hendrik Kerstens & Erwin Olaf' at Monash Gallery of Art, Melbourne

 

Installation view of Dutch masters of light: Hendrik Kerstens and Erwin Olaf at Monash Gallery of Art, Melbourne, featuring photographs Irwin Olaf’s Keyhole series © Marcus Bunyan, the artist and the Monash Gallery of Art

 

Installation view of 'Dutch masters of light: Hendrik Kerstens & Erwin Olaf' at Monash Gallery of Art, Melbourne

 

Installation view of Dutch masters of light: Hendrik Kerstens and Erwin Olaf at Monash Gallery of Art, Melbourne featuring at left, Irwin Olaf’s Keyhole 7 (2012) and Keyhole 12 (2012) at right © Marcus Bunyan, the artist and the Monash Gallery of Art

 

Erwin OLAF 'Keyhole 3' 2011

 

Erwin Olaf
Keyhole 3
2011
From the series Keyhole
Chromogenic print
62.5 x 50.0 cm
Courtesy of the artist

 

Installation view of 'Dutch masters of light: Hendrik Kerstens & Erwin Olaf' at Monash Gallery of Art, Melbourne

 

Installation view of Dutch masters of light: Hendrik Kerstens and Erwin Olaf at Monash Gallery of Art, Melbourne featuring the work of Hendrik Kerstens © Marcus Bunyan, the artist and the Monash Gallery of Art

 

Hendrik KERSTENS 'Bathing cap' 1992

 

Hendrik Kerstens (born The Netherlands 1956)
Bathing cap
1992
Ink-jet print 62.5 x 50.0 cm
Courtesy of the artist

 

Installation view of 'Dutch masters of light: Hendrik Kerstens & Erwin Olaf' at Monash Gallery of Art, Melbourne

 

Installation view of Dutch masters of light: Hendrik Kerstens and Erwin Olaf at Monash Gallery of Art, Melbourne featuring the work of Hendrik Kerstens with at left, Re rabbit IV (2009) and in centre, Doilly (2011) © Marcus Bunyan, the artist and the Monash Gallery of Art

 

Installation view of 'Dutch masters of light: Hendrik Kerstens & Erwin Olaf' at Monash Gallery of Art, Melbourne

 

Installation view of Dutch masters of light: Hendrik Kerstens and Erwin Olaf at Monash Gallery of Art, Melbourne featuring the work of Hendrik Kerstens with at left, Bag (2007) and Paper roll (2008) at right © Marcus Bunyan, the artist and the Monash Gallery of Art

 

Installation view of 'Dutch masters of light: Hendrik Kerstens & Erwin Olaf' at Monash Gallery of Art, Melbourne

 

Installation view of Dutch masters of light: Hendrik Kerstens and Erwin Olaf at Monash Gallery of Art, Melbourne featuring the work of Hendrik Kerstens with at left, Naturel (1999) and Wet (2002) at right © Marcus Bunyan, the artist and the Monash Gallery of Art

 

Hendrik Kerstens (born The Netherlands 1956) 'Re rabbit IV' (installation view) 2009

 

Hendrik Kerstens (born The Netherlands 1956)
Re rabbit IV (installation view)
2009
Ink-jet print
62.5 x 50.0 cm
Collection of the artist
© Marcus Bunyan, the artist and the Monash Gallery of Art

 

Hendrik Kerstens (born The Netherlands 1956) 'Bag' 2007

 

Hendrik Kerstens (born The Netherlands 1956)
Bag
2007
Ink-jet print
62.5 x 50.0 cm
Collection of the artist

 

Hendrik Kerstens (born The Netherlands 1956) 'Cosy' 2012

 

Hendrik Kerstens (born The Netherlands 1956)
Cosy
2012
Ink-jet print
62.5 x 50.0 cm
Collection of the artist

 

 

Dutch masters of light: Hendrik Kerstens and Erwin Olaf

This exhibition features work by the internationally acclaimed Dutch photographers, Hendrik Kerstens and Erwin Olaf. These photographers both create images that reflect an interest in paintings by Dutch Masters such as Rembrandt (1606-1669) and Vermeer (1632-1675). This is particularly evident in their manipulation of light and shade and also in their poetic use of everyday subject matter. Drawing on aesthetics of the past while also incorporating aspects of the present, these photographers create emotionally charged portraits that draw attention to the liminal nature of contemporary life.

Hendrik Kerstens took up photography in 1995 and has since been creating portraits of his daughter, Paula. His photographs began as documents and reflections on the fleeting nature of childhood. He later introduced the aesthetics of 17th-century Dutch master paintings to his portraits, creating a dialogue between painting and photography and between the past and the present.

Erwin Olaf is a multidisciplinary artist who is best known for his highly polished staged photographs that draw on his experiences of everyday life. His refined style and meticulous technique relate his background as a commercial photographer; and his use of light is inspired by painting. The subjects of his Keyhole series turn their gaze away from the camera in a way that evokes feelings of shame and humility.

Dutch masters of light: Hendrik Kerstens and Erwin Olaf is part of a series of events that mark the 400th anniversary of the first Dutch contact with Western Australia. On 25 October 1616, Dirk Hartog made landfall with his ship the Eendracht at Dirk Hartog Island, in the Shark Bay area.

Text from the Monash Gallery of Art website

 

Installation view of 'Glamour stakes: Martin Parr' at Monash Gallery of Art, Melbourne

 

Martin Parr (born United Kingdom 1952)
Australia, Melbourne (installation view)
2006
From the series Luxury
Pigment ink-jet print
50.8 x 76.2 cm
© Marcus Bunyan, the artist and the Monash Gallery of Art

 

Installation view of 'Glamour stakes: Martin Parr' at Monash Gallery of Art, Melbourne

 

Martin Parr (born United Kingdom 1952)
Australia, Melbourne
2008
From the series Luxury
Pigment ink-jet print
50.8 x 76.2 cm
Courtesy of the artist and Niagara Galleries (Melbourne)

 

Installation view of 'Glamour stakes: Martin Parr' at Monash Gallery of Art, Melbourne

 

Installation view of Glamour stakes: Martin Parr at Monash Gallery of Art, Melbourne with work from the series Luxury © the artist and the Monash Gallery of Art

 

Installation view of 'Glamour stakes: Martin Parr' at Monash Gallery of Art, Melbourne

Installation view of 'Glamour stakes: Martin Parr' at Monash Gallery of Art, Melbourne

Installation view of 'Glamour stakes: Martin Parr' at Monash Gallery of Art, Melbourne

Installation view of 'Glamour stakes: Martin Parr' at Monash Gallery of Art, Melbourne

 

Installation views of Glamour stakes: Martin Parr at Monash Gallery of Art, Melbourne with work from the series Luxury: Australia, Melbourne 2008 © the artist and the Monash Gallery of Art

 

 

Glamour stakes: Martin Parr

Martin Parr was born in Surrey in the United Kingdom in 1952. He studied photography at Manchester Polytechnic from 1970-73 and held his first exhibition the following year. He has since developed an international reputation as a photographer, filmmaker and curator and has been a full member of Magnum Photos since 1994.

Parr is known for his satirical social documentary photography. Focusing on particular aspects of contemporary consumer culture, he produces images that are a combination of the mundane and the bizarre. He uses the language of commercial photography, creating an aesthetic that is bright, colourful and seductive. However, his images often inspire viewers to cringe or laugh.

Glamour stakes: Martin Parr shows a selection of works from Parr’s Luxury series. This series is comprised of images taken predominantly between 2003 and 2009 in multiple destinations around the world. While creating Luxury, Parr photographed what he describes as ‘situations where people are comfortable showing off their wealth’, such as art fairs, car shows and horse races. The series is indicative of Parr’s practice in that the images document leisure and consumption and highlight the unintentional, awkward and often ugly sides of beauty, fashion and wealth.

The images in this series are not only documents but also critical and humorous reflections on contemporary society. By turning his camera to the world of luxury, Parr invites viewers to consider the sustainability of a culture that constantly demands the latest styles in fashion and the newest luxury items. This exhibition focuses specifically on Parr’s images of horse-racing events, particularly those taken in Melbourne in 2008.

Text from the Monash Gallery of Art website

 

Installation view of 'Glamour stakes: Martin Parr' at Monash Gallery of Art, Melbourne

 

Martin Parr (born United Kingdom 1952)
Australia, Melbourne
2008
From the series Luxury
Pigment ink-jet print
50.8 x 76.2 cm
Courtesy of the artist and Niagara Galleries (Melbourne)

 

Installation view of 'Glamour stakes: Martin Parr' at Monash Gallery of Art, Melbourne

 

Martin Parr (born United Kingdom 1952)
Australia, Melbourne
2008
From the series Luxury
Pigment ink-jet print
50.8 x 76.2 cm
Courtesy of the artist and Niagara Galleries (Melbourne)

 

Installation view of 'Glamour stakes: Martin Parr' at Monash Gallery of Art, Melbourne

 

Martin Parr (born United Kingdom 1952)
Australia, Melbourne
2008
From the series Luxury
Pigment ink-jet print
50.8 x 76.2 cm
Courtesy of the artist and Niagara Galleries (Melbourne)

 

Installation view of 'Glamour stakes: Martin Parr' at Monash Gallery of Art, Melbourne

 

Martin Parr (born United Kingdom 1952)
Australia, Melbourne
2008
From the series Luxury
Pigment ink-jet print
50.8 x 76.2 cm
Courtesy of the artist and Niagara Galleries (Melbourne)

 

Installation view of 'Glamour stakes: Martin Parr' at Monash Gallery of Art, Melbourne

 

Martin Parr (born United Kingdom 1952)
Australia, Melbourne
2008
From the series Luxury
Pigment ink-jet print
50.8 x 76.2 cm
Courtesy of the artist and Niagara Galleries (Melbourne)

 

Installation view of 'Glamour stakes: Martin Parr' at Monash Gallery of Art, Melbourne

Installation view of 'Glamour stakes: Martin Parr' at Monash Gallery of Art, Melbourne

 

Installation views of Glamour stakes: Martin Parr at Monash Gallery of Art, Melbourne with work from the series Luxury: at right, South Africa, Durban 2003 © the artist and the Monash Gallery of Art

 

Installation view of 'Glamour stakes: Martin Parr' at Monash Gallery of Art, Melbourne

 

Martin Parr (born United Kingdom 1952)
South Africa, Durban
2005
From the series Luxury
Pigment ink-jet print
101.6 x 152.4 cm
Courtesy of the artist and Niagara Galleries (Melbourne)

 

Installation view of 'Glamour stakes: Martin Parr' at Monash Gallery of Art, Melbourne

 

Martin Parr (born United Kingdom 1952)
England, Ascot
2003
From the series Luxury
Pigment ink-jet print
101.6 x 152.4 cm
Courtesy of the artist and Niagara Galleries (Melbourne)

 

 

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28
Oct
16

Exhibition: ‘Georgia O’Keeffe’ at Tate Modern, London

Exhibition dates: 6th July – 30th October 2016

Curators: Tanya Barson, Curator, Tate Modern with Hannah Johnston, Assistant Curator, Tate Modern.

 

 

A beautiful world

I won’t say much about the work of Georgia O’Keeffe here. This is because I want to review the exhibition O’Keeffe, Preston, Cossington Smith: Making Modernism at Heide Museum of Modern Art that I went to see last weekend, in an upcoming posting.

Briefly I can comment on the influence of photography, calligraphy and Japanese printmaking on her artistic practice. With their flattened perspective, manipulation of scale, and forms shaped by light, her paintings are a synthesis, a synesthesia of interior and exterior e/motions linked to music and the modern. As Louisa Buck notes, “Texture and painterly qualities were not what was important in the depiction of her smoothed, abstracted forms… Tellingly, she once declared that “art must be a unity of expression so complete that the medium becomes unimportant.””

Important in that unity of expression is the flow of energy in time and space. Throughout a career that spanned many years O’Keeffe never lost that bravura rendition of energy that was present in her early watercolours. The concerns that were present in the first work, developed throughout her career, were still present at the very end in different form. O’Keeffe wasn’t obsessed with the power of the image but rather with insight into the condition of the image, and how it resolved and portrayed the world in its many forms. Texture was not necessary to this clear seeing… of beauty in the intricacy of nature, of Black Place/White Space, and of the faraway – “that memory or dream thing”. Far Away.

Marcus

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Please click on the artwork for a larger version of the image.

 

 

“When I started painting the pelvis bones I was most interested in the holes in the bones – what I saw through them – particularly the blue from holding them up against the sky… They were the most beautiful thing against the Blue – that Blue that will always be there as it is now after all man’s destruction is finished.”

“Whether you succeed or not is irrelevant, there is no such thing. Making your unknown known is the important thing – and keeping the unknown always beyond you.”

“Someone else’s vision will never be as good as your own vision of yourself. Live and die with it ’cause in the end it’s all you have. Lose it and you lose yourself and everything else. I should have listened to myself.”

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Georgia O’Keeffe

 

 

“The radical cropping, and the use of fore- and background, but less so of a middle-ground, is clearly influenced by photography – in particular the work of her friend Paul Strand (1890-1976) – but it is disingenuous to suggest that her painting is just like photography, or that photography captures the scenery better (as has been said about some of the works in this exhibition) – since her painterly quality, despite the flatness of the surface, creates a vast sense of space in the composition, reflecting the monumentality of the landscape and a true sense of the expansive horizon. Her landscapes pulsate and, unlike photography, which captures one decisive moment, they are living and breathing. The colours she chooses reflect the atmosphere of the place – particularly the heat of the New Mexico desert – and it is this affinity to a place, this experience of a landscape, that O’Keeffe paints best…

Is it therefore correct that the first major exhibition of O’Keeffe’s work in the UK in 20 years – marking the centenary of her 1916 debut exhibition at 291 – should portray her as half of a co-dependent artistic duo? Of the 221 works in the show, from 71 lenders, only 115 are major O’Keeffes. The rest comprise works by Stieglitz, Strand, Ansel Adams (1902-84), and others – all men – from the sphere in which she was working. What male artist of this calibre would have nearly half the items in his major retrospective made up of works by women who had been working around him? …

Her initial representational painting would be done from life, out in the open air, then she would take the canvas home to her studio and work over it so that it took on an emotional resonance – something she described as: “that memory or dream thing I do that for me comes nearer reality than my objective kind of work”. She painted on canvas with a very fine weave and coated it with a special primer to make the surface extremely smooth, blending one colour into the next, making sure that the brushstrokes were invisible. Her colours remain rich and bright to this day – O’Keeffe was a painter who knew what she was doing on every level.”

Anna McNay, “Georgia O’Keeffe,” on the Studio International website 15 August 2016

 

Alfred Stieglitz (1864-1946) 'Untitled [O'Keeffe with sketchpad and watercolors]' 1918

 

Alfred Stieglitz (1864-1946)
Untitled [O’Keeffe with sketchpad and watercolors]
1918
Silver gelatin print

 

Georgia O'Keeffe (1887-1986) 'Sunrise' 1916

 

Georgia O’Keeffe (1887-1986)
Sunrise
1916
Watercolour on paper
22.5 x 30.2 cm
© Georgia O’Keeffe Museum/DACS 2016
Courtesy Barney Ebsworth collection

 

 

“The Texas country that I know is the plains. It was land like the ocean all the way around. Hardly anybody liked it, but I loved it. The wind blew too hard, the dust flew, and we had heavy dust storms. I’ve come in many times when I’d be the colour of the road. At night you could drive away from the town, right out into space. You didn’t have to drive on the road, and when the sunset was gone, you turned around and went back, lighted by the light of the town.”

Georgia O’Keeffe in the film Georgia O’Keeffe, produced and directed by Perry Miller Adato; a WNET/THIRTEEN production for Women in Art, 1977. Portrait of an Artist, no.1; series distributed by Films, Inc./Home Vision, New York.

 

Georgia O'Keeffe (1887-1986) 'No. 12 Special' 1916

 

Georgia O’Keeffe (1887-1986)
No. 12 Special
1916
Charcoal on paper, 61 x 48.3 cm
© Georgia O’Keeffe Museum/DACS 2016
Photo © 2015 Digital image, The Museum of Modern Art, New York/Scala, Florence

 

 

“I was busy in the daytime and I made most of these drawings at night. I sat on the floor and worked against the closet door. Eyes can see shapes. It’s as if my mind creates shapes that I don’t know about. I get this shape in my head and sometimes I know what it comes from and sometimes I don’t. And I think with myself that there are a few shapes that I have repeated a number of times during my life and I haven’t known I was repeating them until after I had done it.”

Georgia O’Keeffe in the film Georgia O’Keeffe, produced and directed by Perry Miller Adato; a WNET/THIRTEEN production for Women in Art, 1977. Portrait of an Artist, no.1; series distributed by Films, Inc./Home Vision, New York.

 

Georgia O'Keeffe. 'Untitled (Abstraction/Portrait of Paul Strand)' 1917

 

Georgia O’Keeffe (1887-1986)
Untitled (Abstraction/Portrait of Paul Strand)
1917
Watercolour on paper

 

Georgia O'Keeffe (1887-1986) 'Blue I' 1916

 

Georgia O’Keeffe (1887-1986)
Blue I
1916
Watercolour on paper
78.4 x 56.5 cm
© Georgia O’Keeffe Museum/DACS 2016
Photo © 2007 Christie’s Images Limited

 

Georgia O'Keeffe (1887-1986) 'Music - Pink and Blue No 1' 1918

 

Georgia O’Keeffe (1887-1986)
Music – Pink and Blue No 1
1918
Oil on canvas
88.9 x 73.7 cm
Collection of Barney A. Ebsworth. Partial and Promised gift to Seattle Art Museum
© Georgia O’Keeffe Museum/DACS 2016

 

Georgia O'Keeffe (1887-1986) 'Blue and Green Music' 1921

 

Georgia O’Keeffe (1887-1986)
Blue and Green Music
1921
Oil on canvas
58.4 x 48.3 cm
Alfred Stieglitz Collection, gift of Georgia O’Keeffe
The Art Institute of Chicago © The Art Institute of Chicago

 

O’Keeffe was inspired by the European modernist movement and Kandinsky’s theories on how visual art can or should be pure patterns of form, colour and line as opposed to representing the material world. Blue and Green Music incorporates these ideas with O’Keeffe’s love of landscapes and the natural world.

 

Georgia O'Keeffe (1887-1986) 'From the Lake No. 1' 1924

 

Georgia O’Keeffe (1887-1986)
From the Lake No. 1
1924
Oil on canvas
91.4 x 76.2 cm
Purchased with funds from the Coffin Fine Arts Trust; Nathan Emory Coffin Collection of the Des Moines Art Center
© 2016 Georgia O’Keeffe Museum/ DACS, London

 

Throughout her early work, O’Keeffe was influenced by the European modernist movement and how visual art could be pure patterns of form, colour and line as opposed to representing the material world. From the Lake No.1 clearly demonstrates these ideas, coupled with her enthusiasm for nature and her fascination with bodies of water.

 

Georgia O'Keeffe (1887-1986) 'Autumn Trees - The Maple' 1924

 

Georgia O’Keeffe (1887-1986)
Autumn Trees – The Maple
1924
Oil on canvas
91.4 x 76.2 cm
Georgia O’Keeffe Museum, Gift of The Burnett Foundation and Gerald and Kathleen Peters
© 2016 Georgia O’Keeffe Museum/ DACS, London

 

O’Keeffe made many paintings during her regular trips to Lake George, New York, especially of the vibrant colours of the leaves and trees during autumn. Throughout her life she was deeply inspired by nature and was famous for painting natural objects such as flowers, shells and landscapes from areas she lived in throughout her life, or made painting trips to.

