Archive for the 'digital photography' Category

20
Jul
17

Exhibition: ‘Patrick Pound: The Great Exhibition’ as part of the NGV Festival of Photography at NGV Australia, Melbourne Part 1

Exhibition dates: 31st March – 30th July 2017

 

Individual art works from the NGV collection (in artist alphabetical order) appearing in Patrick Pound: The Great Exhibition at NGV Australia

 

” … from an air guitar to Being and nothingness … “

 

Part 1 of this bumper posting. More to follow.

My hand is progressing slowly. A return to part-time work in the next couple of weeks, for which I will be grateful. It has been tough road dealing with this injury.

Marcus

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

 

 

Antoine-Louis Barye (France 1796-1875) 'Walking lion' c. 1840

 

Antoine-Louis Barye (France 1796-1875)
Walking lion
Lion qui marche
c. 1840, cast 1900
Bronze
National Gallery of Victoria
Felton Bequest, 1927

 

Antoine-Louis Barye (France 1796-1875) 'Walking tiger' c. 1841

 

Antoine-Louis Barye (France 1796-1875)
Walking tiger
Tigre qui marche
c. 1841, cast 1900
Bronze
National Gallery of Victoria
Felton Bequest, 1927

 

John Armstrong (England 1893-1973) 'Invocation' 1938

 

John Armstrong (England 1893-1973)
Invocation
1938
Tempera on plywood
National Gallery of Victoria
Purchased with funds donated by Ian Hicks AM and Dorothy Hicks, 2006

 

 

Invocation is one of a series of paintings, which John Armstrong begun in the 1930’s as a direct statement against the rise of Fascism in Europe. John Armstrong observed Fascism in Italy at first hand and became an active left wing campaigner against the proliferation of nuclear weapons. He was commissioned as an official war artist, designing a cover for a leaflet in the 1945 election campaign and contributed occasional articles and poetry to left wing journals. In his painting Victory, he imagined the result of a nuclear holocaust, which attracted the attention at the Royal Academy Summer Exhibition in 1958.

Text from the Leicester Galleries website

 

Eugène Atget (France 1857-1927) 'Eclipse' 1911, printed 1956- early 1970s

 

Eugène Atget (France 1857-1927)
Eclipse
1911, printed 1956- early 1970s
Gelatin silver photograph
National Gallery of Victoria
Purchased, 1978

 

 

Surrogates and the Surreal

Atget’s photograph Pendant l’éclipse (During the eclipse) was featured on the cover of the seventh issue of the Parisian Surrealists’ publication La Révolution surréaliste, with the caption Les Dernières Conversions (The last converts), in June 1926. The picture was uncredited, as were the two additional photographs reproduced inside. Although Atget firmly resisted the association, his work – in particular his photographs of shop windows, mannequins, and the street fairs around Paris – had captured the attention of artists with decidedly avant-garde inclinations, such as Man Ray and Tristan Tzara. Man Ray lived on the same street as Atget, and the young American photographer Berenice Abbott (working as Man Ray’s studio assistant) learned of the French photographer and made his acquaintance in the mid-1920s – a relationship that ultimately brought the contents of Atget’s studio at the time of his death (in 1927) to The Museum of Modern Art almost forty years later.

Text from Art Blart posting Eugène Atget: “Documents pour artistes” at the Museum of Modern Art (MOMA), New York

 

Pierre Bonnard (France 1867-1947) 'Siesta' 1900

 

Pierre Bonnard (France 1867-1947)
Siesta
La Sieste
1900
Oil on canvas
National Gallery of Victoria
Felton Bequest, 1949

 

Eugène Boudin (France 1824-98) 'Low tide at Trouville' 1894

 

Eugène Boudin (France 1824-98)
Low tide at Trouville
Trouville, Mareé basse
1894
Oil on canvas
National Gallery of Victoria
Felton Bequest, 1939

 

John Brack (Australia 1920-99) 'Self-portrait' 1955

 

John Brack (Australia 1920-99)
Self-portrait
1955
Melbourne, Victoria
Oil on canvas
National Gallery of Victoria
Purchased with the assistance of the National Gallery Women’s Association, 2000

 

 

Striking in its candour, with its subject stripped of vanity and dressed in early-morning attire, Self portrait is a piercing study of a man engaged in the intimacy of shaving. Although images of women at their toilette have been frequently depicted by both male and female Australian artists, it is unusual for men to be shown or to show themselves in this context. Modest in scale, Brack’s image is conceived in a complex yet subtle colour scheme, applied with clarity and precision. ~ Geoffrey Smith

 

Britains Ltd, London manufacturer (England 1860-1997) 'Milk float and horse' c. 1950

 

Britains Ltd, London manufacturer (England 1860-1997)
Milk float and horse
no. 45F from the Model home farm series 1921-61
c. 1950
Painted lead alloy
National Gallery of Victoria
Presented by Miss Lucy Kerley and her nephew John Kerley, 1982