 

 

“Tate Modern presents the largest retrospective of modernist painter Georgia O’Keeffe (1887-1986) ever to be shown outside of America. Marking a century since O’Keeffe’s debut in New York in 1916, it is the first UK exhibition of her work for over twenty years. This ambitious and wide-ranging survey reassesses the artist’s place in the canon of twentieth-century art and reveals her profound importance. With no works by O’Keeffe in UK public collections, the exhibition is a once-in-a-generation opportunity for European audiences to view her oeuvre in such depth.

Widely recognised as a founding figure of American modernism, O’Keeffe gained a central position in leading art circles between the 1910s and the 1970s. She was also claimed as an important pioneer by feminist artists of the 1970s. Spanning the six decades in which O’Keeffe was at her most productive and featuring over 100 major works, the exhibition charts the progression of her practice from her early abstract experiments to her late works, aiming to dispel the clichés that persist about the artist and her painting.

Opening with the moment of her first showings at ‘291’ gallery in New York in 1916 and 1917, the exhibition features O’Keeffe’s earliest mature works made while she was working as a teacher in Virginia and Texas. Charcoals such as Special No.9 1915 and Early No. 2 1915 are shown alongside a select group of highly coloured watercolours and oils, such as Sunrise 1916 and Blue and Green Music 1919. These works investigate the relationship of form to landscape, music, colour and composition, and reveal O’Keeffe’s developing understanding of synaesthesia.

A room in the exhibition considers O’Keeffe’s professional and personal relationship with Alfred Stieglitz (1864-1946); photographer, modern art promoter and the artist’s husband. While Stieglitz increased O’Keeffe’s access to the most current developments in avant-garde art, she employed these influences and opportunities to her own objectives. Her keen intellect and resolute character created a fruitful relationship that was, though sometimes conflictive, one of reciprocal influence and exchange. A selection of photography by Stieglitz is shown, including portraits and nudes of O’Keeffe as well as key figures from the avant-garde circle of the time, such as Marsden Hartley (1877-1943) and John Marin (1870-1953).

Still life formed an important investigation within O’Keeffe’s work, most notably her representations and abstractions of flowers. The exhibition explores how these works reflect the influence she took from modernist photography, such as the play with distortion in Calla Lily in Tall Glass – No. 2 1923 and close cropping in Oriental Poppies 1927. A highlight is Jimson Weed/White Flower No. 1 1932, one of O’Keeffe’s most iconic flower paintings.

O’Keeffe’s most persistent source of inspiration however was nature and the landscape; she painted both figurative works and abstractions drawn from landscape subjects. Black Mesa Landscape, New Mexico / Out of Black Marie’s II 1930 and Red and Yellow Cliffs 1940 chart O’Keeffe’s progressive immersion in New Mexico’s distinctive geography, while works such as Taos Pueblo 1929/34 indicate her complex response to the area and its layered cultures. Stylised paintings of the location she called the ‘Black Place’ are at the heart of the exhibition.

Georgia O’Keeffe is curated by Tanya Barson, Curator, Tate Modern with Hannah Johnston, Assistant Curator, Tate Modern. The exhibition is organised by Tate Modern in collaboration with Bank Austria Kunstforum, Vienna and the Art Gallery of Ontario, Toronto. It is accompanied by a catalogue from Tate Publishing and a programme of talks and events in the gallery.”

Press release from Tate Modern

 

Georgia O'Keeffe (1887-1986) 'New York Street with Moon' 1925

 

Georgia O’Keeffe (1887-1986)
New York Street with Moon
1925
Museo Thyssen-Bornemisza (Madrid, Spain)
© 2016 Georgia O’Keeffe Museum/DACS, London

 

Georgia O'Keeffe (1887-1986) 'Radiator Building - Night, New York' 1927

 

Georgia O’Keeffe (1887-1986)
Radiator Building – Night, New York
1927
Oil on canvas
121.9 x 76.2 cm
Alfred Stieglitz Collection, Co-owned by Fisk University, Nashville, Tennessee, and Crystal Bridges Museum of American Art, Bentonville, Arkansas
© 2016 Georgia O’Keeffe Museum/ DACS, London Photo: by Edward C. Robison III

 

While living in New York in the 1920s and 1930s O’Keefe made many paintings of the city inspired by the architecture and lifestyle. In Radiator Building – Night, New York O’Keeffe displays her keen eye for composition and uses colour sparingly, but expertly, to convey the atmosphere of the city at night.

 

Georgia O'Keeffe (1887-1986)'East River from the 30th Story of the Shelton Hotel' 1928

 

Georgia O’Keeffe (1887-1986)
East River from the 30th Story of the Shelton Hotel
1928
Oil on canvas
76.2 x 122.2 cm
Courtesy of the New Britain Museum of American Art Stephen B. Lawrence Fund
© 2016 Georgia O’Keeffe Museum/ DACS, London

 

O’Keeffe lived in New York during the 1920s and 30s and made many paintings of the city despite being told to ‘leave New York to the men’. She lived in The Shelton Hotel in Manhattan, for 11 years and this piece is a beautiful example of the studies she created of the city from above in her 30th floor apartment.

 

Georgia O'Keeffe (1887-1986) 'Lake George' 1922

 

Georgia O’Keeffe (1887-1986)
Lake George
1922
Oil on canvas
16 1/4 in. x 22 in
Collection SFMOMA
Gift of Charlotte Mack

 

Georgia O'Keeffe (1887-1986) 'Grey Lines with Black, Blue and Yellow' c. 1923

 

Georgia O’Keeffe (1887-1986)
Grey Lines with Black, Blue and Yellow
c. 1923
Oil on canvas
Museum of Fine Arts, Houston (Houston, USA)
© 2016 Georgia O’Keeffe Museum/DACS, London

 

Georgia O'Keeffe (1887-1986) 'Red Canna' 1924

 

Georgia O’Keeffe (1887-1986)
Red Canna
1924
Oil on canvas
© 2016 Georgia O’Keeffe Museum/DACS, London

 

Georgia O'Keeffe (1887-1986) 'Black Iris' 1926

 

Georgia O’Keeffe (1887-1986)
Black Iris
1926
Oil on canvas
91.4 x 75.9 cm
The Metropolitan Museum of Art, New York. Alfred Stieglitz Collection, 1969
Photo: Malcom Varon ? 2015
Image copyright The Metropolitan Museum of Art/ Art Resource/ Scala, Florence

 

O’Keeffe’s large close-up paintings of flowers were intended to ‘make even busy New Yorkers take time to see what I see of flowers’ who often didn’t take the time to engage with nature as she did. This detail of a black iris uses a subtle colour pallet to explore the intricacies of the flower petals and their contrasting tones.

 

Georgia O'Keeffe (1887-1986) 'Dark Iris No. 1' 1927

 

Georgia O’Keeffe (1887-1986)
Dark Iris No. 1
1927
Oil on canvas
© 2016 Georgia O’Keeffe Museum/DACS, London

 

Georgia O'Keeffe (1887-1986) 'Abstraction White Rose' 1927

 

Georgia O’Keeffe (1887-1986)
Abstraction White Rose
1927
Georgia O’Keeffe Museum (Santa Fe, USA)
© 2016 Georgia O’Keeffe Museum/DACS, London

 

Georgia O'Keeffe (1887-1986) 'Abstraction Blue' 1927

 

Georgia O’Keeffe (1887-1986)
Abstraction Blue
1927
Oil on canvas
102.1 x 76 cm
The Museum of Modern Art, New York. Acquired through the Helen Acheson Bequest, 1979 ?
2015 Digital image, The Museum of Modern Art, New York / Scala, Florence

 

O’Keeffe experimented with abstraction in her early work, saying ‘it is only by selection, by elimination, by emphasis, that we get at the real meaning of things’. Her love of nature is evident in Abstraction Blue, which hints at flower petals, clouds, the sky and the streams, rivers and seashores she enjoyed making studies of.

 

Georgia O'Keeffe (1887-1986) 'Shell No. 2' 1928

 

Georgia O’Keeffe (1887-1986)
Shell No. 2
1928
Oil on board
23.5 x 18.4 cm
Georgia O’Keeffe Museum, Gift of The Burnett Foundation, 1997
© 2016 Georgia O’Keeffe Museum/ DACS, London

 

O’Keeffe was fascinated with nature, and collected natural objects such as flowers, bones, shells and leaves to use as subjects in her paintings. Shell No.2 is unusual in the way O’Keeffe has arranged a collection of objects related to the sea, as her paintings typically show objects in isolation to their natural environment.

 

Georgia O'Keeffe (1887-1986) 'Two Calla Lilies on Pink' 1928

 

Georgia O’Keeffe (1887-1986)
Two Calla Lilies on Pink
1928
Oil on canvas
101.6 x 76.2 cm

Philadelphia Museum of Art; Bequest of Georgia O’Keeffe for the Alfred Stieglitz Collection, 1987
© Philadelphia Museum of Art

 

O’Keeffe was constantly inspired by nature and hoped that her paintings of enlarged flowers would draw the attention of busy New Yorkers and encourage them to appreciate the beauty in intricacy of nature that might otherwise pass them by. This piece depicts a close up of two lilies, a regularly repeated subject that earned O’Keeffe the nickname ‘The Lady of the Lily’, first coined by caricaturist Miguel Covarrubias in the New Yorker.

 

Georgia O'Keeffe (1887-1986) 'Grey, Blue & Black - Pink Circle' 1929

 

Georgia O’Keeffe (1887-1986)
Grey, Blue & Black – Pink Circle
1929
Oil on canvas
91.4 x 122 cm
Dallas Museum of Art, gift of The Georgia O’Keeffe Foundation

 

Originally painted in 1929, Grey Blue & Black – Pink Circle demonstrates O’Keeffe’s interest in the European modernist movement that concentrated on the idea that visual art could or should be purely patterns of form, colour and line. Using vivid colour palettes inspired by nature, she often abstracted natural objects such as flowers, trees and shells.

 

Georgia O'Keeffe (1887-1986) 'White Iris' 1930

 

Georgia O’Keeffe (1887-1986)
White Iris
1930
Oil on canvas
40 x 30 in.
Virginia Museum of Fine Arts
Gift of Mr. and Mrs. Bruce C. Gottwald
© 2016 Georgia O’Keeffe Museum/DACS, London

 

Georgia O'Keeffe (1887-1986) 'Oriental Poppies' 1927

 

Georgia O’Keeffe (1887-1986)
Oriental Poppies
1927
The Collection of the Frederick R. Weisman Art Museum at the University of Minnesota, Minneapolis
© 2016 Georgia O’Keeffe Museum/DACS, London

 

Georgia O'Keeffe (1887-1986) 'Jimson Weed/White Flower No. 1' 1932

 

Georgia O’Keeffe (1887-1986)
Jimson Weed/White Flower No. 1
1932
Oil paint on canvas
48 x 40 inches
Crystal Bridges Museum of American Art, Arkansas, USA
Photography by Edward C. Robison III
© 2016 Georgia O’Keeffe Museum/DACS, London

 

 

Introduction

Georgia O’Keeffe (1887-1986) is widely recognised as a foundational figure within the history of modernism in the United States, and during her lifetime became an American icon. Her career spanned more than seven decades and this exhibition encompasses her most productive years, from the 1910s to the 1960s. It aims to dispel the clichés that persist about O’Keeffe’s painting, emphasising instead the pioneering nature and breadth of her career.

O’Keeffe was born in Sun Prairie, Wisconsin, the daughter of Irish and Dutch-Hungarian immigrants, and died in Santa Fe, New Mexico, at the age of 98. She decided to be an artist before she was 12 years old. She was the most prominent female artist in the avant-garde circle around the photographer and gallerist Alfred Stieglitz (1864-1946), later O’Keeffe’s husband. The first showing of her work was at Stieglitz’s New York gallery ‘291’ in 1916, now 100 years ago. Tate Modern’s exhibition therefore marks a century of O’Keeffe.
.

The early years and ‘291’

“I have things in my head that are not like what anyone has taught me – shapes and ideas so near to me … I decided to start anew – to strip away what I had been taught… I began with charcoal and paper and decided not to use any other colour until it was impossible to do what I wanted to do in black and white.”

O’Keeffe’s earliest mature works were abstractions in charcoal, made while she was working as an art teacher in Virginia and Texas. These drawings, made on a comparatively large scale, were exhibited by Alfred Stieglitz at ‘291’ (evoked by this room) in O’Keeffe’s debut in 1916 and in her first solo exhibition in 1917. O’Keeffe had sent her drawings to Anita Pollitzer, a friend from her student days, who first showed them to Stieglitz. He exclaimed: ‘finally a woman on paper’.

This early period also reveals O’Keeffe to be a gifted colourist, skilled in watercolour. Strikingly vivid paintings of the mountain landscapes of Virginia and plains of Texas demonstrate her skilful handling of colour. Her early oil paintings also took their inspiration from the landscape and show an interest in synaesthesia, the stimulation of one sense by another, for example translating sounds such as cattle lowing into abstract forms.
.

Abstraction and the senses

“I paint because colour is a significant language to me.”

After moving from Texas to New York in 1918, O’Keeffe turned with greater assurance to abstraction and to oil paint as a medium. Focusing on paintings from 1918 until 1930, this room shows the importance of abstraction in O’Keeffe’s work and how she took inspiration from sensory stimulation. Here, her paintings investigate the relationship of form to music, colour and composition, showing her understanding of synaesthesia and chromothesia, or as she said ‘the idea that music could be translated into something for the eye’. We also see her early flower-abstractions.

The critical response emphasised O’Keeffe’s identity as a woman artist and attributed essential feminine qualities to her work, often hinting heavily at erotic content. Stieglitz was a major source for such attitudes and supported them by introducing psychoanalytic interpretations of her paintings. Frustrated with this limited view, O’Keeffe began to transform her style and this room includes several less widely-known hard-edged or cubist-inspired abstractions.

“When people read erotic symbols into my paintings, they’re really talking about their own affairs.”
.

O’Keeffe, Stieglitz and their circle

“I have been much photographed… I am at present prejudiced in favour of photography.”

This room takes a closer look at O’Keeffe’s creative and personal partnership with Alfred Stieglitz and the circle of artists, writers and cultural figures that congregated around him and the couple. Many of their personal acquaintances are pictured in Stieglitz’s photographs, figures who impacted on their professional and private lives. This was the generation of the ‘Progressive Era’, men and women who came of age in the late nineteenth and early twentieth century and who embodied an optimistic cultural nationalism, wanting to create a modern America.

Two major series of Stieglitz’s work are displayed here: his extended portrait of O’Keeffe, in which we can see her as both muse and collaborator, and his sky photographs titled Equivalents, several of which were also made as portraits of Georgia, linking the two series. Their personal and aesthetic exchange is continued in the painting A Celebration 1924, an image of clouds made by O’Keeffe the year they married. Other works by O’Keeffe can also be considered indirect portraits of Stieglitz.
.

New York cityscapes

When O’Keeffe first expressed an intention to paint New York, she said, ‘Of course, I was told it was an impossible idea – even the men hadn’t done too well with it’. She made her first painting of the city in 1925, continuing with the same subject for the rest of the decade. O’Keeffe’s paintings show views from street level, the tall buildings providing an urban parallel to her early depictions of canyons in Texas and later in New Mexico. O’Keeffe and Stieglitz lived on the 30th floor of a skyscraper, and she delighted in the vantage point it afforded of the city beneath.

“I know it is unusual for an artist to want to work way up near the roof of a big hotel, in the heart of a roaring city, but I think that’s just what the artist of today needs for stimulus… Today the city is something bigger, grander, more complex than ever before in history.”

O’Keeffe stopped painting New York not long after the Wall Street Crash of 1929, the year she made her first prolonged visit to New Mexico. With the onset of the Great Depression, the city’s utopian spirit vanished, and it no longer held her attention.
.

Lake George

“I wish you could see the place here – there is something so perfect about the mountains and the lake and the trees – Sometimes I want to tear it all to pieces – it seems so perfect – but it is really lovely.”

The rural Northeast, through Lake George in upstate New York, as well as coastal Maine and Canada, contrasts both with New York City and, later, O’Keeffe’s travels to the Southwest. Lake George in particular, where the Stieglitz family had a summer home, enabled O’Keeffe to continue her investigation of abstraction from nature. O’Keeffe first visited Lake George as a student in 1908, but during her three-decade relationship with Stieglitz, she spent summer and autumn there. ‘Here I feel smothered with green’, she remarked, revealing her ambivalence towards the location. Nevertheless, the years she spent summering there were some of the most prolific of her career.

Lake George and the Northeast suggested a different palette to O’Keeffe. Her works made there range from soft blue and green to the red and purple of maple trees and the warm red of apples and autumn leaves. Like the images of New York, there are correlations between her works and Stieglitz’s photography – key motifs include the lake itself, trees, turbulent clouds, barns and still lifes of apples or leaves.
.

Flowers and still lifes

“Nobody sees a flower – really – it is so small – we haven’t time – and to see takes time… So I said to myself – I’ll paint what I see – what the flower is to me, but I’ll paint it big and they will be surprised into taking time to look at it – I will make even busy New Yorkers take time to see what I see of flowers… Well – I made you take time to look … and when you took time … you hung all your own associations with flowers on my flower and you write about my flower as if I think and see what you think and see of the flower – and I don’t.”

O’Keeffe is renowned for her flower paintings, which she made from the 1920s until the 1950s. At first her work tended towards imaginative, semi-abstract compositions inspired by flowers, or showing the entire form of the flower, as in her delicate calla lilies of the 1920s. They progressed to works with a greater photographic realism, focusing in close-up on the blooms themselves. This move to realism was partly motivated by her aim to dispel the sexual or bodily interpretations of her work made by critics, and O’Keeffe lamented that this view continued.

 

Georgia O'Keeffe (1887-1986) 'Black Cross with Stars and Blue' 1929

 

Georgia O’Keeffe (1887-1986)
Black Cross with Stars and Blue
1929
Oil on canvas
101.6 x 76.2 cm
Private Collection
© 2016 Georgia O’Keeffe Museum/ DACS, London

 

Black Cross with Stars and Blue demonstrates O’Keeffe’s passion for the New Mexico landscape with her talent for creating strong compositions and using a limited colour palette effectively. This early painting of New Mexico echoes her city paintings of the era, using the cross as a towering foreground for the even more monumental mountains behind.

 

Georgia O'Keeffe (1887-1986) 'Black Mesa Landscape, New Mexico / Out Back of Marie's II' 1930

 

Georgia O’Keeffe (1887-1986)
Black Mesa Landscape, New Mexico / Out Back of Marie’s II
1930
Oil on canvas mounted on board
24 1/4 x 36 1/4 (61.6 x 92.1)
Georgia O’Keeffe Museum. Gift of The Burnett Foundation
© 2016 Georgia O’Keeffe Museum/DACS, London

 

 

This is one of O’Keeffe’s earliest paintings of the New Mexico landscape after she first visited the area in the summer of 1929. It’s a beautiful example of her early style of painting, with a focus on colour and contour, simplifying and refining the dessert terrain that truly inspired her.

“When I got to New Mexico, that was mine. As soon as I saw it, that was my country. I’d never seen anything like it before, but it fitted to me exactly. It’s something that’s in the air, it’s just different. The sky is different, the stars are different, the wind is different.”

Georgia O’Keeffe in the film Georgia O’Keeffe, produced and directed by Perry Miller Adato; a WNET/THIRTEEN production for Women in Art, 1977. Portrait of an Artist, no.1; series distributed by Films, Inc./Home Vision, New York.

 

Georgia O'Keeffe (1887-1986) 'Rust Red Hills' 1930

 

Georgia O’Keeffe (1887-1986)
Rust Red Hills
1930
Oil on canvas
40.6 x 76.2 cm
Sloan Fund Purchase Brauer Musuem of Art
Valpariaso University
© 2016 Georgia O’Keeffe Museum/ DACS, London

 

Having made the first of many trips to New Mexico the previous year, O’Keeffe was constantly inspired by the distinctive red hills of the area, and made it her permanent home in later life. In Rust Red Hills, O’Keeffe uses a range of rich colours, exploring the natural form of the local landscape and the variation of colour within the rock formations.

 

Sangre de Cristo Mountains in Taos County, New Mexico

 

Sangre de Cristo Mountains in Taos County, New Mexico, with Arroyo Hondo in the front

 

Georgia O'Keeffe (1887-1986) 'Horse's Skull with Pink Rose' 1931

 

Georgia O’Keeffe (1887-1986)
Horse’s Skull with Pink Rose
1931
Oil on canvas
101.6 x 76.2 cm
Los Angeles County Museum of Art, Gift of the Georgia O’Keeffe Foundation 1994
Photo: © 2015. Digital image Museum Associates/ LACMA/ Art Resource NY/ Scala, Florence

 

The arid desert terrain of New Mexico, where O’Keeffe spent many months in her Ghost Ranch house, was littered with animal bones which she often collected and painted. She frequently positioned these bones alongside flowers in her pieces to express how she felt about the desert she enjoyed so much.

 

Georgia O'Keeffe (1887-1986) 'Deer's Skull with Pedernal' 1936

 

Georgia O’Keeffe (1887-1986)
Deer’s Skull with Pedernal
1936
Oil on canvas
91.44 x 76.52 cm
Museum of Fine Arts, Boston, Gift of the William H. Lane Foundation
© 2016 Georgia O’Keeffe Museum/ DACS, London
Photo: © 2016 Museum of Fine Arts, Boston

 

 

The mountain Pedernal was visible from the front door of O’Keeffe’s Ghost Ranch house in New Mexico and is present in a vast amount of her paintings of the New Mexico landscape. O’Keeffe felt a deep connection with the area and described the flat top mountain as ‘my private mountain. It belongs to me’. She picked up animal skulls from the desert terrain and often used them as subjects for her paintings, which became some of her most iconic works.

“The first year I was out here I began picking up bones because there were no flowers. I wanted to take something home, something to work on… When it was time to go home I felt as if I hadn’t even started on the country and I wondered what I could take home that I could continue what I felt about the country and I couldn’t think of anything to take home but a barrel of bones. So when I got home with my barrel of bones to Lake George I stayed up there quite a while that fall and painted them. That’s where I painted my first skulls, from this barrel of bones.”

Georgia O’Keeffe in the film Georgia O’Keeffe, produced and directed by Perry Miller Adato; a WNET/THIRTEEN production for Women in Art, 1977. Portrait of an Artist, no.1; series distributed by Films, Inc./Home Vision, New York.

 

Georgia O'Keeffe (1887-1986) 'From the Faraway, Nearby' 1937

 

Georgia O’Keeffe (1887-1986)
From the Faraway, Nearby
1937
Oil in canvas
Photograph: Georgia O’Keeffe/The Metropolitan Museum of Art/Art Resource/Scala, Florence

 

 

New Mexico: Taos and Alcalde

“When I got to New Mexico that was mine. As soon as I saw it that was my country. I’d never seen anything like it before, but it fitted to me exactly. It’s something that’s in the air – it’s different. The sky is different, the wind is different. I shouldn’t say too much about it because other people may be interested and I don’t want them interested.”

In 1929 O’Keeffe made her first prolonged visit to New Mexico in the Southwestern United States, a dry and arid high altitude desert region. Initially she was invited to stay with the socialite, art patron and writer Mabel Dodge Luhan in her house in Taos, a town already home to an established artistic community.

Over the next few years, O’Keeffe made repeated visits to New Mexico. Here she had found a landscape that was a contrast to the East coast but whose rural and expansive qualities felt familiar. O’Keeffe explored the specifics of the region, the adobe or earth-built architecture, the crosses, as well as views of the wide mesas or flat mountain plateaus, revealing its cultural complexity – the layering of Native American and Spanish colonial influences on the landscape.
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From the faraway, nearby: Skull Paintings

“When I found the beautiful white bones on the desert I picked them up and took them home… I have used these things to say what is to me the wideness and wonder of the world as I live in it.”

O’Keeffe began painting animal bones, principally skulls, around 1931, but had collected them since 1929. As she explained, “that first summer I spent in New Mexico I was a little surprised that there were so few flowers. There was no rain so the flowers didn’t come. Bones were easy to find so I began collecting bones.” Wanting to take something back with her she decided “the best thing I could do was to take with me a barrel of bones.”

Writers and painters at this time were searching for a specifically American iconography, or in O’Keeffe’s words ‘the Great American Thing’. In O’Keeffe’s paintings the bones, particularly when juxtaposed with the desert landscape of the Southwest, summarise the essence of America which she felt was not in New York but was the country west of the Hudson River, which symbolised what she called ‘the Faraway’.
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Ghost Ranch

“I wish you could see what I see out the windows – the earth pink and yellow cliffs to the north – the full pale moon about to go down in an early morning lavender sky behind a very long beautiful tree-covered mesa to the west – pink and purple hills in front and the scrubby fine dull green cedars – and a feeling of much space – It is a very beautiful world.”

O’Keeffe first discovered Ghost Ranch in 1934 – a ‘dude ranch’ for wealthy tourists to gain an experience of the ‘wild west’. Though O’Keeffe wanted nothing to do with the ranch’s patrons she stayed in an adobe house on the property from 1937, purchasing the house in 1940, her first home in New Mexico. During the later 1930s and 1940s O’Keeffe deepened her exploration of the distinctive landscape of the Southwest – the intense reds and pinks of the earth and cliffs, the desiccated trees, the Chama River and the Cerro Pedernal (‘flint hill’), which is the Spanish name for the flat-topped mesa viewed in the distance from Ghost Ranch. ‘It’s my private mountain. It belongs to me’, she said, half-jokingly. ‘God told me if I painted it enough, I could have it’.

 

Georgia O'Keeffe (1887-1986) 'Pedernal with Red Hills (Red Hills with the Pedernal)' 1936

 

Georgia O’Keeffe (1887-1986)
Pedernal with Red Hills (Red Hills with the Pedernal)
1936
Oil on canvas
50.8 x 76.2 cm
Georgia O’Keeffe Museum, Gift of The Georgia O’Keeffe Foundation, 2006
© 2016 Georgia O’Keeffe Museum/ DACS, London

 

Georgia O'Keeffe (1887-1986) 'Red Hills and White Flower' 1937

 

Georgia O’Keeffe (1887-1986)
Red Hills and White Flower
1937
Pastel on paper covered board
19 3/8 x 25 5/8
Georgia O’Keeffe Museum, Gift of the Burnett Foundation © 1987, Private Collection

 

Georgia O'Keeffe (1887-1986) 'Red and Yellow Cliffs' 1940

 

Georgia O’Keeffe (1887-1986)
Red and Yellow Cliffs
1940
Oil on canvas
61 x 91.4 cm
The Metropolitan Museum of Art, New York. Alfred Stieglitz Collection, Bequest of Georgia O’Keeffe, 1986
Photo: © 2015. Image copyright The Metropolitan Museum of Art/ Art Resource/ Scala, Florence

 

The distinctive landscape of the New Mexico desert was a constant source of inspiration for O’Keeffe, from her first visit to the area in 1929. She discovered Ghost Ranch in 1934 where she made many painting trips and purchased a house there in 1940. O’Keeffe’s paintings of New Mexico terrain and the natural objects she found there became some of her best known works.

 

Georgia O'Keeffe (1887-1986) 'My Backyard' 1937

 

Georgia O’Keeffe (1887-1986)
My Backyard
1937
Oil on canvas
© 2016 Georgia O’Keeffe Museum/ DACS, London

 

Georgia O'Keeffe (1887-1986) 'My Front Yard, Summer' 1941

 

Georgia O’Keeffe (1887-1986)
My Front Yard, Summer
1941
Oil on canvas
50.8 x 76.2 cm
Georgia O’Keeffe Museum, Gift of The Georgia O’Keeffe Foundation, 2006
© 2016 Georgia O’Keeffe Museum/ DACS, London

 

O’Keeffe was deeply inspired by the New Mexico landscape that she visited on painting trips from 1929 onwards. She bought a house at Ghost Ranch 1940 before moving there permanently in 1949 and never tired of the desert landscape that she made countless studies of. ‘It’s my private mountain. It belongs to me’, she said, half-jokingly ‘God told me if I painted it enough, I could have it’

 

Georgia O'Keeffe (1887-1986) 'Red Hills and Bones' 1941

 

Georgia O’Keeffe (1887-1986)
Red Hills and Bones
1941
Oil on canvas
75.6 x 101.6 cm
Philadelphia Museum of Art: The Alfred Stieglitz Collection, 1949
© Philadelphia Museum of Art

 

The arid desert landscape of New Mexico, where O’Keeffe had a house at Ghost Ranch, was a constant inspiration for her paintings. Red Hills and Bones depicts the distinctive red hills of the local area, exaggerating their colours in contrast to the white animal bones, which in turn mirror the ridges of the landscape in the background.

 

Georgia O'Keeffe (1887-1986) 'Black Place III' 1944

 

Georgia O’Keeffe (1887-1986)
Black Place III
1944
Oil on canvas
36 x 40″
Georgia O’Keeffe Museum (Santa Fe, USA)
© 2016 Georgia O’Keeffe Museum/DACS, London

 

 

“The Black Place is about one hundred and fifty miles from Ghost Ranch and as you come to it over a hill, it looks like a mile of elephants – grey hills all about the same size with almost white sand at their feet. When you get into the hills you find that all the surfaces are evenly crackled so walking and climbing are easy…

I don’t remember what I painted on my first trip over there. I have gone so many times. I always went prepared to camp. There was a fine little spot quite far off the road with thick old cedar trees with handsome trunks – not very tall but making good spots of shade…

Such a beautiful, untouched lonely-feeling place – part of what I call the Far Away.”

Georgia O’Keeffe in Georgia O’Keeffe (A Studio Book), published by Viking Press, New York, 1976

 

Georgia O'Keeffe (1887-1986) 'Black Place Green' 1949

 

Georgia O’Keeffe (1887-1986)
Black Place Green
1949
Oil on canvas
94.6 x 117.5 cm
© Georgia O’Keeffe Museum/DACS 2016, collection of Jane Lombard

 

 

The black place and the white place

“I must have seen the Black Place first driving past on a trip into the Navajo country and, having seen it, I had to go back to paint – even in the heat of mid-summer. It became one of my favourite places to work … as you come to it over a hill, it looks like a mile of elephants – grey hills all about the same size.”

Two very specific locations recur frequently in O’Keeffe’s work. Their repetition allowed her to explore the various conditions of landscape through changing light and seasons, and its representation through degrees of abstraction. In one location, the ‘White Place’ – a site of grey-white cliffs in the Chama River valley – she explored the differing variations of light on the white limestone cliffs and contrasted this with vivid blue sky. In the more distant ‘Black Place’ – which is 150 miles west of Ghost Ranch – she progressively abstracted from observed, perceptual reality towards more intensely-coloured, non-naturalistic compositions, painted from memory.

In the ‘White Place’ and ‘Black Place’ paintings O’Keeffe also became more clearly engaged with seriality, obsessively returning to the same motif and working through it in its different permutations.

 

Georgia O'Keeffe (1887-1986) 'In the Patio No IV' 1948

 

Georgia O’Keeffe (1887-1986)
In the Patio No IV
1948
Illustration: 2016 Georgia O’Keeffe Museum/ DACS, London

 

 

Those little squares in the door paintings are tiles in front of the door; they’re really there, so you see the painting is not abstract. It’s quite realistic. I’m always trying to paint that door – I never quite get it… It’s a curse – the way I feel I must continually go on with that door. Once I had the idea of making the door larger and the picture smaller, but then the wall, the whole surface of that wonderful wall, would have been lost.

Georgia O’Keeffe in Katherine Kuh, The Artist’s Voice: Talks with Seventeen Artists, published by Harper & Row, New York, 1961; quoted in Georgia O’Keeffe and Her Houses, 2012.

 

Georgia O'Keeffe (1887-1986) 'Pelvis Series, Red with Yellow' 1945

 

Georgia O’Keeffe (1887-1986)
Pelvis Series, Red with Yellow
1945
Oil on canvas
91.8 x 122.2 cm
Georgia O’Keeffe Museum. Extended loan, private collection
© 2016 Georgia O’Keeffe Museum/ DACS, London

 

 

During her long stays in her Ghost Ranch house in New Mexico, O’Keeffe picked up bones from the desert floor and began to paint them. This piece is part of a series of paintings she made to show the sky as seen through the various holes in a pelvis bone she found.

“When I started painting the pelvis bones I was most interested in the holes in the bones – what I saw through them – particularly the blue from holding them up against the sky… They were the most beautiful thing against the Blue – that Blue that will always be there as it is now after all man’s destruction is finished.” ~ Georgia O’Keeffe

 

Georgia O'Keeffe (1887-1986) 'Pelvis Series' 1947

 

Georgia O’Keeffe (1887-1986)
Pelvis Series
1947
Oil on canvas
101.6 x 121.9 cm
© Georgia O’Keeffe Museum/DACS 2016, courtesy Eykyn Maclean

 

 

The series: Abiquiú Patios, pelvis bones and cottonwood trees

“When I started painting the pelvis bones I was most interested in the holes in the bones – what I saw through them – particularly the blue from holding them up in the sun against the sky… They were most beautiful against the Blue – that Blue that will always be there as it is now after all man’s destruction is finished.”

Working in series became an increasingly evident approach for O’Keeffe in the 1940s and 1950s. She developed three series simultaneously during this period, each one exploring a path towards abstraction, in parallel to developments in abstract painting in New York. They were also made against the backdrop of the Second World War (referred to in the quotation above), and of Stieglitz’s death in 1946. At the same time O’Keeffe’s work was becoming increasingly prominent, with major solo exhibitions at The Art Institute of Chicago and the Museum of Modern Art in New York.

O’Keeffe continued her investigation of bones, using pelvis bones rather than skulls, held up against the sky, or viewing a distant landscape through an aperture in the bone. Another motif was the patio of O’Keeffe’s house at Abiquiú, her second New Mexico home, with its distinctive door presented in varying degrees of naturalism and abstraction. Lastly the series of cottonwood trees reveals a more painterly approach to the serialised motif.

 

Photograph of the Chama River, New Mexico, taken by Georgia O'Keeffe

 

Photograph of the Chama River, New Mexico, taken by Georgia O’Keeffe
© Georgia O’Keeffe Museum/DACS 2016

 

Tony Vaccaro. 'Georgia O'Keeffe, Taos Pueblo, New Mexico 1960' 1960

 

Tony Vaccaro
Georgia O’Keeffe, Taos Pueblo, New Mexico 1960
1960
Gelatin silver print on paper
16.7 x 23.5 cm
Chrysler Museum of Art, Norfolk, VA; photo courtesy Michael A. Vaccaro Studios

 

Todd Webb. 'Georgia O'Keeffe walking at the White Place, New Mexico, 1957' 1957

 

Todd Webb
Georgia O’Keeffe walking at the White Place, New Mexico, 1957
1957
© Estate of Todd Webb, Portland, Maine, USA

 

 

The Southwest

“Where I was born and where and how I have lived is unimportant. It is what I have done with where I have been that should be of interest.”

O’Keeffe’s engagement with the Southwest was deep and enduring. This room includes drawings and sketches that reveal aspects of her working method as she immersed herself within the landscape or worked back in one of her two houses and their respective studios. It also includes photographs of O’Keeffe taken by Stieglitz in New York State, but with attributes that place her in the Southwest such as Native American blankets and her car – a sign of her independence. Other photographs are by her close friend Ansel Adams who shared her fascination with the Southwest, its landscape and cultures.

From her arrival in New Mexico and spanning the 1930s and 1940s, O’Keeffe also made a number of paintings of Native American ‘kachinas’ – figures of spirit beings carved in wood or modelled in clay and painted. These works make clear O’Keeffe’s awareness of the indigenous Native American cultures of the region and show her fascination with their ritual life. Painting the objects was for her a way of painting the country.
.

Late abstracts and skyscapes

“One day when I was flying back to New Mexico, the sky below was a most beautiful solid white. It looked so secure that I thought I could walk right out on it to the horizon if the door opened. It was so wonderful I couldn’t wait to be home to paint it.”

This final room shows O’Keeffe’s late paintings of the 1950s and 1960s, focusing on two series that are inspired by aeroplane journeys she took in her later years. One series of the late 1950s takes its cue primarily from aerial views of rivers, which O’Keeffe transformed to create lyrical abstractions that hark back to her earliest works in oil, watercolour and charcoal from the 1910s. A second series of stylised near-abstractions represents the view from a plane over the clouds. Both reveal her awareness of contemporary abstract painting, particularly colour field painting, then dominating American art. O’Keeffe’s works were always rooted in a direct experience of the landscape and her emotional connection to it, and continued to be so until the end of her career.

“It is breathtaking as one rises up over the world one has been living in… It is very handsome way off into the level distance … like some marvellous rug patterns of maybe “Abstract Paintings”.”

Text from the Tate Modern website

 

Georgia O'Keeffe (1887-1986) 'From the River - Pale' 1959

 

Georgia O’Keeffe (1887-1986)
From the River – Pale
1959
Oil on canvas
Photograph: 2016 Georgia O’Keeffe Museum/ DACS, London

 

Georgia O'Keeffe (1887-1986) 'Winter Road I' 1963

 

Georgia O’Keeffe (1887-1986)
Winter Road I
1963
oil on canvas
© Georgia O’Keeffe Museum/DACS 2016

 

Georgia O'Keeffe (1887-1986) 'Sky Above Clouds IV' 1965

 

Georgia O’Keeffe (1887-1986)
Sky Above Clouds IV
1965
Oil on canvas
243.8 x 731.5 cm
© Georgia O’Keeffe Museum/DACS 2016, courtesy Art Institute of Chicago

 

 

Tate Modern
Bankside
London SE1 9TG
United Kingdom

Opening hours:
Sunday – Thursday 10.00 – 18.00
Friday – Saturday 10.00 – 22.00

Tate Modern website

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25
Oct
16

Exhibition: ‘Sabine Weiss’ at Jeu de Paume – Château de Tours

Exhibition dates: 18th June – 30th October 2016

 

A photographer I knew very little about before assembling this posting. The undoubted influence of Henri Cartier-Bresson can be seen in many images (such as Vendeurs de pain, Athènes 1958 and Village moderne de pêcheurs 1954, both below), while other images are redolent of Josef Koudelka (Marriage gitan, 1953) and Paul Strand (Jeune mineur, 1955).

Weiss strikes one as a solid photographer in the humanist, Family of Man tradition who doesn’t push the boundaries of the medium or the genre, nor generate a recognisable signature style.

Marcus

.
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.

 

Sabine Weiss is the last representative of the French humanist school of photography, which includes photographers like Robert Doisneau, Willy Ronis, Édouard Boubat, Brassaï and Izis.

Still active at over 90 years of age, she has accepted for the first time to present her personal archives, thereby providing a privileged insight into her life and career as a photographer. The exhibition at the Château de Tours will showcase just a few milestones from her long career. Through almost 130 prints, as well as numerous period documents – many of which are being shown for the first time – this exhibition provides visitors with an overview of the multiple facets of this prolific artist, for whom photography was first and foremost, a fascinating occupation.