 

Jacques Callot (France 1592-1635) 'The firing squad' 1633

 

Jacques Callot (France 1592-1635)
The firing squad
L’Arquebusade
Plate 12 from Les Misères et les malheurs de la guerre
(The miseries and misfortunes of war) series
1633
Etching, 2nd of 3 states
National Gallery of Victoria
Purchased, 1950

 

Paul Caponigro (born United States 1932) 'Nahant, Massachusetts' 1965

 

Paul Caponigro (born United States 1932)
Nahant, Massachusetts
1965
Gelatin silver photograph
National Gallery of Victoria
Purchased with the assistance of the National Gallery Society of Victoria, 1977

 

Jean Charles Cazin (France 1841-1901, lived in England 1871-75) 'The rainbow' late 1880s

 

Jean Charles Cazin (France 1841-1901, lived in England 1871-75)
The rainbow
L’Arc-en-ciel
late 1880s
Oil on canvas
National Gallery of Victoria
Felton Bequest, 1913

 

Marshall Claxton (England 1813-81, lived in Australia 1850-54) 'An emigrant's thoughts of home' 1859

 

Marshall Claxton (England 1813-81, lived in Australia 1850-54)
An emigrant’s thoughts of home
1859
Oil on cardboard
National Gallery of Victoria
Presented by the National Gallery Women’s Association, 1974

 

 

Marshall Claxton’s painting An emigrant’s thoughts of home (1859) belongs to a clutch of works, both fine and popular, both pictorial and literary, that for an Australasian audience are perhaps the most resonant of the many products of Victorian culture. Emigration, a social and political phenomenon for mid-nineteenth-century Britain, and the essential lubricant of British imperialism, inspired a profusion of paintings, prints, novels, plays, poems, essays and letters that speak eloquently about the realities and myths of Victorian Britain and its role in the world, engaging concepts of the family, womanhood, the artist’s role and function and, indeed, the meaning of life. ~ Pamela Gerrish Nunn

 

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

 

Olive Cotton (Australia 1911-2003)
Teacup ballet
1935, printed 1992
Gelatin silver photograph
National Gallery of Victoria
Purchased from Admission Funds, 1992

 

 

Among Cotton’s most famous photographs, Teacup ballet has very humble origins. It was taken after hours in the Dupain studio and used a set of cheap cups and saucers Cotton had earlier bought from a Woolworths store for use around the studio. As she later recounted: ‘Their angular handles suggested to me the position of “arms akimbo” and that led to the idea of a dance pattern’. The picture uses a range of formal devices that became common to Cotton’s work, especially the strong backlighting used to create dramatic tonal contrasts and shadows. The picture achieved instant success, and was selected for exhibition in the London Salon of Photography for 1935.

Text © National Gallery of Australia, Canberra

 

Olive Cotton (Australia 1911-2003) 'The sleeper' 1939, printed 1992

 

Olive Cotton (Australia 1911-2003)
The sleeper
1939, printed 1992
Gelatin silver photograph, ed. 4/25
National Gallery of Victoria
Purchased from Admission Funds, 1992

 

 

The sleeper 1939, Olive Cotton’s graceful study of her friend Olga Sharp resting while on a bush picnic, made around the same time as Max Dupain’s Sunbaker, presents a different take upon the enjoyment of life in Australia. The woman is relaxed, nestled within the environment. The mood is one of secluded reverie.

Text © National Gallery of Australia, Canberra

 

Edward Curtis (United States 1868-1952) 'Kalóqutsuis - Qágyuhl' 1914, printed 1915

 

 

Edward Curtis (United States 1868-1952)
Kalóqutsuis – Qágyuhl
1914, printed 1915
Photogravure
National Gallery of Victoria
Gift of Ms Christine Godden, 1991

 

 

Not only was he one of the greatest ethnographic photographers of all time (as well as being an ethnographer recording more than 10,000 songs on a primitive wax cylinder, and writing down vocabularies and pronunciation guides for 75 languages) … he was also an aesthetic photographer. Looking at his photographs you can feel that he adhered to the principles of the nature and appreciation of beauty situated within the environment of the Native American cultures and peoples. He had a connection to the people and to the places he was photographing…

Curtis created a body of work unparrallleled in the annals of photography – an ethnographic study of an extant civilisation before it vanished (or so they thought at the time). Such a project stretched over thirty years, producing 45-50 thousand negatives “many of them on glass and some as large as fourteen by seventeen inches” of which 2,200 original photographs appeared in his magnum opus, The North American Indian…

While all great photographers have both technical skill and creative ability it is the dedication of this artist to his task over so many years that sets him apart. That dedication is critically coupled with his innate ability to capture the “spirit” of the Native American cultures and peoples, their humanity.