 

 

 

Sabine Weiss. 'Cheval, Porte de Vanves' Paris, 1952

 

Sabine Weiss
Cheval, Porte de Vanves [Horse, Porte de Vanves]
Paris, 1952
Silver gelatin print
© Sabine Weiss

 

Sabine Weiss. 'Vendeurs de pain' Athènes Grèce, 1958

 

Sabine Weiss
Vendeurs de pain, Athènes [Sellers of bread, Athens]
Grèce, 1958
Silver gelatin print
© Sabine Weiss

 

Sabine Weiss. 'Village moderne de pêcheurs, Olhão, Algarve' Portugal, 1954

 

Sabine Weiss
Village moderne de pêcheurs, Olhão, Algarve [Modern fishing village, Olhão, Algarve]
Portugal, 1954
Silver gelatin print
© Sabine Weiss

 

Sabine Weiss. 'Times Square, New York' États-Unis, 1955

 

Sabine Weiss
Times Square, New York
États-Unis [United States], 1955
Silver gelatin print
© Sabine Weiss

 

Sabine Weiss. 'Feux de Bengale, Naples' Italie, 1955

 

Sabine Weiss
Feux de Bengale, Naples [Fires of Bengal, Naples]
Italie, 1955
Silver gelatin print
© Sabine Weiss

 

Sabine Weiss. 'André Breton chez lui, 42, rue Fontaine' Paris, 1956

 

Sabine Weiss
André Breton chez lui, 42, rue Fontaine [André Breton at home, 42 rue Fontaine]
Paris, 1956
Silver gelatin print
© Sabine Weiss

 

Sabine Weiss. 'Françoise Sagan chez elle, lors de la sortie de son premier roman Bonjour tristesse' Paris, 1954

 

Sabine Weiss
Françoise Sagan chez elle, lors de la sortie de son premier roman Bonjour tristesse
[Françoise Sagan at home, with the release of his first novel Bonjour Tristesse]

Paris, 1954
Silver gelatin print
© Sabine Weiss

 

Sabine Weiss. 'Enfant perdu dans un grand magasin, New York' États-Unis, 1955

 

Sabine Weiss
Enfant perdu dans un grand magasin, New York [Lost child in a department store, New York]
États-Unis [United States], 1955
Silver gelatin print
© Sabine Weiss

 

Sabine Weiss. 'Vieille dame et enfant' Guadeloupe 1990

 

Sabine Weiss
Vieille dame et enfant, Guadeloupe [Old lady and child, Guadeloupe]
1990
Silver gelatin print
© Sabine Weiss

 

Sabine Weiss. 'La Petite Égyptienne' 1983

 

Sabine Weiss
La Petite Égyptienne [Little Egyptian]
1983
Silver gelatin print
© Sabine Weiss

 

 

Sabine Weiss is the last representative of the French humanist school of photography, which includes photographers like Robert Doisneau, Willy Ronis, Édouard Boubat, Brassaï and Izis.
Still active at over 90 years of age, she has accepted for the first time to present her personal archives, thereby providing a privileged insight into her life and career as a photographer. The exhibition at the Château de Tours will showcase just a few milestones from her long career. Through almost 130 prints, as well as numerous period documents – many of which are being shown for the first time – this exhibition provides visitors with an overview of the multiple facets of this prolific artist, for whom photography was first and foremost, a fascinating occupation.

Née Weber in Switzerland in 1924, Sabine Weiss was drawn to photography from a very early age and did her apprenticeship at Paul Boissonnas’ studio, a dynasty of photographers practising in Geneva since the late nineteenth century. In 1946, she left Geneva for Paris and became the assistant of Willy Maywald, a German photographer living in the French capital, specialising in fashion photography and portraits. She married the American painter Hugh Weiss in 1950, and at this time embarked upon a career as an independent photographer. She moved into a small Parisian studio with her husband – where she continues to live today – and socialized in the artistic circles of the post-war period. This allowed her to photograph Georges Braque, Joan Miró, Alberto Giacometti, André Breton and Ossip Zadkine, and later numerous musicians, writers and actors.

Circa 1952, Sabine Weiss joined the Rapho Agency thanks to Robert Doisneau’s recommendation. Her personal work met with immediate critical acclaim in the United States with exhibitions at the Museum of Modern Art in New York, the Art Institute of Chicago, the Walker Art Institute in Minneapolis and the Limelight Gallery, New York. Three of her photographs were shown as part of the famous exhibition “The Family of Man”, organized by Edward Steichen in 1955, and Sabine obtained long-lasting contracts with The New York Times Magazine, Life, Newsweek, Vogue, Point de vue-Images du monde, Paris Match, Esquire, and Holiday. From that time and up until the 2000s, Sabine Weiss continued to work for the international illustrated press, as well as for numerous institutions and brands, seamlessly passing from reportage to fashion features, and from advertising to portaits of celebrities or social issues.

In the late 1970s, her work returned to the spotlight thanks to a growing revival of interest in so-called humanist photography on behalf of festivals and institutions. This interest encouraged Sabine to return to black and white photography. At over sixty years of age, she began a new body of personal work, punctuated by her travels in France, Egypt, India, Reunion Island, Bulgaria and Burma, and in which a more sentimental melody may be heard, centred on the pensive and solitary moments of human existence. At the same time, Sabine became the focus of a growing number of tributes, all of which has contributed to her reputation as an independent and dynamic photographer, with a great humanist sensibility and an eye for the detail of everyday life.

Virginie Chardin

 

Sabine Weiss. 'Marchande de frites' Paris, 1952

 

Sabine Weiss
Marchande de frites
Paris, 1952
Silver gelatin print
© Sabine Weiss

 

Sabine Weiss. 'L'homme qui court' Paris 1953

 

Sabine Weiss
L’homme qui court, Paris [The man who runs, Paris]
1953
Silver gelatin print
© Sabine Weiss

 

Sabine Weiss. 'Vitrine, Paris' 1955

 

Sabine Weiss
Vitrine, Paris
1955
Silver gelatin print
© Sabine Weiss

 

Sabine Weiss. 'Prêtre devant une trattoria, Rome' Italie, 1957

 

Sabine Weiss
Prêtre devant une trattoria, Rome [Priest before a trattoria, Roma]
Italie, 1957
Silver gelatin print
© Sabine Weiss

 

Sabine Weiss. 'Terrain vague, Porte de Saint-Cloud' Paris, 1950

 

Sabine Weiss
Terrain vague, Porte de Saint-Cloud [Vacant Land, Porte de Saint-Cloud]
Paris, 1950
Silver gelatin print
© Sabine Weiss

 

Sabine Weiss. 'Enfants prenant de l’eau à la fontaine, rue des Terres-au-Curé' Paris, 1954

 

Sabine Weiss
Enfants prenant de l’eau à la fontaine, rue des Terres-au-Curé
[Children taking water from the fountain, rue des Terres au Curé]

Paris, 1954
Silver gelatin print
© Sabine Weiss

 

Sabine Weiss. 'Mariage gitan' Tarascon, 1953

 

Sabine Weiss
Mariage gitan [Gypsy wedding]
Tarascon, 1953
Silver gelatin print
© Sabine Weiss

 

Sabine Weiss. 'Enfants jouant, rue Edmond-Flamand' [Children playing, rue Edmond-Flamand] Paris, 1952

 

Sabine Weiss
Enfants jouant, rue Edmond-Flamand [Children playing, rue Edmond-Flamand]
Paris, 1952
Silver gelatin print
© Sabine Weiss

 

Sabine Weiss. 'Jeune mineur, Lens' 1955

 

Sabine Weiss
Jeune mineur, Lens [Young minor, Lens]
1955
Silver gelatin print
© Sabine Weiss

 

Sabine Weiss. 'Mendiant, Tolède' Espagne, 1949

 

Sabine Weiss
Mendiant, Tolède [Beggar, Toledo]
Espagne, 1949
Silver gelatin print
© Sabine Weiss

 

Sabine Weiss. 'Portraits multiples, procédé Polyfoto' Genève, 1937

 

Sabine Weiss
Portraits multiples, procédé Polyfoto [multiple portraits, Polyfoto process]
Genève, 1937
Silver gelatin print
© Sabine Weiss

 

Sabine Weiss. 'Chez Dior, Paris' 1958

 

Sabine Weiss
Chez Dior, Paris
1958
© Sabine Weiss

 

Sabine Weiss. 'Anna Karina pour la marque Korrigan' [Anna Karina for the brand Korrigan] 1958

 

Sabine Weiss
Anna Karina pour la marque Korrigan [Anna Karina for the brand Korrigan]
1958
© Sabine Weiss

 

Studio Fllebé. 'Sabine Weiss chez Vogue' Paris 1956

 

Studio Fllebé
Sabine Weiss chez Vogue, Paris
1956
Silver gelatin print
© Studio Fllebé

 

 

Jeu de Paume – Château de Tours
25 avenue André Malraux
37000 Tours

Opening hours:
Tuesday to Sunday: 2pm – 6pm
Closed Mondays

Jeu de Paume – Château de Tours

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11
Oct
16

Exhibition: ‘Dream States: Contemporary Photographs and Video’ at the Metropolitan Museum of Art, New York

Exhibition dates: 16th May – 30th October 2016

 

The best fun I had with this posting was putting together the first twelve images. They seem to act as ‘strange attractors’, a feeling recognised by the curators of the exhibition if you view the first installation photograph by Anders Jones, below.

Marcus

.
Many thankx to photographer Anders Jones and the Duggal website for allowing me to publish the installation photographs in the posting. See their posting about the exhibition.

 

 

Artists have always turned to dreams as a source of inspiration, a retreat from reason, and a space for exploring imagination and desire. In the history of photography, dreams have been most closely associated with the Surrealists, who pushed the technical limits of the medium to transform the camera’s realist documents into fantastical compositions. Whereas their modernist explorations were often bound to psychoanalytic theories, more recently contemporary photographers have pursued the world of sleep and dreams through increasingly open-ended works that succeed through evocation rather than description.

This exhibition takes a cue from the artists it features by displaying a constellation of photographs that collectively evoke the experience of a waking dream. Here, a night sky composed of pills, a fragmented rainbow, a sleeping fairy-tale princess, and an alien underwater landscape illuminate hidden impulses and longings underlying contemporary life. Drawn entirely from The Met collection, Dream States features approximately 30 photographs and video works primarily from the 1970s to the present.

Text from the Metropolitan Museum of Art

 

 

Anselm Kiefer. 'Brünnhilde Sleeps' 1980

 

Anselm Kiefer (German, born Donaueschingen, 1945)
Brünnhilde Sleeps
1980
Acrylic and gouache on photograph
23 x 32 7/8in. (58.4 x 83.5cm)
Denise and Andrew Saul Fund, 1995
© Anselm Kiefer

 

 

Near the end of Wagner’s second opera of the Ring Cycle, Die Walküre (The Valkyrie), the Valkyrie Brünnhilde, having attempted to help the sibling lovers Siegmund and Sieglinde against their father’s wishes, is punished for her betrayal. Wotan puts her to sleep and surrounds her with a ring of fire (she will be awakened in turn by her nephew Siegfried, the incestuous son of Siegmund and Sieglinde, in the third opera of the cycle).

Kiefer portrays the dormant Brünnhilde as French actress Catherine Deneuve in François Truffaut’s film Mississippi Mermaid, using a photograph he snapped in a movie house in 1969. In the film, Deneuve plays a deceitful mail-order bride who comes to the island of Réunion to marry a plantation owner, played by Jean-Paul Belmondo. Aside from the parallels of love and betrayal in both the Ring Cycle and Truffaut’s film, Kiefer thought the choice of Deneuve for Brünnhilde both ironic and amusing: she was for him “the contrary of Brünnhilde. Very slim, very French, very cool, very sexy,” hinting that no man would go through fire to obtain Wagner’s corpulent, armored Valkyrie.

 

Manuel Alvarez Bravo (Mexican, 1902-2002) 'La Buena Fama Durmiendo (The Good Reputation Sleeping)' 1939, printed c. 1970s

 

Manuel Alvarez Bravo (Mexican, 1902-2002)
La Buena Fama Durmiendo (The Good Reputation Sleeping)
1939, printed c. 1970s
Gelatin silver print
Mat: 16 × 20 in. (40.6 × 50.8 cm)
The Elisha Whittelsey Collection, The Elisha Whittelsey Fund, 1973

 

Eugène Atget (French, Libourne 1857-1927 Paris) 'Versailles' 1924-25

 

Eugène Atget (French, Libourne 1857-1927 Paris)
Versailles
1924-25
Salted paper print from glass negative
Image: 17.5 x 21.9 cm (6 7/8 x 8 5/8 in.)
Sheet: 18 × 21.9 cm (7 1/16 × 8 5/8 in.)
Mat: 16 × 20 in. (40.6 × 50.8 cm)
Gilman Collection, Purchase, Ann Tenenbaum and Thomas H. Lee Gift, 2005

 

 

From 1898 until his death in 1927, Atget exhaustively documented the remains of Old Paris: the city’s streets, monuments, interiors, and environs. Among the last entries in this self-directed preservationist effort was a series of images of landscapes and sculpture in the parks of Saint-Cloud and Versailles. Here, the photographer records a statue of a sleeping Ariadne, the mythical Cretan princess abandoned by her lover Theseus on the island of Naxos. Atget’s simultaneously realistic and otherworldly photographs inspired the Surrealist artist Man Ray, who reproduced four of them in a 1926 issue of the journal La Révolution Surréaliste, thus presenting the elder photographer as a modernist forerunner.

 

Robert Frank (American, born Zurich, 1924) 'Fourth of July, Coney Island' 1958

 

Robert Frank (American, born Zurich, 1924)
Fourth of July, Coney Island
1958
Gelatin silver print
Image: 26 x 35.6 cm (10 1/4 x 14 in.)
Mat: 18 1/2 × 22 1/2 in. (47 × 57.2 cm)
Purchase, Alfred Stieglitz Society Gifts, 2002
© 2005 Robert Frank

 

 

As he traveled around the country in 1955-56 making the photographs that would constitute his landmark book, The Americans, Frank’s impression of America changed radically. He found less of the freedom and tolerance imagined by postwar Europeans, and more alienation and racial prejudice simmering beneath the happy surface. His disillusionment is poignantly embodied in this image of a disheveled African-American man disengaged from the crowd and asleep in a fetal position amid the debris of an Independence Day celebration on Coney Island.

This was one of the last still photographs Frank made before he devoted his creative energy to filmmaking in the early 1960s. As such, it may be interpreted as an elegy to still photography; the lone figure functions as a surrogate for Frank himself, as he turned his back on Life – like photojournalism to concentrate on the more personal, dreamlike imagery of his films.

 

Shannon Bool (Canadian, born 1972) 'Vertigo' 2015

 

Shannon Bool (Canadian, born 1972)
Vertigo
2015
Gelatin silver print
Image: 7 13/16 × 11 13/16 in. (19.8 × 30 cm)
Gift of Shannon Bool and Daniel Faria Gallery, 2015
© Shannon Bool

 

 

This photogram – made without a camera by placing a collage of transparencies on a photosensitive sheet of paper and exposing it to light – is part of a series portraying psychoanalysts and their patients. Here, a patient on a Freudian couch is seen from above; the figure, sheathed in patterns of Maori origin, appears to come apart at the seams under the analyst’s scrutiny.

 

Nan Goldin (American, born Washington, D.C., 1953) 'French Chris on the Convertible, NYC' 1979

 

Nan Goldin (American, born Washington, D.C., 1953)
French Chris on the Convertible, NYC
1979
Silver dye bleach print
50.8 x 61cm (20 x 24in.)
Mat: 25 × 32 in. (63.5 × 81.3 cm)
Purchase, The Horace W. Goldsmith Foundation Gift, through Joyce and Robert Menschel, 2001
© Nan Goldin Courtesy Matthew Marks Gallery

 

 

Following in the tradition of Robert Frank and Helen Levitt, Goldin is her generation’s greatest practitioner of the “snapshot aesthetic” in photography-the intimate, diaristic mode that yields images that, in the right hands, are both spontaneous and carefully seen, tossed off and irreducibly right. In this early work, the artist has captured her friend as a Chatterton of the Lower East Side, lying across the back of a blue convertible with shirt open, eyes closed, and an empty can of Schaeffer beer by his side instead of arsenic – a contemporary vision of glamorous surrender for our own time.

 

Arthur Tress (American, born 1940) 'Boy in Flood Dream, Ocean City, New Jersey' 1972

 

Arthur Tress (American, born 1940)
Boy in Flood Dream, Ocean City, New Jersey
1972
Gelatin silver print
Mat: 18 × 18 in. (45.7 × 45.7 cm)
Gift of the artist, 1973

 

 

In the late 1960s, Tress began audio-recording children recounting their dreams and nightmares. He then collaborated with the young people, who acted out their tales for the camera, and published the resulting surreal images in the 1972 book The Dream Collector. Many of the children shared common nightmare scenarios such as falling, drowning, and being trapped, chased by monsters, or humiliated in the classroom. Here, a young boy clings to the roof of a home that has washed ashore as if after a flood. The desolate landscape evokes the sort of non-place characteristic of dreams and conveys feelings of loneliness and abandonment.

 

Installation view of the exhibition 'Dream States: Contemporary Photography and Video' at the Metropolitan Museum of Art Photo by Anders Jones

 

Installation view of the exhibition Dream States: Contemporary Photography and Video at the Metropolitan Museum of Art featuring at lower right, Nan Goldin’s French Chris on the Convertible, NYC (1979)
Photo by Anders Jones

 

Sophie Calle (French, born Paris, 1953) 'Gloria K., first sleeper. Anne B., second sleeper' 1979

 

Sophie Calle (French, born Paris, 1953)
Gloria K., first sleeper. Anne B., second sleeper
1979
Gelatin silver prints
12.6 x 18.4cm (4 15/16 x 7 1/4in.) Mat: 14 × 17 in. (35.6 × 43.2 cm)
Gift of the artist and Olivier Renaud-Clement, in memory of Gilles Dusein, 2000
© Sophie Calle

 

Sophie Calle (French, born Paris, 1953) 'Gloria K., first sleeper. Anne B., second sleeper' 1979

 

Sophie Calle (French, born Paris, 1953)
Gloria K., first sleeper. Anne B., second sleeper
1979
Gelatin silver prints
12.6 x 18.4cm (4 15/16 x 7 1/4in.) Mat: 14 × 17 in. (35.6 × 43.2 cm)
Gift of the artist and Olivier Renaud-Clement, in memory of Gilles Dusein, 2000
© Sophie Calle

 

 

While obviously indebted to the deadpan photo-text combinations of Conceptualism, Calle’s art is as purely French at its core as the novels of Marguerite Duras and the films of Alain Resnais – an intimate exploration of memory, desire, and obsessive longing. The artist’s primary method involves a perfectly calibrated interplay between narrative and image, both of which steadily approach their object of desire only to find another blind spot-that which can never be captured through language or representation.

This work is the first segment of Calle’s first work, The Sleepers (1979), in which the artist invited twenty-nine friends and acquaintances to sleep in her bed consecutively between April 1 and April 9, during which time she photographed them once an hour and kept notes recording each encounter. All the elements of Calle’s art-from the voyeuristic inversion of the private sphere (rituals of the bedroom) and the public (the book or gallery wall) to the use of serial, repetitive structures-are present here in embryonic form.

 

Paul Graham (British, born 1956) 'Senami, Christchurch, New Zealand' 2011

 

Paul Graham (British, born 1956)
Senami, Christchurch, New Zealand
2011
Chromogenic print
Image: 44 1/4 in. × 59 in. (112.4 × 149.9 cm)
Purchase, Vital Projects Fund Inc. Gift, through Joyce and Robert Menschel and Hideyuki Osawa Gift, 2015

 

 

Graham’s series, Does Yellow Run Forever?, juxtaposes three groups of photographs: rainbows arcing over the Irish countryside, the facades of pawn-and-jewelry shops in New York, and tender studies of his partner asleep. The thematic links between the images (the rainbow’s mythical pot of gold, the sparkling objects in the Harlem window display, and a sleeping dreamer) may seem obvious, even pat, but Graham’s photographs transmute those clichés into a constellation of deep feeling. These luminous vignettes evoke a sense of longing and pathos, the quest for something permanent amid the illusory and devalued.