Dr Marcus Bunyan

 

Frances Derham (Australia 1894-1987) 'Building the bridge' 1929

 

Frances Derham (Australia 1894-1987)
Building the bridge
1929
Colour linocut on Japanese paper
National Gallery of Victoria
Gift of Mr Richard Hodgson Derham, 1988

 

Kerry Dundas (born Australia 1931, lived in Europe 1958-67) 'A girl is carried away under arrest' 1961-63

 

Kerry Dundas (born Australia 1931, lived in Europe 1958-67)
A girl is carried away under arrest
from the Youth against the Bomb series
1961-63
Gelatin silver photograph
National Gallery of Victoria
Purchased, 1971

 

Max Dupain (1911-1992) 'Bondi' 1939

 

Max Dupain (1911-1992)
Bondi
1939
Gelatin silver photograph
30.3 × 29.5 cm
National Gallery of Victoria
Purchased with the assistance of the Visual Arts Board, 1976

 

Walker Evans (United States 1903-75) 'Hitchhikers, near Vicksburg, Mississippi' 1936, printed c. 1975

 

Walker Evans (United States 1903-75)
Hitchhikers, near Vicksburg, Mississippi
1936, printed c. 1975
Gelatin silver photograph
National Gallery of Victoria
Purchased, 1975

 

Walker Evans (United States 1903-75) 'Auto dump, near Easton, Pennsylvania' 1935, printed c. 1975

 

Walker Evans (United States 1903-75)
Auto dump, near Easton, Pennsylvania
1935, printed c. 1975
Gelatin silver photograph
National Gallery of Victoria
Purchased, 1975

 

William Frater (born Scotland 1890, arrived Australia 1913, died 1974) 'The blue nude' c. 1934

 

William Frater (born Scotland 1890, arrived Australia 1913, died 1974)
The blue nude
c. 1934
Oil on canvas on cardboard
National Gallery of Victoria
Gift of Mrs Lina Bryans, 1969

 

 

His contribution to art in Australia was, however, as a painter who introduced Post-Impressionist principles and challenged the notion that art was an imitation of nature.

Frater’s oeuvre developed between 1915 and 1920 towards a simplification of design, an interplay of massed lights and shadows, and sonorous low-keyed colour that reflected his interest in the classical seventeenth century painters in interaction with the analytical tonal theory of Max Meldrum. Notable examples of his predominantly figure and portrait paintings are ‘The artist’s wife reading’ (1915) and ‘Portrait of artist’s wife’ (1919). An experimental Colourist phase followed in the next decade. His first solo exhibition was held in May 1923 at the Athenaeum, Melbourne, and he exhibited with the Twenty Melbourne Painters from the late 1920s, and the Contemporary Group of Melbourne in the 1930s.

His approach in the 1930s was markedly indebted to Cézanne, especially in the portraits which predominated until his retirement… Frater gave aggressive leadership to the small group of modernists in the 1920s. His example, teaching, lecturing and crusty style of polemic did much to disrupt the academic style as the arbiter of pictorial values and to pioneer a change of taste in the community.

Text from the Australian Dictionary of Biography website

 

Emmanuel Frémiet (France 1824 - 1910) 'Gorilla carrying off a woman' 1887

 

Emmanuel Frémiet (France 1824 – 1910)
Gorilla carrying off a woman
Gorille enlevant une femme
1887
Bronze
National Gallery of Victoria
Gift of the artist, 1907

 

Lee Friedlander (born United States 1934) 'Hillcrest, New York' 1970, printed c. 1977

 

Lee Friedlander (born United States 1934)
Hillcrest, New York
1970, printed c. 1977
Gelatin silver photograph
National Gallery of Victoria
Purchased, 1977

 

Lee Friedlander (born United States 1934) 'Mount Rushmore' 1969, printed c. 1977

 

 

Lee Friedlander (born United States 1934)
Mount Rushmore
1969, printed c. 1977
Gelatin silver photograph
National Gallery of Victoria
Purchased, 1977

 

 

The ‘tourist gaze’

As Grundberg notes, Friedlander’s terse depiction shows both the sight and the tourists themselves, being brought into existence through the effects of looking, reflecting, framing and imaging. These, he adds, are all linked to the general project of culturally appropriating the natural world. ‘Natural site has become acculturated sight’ (Grundberg 1990: 15).

As the image makes clear, the ‘sight’ or the ‘site’ is a ‘seeing’ without a subject, for it pre-exists the arrival and activity of any individual tourist-photographer, who, once located there, is framed as much as framing. The sight is not so much an object to be viewers an already structured condition of seeing, a situation which places the sightseer even as he or she freely choose to look or shoot.

The effects of photography’s presence in the tourist system merely completed a process under way before photography’s birth. As tourists, even at the moment of photographing, even if touring cameraless, we are not so much looking as looking at images, or looking for images. Tourism provides us less with experience than with events to be seen, Or rather, events to look at. The privileging of the visual grants us separation from our own experience… We look on or look in through the distancing arrangements of the camera or through eyes educated to see with the same ontological remoteness. The world of the tourist is ‘over there’, in the past-present, in the exotic-ordinary. It is framed off, the object of imaging or description, in some spectacular distance, or set back as performance (Greenwood in Smith 1989).

Peter Osborne. Traveling Light: Photography, Travel and Visual Culture. Manchester University Press, 2000, pp. 81-82.

 

Barbara Hepworth (England 1903-75) 'Eidos' 1947

 

Barbara Hepworth (England 1903-75)
Eidos
1947
Stone, synthetic polymer paint
National Gallery of Victoria
Purchased with the assistance of the Samuel E. Wills Bequest to commemorate the retirement of Dr E. Westbrook, Director of Arts for Victoria, 1981

 

 

Eidos a Greek term meaning “form” “essence”, “type” or “species”. The early Greek concept of form precedes attested philosophical usage and is represented by a number of words mainly having to do with vision, sight, and appearance. The words, εἶδος (eidos) and ἰδέα (idea) come from the Indo-European root *weid-, “see”. Eidos (though not idea) is already attested in texts of the Homeric era, the earliest Greek literature. This transliteration and the translation tradition of German and Latin lead to the expression “theory of Ideas.” The word is however not the English “idea,” which is a mental concept only.

The meaning of the term εἶδος (eidos), “visible form”, and related terms μορφή (morphē), “shape”, and φαινόμενα (phainomena), “appearances”, from φαίνω (phainō), “shine”, Indo-European *bhā-, remained stable over the centuries until the beginning of philosophy, when they became equivocal, acquiring additional specialised philosophic meanings. (Theory of Forms Wikipedia)

 

Lewis Hine (United States 1874-1940) 'Sam Pine, 8 year old truant newsboy who lives at 717 West California Street' 1917

 

Lewis Hine (United States 1874-1940)
Sam Pine, 8 year old truant newsboy who lives at 717 West California Street
1917
Gelatin silver photograph
National Gallery of Victoria
Purchased, 1980

 

David Hockney (born England 1937, worked in United States 1964-68, 1975- ) 'Reclining figure' 1975

 

David Hockney (born England 1937, worked in United States 1964-68, 1975- )
Reclining figure
1975
Etching and liftground etching, ed. 38/75
National Gallery of Victoria
Gift of Margaret Toll, 2006

 

Edmond-François Aman-Jean (France 1860-1936) 'Woman resting' c. 1904

 

Edmond-François Aman-Jean (France 1860-1936)
Woman resting
La Femme couchée
c. 1904
Oil on canvas
National Gallery of Victoria
Felton Bequest, 1905

 

Max Klinger (Germany 1857-1920) 'Cast of artist's hands' 1920

 

Max Klinger (Germany 1857-1920)
Cast of artist’s hands
1920
plaster
National Gallery of Victoria
Gift of Mrs Marcelle Osins, 1994

 

Fred Kruger (born Germany 1831, arrived Australia 1860, died) 'Coast scene, Mordialloc Creek, near Cheltenham' c. 1871

 

Fred Kruger (born Germany 1831, arrived Australia 1860, died)
Coast scene, Mordialloc Creek, near Cheltenham
c. 1871
Albumen silver photograph
National Gallery of Victoria
Gift of Mrs Beryl M. Curl, 1979

 

 

The best of the landscape photographs have nothing to do with Arcadian, pastoral life at all. For me, Kruger’s photographs only start to come alive when he is photographing gum trees against the sky. Anyone who has tried to photograph the Australian bush knows how difficult it is to evince a “feeling” for the bush and Kruger achieves this magnificently in a series of photographs of gum trees in semi-cleared land, such as Bush scene near Highton (c. 1879). These open ‘parklike’ landscapes are not sublime nor do they picture the spread of colonisation but isolate the gum trees against the sky. They rely on the thing itself to speak to the viewer, not a constructed posturing or placement of figures to achieve a sterile mise-en-scène.

Dr Marcus Bunyan from a posting on the NGV exhibition Fred Kruger: Intimate Landscapes.