 

Peter Hujar (American, Trenton, New Jersey 1934-1987 New York) 'Girl in My Hallway' 1976

 

Peter Hujar (American, Trenton, New Jersey 1934-1987 New York)
Girl in My Hallway
1976
Gelatin silver print
Image: 37 x 37.1 cm (14 9/16 x 14 5/8 in.)
Mat: 25 × 25 in. (63.5 × 63.5 cm)
Purchase, Alfred Stieglitz Society Gifts, 2006
© The Peter Hujar Archive, L.L.C.

 

Brassaï (French (born Romania), Brașov 1899-1984 Côte d'Azur) 'A Vagrant Sleeping in Marseille' 1935, printed 1940s

 

Brassaï (French (born Romania), Brașov 1899-1984 Côte d’Azur)
A Vagrant Sleeping in Marseille
1935, printed 1940s
Gelatin silver print
17.2 x 23.3cm (6 3/4 x 9 3/16in.)
Mat: 17 × 14 in. (43.2 × 35.6 cm)
Gift of the artist, 1980
Photograph by Brassaï. Copyright © Gilberte Brassaï

 

 

The inevitable suggestion that the homeless, hungry man sprawled on the sidewalk might be dreaming of a finely dressed and improbably large salad links Brassaï’s photograph to the work of the Surrealists. Although he frequently depicted thugs, vagrants, and prostitutes, he did so without judgment or political motive; his were pictures meant to delight or perplex the eye and mind-not to prompt a social crusade.

 

Installation view of the exhibition 'Dream States: Contemporary Photography and Video' at the Metropolitan Museum of Art Photo by Anders Jones

 

Installation view of the exhibition Dream States: Contemporary Photography and Video at the Metropolitan Museum of Art featuring at left, Paul Graham’s Gold Town Jewellery, East Harlem, New York (2012) and at right, Paul Graham’s Senami, Christchurch, New Zealand (2011), both from the series Does Yellow Run Forever?
Photo by Anders Jones

 

 

“The psychological fluidity of the medium has been noted before by the Met. In 1993, to celebrate its purchase of the Gilman Collection, the curator Maria Morris Hambourg chose to call her exhibition The Waking Dream. The title came from Keats’s “Ode to a Nightingale” and suggested, in Hambourg’s words, “the haunting power of photographs to commingle past and present, to suspend the world and the artist’s experience of it in unique distillations.”

Conceptual latitude can benefit curators, giving them plenty of room to maneuver in making their selections, or it can be a detriment if a loose framework has so many sides that it won’t support an argument.

Dream States suffers from the latter, even though the leeway of the title allows splendid pictures in disparate styles to be displayed together. Organized by associate curator Mia Fineman and assistant curator Beth Saunders around a theme that isn’t notably pertinent or provocative, the show has no discernible reason for being. It isn’t stocked with recent purchases – fewer than ten of the works entered the collection in this decade – and it isn’t tightly edited. To quality for inclusion here a photograph need only depict someone lying down or with eyes closed. A “dream state” seems to be loosely defined. It can be as a starry or cloudless sky; a tree-less landscape; inverted or abstract imagery; or something blurry.”

Richard B. Woodward. “Dream States: Contemporary Photography and Video @Met,” on the Collector Daily website July 11, 2016 [Online] Cited 06/10/2016

 

Jack Goldstein (American, born Canada, 1945-2003) 'The Pull' 1976

 

Jack Goldstein (American, born Canada, 1945-2003)
The Pull
1976
Chromogenic prints
Frame: 76.2 x 101.6 cm (30 x 40 in.) each
Purchase, The Buddy Taub Foundation Gift and Vital Projects Fund Inc. Gift, through Joyce and Robert Menschel, 2009
© The Estate of Jack Goldstein

 

 

Born in the postwar baby boom, Goldstein grew up surrounded by the products of the rapidly expanding media culture-movies, television, newspapers, magazines, and advertisements of all kinds. Young artists such as Goldstein went on to be educated in the rigorous and reductive principles of Minimal and Conceptual art during the 1970s but knew from personal experience that images shape our sense of the world and who we are, rather than vice versa; they made their art reflect that secondhand relationship to reality.

In this early work, Goldstein has lifted, or “appropriated,” images of a deep sea diver, a falling figure, and a spaceman from unknown printed sources-isolating them from their original contexts and setting them at a very small scale against monochromatic backgrounds (green for sea, blue for sky, and white for space), as if the viewer were seeing them from a great distance. Because the viewer is unlikely to have seen such figures firsthand, that distance is not merely spatial but also epistemological in nature-the images trigger memories based not on original encounters but on reproductions of experience. The Pull – Goldstein’s only photographic work in a career that spanned painting, performance, film, and sound recordings – was included in “Pictures,” a seminal 1977 exhibition at Artist’s Space in New York, which also introduced the public to other young artists making use of appropriation, such as Sherrie Levine, Robert Longo, and Troy Brauntuch.

 

Sarah Anne Johnson (Canadian, born 1976) 'Glitter Bomb' 2012

 

Sarah Anne Johnson (Canadian, born 1976)
Glitter Bomb
2012
Chromogenic print with glitter and acrylic paint
Sheet: 29 7/8 in. × 53 in. (75.9 × 134.6 cm)
Purchase, Funds from Various Donors in memory of Randie Malinsky, 2016
© Sarah Anne Johnson

 

 

Johnson works primarily with photography but also employs a variety of other media – sculpted figurines, dioramas, paint, ink, and bursts of glitter – to amplify the emotional power of her images. Glitter Bomb belongs to a series exploring the bacchanalian culture of summer music festivals. At once ominous and ecstatic, the image evokes the blissed-out mind-set of young revelers taking part in a modern-day rite of passage.

 

Oliver Wasow (American, born 1960) 'Float' 1984-2008, printed 2009

 

Oliver Wasow (American, born 1960)
Float
1984-2008, printed 2009
Inkjet prints
Frame: 17.3 x 22.3 cm (6 13/16 x 8 3/4 in.)
Overall: 116.8 x 152.4 cm (46 x 60 in.)
Purchase, Vital Projects Fund Inc. Gift, through Joyce and Robert Menschel, 2010
© Oliver Wasow

 

 

Wasow has a long-standing fascination with science fiction, apocalyptic fantasies, and documentation of unidentified flying objects. In his many pictures of mysterious floating disks and orbs, the artist courts doubt by running found images through a battery of processes, including drawing, photocopying, and superimposition, to create distortions. The resulting photographs play with the human propensity to invest form with meaning, offering just enough detail to spur the imagination.

 

Fred Tomaselli (American, born Santa Monica, California, 1956) 'Portrait of Laura' 2015

 

Fred Tomaselli (American, born Santa Monica, California, 1956)
Portrait of Laura
2015
Gelatin silver print with graphite
Image: 16 in. × 19 15/16 in. (40.6 × 50.6 cm)
Mat: 24 3/4 × 25 3/4 in. (62.9 × 65.4 cm)
Purchase, Vital Projects Fund Inc. Gift, through Joyce and Robert Menschel, 2016
© Fred Tomaselli

 

 

This “portrait” of the artist’s wife, Laura, belongs to an ongoing series he calls “chemical celestial portraits of inner and outer space.” Tomaselli creates likenesses based on each sitter’s astrological sign and the star map for his or her date of birth. Placing sugar and pills on photographic paper and exposing it to light, he produces a photogram of the corresponding constellation and names the stars after the various drugs the subject remembers consuming, from cold medicine to cocaine. The result is an unconventional map of identity that cleverly weds the mystical and the pharmacological.

 

Bea Nettles (American, born Gainesville, Florida, 1946) 'Mountain Dream Tarot: A Deck of 78 Photographic Cards' 1975

Bea Nettles (American, born Gainesville, Florida, 1946) 'Mountain Dream Tarot: A Deck of 78 Photographic Cards' 1975

Bea Nettles (American, born Gainesville, Florida, 1946) 'Mountain Dream Tarot: A Deck of 78 Photographic Cards' 1975

Bea Nettles (American, born Gainesville, Florida, 1946) 'Mountain Dream Tarot: A Deck of 78 Photographic Cards' 1975

 

Bea Nettles (American, born Gainesville, Florida, 1946)
Mountain Dream Tarot: A Deck of 78 Photographic Cards
1975
Photographically illustrated tarot cards
Purchase, Dorothy Levitt Beskind Gift, 1977

 

 

The idea to create a set of photographic tarot cards came to Nettles in a dream during the summer of 1970, while she was on an artist’s residency in the mountains of North Carolina. She subsequently reinterpreted the ancient symbolism of the traditional tarot deck, enlisting friends and family members as models for photographs that she augmented with hand-painted additions. In 2007 the image Nettles created for the Three of Swords card was used as the disc graphic for Bruce Springsteen’s album Magic.

 

Installation view of the exhibition 'Dream States: Contemporary Photography and Video' at the Metropolitan Museum of Art Photo by Anders Jones

 

Installation view of the exhibition Dream States: Contemporary Photography and Video at the Metropolitan Museum of Art featuring Bea Nettles’ Mountain Dream Tarot: A Deck of 78 Photographic Cards (1975)
Photo by Anders Jones

 

 

“Artists often turn to dreams as a source of inspiration, a retreat from reason, and a space for exploring imagination and desire. In the history of photography, dream imagery has been most closely associated with the Surrealists, who used experimental techniques to bridge the gap between the camera’s objectivity and the internal gaze of the mind’s eye. While those modernist explorations were often bound to psychoanalytic theories, other photographers have pursued the world of sleep and dreams through deliberately open-ended works that succeed through evocation rather than description. The exhibition Dream States: Contemporary Photographs and Video presents 30 photographs and one video drawn from The Met collection, all loosely tied to the subjective yet universal experience of dreaming. The exhibition is on view at the Museum from May 16 through October 30, 2016.

Many of the works take the surrender of sleep as their subject matter. In photographs by Robert Frank, Danny Lyon, and Nan Goldin, recumbent figures appear vulnerable to the wandering gaze of onlookers, yet their inner worlds remain out of reach. Images of bodies floating and falling conjure the tumultuous world of dreams, and landscapes are made strange through the camera’s selective vision. Highlights include photographs by Paul Graham from his recent series Does Yellow Run Forever (2014); images from Sophie Calle’s earliest body of work, The Sleepers (1979), in which she invited friends and acquaintances to sleep in her own bed while she watched; and Anselm Kiefer’s Brünnhilde Sleeps (1980), a hand-painted photograph featuring French actress Catherine Deneuve recast as a Wagnerian Valkyrie. Also featured are recently acquired works by Shannon Bool, Sarah Anne Johnson, Jim Shaw, and Fred Tomaselli.

Dream States: Contemporary Photographs and Video is organized by Mia Fineman, Associate Curator; and Beth Saunders, Curatorial Assistant in the Department of Photographs at The Metropolitan Museum of Art.”

Text from the Metropolitan Museum of Art

 

Grete Stern (Argentinian, born Germany, 1904-1999) 'Sueño No. 1: "Articulos eléctricos para el hogar" (Dream No. 1: "Electrical Household items")' c. 1950

 

Grete Stern (Argentinian, born Germany, 1904-1999)
Sueño No. 1: “Articulos eléctricos para el hogar” (Dream No. 1: “Electrical Household items”)
c. 1950
Gelatin silver print
Image: 26.6 x 22.9 cm (10 1/2 x 9 in.)
Frame: 63.5 x 76.2 cm (25 x 30 in.)
Twentieth-Century Photography Fund, 2012

 

 

In 1948 the Argentine women’s magazine Idilio introduced a weekly column called “Psychoanalysis Will Help You,” which invited readers to submit their dreams for analysis. Each week, one dream was illustrated with a photomontage by Stern, a Bauhaus-trained photographer and graphic designer who fled Berlin for Buenos Aires when the Nazis came to power. Over three years, Stern created 140 photomontages for the magazine, translating the unconscious fears and desires of its predominantly female readership into clever, compelling images. Here, a masculine hand swoops in to “turn on” a lamp whose base is a tiny, elegantly dressed woman. Rarely has female objectification been so erotically and electrically charged.

 

Adam Fuss (British, born 1961) 'From the series "My Ghost"' 1999

 

Adam Fuss (British, born 1961)
From the series “My Ghost”
1999
Gelatin silver print
184.9 x 123.3 cm (72 13/16 x 48 9/16 in.)
Purchase, The Horace W. Goldsmith Foundation Gift, through Joyce and Robert Menschel, 2000
© Adam Fuss

 

 

With his large-scale photograms, Fuss has breathed new life into the cameraless technique that became the hallmark of modernist photographers such as Man Ray and László Moholy-Nagy in the 1920s. He created this image by blowing thick clouds of smoke over a sheet of photographic paper and exposing it to a quick flash of light. Evoking the wizardry of a medieval alchemist, Fuss fixes a permanent image of evanescence.

 

 

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07
Oct
16

Exhibition: ‘William Eggleston Portraits’ at the National Portrait Gallery, London

Exhibition dates: 21st July to 23rd October 2016

Curator: Phillip Prodger, Head of Photographs at the National Portrait Gallery

 

 

Just look. Really look. And then think about that looking.

Minute, democratic observations produce images which nestle, and take hold, and grow in the imagination.

No words are necessary. This is a looking that comes from the soul.

“A lot of these pictures I take are of very ordinary, unremarkable things. Can one learn to see? I don’t know. I think probably one is born with the ability to compose an image, in the way one is born with the ability to compose music. It is vastly more important to think about the looking, though, rather than to try to talk about a picture and what it means. The graphic image and words, well, they are two very different animals.” ~ William Eggleston

Marcus

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

 

William Eggleston is a pioneering American photographer renowned for his vivid, poetic and mysterious images. This exhibition of 100 works surveys Eggleston’s full career from the 1960s to the present day and is the most comprehensive display of his portrait photography ever. Eggleston is celebrated for his experimental use of colour and his solo show at the Museum of Modern Art, New York, in 1976 is considered a pivotal moment in the recognition of colour photography as a contemporary art form. Highlights of the exhibition will include monumental prints of two legendary photographs first seen forty years ago: the artist’s uncle Adyn Schuyler Senior with his assistant Jasper Staples in Cassidy Bayou, Mississippi, and Devoe Money in Jackson, Mississippi.

Also on display will be a selection of never-before seen vintage black and white prints from the 1960s. Featuring people in diners, petrol stations and markets in and around the artist’s home in Memphis, Tennessee, they help illustrate Eggleston’s unique view of the world. (Text from the NPG website)

 

 

“Eggleston is someone who has always tried to maintain emotional detachment in his work, photographing landscapes and inanimate objects with the same attention he would apply to people. He does not believe a photograph is a ‘window on the soul’ as we so often have it, nor does he think a viewer can ever truly understand a photographer’s thoughts and feelings from the pictures they make. Instead, he photographs ‘democratically’, which is to say, he gives even the smallest observations equal weight. His usual method is to capture people going about their business unawares, often performing ordinary tasks like eating in a restaurant or pumping petrol at a filling station. He photographs everyone the same, whether they are a celebrity, a member of his family, or a stranger.”

.
Curator Phillip Prodger

 

 

William Eggleston. 'Untitled' (the artist's uncle, Adyn Schuyler Senior, with assistant Jasper Staples, in Cassidy Bayou, Sumner, Mississippi) 1969-70

 

William Eggleston
Untitled, 1969-70 (the artist’s uncle, Adyn Schuyler Senior, with assistant Jasper Staples, in Cassidy Bayou, Sumner, Mississippi)
1969-70
Dye transfer print
© Eggleston Artistic Trust

 

 

For Eggleston this photo is highly personal. Jasper Staples, the figure on the right, had been around him for his whole life as his family’s “house man”. Here he is next to his employer, Eggleston’s uncle, at a funeral. His exact mimicking of his boss’s posture and their shared focus on an event happening off-camera gives them a moment of unity. Yet the composition of the shot, with their balance and the open car door suggesting some ongoing action, is highly theatrical and might even put us in mind of a TV detective show. (Text by Fred Maynard)

 

William Eggleston. 'Untitled, 1974' (Karen Chatham, left, with the artist's cousin Lesa Aldridge, in Memphis, Tennessee)

 

William Eggleston
Untitled, 1974 (Karen Chatham, left, with the artist’s cousin Lesa Aldridge, in Memphis, Tennessee)
1974
Dye transfer print
Wilson Centre for Photography
© Eggleston Artistic Trust;

 

William Eggleston. 'Untitled, 1974' (Biloxi, Mississippi)

 

William Eggleston
Untitled, 1974 (Biloxi, Mississippi)
1974
Dye transfer print
Wilson Centre for Photography
© Eggleston Artistic Trust

 

William Eggleston. 'Untitled, 1970-74' (Dennis Hopper)

 

William Eggleston
Untitled, 1970-74 (Dennis Hopper)
1970-74
Dye transfer print
© Eggleston Artistic Trust

 

William Eggleston. 'Untitled' 1970-1973

 

William Eggleston
Untitled
1970-1973
Dye transfer print
© Eggleston Artistic Trust

 

William Eggleston. 'Untitled, c. 1975' (Marcia Hare in Memphis Tennessee) c. 1975

 

William Eggleston
Untitled, c. 1975 (Marcia Hare in Memphis Tennessee)
c. 1975
Dye transfer print
© Eggleston Artistic Trust

 

 

One of Eggleston’s most famous images, this pictures shows why he is known as the man who brought colour photography into the artistic mainstream. The subject, Marcia Hare, floats on a cloud-like bed of soft-focus grass, the red buttons on her dress popping out like confectionary on a cake. The dye-transfer technique which Eggleston borrowed from commercial advertising and turned into his trademark gives such richness to the colour that we are brought out of the Seventies and into the realm of Pre-Raphaelite painting. The ghost of Millais’s “Ophelia” sits just out of reach, a connection which the inscrutable artist is happy, as ever, to neither confirm nor deny. (Text by Fred Maynard)

 

William Eggleston. 'Untitled, c. 1970' (Devoe Money in Jackson, Mississippi)

 

William Eggleston
Untitled, c. 1970 (Devoe Money in Jackson, Mississippi)
c. 1970
Dye transfer print
© Eggleston Artistic Trust

 

 

“This is Devoe, a distant relative of mine (although I can’t remember exactly how), but also a friend. She is dead now, but we were very close. She was a very sweet and charming lady. I took this picture in the yard at the side of her house. I would often visit her there in Jackson. I remember I found the colour of her dress and the chair very exciting, and everything worked out instantly. I think this is the only picture I ever took of her, but I would say it sums her up. I didn’t pose her at all – I never do, usually because it all happens so quickly, but I don’t think I would have moved her in any way. I’m still very pleased with the photograph.” ~ William Eggleston

 

William Eggleston. 'Untitled, c. 1965-9'

 

William Eggleston
Untitled, c. 1965-9
Dye transfer print
© Eggleston Artistic Trust

 

 

“These two are strangers. I happened to be walking past and there it was, the picture. As usual I took it very rapidly and we didn’t speak. I think I was fortunate to catch that expression on the woman’s face. A lot of these pictures I take are of very ordinary, unremarkable things. Can one learn to see? I don’t know. I think probably one is born with the ability to compose an image, in the way one is born with the ability to compose music. It is vastly more important to think about the looking, though, rather than to try to talk about a picture and what it means. The graphic image and words, well, they are two very different animals.” ~ William Eggleston

 

William Eggleston. 'Untitled, 1970' (Self-portrait)

 

William Eggleston
Untitled, 1970 (Self-portrait)
Dye transfer print
© Eggleston Artistic Trust

 

 

William Eggleston
Stranded in Canton
Video

In 1973, photographer William Eggleston picked up a Sony PortaPak and took to documenting the soul of Memphis and New Orleans.

 

 

“A previously unseen image of The Clash frontman Joe Strummer and a never-before exhibited portrait of the actor and photographer Dennis Hopper will be displayed for the first time in the National Portrait Gallery this summer.  They will be included in the first museum exhibition devoted to the portraits of pioneering American photographer, William Eggleston it was announced today, Thursday 10 March 2016.

William Eggleston Portraits (21 July to 23 October) will bring together over 100 works by the American photographer, renowned for his vivid, poetic and mysterious images of people in diners, petrol stations, phone booths and supermarkets. Widely credited with increasing recognition for colour photography, following his own experimental use of dye-transfer technique, Eggleston will be celebrated by a retrospective of his full career, including a selection of never-before seen vintage black and white photographs from the 1960s taken in and around the artist’s home in Memphis, Tennessee.

The first major exhibition of Eggleston’s photographs in London since 2002 and the most comprehensive of his portraits, William Eggleston Portraits will feature family, friends, musicians and actors including rarely seen images of Eggleston’s own close relations. It will provide a unique window on the artist’s home life, allowing visitors to see how public and private portraiture came together in Eggleston’s work. It will also reveal, for the first time, the identities of many sitters who have until now remained anonymous. Other highlights include monumental, five foot wide prints of the legendary photographs of the artist’s uncle, Adyn Schuyler Senior, with his assistant Jasper Staples in Cassidy Bayou, Mississippi and Devoe Money in Jackson, Mississippi from the landmark book Eggleston’s Guide (1976).

Since first picking up a camera in 1957, Eggleston’s images have captured the ordinary world around him and his work is said to find ‘beauty in the everyday’. His portrayal of the people he encountered in towns across the American South, and in Memphis in particular, is shown in the context of semi-public spaces. Between 1960 and 1965, Eggleston worked exclusively in black and white and people were Eggleston’s primary subject, caught unawares while going about ordinary tasks. In the 1970s, Eggleston increasingly frequented the Memphis night club scene, developing friendships and getting to know musicians and artists. His fascination with club culture resulted in the experimental video ‘Stranded in Canton’, a selection of which will also be on view at the exhibition. ‘Stranded in Canton’ chronicles visits to bars in Memphis, Mississippi and New Orleans.

Eggleston’s 1976 show at the Museum of Modern Art, New York, is considered a pivotal moment in the recognition of colour photography as a contemporary art form. His work has inspired many present day photographers, artists and filmmakers, including Martin Parr, Sofia Coppola, David Lynch and Juergen Teller.

Dr Nicholas Cullinan, Director of the National Portrait Gallery, London, says: William Eggleston makes memorable photographic portraits of individuals – including friends and family, musicians and artists – that are utterly unique and highly influential. More than this, Eggleston has an uncanny ability to find something extraordinary in the seemingly everyday. Combining well-known works with others previously unseen, this exhibition looks at one of photography’s most compelling practitioners from a new perspective.”

Curator Phillip Prodger, Head of Photographs at the National Portrait Gallery says, “Few photographers alive today have had such a profound influence on the way photographs are made and seen as William Eggleston. His pictures are as fresh and exciting as they were when they first grabbed the public’s attention in the 1970s. There is nothing quite like the colour in an Eggleston photograph – radiant in their beauty, that get deep under the skin and linger in the imagination.”

Press release from the National Portrait Gallery, London

 

William Eggleston. 'Untitled, 1965' (Memphis Tennessee)

 

William Eggleston
Untitled, 1965 (Memphis Tennessee)
Nd
Dye transfer print
Wilson Centre for Photography
© Eggleston Artistic Trust

 

 

According to Eggleston talking on this video, this was his first successful colour negative.

The photo that made Eggleston’s name, this image of a grocery-store boy lining up shopping carts is a prime example of his ability to capture the humdrum reality of life in mid-century America. Yet it is also something more: the delicacy of his motion, the tension in his posture, the concentration on his brow evoke a master craftsman at work. Despite Eggleston’s presence, he seems entirely unselfconscious: caught in perfect profile and sun-dappled like a prime specimen of American youth. Eggleston, hovering between documentarian and sentimentalist, creates a semi-ironic paean to America. (Text by Fred Maynard)

 

William Eggleston. 'Untitled' (Memphis) c. 1969-71

 

William Eggleston
Untitled (Memphis)
c. 1969-71
Dye transfer print
© Eggleston Artistic Trust

 

 

“I took this picture in front of the music school of the university in Memphis. She was waiting on an automobile to come pick her up. I remember she was studying the sheaves of music on her lap. Not one word was exchanged – I was gone before she had the chance to say anything to me and it happened so fast that she wasn’t even sure I had taken a picture. I didn’t make a point of carrying a camera, but I usually had one with me.” ~ William Eggleston

 

William Eggleston. 'Untitled, c. 1980' (Joe Strummer)

 

William Eggleston
Untitled, c. 1980 (Joe Strummer)
c. 1980
Dye transfer print
© Eggleston Artistic Trust

 

William Eggleston. 'Untitled' 1973-4

 

William Eggleston
Untitled, 1973-74
1973-4
Dye transfer print
© Eggleston Artistic Trust

 

 

The closest Eggleston came to taking traditional portraits was in a series he shot in bars in his native Memphis and the Mississippi Delta in 1973-4. The sitters in his Nightclub Portraits – anonymous figures plucked, slightly flushed, from their nights out – are not posing but instead are photographed mid-conversation, Eggleston capturing them at their most unguarded. What is remarkable about this example is the strange composure of the subject, the slightly ethereal sheen as the flash from the camera is reflected by her make-up. Eggleston’s precise focus picks out the individual threads of her cardigan. Something hyper-real and statuesque emerges from an ordinary night out. (Text by Fred Maynard)

 

William Eggleston. 'Untitled, 1973-74'

 

William Eggleston
Untitled, 1973-74
1973-74
Dye transfer print
© Eggleston Artistic Trust

 

Another one of the sitters in his Nightclub Portraits

 

William Eggleston. 'Untitled, 1973-74' (Dane Layton)

 

William Eggleston
Untitled, 1973-74 (Dane Layton)
1973
Dye transfer print
© Eggleston Artistic Trust

 

William Eggleston. 'Untitled' 1970-1973

 

William Eggleston
Untitled
1970-1973
Dye transfer print
© Eggleston Artistic Trust

 

 

“I don’t know who this woman is, I simply saw her on the street. I never know what I am looking for until I see it. The images just seem to happen, wherever I happen to be. Was I attracted by the movement? I think I was attracted to the bright orange of her dress. She wasn’t raising her hand as a result of anything I did, but I think I must have been aware of the repeat made by her shadow in the frame – subconsciously at least – it needed to be in the picture.” ~ William Eggleston

 

William Eggleston. 'Untitled' 1971-1974

 

William Eggleston
Untitled
1971-1974
Dye transfer print
© Eggleston Artistic Trust

 

 

“Refusing to be pinned down to any viewpoint or agenda, Eggleston’s greatest strength is his almost enraging ambiguity. He is neither a sentimentalist nor a documentarian, neither subjective nor objective: he somehow captures that ephemeral moment we experience when we’re not quite sure why a memory sticks with us, why an otherwise mundane glance from a stranger seems to take on a greater significance.

His refusal to think of himself as a portraitist is what gives this exhibition such wry power. Here is a photographer who makes no distinctions, viewing every subject from cousins to coke cans with the same inscrutable gaze. When approached about the idea of a portrait show, the NPG’s Philip Prodger recalls, Eggleston expressed surprise because he didn’t “do” portraits. Prodger reframed the exhibition as a series of photos that just happened to have people in them. “That makes sense”, Eggleston deadpanned.

The unvarnished Americana for which he is so famous – brash logos and a hint of rust – can contain something uneasy, even threatening, precisely because Eggleston maintains a blithe poker-face about his feelings on his subjects. Walking through this exhibition is to meet more placards marked “Untitled” than you can handle. The names of previously anonymous sitters, revealed specially for this exhibition, are hardly likely to make things much more concrete for the viewer. Rather we are let in on an extraordinary experience, moving between the mysterious faces of a transitional moment in American history, not quite sure whether some greater revelation is bubbling under the surface.”

Extract from Fred Maynard. “William Eggleston, the reluctant portraitist,” on the 1843 website July 26, 2016 [Online] Cited 30/09/2016

 

William Eggleston. 'Untitled, 1960s'

 

William Eggleston
Untitled, 1960s
1960s
Silver gelatin print
© Eggleston Artistic Trust

 

William Eggleston. 'Untitled, 1960s'

 

William Eggleston
Untitled, 1960s
1960s
Silver gelatin print
© Eggleston Artistic Trust

 

 

National Portrait Gallery
St Martin’s Place
London, WC2H 0HE

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27
Sep
16

Review: ‘Polixeni Papapetrou: Eden’ at Stills Gallery, Sydney

Exhibition dates: 3rd September – 1st October 2016

 

This end of (life) cycle is the last body of work that Polixeni Papapetrou will make. It is the completion of an imaginative, bold and strong body of work that stretches from the late 1980s through to this series, Eden. Papapetrou has remained true to her vision as an artist, one that documents performative identities within constructed landscapes.

In this series Papapetrou again cleverly stitches together space and time: flowers stitched together in wreaths; prints of period dresses; and further prints in the backdrop made from postwar backcloth. This “fabrication” of the picture plane has been a constant throughout the artistic life of Papapetrou. If we look at the formal construction of an early work, Drag queen wearing cut out dress (1993, below), we can still see the same concerns for flattened perspective in this new series. The wrapping up of space (fabric, dress, flowers, body) in an intricately overlapping, planar field of view with no vanishing point.

The work desires to celebrate the beauty of nature and honour its transience through the symbology of beauty and death associated with flowers. But for me, the use of facsimiles or simulacra – prints of flowers on dresses and repeated patterns of flowers on cloth – diminishes the relationship between the sitters and the flowers, thus undermining the conceptualisation of the series. The sitter is no longer embedded in the cycles of life and, on this level, the work fails to engage with how we are nature. The sitters exist in a masked reality (like the wreaths in front of the girls faces), which is a masquerade or act, a disguise which takes us away from our true being. As in much of Papapetrou’s work, camouflage – to hide or disguise the presence of (a person, animal, or object) – is to the fore, but this time these photographs fail to transcend their origins as studio set pieces.

Further, I have never been a great fan of “dead pan” photography and what I find curious here is the closed nature of the girls. They are stiff, focused inwards, looking off into nowhere. They don’t feel that they are in a state of reflection. For a series that seeks to show “the condition of becoming from childhood to adolescence to adulthood”, the photographs seem to lack the energy vital for such a journey. The exuberance of nature doesn’t seem to extend beyond the prints and flowers. As I said of her work in an earlier posting, “what springs to mind, with the use of masks to disguise youth positioned within the decorous landscape, is the notion of “passing”. Passing on (as in dying), passing through (as in travelling), in passing (as in an aside) and just “passing” (passing yourself off as someone or something else) to hide your true character or feelings.” Like a bower bird collecting colourful things for its nest, there are bits of all of that and more in this new series.

This is not my favourite body of Papapetrou’s work. No matter. What we should do is honour this talented and determined artist for creating 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.

Dr Marcus Bunyan for Art Blart

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

 

 

“If I do live again I would like it to be as a flower – no soul but perfectly beautiful. Perhaps for my sins I shall be made a red geranium!”

.
Oscar Wilde

 

The loss of Eden is
personally experienced by
every one of us as we leave
the wonder and magic and
also the pain and terrors
of childhood.

.
Dennis Potter

 

 

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

 

Polixeni Papapetrou
Drag queen wearing cut out dress
1993
Gelatin silver photograph
28.5 x 28.5 cm
Courtesy the artist and Nellie Castan Gallery, Melbourne and Stills Gallery, Sydney

 

 

Polixeni stitches space together in the same way that flowers are stitched together in a wreath – the one wand entwined within the space of the other – or vines or branches are woven on a trellis. The very word bower derives from a knot, a bow (as Shakespeare acknowledges with his ‘pleached bower’),[1] a tying together around an armature, where strands are interwoven, locked in, both strengthened and encumbered with their unity. They are ‘Together intertwin’d and trammel’d fresh’,[2] as the romantic poet Keats expressed it in his Endymion, a heady poem itself enmeshed with flowers and vine. In Polixeni’s photographs, however, the trammelled armature is the human herself…

In Eden, Polixeni weaves together much more than space but metaphor, metaphors of growth, nature, life-cycles, the sacred, the ideal; and even the all-over aesthetic field constitutes a kind of metaphor, the rhapsodic, the imaginary, the connected. The space that she has created is almost nothing but a metaphor, ‘her close and consecrated bower’;[13]…

Polixeni’s bower is fantastic in old and new ways: old, because it has forms of painting and sculpture within it where blooms and other plant-matter are brought together; and new because they gesture to a place so far beyond the studio…

This exclusivity along gender lines, like the image of the unicorn in the garden of a virgin, is also metaphoric: it stands for the preserve of the individual, the quintessentially safe place that is the interior, the inner realm of thought, the preserve of an unaffected psyche, an emotional haven, a bower of immanence. It has love in it, but deferred, otherworldly, imaginary and eternal.

Extract from Robert Nelson “Rhapsodies from the bower: Polixeni Papapetrou’s ‘Eden'” 2016

 

Polixeni Papapetrou. 'Blinded' from 'Eden', 2016

 

Polixeni Papapetrou
Blinded
2016
From the series Eden
Pigment print
127.3 x 85 cm
Courtesy of the artist and STILLS Gallery, Sydney

 

Polixeni Papapetrou. 'Delphi' 2016

 

Polixeni Papapetrou
Delphi
2016
From the series Eden
Pigment print
127.3 x 85 cm
Courtesy of the artist and STILLS Gallery, Sydney

 

The name Delphoi comes from the same root as δελφύς delphys, “womb” and may indicate archaic veneration of Gaia… In Greek mythology, Gaia (/ˈɡ.ə/ or /ˈɡ.ə/ from Ancient Greek Γαῖα, a poetical form of Γῆ , “land” or “earth”) also spelled Gaea, is the personification of the Earth and one of the Greek primordial deities. Gaia is the ancestral mother of all life: the primal Mother Earthgoddess.

 

Polixeni Papapetrou. 'Heart' 2016

 

Polixeni Papapetrou
Heart
2016
From the series Eden
Pigment print
127.3 x 85 cm
Courtesy of the artist and STILLS Gallery, Sydney

 

Polixeni Papapetrou. 'Flora' 2016

 

Polixeni Papapetrou
Flora
2016
From the series Eden
Pigment print
127.3 x 85 cm
Courtesy of the artist and STILLS Gallery, Sydney

 

In Roman mythology, Flora (Latin: Flōra) was a Sabine-derived goddess of flowers and of the season of spring – a symbol for nature and flowers (especially the may-flower). While she was otherwise a relatively minor figure in Roman mythology, being one among several fertility goddesses, her association with the spring gave her particular importance at the coming of springtime, as did her role as goddess of youth. Her name is derived from the Latin word “flos” which means “flower”. In modern English, “Flora” also means the plants of a particular region or period.

 

Polixeni Papapetrou. 'Psyche' 2016

 

Polixeni Papapetrou
Psyche
2016
From the series Eden
Pigment print
127.3 x 85 cm
Courtesy of the artist and STILLS Gallery, Sydney

 

Psyche (/ˈsk/, Greek: Ψυχή, “Soul” or “Breath of Life”). The basic meaning of the Greek word ψυχή (psūkhē) was “life” in the sense of “breath”, formed from the verb ψύχω (psukhō, “to blow”). Derived meanings included “spirit”, “soul”, “ghost”, and ultimately “self” in the sense of “conscious personality” or “psyche”… Portrayals of Psyche alone are often not confined to illustrating a scene from Apuleius, but may draw on the broader Platonic tradition in which Love was a force that shaped the self.

 

 

Colourful, abundant and compelling, Polixeni Papapetrou’s new series Eden arose out of a commission by the Centre for Contemporary Photography (CCP) in Melbourne to create works in response to the Melbourne General Cemetery. Papapetrou, photographed flowers obtained from the cemetery against a black backdrop to invoke ideas about mourning and remembrance. For Papapetrou, whose own plot is in the cemetery, and who, through illness, has faced her own mortality, it was a challenging and thought provoking assignment.

The commission led Papapetrou to delve into the language of flowers. The history of art is replete with images of flowers and they have a rich metaphorical resonance. In true Papapetrou spirit, what she has created in Eden, following on from the CCP work, is positive, philosophical and beautiful. Eden invites us to celebrate the beauty of nature and honour its transience. We, like flowers, are subject to seasons of growth, blossoming, and wilting. The young women in the photographs, in the Springtime of their lives, are surrounded by flowers; on backdrops, on dresses; held or worn, they adorn and overrun them. The lush colours and patterns are interrupted only by the faces and arms of the sitters, their expressions solemn and thoughtful, in contrast to the extravagance of the blooms.

Papapetrou has returned to photograph these subjects, including her daughter Olympia, at different stages of their lives. Eden uses the language of flowers to explore life itself, reflecting on the young womens’ metamorphosis from child to adolescent and adolescent to adult, and a oneness with the world, fertility and the cycles of life. They are enclosed in a floral embrace that symbolises their unity and acceptance of this miraculous thing we call life.

In addition to Eden, we will also exhibit a small selection of Papapetrou’s early Phantomwise works. These large-scale black and white photographs feature her young daughter Olympia between the ages of four and six wearing Victorian masks and performing various identities. As with Eden, these early works consider the potential for metamorphosis and the ambiguity between the ‘real’ and the ‘imaginary’, an ambiguity inherent in photography itself.

Press release from Stills Gallery

 

Polixeni Papapetrou. 'Amaranthine' 2016

 

Polixeni Papapetrou
Amaranthine
2016
From the series Eden
Pigment print
127.3 x 85 cm
Courtesy of the artist and STILLS Gallery, Sydney

 

The word is taken from ancient Greek and means everlasting or immortal (the same as the amaranth flower)

 

Polixeni Papapetrou. 'Amaryllus' 2016

 

Polixeni Papapetrou
Amaryllus
2016
From the series Eden
Pigment print
127.3 x 85 cm
Courtesy of the artist and STILLS Gallery, Sydney

 

Polixeni Papapetrou. 'Eden' 2016

 

Polixeni Papapetrou
Eden
2016
From the series Eden
Pigment print
127.3 x 85 cm
Courtesy of the artist and STILLS Gallery, Sydney

 

Traditionally, the favored derivation of the name “Eden” was from the Akkadian edinnu, derived from a Sumerian word meaning “plain” or “steppe”. Eden is now believed to be more closely related to an Aramaic root word meaning “fruitful, well-watered.” The Hebrew term is translated as “pleasure” in Sarah’s secret saying in Genesis 18:12

 

Polixeni Papapetrou. 'Rhodora' 2016

 

Polixeni Papapetrou
Rhodora
2016
From the series Eden
Pigment print
127.3 x 85 cm
Courtesy of the artist and STILLS Gallery, Sydney

 

Ralph Waldo Emerson (1803-1882) "The Rhodora" from 'Poems' 1847

 

Ralph Waldo Emerson (1803-1882)
“The Rhodora” from Poems
1847

 

Polixeni Papapetrou. 'Spring' 2016

 

Polixeni Papapetrou
Spring
2016
From the series Eden
Pigment print
127.3 x 85 cm
Courtesy of the artist and STILLS Gallery, Sydney

 

 

Stills Gallery
36 Gosbell Street
Paddington NSW 2021
Australia
Phone: +61 2 9331 7775

Opening hours:
Wed to Sat 11am – 5pm

Stills Gallery website

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23
Sep
16

Exhibition: ‘Danny Lyon: Message to the Future’ at the Whitney Museum of American Art, New York

Exhibition dates: 17th June – 25th September 2016

Curator: Julian Cox

 

 

This man is a living legend. What a strong body of socially conscious work he has produced over a long period of time. Each series proposes further insight into the human condition – and adds ‘value’ to series that have gone before. It is a though the artist possesses the intuition for a good story and the imagination to photograph it to best advantage, building the story over multiple encounters and contexts to form a thematic whole.