 

Kusakabe Kimbei (Japan 1841-1934) 'No title (Couple with a cabinet photograph and ghost in background)' 1880s

 

Kusakabe Kimbei (Japan 1841-1934)
No title (Couple with a cabinet photograph and ghost in background)
1880s
Albumen silver photograph, colour dyes
National Gallery of Victoria
Purchased, 2004

 

 

Kimbei Kusakabe arrived in Yokohama in 1856 and became Felice Beato’s pupil, hand-coloring his photographs until 1863. In 1881, he opened his own studio and promptly became one of the most prosperous and influential photographers of his generation, rivalling the Western artists that had until then dominated the market. With his coloured portraits, everyday scenes and landscapes, he is the purveyor of souvenir images for Westerners visiting Japan. Kimbei Kusakabe depicted men in serene social and economic contexts while women – his favourite subjects – were represented in romantic portraits as well as domestic and cultural scenes. The young mysterious and submissive geisha was particularly appealing to Western audiences and the Japanese photographer helped establish their visual identity as icons of feminine beauty and social etiquette. Kimbei Kusakabe’s rare images are a rich resource for the comprehension of a Japan that has now disappeared. (Text from The Red List website)

Kusakabe Kimbei worked with Felice Beato and Baron Raimund von Stillfried as a photographic colourist and assistant before opening his own workshop in Yokohama in 1881, in the Benten-dōri quarter, and from 1889 operating in the Honmachi quarter. He also opened a branch in the Ginza quarter of Tokyo. Around 1885, he acquired the negatives of Felice Beato and of Stillfried, as well as those of Uchida Kuichi. Kusakabe also acquired some of Ueno Hikoma’s negatives of Nagasaki. He stopped working as a photographer in 1912-1913. (Wikipedia)

 

Dorothea Lange (United States 1895-1965) 'Towards Los Angeles, California' 1936, printed c. 1975

 

Dorothea Lange (United States 1895-1965)
Towards Los Angeles, California
1936, printed c. 1975
Gelatin silver photograph
National Gallery of Victoria
Purchased, 1975

 

Dorothea Lange (United States 1895-1965) 'Ditched, stalled and stranded, San Joaquin Valley, California' 1935, printed c. 1975

 

Dorothea Lange (United States 1895-1965)
Ditched, stalled and stranded, San Joaquin Valley, California
1935, printed c. 1975
Gelatin silver photograph
National Gallery of Victoria
Purchased, 1975

 

Russell Lee (United States 1903-86) 'Interlude, after watching the Fourth of July Parade, Vale, Oregon' 1941, printed c. 1975

 

Russell Lee (United States 1903-86)
Interlude, after watching the Fourth of July Parade, Vale, Oregon
1941, printed c. 1975
Gelatin silver photograph
National Gallery of Victoria
Purchased, 1975

 

José López (born Cuba 1941, lived in United States c. 1961-92, died United States 1992) Luis Medina (born Cuba 1942, lived in United States 1961-85, died United States 1985) 'Boy asleep by the beach' 1976

 

José López (born Cuba 1941, lived in United States c. 1961-92, died United States 1992)
Luis Medina (born Cuba 1942, lived in United States 1961-85, died United States 1985)
Boy asleep by the beach
1976
Gelatin silver photograph
National Gallery of Victoria
Purchased, 1978

 

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

 

Ruth Maddison (born Australia 1945)
No title (Woman collecting a Christmas present from the car)
from the Christmas Holidays with Bob’s Family, Mermaid Beach, Queensland series
1977-78, printed 1979
Gelatin silver photograph, coloured pencils and fibretipped pen, ed. 1/5
National Gallery of Victoria
Purchased, 1980

 

 

This was a very hands on process, an observation confirmed by artist Ruth Maddison. “The process was like hand watering your garden, an intense exchange and engagement with the object. When I started I was completely untrained, but I loved the process. I just experimented in order to understand what medium does what on what paper surface. There was the beauty of its object and its physicality. I just loved the object.” Her series Christmas holiday with Bob’s family, Mermaid Beach, Queensland (1977/78, below), photographed over Christmas Day and several days afterwards, evidences this magical transformation. Vernacular photographs of a typical Australia Christmas holiday become something else, transformed into beautiful, atypical representations of family, friendship, celebration and life.

Dr Marcus Bunyan commenting on the National Gallery of Australia exhibition Colour My World: Handcoloured Australia Photography.

 

Henri Matisse (France 1869-1954) 'Reclining nude on a pink couch' 1919

 

Henri Matisse (France 1869-1954)
Reclining nude on a pink couch
Nu couché sur canapé rose
1919
Oil on canvas
National Gallery of Victoria
Felton Bequest, 1952

 

Amedeo Modigliani (born Italy 1884, lived in France 1906-20, died France 1920) 'Nude resting' c. 1916-19

 

Amedeo Modigliani (born Italy 1884, lived in France 1906-20, died France 1920)
Nude resting
c. 1916-19
Pencil on buff paper; laid down
National Gallery of Victoria
Felton Bequest, 1948

 

László Moholy-Nagy (born Hungary 1895, lived in Germany 1920-34, lived in United States 1935-37, United States 1937-46, died United States) 'Helsinki' 1927, printed 1973

 

László Moholy-Nagy (born Hungary 1895, lived in Germany 1920-34, lived in United States 1935-37, United States 1937-46, died United States)
Helsinki
1927, printed 1973
Gelatin silver photograph
National Gallery of Victoria
Purchased, 1975

 

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

 

David Moore (Australia 1927-2003)
Migrants arriving in Sydney
1966
Gelatin silver photograph
National Gallery of Victoria
Purchased, 1991

 

 

In this evocative image Moore condenses the anticipation and apprehension of immigrants into a tight frame as they arrive in Australia to begin a new life. The generational mix suggests family reconnections or individual courage as each face displays a different emotion.