In a press release for a currently showing parallel exhibition titled Journey at Edwynn Houk Gallery the text states, “Continuing in the tradition of Walker Evans and Robert Frank, Lyon forged a new style of realistic photography, described as “New Journalism,” where the photographer immerses himself in his subject’s world.” This reference to immersion is reinforced by the second quotation below, where “the power of Lyon’s work has often derived from his willingness of immerse himself entirely in the cultures and communities he documents.”

While the observation is correct that the artist immerses himself in the cultures and communities he documents, this is different to the tradition of Robert Frank and to a lesser extent, Walker Evans. Frank was a Swiss man who imaged his impressions of America on a road trip across the country. His “photographs were notable for their distanced view of both high and low strata of American society” which pictured the culture as both alienating and strange, “skeptical of contemporary values and evocative of ubiquitous loneliness”. This is why The Americans had so much power and caused so much consternation when it was first released in 1959 in America, for it held up a mirror to an insular society, one not used to looking at itself especially from the position of an “outsider” – where the tone of the book was perceived as derogatory to national ideals – and it didn’t like what it saw. The American Walker Evans was also an outsider photographing outsiders, journeying through disparate towns and communities documenting his impressions how I can I say, subjectively with an objective focus, at one and the same time. He never immersed himself in the culture but was an active observer and documenter, never an insider.

Lyon was one of the first “embedded” social documentary photographers of the American street photography movement of the 1960s who had the free will and the social conscience to tell it like it is. His self-proclaimed “advocacy journalism” is much more than just advocacy / journalism. It is a vitality of being, of spirit, an inquiry of the mind that allows the artist to get close, both physically and emotionally, to the problems of others through becoming one with them – and then to picture that so that others can see their story, so that he can “change history and preserve humanity.” But, we must acknowledge, that humanity is mainly (good looking) males: outlaw motorcycle clubs, mainly male prisons, mainly male civil rights, tattoo shops, and male Uptown, Chicago. Women are seemingly reduced to bit-players at best, singular portraits or standing in the background at funerals. This is a man’s world and you better not forget it…

Having said that, can you imagine living the life, spending four years as a member of the Chicago Outlaw Motorcycle Club. How exhilarating, how enmeshed with the culture you would become – the people, the travel, the ups and downs, the life, the danger – and then when you get photographs like Funny Sonny Packing with Zipco, Milwaukee (1966, below) with the manic look in Funny Sonny’s eyes, how your heart would sing. If I had to nominate one image that is for me the epitome of America in the 1960s it would be this: Crossing the Ohio River, Louisville (1966, below): all Easy Rider (an 1969 American road movie) encapsulated in one image. The structure and modernism / of the two bridges frames / the speeding / wicked bike / helmet lodged over the headlight; the man / wearing a skull and crossbones emblazoned jacket / helmet-less / head turned / behind / hair flying in the wind / not looking where / he is going / as though his destiny: unknown.

Danny Lyon IS one of the great artists working in photography today. He is a rebel with his own cause. Through his vital and engaging images his message to the future is this: everyone has their own story, their own trials and tribulations, each deserving of empathy, compassion, and non-judgemental acceptance. Prejudice has no voice here, a lesson never more pertinent than for America today as it decides who to elect – a woman who has fought every inch of the way or a narcissistic megalomaniac who preaches hate to minorities.

Dr Marcus Bunyan

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

 

 

“Closeness, both physical and emotional, is a recurring theme throughout the 175 works in “Message to the Future,” Lyon’s Whitney Museum retrospective, a quietly brilliant affair curated with panache by Julian Cox. (Later this year, the show will travel to the Fine Arts Museums in San Francisco, which organized it; Elisabeth Sussman oversaw the Whitney installation.) We see here a photographer who was witness to a changing America and, occasionally, other places in the world. Since the early ’60s, Lyon has been infiltrating outsider groups – talking to and photographing bikers, Texas prison inmates, and hippies, and learning from them by becoming close with them. It’s as if Lyon has no sense of personal space. That, as this revelatory show proves, is his greatest attribute…

Lyon is a deft stylist who cares deeply about his subjects, to the point of exchanging letters with them for years after taking their pictures. What results is something more intimate, more political, and, in some ways, better than traditional photojournalism – a fuller portrait of America since the ’60s.”

.
Alex Greenberger on the ArtNews website

 

“Self-taught, and driven by his twin passions for social change and the medium of photography, the power of Lyon’s work has often derived from his willingness of immerse himself entirely in the cultures and communities he documents. This was evident early on in his series ‘Bikeriders’ (1968; reissued in 2003 by Chronicle Books), which evolved from four years spent as a member of the Chicago Outlaw Motorcycle Club. And ‘Conversations with the Dead’ derived from his close study of the Texas prison system; it also revealed Lyon’s novel and distinctive approach to the photobook, which often sees him splicing images with texts drawn from various sources, including interviews, letters, and even fiction.”

.
Text from the Edwynn Houk Gallery website

 

 

In his 1981 book, “Danny Lyon: Pictures From the New World,” he wrote of starting out in the early ’60s. “Photography then seemed new and exciting, and all America, which I regarded with mystery and reverence, lay before me.”

That sense of newness and excitement fills the show. What we’re discovering now, Lyon was discovering then – not just seeing or observing, but discovering, with the sense of revelation that brings. Mystery and reverence are here, too, but complicatedly. Framing them – debating with them? – are the clarity of precision the camera affords and a skepticism born of a forthrightly ’60s sensibility. Several photographs of the Occupy movement attest to how vigorous that sensibility remains…

He was working as a documentarian but not a photojournalist. That’s an important distinction. These images are implicitly polemical – inevitably polemical, too. Rarely in our nation’s history has the distinction between what’s right and what’s wrong been as clear cut. Yet then as now, people matter more to Lyon than any ideological stance. Outsiders attract Lyon and populate the show: civil rights demonstrators, transgender people (in Galveston, Texas, of all places), lower Manhattan demolition crews, inmates, undocumented workers, Indians, Appalachian whites transplanted to Chicago, motorcycle gangs…

Enclosure and entrapment are not for Lyon – nor, for that matter, is the absence of people (a very rare condition in his work). A larger restlessness in Lyon’s career reflects the energy so often evident within the frame – within the frame being another form of enclosure and entrapment. The South, Chicago, lower Manhattan, Texas, New Mexico, China, Haiti, Latin America share space in the show. Even so, sense of place doesn’t signify as much for Lyon as a sense of a place’s inhabitants. More likely he’d say that the two are indistinguishable. Looking at his pictures, you can see why he’d think so.”

Mark Feeney. “Outsiders fill compelling Danny Lyon photography show,” on the Boston Globe website 8th July 2016 [Online] Cited 10/09/2016

 

 

Danny Lyon. 'Self-portrait, Chicago' 1965/1995

 

Danny Lyon
Self-portrait, Chicago
1965/1995
Gelatin silver print montage
Image 31.2 x 27.8 cm (12 1/4 x 10 15/16 in.); mount 50.8 x 40.6 cm (20 x 16 in.)
Collection of the artist

 

Danny Lyon. 'Self-Portrait, New Orleans 1964' 1964

 

Danny Lyon
Self-Portrait, New Orleans, 1964
1964
Gelatin silver print
18.2 x 12.2 cm (7 3/16 x 4 13/16 in.)
Collection of the artist

 

 

“The most comprehensive retrospective of the work of American photographer, filmmaker, and writer Danny Lyon in twenty-five years debuts at the Whitney on June 17, 2016. The first major photography exhibition to be presented in the Museum’s downtown home, Danny Lyon: Message to the Future is organized by the Fine Arts Museums of San Francisco, where it will make its West Coast debut at the de Young Museum on November 5, 2016. The exhibition assembles approximately 175 photographs and is the first to assess the artist’s achievements as a filmmaker. The presentation also includes a rare look at works from Lyon’s archives, including vintage prints, unseen 16mm film footage made inside Texas prisons, and his personal photo albums. A leading figure in the American street photography movement of the 1960s, Lyon has distinguished himself by the personal intimacy he establishes with his subjects and the inventiveness of his practice.

Photographer, filmmaker, and writer Danny Lyon (b. 1942) has over the past five decades presented a charged alternative to the sanitized vision of American life presented in the mass media. Throughout, he has rejected the standard detached humanism of the traditional documentary approach in favor of a more immersive, complicated involvement with his subjects. “You put a camera in my hand,” he has explained, “I want to get close to people. Not just physically close, emotionally close, all of it.” In the process he has made several iconic bodies of work, which have not only pictured recent history but helped to shape it.

Lyon committed intensively to photography from the beginning. In 1962, while still a student at the University of Chicago, he hitchhiked to the segregated South to make a photographic record of the civil rights movement. He went on to photograph biker subcultures, explore the lives of the incarcerated, and document the architectural transformation of Lower Manhattan. He has traveled to Latin America and China, and has lived for years in New Mexico; the work he has made throughout these journeys demonstrates his respect for the people he photographs on the social and cultural margins.

Message to the Future, shaped in collaboration with the artist, incorporates seldom-exhibited materials from Lyon’s archive, including rare vintage prints, previously unseen 16mm film footage made inside the Texas prisons, his personal photo albums, and related documents and ephemera. In his roles as a photographer, filmmaker, and writer, Lyon has reinvented the expectations for how the still photographic image can be woven together with journalism, books, films, and collage to present a diverse record of social customs and human behavior. His work, which he continues to make today, reveals a restless idealist, digging deep into his own life and those of his subjects to uncover the political in the personal and the personal in the political.”

Text from the Whitney Museum of American Art

 

Civil rights

In the summer of 1962, Lyon hitchhiked to Cairo, Illinois, to witness demonstrations and a speech by John Lewis, chairman of the Student Nonviolent Coordinating Committee (SNCC), one of the most important organizations driving the civil rights movement of the early 1960s. Inspired to see the making of history firsthand, Lyon then headed to the South to participate in and photograph the civil rights movement. There, SNCC executive director James Forman recruited Lyon to be the organization’s first official photographer, based out of its Atlanta headquarters. Traveling throughout the South with SNCC, Lyon documented sit-ins, marches, funerals, and violent clashes with the police, often developing his negatives quickly in makeshift darkrooms.

Lyon’s photographs were used in political posters, brochures, and leaflets produced by SNCC to raise money and recruit workers to the movement. Julian Bond, the communications director of SNCC, wrote of Lyon’s pictures, “They put faces on the movement, put courage in the fearful, shone light on darkness, and helped make the movement move.”

 

Danny Lyon. 'Arrest of Eddie Brown, Albany, Georgia' 1962

 

Danny Lyon
Arrest of Eddie Brown, Albany, Georgia
1962
Gelatin silver print
Image 22 x 31.7 cm (8 5/8 x 12 1/2 in.); sheet 27.9 x 35.6 cm (11 x 14 in.)
Collection of the artist

 

Danny Lyon. 'Student Nonviolent Coordinating Committee (SNCC) Sit-In, Atlanta' 1963

 

Danny Lyon
Student Nonviolent Coordinating Committee (SNCC) Sit-In, Atlanta
1963
Gelatin silver print
Image 16.1 x 24 cm (6 3/8 x 9 1/2 in.); sheet 20.3 x 25.4 cm (8 x 10 in.)
Collection of the artist

 

Danny Lyon. 'The Leesburg Stockade, Leesburg, Georgia' 1963

 

Danny Lyon
The Leesburg Stockade, Leesburg, Georgia
1963
Gelatin silver print
Image 17.5 x 26 cm (6 7/8 x 10 3/16 in.); sheet 27.9 x 35.6 cm (11 x 14 in.)
Collection of the artist

 

Danny Lyon. 'Abernathy, Shuttlesworth (SCLC), King and Wilkinson (NAACP)' 1963

 

Danny Lyon
Abernathy, Shuttlesworth (SCLC), King and Wilkinson (NAACP)
1963
Gelatin silver print

 

Danny Lyon. 'Voting Rights Demonstration, Organized by the Student Nonviolent Coordinating Committee (SNCC), Selma, Alabama' October 7, 1963

 

Danny Lyon
Voting Rights Demonstration, Organized by the Student Nonviolent Coordinating Committee (SNCC), Selma, Alabama
October 7, 1963
Gelatin silver print
Image 18.3 x 26.8 cm (7 3/16 x 10 9/16 in.); sheet: 27.8 x 35.4 cm (10 15/16 x 13 15/16 in.)
Whitney Museum of American Art, New York; purchase with funds from the Photography Committee

 

Danny Lyon. 'Sheriff Jim Clark Arresting Demonstrators, Selma, Alabama' October 7, 1963

 

Danny Lyon
Sheriff Jim Clark Arresting Demonstrators, Selma, Alabama
October 7, 1963
Gelatin silver print
Image 18.4 x 27 cm (7 1/4 x 10 5/8 in.); sheet: 27.8 x 35.4 cm (10 15/16 x 13 15/16 in.)
Whitney Museum of American Art, New York; purchased with funds from the Photography Committee

 

Danny Lyon. 'Stokely Carmichael, Confrontation with National Guard, Cambridge, Maryland' 1964

 

Danny Lyon
Stokely Carmichael, Confrontation with National Guard, Cambridge, Maryland
1964
Gelatin silver print
Image 16.5 x 22.2 cm (6 1/2 x 8 3/4 in.); sheet 20.3 x 25.4 cm (8 x 10 in.)
Collection of the High Museum of Art, Atlanta; purchase with funds from Joan N. Whitcomb

 

Danny Lyon. 'Woman Holds Off a Mob, Atlanta' 1963

 

Danny Lyon
Woman Holds Off a Mob, Atlanta
1963
Gelatin silver print

 

Danny Lyon. 'Bob Dylan behind the SNCC office, Greenwood, Mississippi' 1963

 

Danny Lyon
Bob Dylan behind the SNCC office, Greenwood, Mississippi
1963
Gelatin silver print

 

Danny Lyon. 'Arrest of Taylor Washington, Atlanta' 1963

 

Danny Lyon
Arrest of Taylor Washington, Atlanta
1963
Gelatin silver print
24 x 16 cm (9 7/16 x 6 1/4 in.)
Collection of the artist

 

Danny Lyon. 'The March on Washington' August 28, 1963

 

Danny Lyon
The March on Washington
August 28, 1963
Gelatin silver print
29.8 x 20.8 cm (11 3/4 x 8 3/16 in.)
Museum of Modern Art, New York; Gift of Anne Ehrenkranz

 

Galveston

Danny Lyon. 'Pumpkin and Roberta, Galveston, Texas' 1967

 

Danny Lyon
Pumpkin and Roberta, Galveston, Texas
1967
Gelatin silver print
Image 23.8 x 16.1 cm (6 3/8 x 9 3/8 in.); sheet 20.3 x 25.4 cm (8 x 10 in.)
Collection of the artist

 

 

Prisons

In 1967, Lyon applied to the Texas Department of Corrections for access to the state prisons. Dr. George Beto, then director of the prisons, granted Lyon the right to move freely among the various prison units, which he photographed and filmed extensively over a fourteen-month period. The result is a searing record of the Texas penal system and, symbolically, of incarceration everywhere.

Lyon’s aim was to “make a picture of imprisonment as distressing as I knew it to be in reality.” This meant riding out to the fields to follow prisoners toiling in the sun, as well as visiting the Wynne Treatment Centre, which housed primarily convicts with mental disabilities. He befriended many of the prisoners, listening to their stories and finding the humanity in their experiences, and still maintains contact with some of them.

 

Danny Lyon. 'Weight Lifters, Ramsey Unit, Texas' 1968

 

Danny Lyon
Weight Lifters, Ramsey Unit, Texas
1968
Gelatin silver print
Image 22.4 x 33.2 cm (8 7/8 x 13 1/16 in.); sheet 27.7 x 35.6 cm (11 x 14 in.)
Collection of the artist

 

Danny Lyon. 'New Arrivals from Corpus Christi, The Walls, Texas' 1968

 

Danny Lyon
New Arrivals from Corpus Christi, The Walls, Texas
1968
Gelatin silver print
Image 21.4 x 32 cm (8 7/16 x 12 5/8 in.); sheet 27.9 x 35.6 cm (11 x 14 in.)
Collection of the artist

 

Danny Lyon. 'Contents of Arriving Prisoner’s Wallet, Diagnostic Unit, The Walls, Huntsville, Texas' 1968

 

Danny Lyon
Contents of Arriving Prisoner’s Wallet, Diagnostic Unit, The Walls, Huntsville, Texas
1968
Gelatin silver print
Image 24.3 x 17.5 cm (9 9/16 x 6 3/4 in.); sheet 25.4 x 20.3 cm (10 x 8 in.)
Collection of the artist

 

Danny Lyon. 'Six-Wing Cell Block, Ramsey Unit, Texas' 1968

 

Danny Lyon
Six-Wing Cell Block, Ramsey Unit, Texas
1968
Gelatin silver print
Image 16 x 24 cm (6 5/16 x 9 7/16 in.); sheet 20.3 x 25.4 cm (8 x 10 in.)
Collection of the artist

 

Danny Lyon. 'Charlie Lowe, Ellis Unit, Texas' 1968

 

Danny Lyon
Charlie Lowe, Ellis Unit, Texas
1968
Gelatin silver print
Image 16.2 x 23.8 cm (6 3/8 x 9 3/8 in.); sheet 20.3 x 25.4 cm (8 x 10 in.)
Collection of the artist

 

Danny Lyon. 'Shakedown, Ellis Unit, Texas' 1968

 

Danny Lyon
Shakedown, Ellis Unit, Texas
1968
Gelatin silver print
21.6 x 31.3 cm (8 1/2 x 12 1/4 in.)
Museum of Modern Art, New York; purchase

 

Danny Lyon. 'Shakedown, Ramsey Unit, Texas' 1968

 

Danny Lyon
Shakedown, Ramsey Unit, Texas
1968
Gelatin silver print
Image 17 x 24.2 cm (6 5/8 x 9 9/16 in.); sheet 20.3 x 25.4 cm (8 x 10 in.)
Collection of the artist

 

Danny Lyon. 'Convict With a Bag of Cotton, Texas' 1968

 

Danny Lyon
Convict With a Bag of Cotton, Texas
1968
Gelatin silver print

 

Danny Lyon. 'Two Inmates, Goree Unit, Texas' 1968

 

Danny Lyon
Two Inmates, Goree Unit, Texas
1968
Gelatin silver print
Image 16.8 x 24 cm (6 5/8 x 9 91/6 in.); sheet 20.3 x 25.4 cm (8 x 10 in.)
Collection of the artist

 

 

The destruction of Lower Manhattan

In late 1966 and into the summer of 1967, starting from his loft at the corner of Beekman and William Streets near City Hall Park, Lyon documented the demolition of some sixty acres of predominantly nineteenth-century buildings below Canal Street in lower Manhattan. With funding from the New York State Council on the Arts, he photographed most of the buildings that would be torn down to make way for the World Trade Center. Lyon recalled later: “I wanted to inhabit [the buildings] with feelings and give them and their demise a meaning.”