Moore’s first colour image Faces mirroring their expectations of life in the land down under, passengers crowd the rail of the liner Galileo Galilei in Sydney Harbour was published in National Geographic in 1967.1 In that photograph the figures are positioned less formally and look cheerful. But it is this second image, probably taken seconds later, which Moore printed in black-and-white, that has become symbolic of national identity as it represents a time when Australia’s rapidly developing industrialised economy addressed its labour shortage through immigration. The strength of the horizontal composition of cropped figures underpinned by the ship’s rail is dramatised by the central figure raising her hand – an ambiguous gesture either reaching for a future or reconnecting with family. The complexity of the subject and the narrative the image implies ensured its public success, which resulted in a deconstruction of the original title, ‘European migrants’, by the passengers, four of whom it later emerged were Sydneysiders returning from holiday, alongside two migrants from Egypt and Lebanon.2 Unintentionally Moore’s iconic image has become an ‘historical fiction’, yet the passengers continue to represent an evolving Australian identity in relation to immigration.

1. Max Dupain and associates: http://www.mdaa.com.au/people/moore-05.php. Accessed 17.06.2006
2. Thomas D & Sayers A 2000, From face to face: portraits by David Moore, Chapter & Verse, Sydney

© Art Gallery of New South Wales Photography Collection Handbook, 2007

From a posting on the exhibition The Photograph and Australia at the Art Gallery of New South Wales.

 

Henry Moore (England 1898-1986) 'Reclining figure distorted - Sectional line' 1979

 

Henry Moore (England 1898-1986)
Reclining figure distorted – Sectional line
1979
Chalk, charcoal, wax crayon, ballpoint pen and watercolour over pencil
National Gallery of Victoria
Gift of Ginny Green, Sandra Bardas OAM family, Vicki Vidor OAM and Bindy Koadlow in memory of their parents Loti Smorgon AO and Victor Smorgon AC through the Australian Government’s Cultural Gifts Program, 2014

 

William De Morgan (designer, England 1839-1917) 'Startled tigers, dish' c. 1880

 

William De Morgan & Co., London (manufacturer, England 1872-1911)
William De Morgan (designer, England 1839-1917)
Startled tigers, dish
c. 1880
Earthenware
National Gallery of Victoria
Felton Bequest, 1980

 

Helen Ogilvie (Australia 1902-93) '(Four figures seated at a table listening to a phonograph through earpieces)' c. 1947

 

Helen Ogilvie (Australia 1902-93)
(Four figures seated at a table listening to a phonograph through earpieces)
Illustration to Flinders Lane: recollections of Alfred Felton by Russell Grimwade. Melbourne University Press,Carlton, 1947
c. 1947
Wood-engraving on Japanese paper, proof
National Gallery of Victoria

 

 

“What interested me I think were the English wood engravers. I would have seen them in reproductions in books … I think it appealed to me as an artistic expression because it was done so directly with the hand. I know that when a painter is painting the hand is connected with the brain. But with wood engraving it seemed to me it was almost more so. And I got very worked up about it, but I had no way of learning … I know how I got started. Eric Thake was the man who said to me, “I’ll show you how to use your tool.”‘

from Anne Ryan, ‘Australian etchings and engravings 1880s-1930s from the Gallery’s collection’, AGNSW, Sydney 2007

 

John Perceval (Australia 1923-2000) 'Lover's walk in the corn, summer, England' 1964

 

John Perceval (Australia 1923-2000)
Lover’s walk in the corn, summer, England
1964
Oil and toy mouse on canvas
National Gallery of Victoria
Presented through The Art Foundation of Victoria by Fingal Pastoral Property Limited, Fellow, 1997

 

Peter Peryer (born New Zealand 1941) 'Seeing' 1989

 

Peter Peryer (born New Zealand 1941)
Seeing
1989
Gelatin silver photograph
National Gallery of Victoria
Purchased, 1996

 

G. B. Poletto (Italy 1915-88) 'No title (Ava Gardner in wardrobe still for On the beach: Street)' 1957

 

G. B. Poletto (Italy 1915-88)
No title (Ava Gardner in wardrobe still for On the beach: Street)
1957
Gelatin silver photograph
National Gallery of Victoria
Purchased, 2003

 

David Potts (Australia 1926-2012, lived in England 1950-55) 'Cat show, London' 1953