Moving from the outside of the buildings to their deserted interiors, Lyon also took pictures of the workers involved in the demolition. The photographs, together with Lyon’s journal entries, became a book, published by Macmillan in 1969 and dedicated to his close friend, sculptor Mark di Suvero. The volume’s significance lies in part in its depiction of a city – and, more broadly, a culture – cannibalizing its own architectural history for the sake of development.

 

Danny Lyon. 'View South from 100 Gold Street, New York' 1967

 

Danny Lyon
View South from 100 Gold Street, New York
1967
Gelatin silver print
18.3 x 18.2 cm (7 1/4 x 7 3/16 in.)
Collection of Melissa Schiff Soros and Robert Soros

 

Danny Lyon. 'Self-Portrait in Susquehanna Hotel, Third-Floor Room with Grass, New York' 1967

 

Danny Lyon
Self-Portrait in Susquehanna Hotel, Third-Floor Room with Grass, New York
1967
Gelatin silver print
18.2 x 18.2 cm (7 3/16 x 7 3/16 in.)
Collection of Melissa Schiff Soros and Robert Soros

 

Danny Lyon. 'Ruins of 100 Gold Street, New York' 1967

 

Danny Lyon
Ruins of 100 Gold Street, New York
1967
Gelatin silver print
23.6 x 23.4 cm (9 5/16 x 10 7/16 in.)
Collection of Melissa Schiff Soros and Robert Soros

 

 

The Bikeriders

Lyon purchased his first motorcycle – a 1953 Triumph TR6 – in 1962, after spending weekends watching college friend and motorcycle racer Frank Jenner compete at informal dirt track races across the Midwest. When he returned to Chicago in 1965 after leaving SNCC, Lyon joined the hard-riding, hard-drinking Chicago Outlaws Motorcycle Club and began making photographs with a goal to “record and glorify the life of the American bike rider.” With clubs like the Hells Angels making headlines for their criminal and vigilante activities at the time, bikeriders were simultaneously feared for their anarchism and romanticized for their independence.

Riding with the Outlaws, Lyon attempted to capture their way of life from the inside out. Their unapologetic pursuit of freedom and libertine pleasures compelled him to get close to them as people. Lyon’s images are intimate and familiar, whether taken during rides or at clubhouse meetings. He also used a tape recorder to document the bikers speaking for themselves, unobtrusively capturing their collective voice. The resulting photographs were gathered into the now classic book of the same name, published in 1968, combining his pictures with an edited transcription of the interviews.

 

Danny Lyon. 'Racer, Schererville, Indiana' 1965

 

Danny Lyon
Racer, Schererville, Indiana
1965
Gelatin silver print
13.9 x 20.3 cm (5 1/2 x 8 in.)
Silverman Museum Collection

 

Danny Lyon. 'Crossing the Ohio River, Louisville' 1966

 

Danny Lyon
Crossing the Ohio River, Louisville
1966
Gelatin silver print
20.3 x 31.8 cm (8 x 12 1/2 in.)
Silverman Museum Collection

 

Danny Lyon. 'Route 12, Wisconsin' 1963

 

Danny Lyon
Route 12, Wisconsin
1963
Gelatin silver print
15.6 x 23.8 cm (6 1/8 x 9 1/8 in.)
Silverman Museum Collection

 

Danny Lyon. 'Sparky and Cowboy, Schererville, Indiana' 1965

 

Danny Lyon
Sparky and Cowboy, Schererville, Indiana
1965
Gelatin silver print
Image 16.1 x 23.9 cm (6 3/8 x 9 3/8 in.); sheet 20.3 x 25.4 cm (8 x 10 in.)
Collection of the artist

 

Danny Lyon. 'Untitled (Close Up of Cal on the Road)' 1966

 

Danny Lyon
Untitled (Close Up of Cal on the Road)
1966
Gelatin silver print

 

Danny Lyon. 'Renegade's funeral, Detroit' 1966

 

Danny Lyon
Renegade’s funeral, Detroit
1966
Gelatin silver print

 

Danny Lyon Funny Sonny. 'Packing with Zipco, Milwaukee' 1966

 

Danny Lyon
Funny Sonny Packing with Zipco, Milwaukee
1966
Gelatin silver print

 

Danny Lyon. 'Kathy, Chicago' 1965 (printed 1966)

 

Danny Lyon
Kathy, Chicago
1965 (printed 1966)
Gelatin silver print, printed 1966
25.8 x 25.5 cm (10 1/8 x 10 1/16 in.)
Collection of the artist

 

Danny Lyon. 'Cal on the Springfield Run, Illinois' 1966 (printed 2003)

 

Danny Lyon
Cal on the Springfield Run, Illinois
1966 (printed 2003)
Cibachrome print
Image 22.8 x 32.5 cm (9 x 13 1/4 in.); sheet 27.9 x 35.6 cm (11 x 14 in.)
Collection of the artist

 

Danny Lyon. 'Cowboy, Rogue's Picnic, Chicago' 1966

 

Danny Lyon
Cowboy, Rogue’s Picnic, Chicago
1966
Gelatin silver print
23.5 x 15.9 cm (9 1/4 x 6 1/4 in.); mount 50.8 x 40.6 cm (20 x 16 in.)
Collection of the artist

 

Danny Lyon. 'Benny, Grand and Division, Chicago' 1965

 

Danny Lyon
Benny, Grand and Division, Chicago
1965
Gelatin silver print
Image 24.5 x 17.2 cm (9 5/8 x 6 3/4 in.)
Collection of the artist

 

 

New Mexico and the West

Lyon headed west from New York in 1969. Tired of the hectic pace of the big city and in search of new surroundings, he settled in Sandoval County, New Mexico. He developed a great admiration for the region’s close knit communities of Native Americans and Chicanos. Lyon’s photographs and, increasingly, his films reflected his growing understanding of the cross-cultural flow between these disparate groups and how they interacted with the geography of the Southwest.

With the help of his good friend, a migrant laborer named Eduardo Rivera Marquez, Lyon built a traditional adobe home for his family in Bernalillo, in the Rio Grande Valley just north of Albuquerque. As Lyon’s family grew, his children also became a frequent subject, often depicted against the dramatic Western landscape. Though Lyon moved back to New York in 1980, New Mexico would remain a center of gravity for the artist, who returned every summer with his family to photograph and make films.

 

Danny Lyon. 'Eddie, New Mexico' 1972

 

Danny Lyon
Eddie, New Mexico
1972
Gelatin silver print
Image 23 x 34.5 cm (9 x 13 5/8 in.); sheet 27.9 x 35.6 cm (11 x 14 in.)
Collection of the artist

 

Danny Lyon. 'Navajo Boy, Gallup, New Mexico' 1971

 

Danny Lyon
Navajo Boy, Gallup, New Mexico
1971
Gelatin silver print
Image 23.3 x 33.8 cm (9 1/8 x 13 5/16 in.); sheet 27.9 x 35.6 cm (11 x 14 in.)
Collection of the artist

 

Danny Lyon. 'Maricopa County, Arizona' 1977

 

Danny Lyon
Maricopa County, Arizona
1977
Gelatin silver print
Image 22.8 x 33.5 cm (9 x 13 3/16 in.); sheet 27.9 x 35.6 cm (11 x 14 in.)
Collection of the artist

 

Danny Lyon. 'Stephanie, Sandoval County, New Mexico' 1969/1975

 

Danny Lyon
Stephanie, Sandoval County, New Mexico
1969/1975
Gelatin silver print (decorated)
Image 16.7 x 25 cm (6 9/16 x 9 3/4 in.); sheet 27.9 x 35.6 cm (11 x 14 in.)
Collection of the artist

 

Danny Lyon. 'El Paso, Texas' 1975 (printed 2015)

 

Danny Lyon
El Paso, Texas
1975 (printed 2015)
Pigmented inkjet print
Image 27.9 x 40.6 cm (11 x 16 in.); sheet 33 x 45.7 cm (13 x 18 in.)
Collection of the artist

 

Danny Lyon. 'El Paso, Texas' 1975

 

Danny Lyon
El Paso, Texas
1975

 

 

Films and montages

Lyon started making 16mm films in earnest in the 1970s, focusing on marginalized communities and injustice as he had in his photographs. His subjects included Colombian street kids in Los Niños Abandonados (1975) and undocumented workers from Mexico in El Mojado (1974) and El Otro Lado (1978). Lyon has explained that after leaving the Texas prisons he struggled to move forward, feeling that there were “no more worlds to conquer” in creating photography books. Filmmaking became the means by which he could continue to make sense of the beauty and inequality he saw in the world around him.

Lyon did not give up photography completely, however. He turned to assembling family albums and creating collaged works that he describes as montages, referencing the filmmaking practice of juxtaposing disparate images to form a continuous whole. Lyon’s montages combine multiple images and materials sourced from his archives. Initially meant as vehicles for reflection and, in the case of the albums, as family heirlooms, these deeply personal works bridge past generations of his family with his present.

 

 

Danny Lyon
Los Niños Abandonados
1975

 

 

Danny Lyon
El Mojado
1974
New Mexico, color, 14 minutes [The Wetback]
English and Spanish with subtitles
Aportrait of a hard-working undocumented laborer from Mexico produced by J.J. Meeker

 

 

Danny Lyon
El Otro Lado
1978
Mexico and Arizona, color, 60 minutes [The Other Side]
Spanish with English subtitles
An honest film infused with poignant beauty, without political rhetoric

 

 

Danny Lyon
Dear Mark
1981, New York and France, color and b&w, 15 minutes
A comedy in which the artist’s voice has been replaced by Gene Autry’s
Lyon’s homage to his friend, sculptor Mark di Suvero, from footage shot in 1965 and 1975.

 

 

Danny Lyon
Soc Sci 127
1969
Houston, color and b&w, 21 minutes
A comedy – Danny Lyon’s first film with the late great Bill Sanders and his “painless” tattoo shop.

 

 

Danny Lyon
Willie
1985
New Mexico, color, b&w, 82 minutes
Willie is a realistic film made in Bernalillo, home of Willie Jaramillo and filmmakers Danny and Nancy Weiss Lyon
Defiantly individual and implaccable in the face of authority, Willie is repeatedly thrown into jail for relatively minor offenses. The filmmakers gain access to jail cells, day rooms, lunatic wards, and the worst cellblock in the penitentiary where Willie is locked up next to his childhood friend and convicted murderer, Michael Guzman.

 

Knoxville

Danny Lyon. 'Knoxville' 1967

 

Danny Lyon
Knoxville
1967
Gelatin silver print

 

Danny Lyon. 'Knoxville, Tennessee' 1967

 

Danny Lyon
Knoxville, Tennessee
1967
Gelatin silver print

 

Danny Lyon. 'Leslie, Downtown Knoxville' 1967

 

Danny Lyon
Leslie, Downtown Knoxville
1967
Gelatin silver print
Image 28.7 x 19.1 cm (11 1/4 x 7 1/2 in.); mount 56.2 x 45.7 cm (22 1/8 x 18 in.)
Art Institute of Chicago; gift of Mr. Danny Lyon

 

Tattoo

Danny Lyon. 'Bill Sanders, Tattoo Artist, Houston, Texas' 1968

 

Danny Lyon
Bill Sanders, Tattoo Artist, Houston, Texas
1968
Gelatin silver print
Image 20.7 x 20.7 cm (8 3/16 x 8 3/16 in.); sheet 35.6 x 27.9 cm (14 x 11 in.)

Collection of the artist

 

Chicago

Danny Lyon. 'Two youths in Uptown, Chicago, Illinois, a neighborhood of poor white southerners' 1974

 

Danny Lyon
Two youths in Uptown, Chicago, Illinois, a neighborhood of poor white southerners
1974

 

Danny Lyon. 'Children at an apartment entrance' 1965

 

Danny Lyon
Children at an apartment entrance
1965
From series Uptown, Chicago
Gelatin silver print

 

Danny Lyon. 'Kathy, Uptown, Chicago' 1965

 

Danny Lyon
Kathy, Uptown, Chicago
1965
Gelatin silver print
Image 24.1 x 23.9 cm (9 1/2 x 9 3/8 in.); sheet 35.6 x 27.9 cm (14 x 11 in.)
Collection of the artist

 

Danny Lyon. 'Uptown, Chicago' 1965

 

Danny Lyon
Uptown, Chicago
1965
Gelatin silver print
Image 16.4 x 16.4 cm (6 1/2 x 6 1/2 in.); mount 50.8 x 40.6 cm (20 x 16 in.)
Collection of the artist

 

New York

Danny Lyon. 'Subway, New York' 1966 (printed 2015)

 

Danny Lyon
Subway, New York
1966 (printed 2015)
Pigmented inkjet print
Image 23.7 x 24.1 cm (9 5/16 x 9 1/2 in.); sheet 28.8 x 29.2 cm (11 5/16 x 11 1/2 in.)
Collection of the artist

 

 

Danny Lyon. 'Self-Portrait in Mary Frank’s Bathroom, New York' 1969

 

Danny Lyon
Self-Portrait in Mary Frank’s Bathroom, New York
1969
Gelatin silver print
Image 15.6 x 23.5 cm (6 1/8 x 9 1/4 in.); sheet 20.3 x 25.2 cm (8 x 9 15/16 in.)
Whitney Museum of American Art, New York; purchase with funds from Joanna Leonhardt Casullo, Niko Elmaleh, Lauren DePalo, Julia Macklowe, and Fern Kaye Tessler

 

Danny Lyon. 'John Lennon and Danny Seymour, The Bowery, New York' 1969 (printed c. 2005)

 

Danny Lyon
John Lennon and Danny Seymour, The Bowery, New York
1969 (printed c. 2005)
Gelatin silver print, printed later
Image 22.3 x 33.3 cm (8 13/16 x 13 1/8 in.); sheet 27.6 x 35.4 cm (11 x 14 in.)
Collection of the artist

 

Danny Lyon. 'Mark di Suvero and Danny Lyon, Hyde Park, Chicago' 1965

 

Danny Lyon
Mark di Suvero and Danny Lyon, Hyde Park, Chicago
1965
Gelatin silver print
Image 23.9 x 16.2 cm (9 3/8 x 6 3/8 in.); sheet 25.4 x 20.3 cm (10 x 8 in.)
Collection of the artist

 

Colombia

Danny Lyon. 'Mary, Santa Marta, Colombia' 1972

 

Danny Lyon
Mary, Santa Marta, Colombia
1972
Gelatin silver print
Image 17.1 x 25.3 cm (6 3/4 x 10 in.); sheet 27.9 x 35.6 cm (11 x 14 in.)
Collection of the artist

 

Danny Lyon. 'Tesca, Cartagena, Colombia' 1966 (printed 2008)

 

Danny Lyon
Tesca, Cartagena, Colombia
1966 (printed 2008)
Cibachrome print
Image 25.7 x 25.7 cm (10 1/8 x 10 1/8 in.); sheet 35.6 x 27.9 cm (14 x 11 in.)
Collection of the artist

 

 

“The most comprehensive retrospective of the work of American photographer, filmmaker, and writer Danny Lyon in twenty-five years debuted at the Whitney on June 17, 2016. The first major photography exhibition to be presented in the Museum’s downtown home, Danny Lyon: Message to the Future is organized by the Fine Arts Museums of San Francisco, where it will make its West Coast debut at the de Young Museum on November 5, 2016.

The exhibition assembles approximately 175 photographs and is the first to assess the artist’s achievements as a filmmaker as well as a photographer. The presentation also includes many objects that have seldom or never been exhibited before and offers a rare look at works from Lyon’s archives, including vintage prints, unseen 16mm film footage made inside Texas prisons, and his personal photo albums.

A leading figure in the American street photography movement of the 1960s, Lyon has distinguished himself by the personal intimacy he establishes with his subjects and the inventiveness of his practice. With his ability to find beauty in the starkest reality, Lyon has presented a charged alternative to the vision of American life presented in the mass media. Throughout, he has rejected the traditional documentary approach in favor of a more immersive, complicated involvement with his subjects. “You put a camera in my hand,” he has explained, “I want to get close to people. Not just physically close, emotionally close, all of it.” In the process he has made several iconic bodies of work, which have not only pictured recent history, but helped to shape it.

“We are delighted to partner with the Fine Arts Museums of San Francisco on Danny Lyon: Message to the Future,” stated Adam D. Weinberg, the Alice Pratt Brown Director of the Whitney Museum of American Art. “Since the early 1960s, Lyon’s photographs and films have upturned conventional notions of American life. The Whitney has long championed Lyon’s work and we are thrilled to present this retrospective, which encompasses more than half a century of important work.”

In 1962, while still a student at the University of Chicago, Lyon hitchhiked to the segregated South to make a photographic record of the Civil Rights movement. His other projects have included photographing biker subcultures, exploring the lives of individuals in prison, and documenting the architectural transformation of Lower Manhattan. Lyon has lived for years in New Mexico, and his commitment to personal adventure has taken him to Mexico and other countries in Latin America, China, and the less-traveled parts of the American West.

“Danny Lyon is one of the great artists working in photography today,” said Julian Cox, Founding Curator of Photography for the Fine Arts Museums of San Francisco and Chief Curator at the de Young Museum. “Lyon’s dedication to his art and his conviction to produce work underpinned by strong ethical and ideological motivations sets him apart from many of his peers.”

Press release from the Whitney Museum of American Art

 

Ongoing activism

Lyon’s first encounter with Latin America was through a trip to Colombia in February 1966, during which he photographed extensively in and around Cartagena. In the 1970s and 1980s, Lyon’s self-described “advocacy journalism” took him to Bolivia, where he captured the hard lives of rural miners; Mexico, where he photographed undocumented workers moving back and forth across the U.S.-Mexico border; back to Colombia, where he made the film Los Niños Abandonados, chronicling the lives of street children; and to Haiti, where he witnessed firsthand the violent revolution overthrowing Jean-Claude Duvalier’s dictatorship.

More recently, Lyon made six trips between 2005 and 2009 to Shanxi province in northeast China. Aided by a guide, he photographed the people living in this highly polluted coal-producing region. As in his work in the civil rights movement and the Texas prisons, Lyon’s photographs from his travels are examples of his advocacy journalism, part of his effort to “change history and preserve humanity.”

 

Danny Lyon. 'Boulevard Jean-Jacques Dessalines, Port-au-Prince, Haiti' February 7, 1986

 

Danny Lyon
Boulevard Jean-Jacques Dessalines, Port-au-Prince, Haiti
February 7, 1986
Gelatin silver print
Image 21.3 x 32.1 cm (8 3/8 x 12 5/8 in.); sheet 27.9 x 35.6 cm (11 x 14 in.)
Collection of the artist

 

Occupy

Danny Lyon. 'Occupy Demonstration on Broadway, Los Angeles' 2011

 

Danny Lyon
Occupy Demonstration on Broadway, Los Angeles
2011
Inkjet print
Image 24.5 x 32.9 cm (9 5/8 x 12 15/16 in.); sheet 32.7 x 40 cm (13 x 15 3/4 in.)
Collection of the artist

 

Danny Lyon. 'Occupy Oakland, City Hall, Oakland' 2011

 

Danny Lyon
Occupy Oakland, City Hall, Oakland
2011
Pigmented inkjet print
Image 24.6 x 33 cm (9 3/4 x 13 in.); sheet 27.3 x 38 cm (10 3/4 x 15 in.)
Collection of the artist

 

 

Whitney Museum of American Art
99 Gansevoort Street
New York, NY 10014
Phone: (212) 570-3600

Opening hours:
Mondays: 10.30 am – 6 pm
Tuesdays: Closed
Wednesdays, Thursdays and Sundays: 10.30 am – 6 pm
Friday and Saturdays: 10.30 am – 10 pm

Whitney Museum of American Art 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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