 

David Potts (Australia 1926-2012, lived in England 1950-55)
Cat show, London
1953
Gelatin silver photograph
National Gallery of Victoria
Purchased through the KODAK (Australasia) Pty Ltd Fund, 1975

 

August Sander (Germany 1876-1964) 'Itinerant basket makers' 1929

 

August Sander (Germany 1876-1964)
Itinerant basket makers
from the People of the Twentieth Century project
1929, printed 1973
Gelatin silver photograph
National Gallery of Victoria
Purchased, 1974

 

 

Nomadism

In the literature on nomadism, there is considerable disagreement over the range of societies that should be designated as “nomadic,” but there is some consensus that at least three categories of mobile peoples should be recognised. The first category, to which many wish to restrict the term “nomadic,” is that of pastoral nomads… The second broad category of nomads is that of hunter-gatherers, whose mode of subsistence sets them apart from both pastoralists and sedentary farmers…

The third basic category is that of Gypsies, itinerant basket-makers, tinkers, weavers, mimes, magicians, musicians, horse dealers, nostrum traders, carnival people, circus performers, and so on. Characterised the variously as “service nomads,” “economic nomads,” “commercial nomads,” “craftsman nomads,” “non-food producing nomads,” “floating industrial populations,” “peripatetic tribes,” “peripatetic peoples” or plain “peripatetics,” these are spatially mobile peoples who primarily exploit resources in the social environment. They exploit what Berland and Salo call a distinct peripatetic niche: “the regular demand for specialised goods and/or services that more sedentary or pastoral communities cannot, or will not, support on a permanent basis.”

Ronald Bogue. Deleuze’s Way: Essays in Transverse Ethics and Aesthetics. London and New York: Routledge, 2007, pp. 114-115.

 

Ben Shahn (born Lithuania 1898, lived in United States c. 1925-69, died United States 1969) 'A deputy with a gun on his hip during the September 1935 strike in Morgantown, West Virginia' 1935, printed c. 1975

 

Ben Shahn (born Lithuania 1898, lived in United States c. 1925-69, died United States 1969)
A deputy with a gun on his hip during the September 1935 strike in Morgantown, West Virginia
1935, printed c. 1975
Gelatin silver photograph
National Gallery of Victoria
Purchased, 1975

 

Athol Shmith (Australia 1914-90) 'Misses Mary and Rae Plotkin, bridesmaids at the wedding of Mrs Edith Sheezel' 1940

 

Athol Shmith (Australia 1914-90)
Misses Mary and Rae Plotkin, bridesmaids at the wedding of Mrs Edith Sheezel
1940
Hand-coloured gelatin silver photograph
National Gallery of Victoria
Gift of Mary Lipshut through the Australian Government’s Cultural Gift’s Program, 2012

 

Baron Raimund von Stillfried (Austria 1839-1911, lived throughout Europe and Asia 1871-1910) 'No title (Tattooed bettōs, porters)' c. 1875, printed c. 1877-80

 

Baron Raimund von Stillfried (Austria 1839-1911, lived throughout Europe and Asia 1871-1910)
No title (Tattooed bettōs, porters)
c. 1875, printed c. 1877-80
Albumen silver photograph, colour dyes
National Gallery of Victoria
Purchased through the NGV Foundation with the assistance of The Herald & Weekly Times Limited, Fellow, 2001

 

 

“There are two employments which I have mentioned among those of domestic servants because they would be so classed by us, but which in Japan rank among the trades. The jinrikisha man and the groom belong, as a rule, to a certain class at the bottom of the social ladder, and no samurai would think of entering either of these occupations, except under stress of severest poverty. The bettōs, or grooms, are a hereditary class and a regular guild, and have a reputation, among both Japanese and foreigners, as a betting, gambling, cheating, good-for-nothing lot. An honest bettō is a rare phenomenon.”

Alice Mabel Bacon. Japanese Girls and Women. Boston and New York: Houghton Mifflin Company The Riverside Press, 1891, p. 319.

 

Hiroshi Sugimoto (born Japan 1948, lived in United States and Japan 1976- ) 'Winnetka Drive-In, Paramount' 1993

 

Hiroshi Sugimoto (born Japan 1948, lived in United States and Japan 1976- )
Winnetka Drive-In, Paramount
1993
Gelatin silver photograph, ed. 8/25
National Gallery of Victoria
Bowness Family Fund for Contemporary Photography, 2009

 

 

Hiroshi Sugimoto’s famous series Theaters is represented in the exhibition by the work Winnetka Drive-In, Paramount (1993) where  Sugimoto “photographs auditoriums of American movie theaters, and drive-in movies, during showings. The exposure time used for the photograph corresponds with the projection time of the film. This allows him to save the duration of the entire film in a single shot. What remains visible of the film’s time-compressed, individual images is the bright screen of the movie theater, which illuminates the architecture of the space. That its content retreats into the background makes the actual film a piece of information, manifesting itself in the (movie theater) space. As a result, instead of a content-related event, film presents itself here as the relationship between time and spatial perception.”3

If we think of the camera lens as being fully open, like an eye without blinking, for the duration of the length of the film then the shutter of the lens has to be set on “B” for Bulb which allows for long exposure times under the direct control of the photographer. “The term bulb is a reference to old-style pneumatically actuated shutters; squeezing an air bulb would open the shutter and releasing the bulb would close it… It appears that when instantaneous shutters were introduced, they included a B setting so that the familiar bulb behaviour could be duplicated with a cable release.”4 In other words light waves, reflecting from the surface of objects, are controlled by the photographer over an indefinite period (not the short “snap” of the freeze frame / the decisive moment), accumulating light from thousands of years in the past through the lens of the camera onto the focal plane, coalescing into a single image, controlled and constructed by the photographer.

Dr Marcus Bunyan from a review of the NGV exhibition Light Works (2012)

3. Kellein, Thomas and Sugimoto, Hiroshi. Time Exposed. Thames & Hudson, First edition, 1995, p. 91, quoted on the Media Art Net website. [Online] Cited 08/09/2012.
4. Anon. “Bulb (photography),” on the Wikipedia website. Nd. [Online] Cited 08/09/2012.

 

James Thomas (England 1854-1921, lived in Italy 1889-1906) 'Thyrsis' 1914

 

James Thomas (England 1854-1921, lived in Italy 1889-1906)
Thyrsis
1914
Bronze, patina
National Gallery of Victoria
Felton Bequest, 1915

 

Joseph Turner (active in Australia 1856- 1880s) 'No title (Laying the foundation stone of the Geelong clock tower)' 1856

 

Joseph Turner (active in Australia 1856- 1880s)
No title (Laying the foundation stone of the Geelong clock tower)
1856
Daguerreotype leather, wood, silk, gilt metal and glass (case)
National Gallery of Victoria
Purchased, 1974

 

 

Market Square was a town square located in the centre of Geelong, Victoria, Australia. Consisting of eight acres (2.9 hectares) of land, the area was reserved by Governor Sir George Gipps as a town square during the initial surveying of Geelong. The area later became a produce market, before being progressively built upon. Today the Market Square Shopping Centre occupies the site, having been opened in 1985 by the City of Geelong…

A clock tower was built in the centre of the square in 1856. It was the idea of the second mayor of Geelong James Austin, who offered to pay for a clock tower in Geelong to mark his term as mayor. The clock was featured in The Illustrated London News in March 1855. Components for the clock arrived in Geelong on November 13, 1855 from England, but the location for the clock had yet to be decided. Suggestions of high ground at top of Moorabool, Yarra or Gheringhap Streets were put forward at the time, the indecision lasting into early 1856. In July 1857 a decision was made, and the foundation stone was finally laid in the Market Square…

The clock tower remained until October 1923 when it was demolished to make way for the CML Building. There was a public outcry, and no one was willing to demolish it. However, it was deemed too impractical to move intact, and was brought down by steel cables attached to traction engine. The site of the clock tower is marked by a plaque in the Market Square Shopping Centre.

Text from the Wikipedia website

 

William Wegman (born United States 1943) 'Horned hound' 1991

 

William Wegman (born United States 1943)
Horned hound
1991
Polaroid photograph
National Gallery of Victoria
Purchased, 1992

 

 

The Ian Potter Centre: NGV Australia
Federation Square
Corner of Russell and 
Flinders Streets, Melbourne

Opening hours:
10am – 5pm
Closed Mondays

National Gallery of Victoria website

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16
Jul
17

Exhibition: ‘Irving Penn: Centennial’ at the Metropolitan Museum of Art, New York Part 2

Exhibition dates: 24th April – 30th July 2017

 

'Irving Penn: Centennial' at the Metropolitan Museum of Art

 

 

Irving Penn. The high priest of high modernist photography.

I know a lot of people adore his photography but I am not an acolyte, quietly accepting his elevation to sainthood in the high temple of art museums.

I find Penn’s aesthetic aesthetic, his performing photography if you like, unappealing. To me his work is more about the photographer than it is about the subject. His photographs, in whatever style – portraiture, nude, still life – seem cold and lifeless. Like a dead fish. There is little pleasure to be gained from looking at his photographs or the people in them. I find little celebration of photography in his work, as in, this is what the camera does at its best, a dialogue between photographer and subject.

Penn was a commercial photographer who had aspirations of being an artist. As Mark L. Power observes, “One of the characteristics of the Penn style was the expressive silhouette or outline around the figure, a sculptural delineation of form, at once beautiful and austere, whether his subject was a still life, a fashion model or a portrait.” My god did he love silhouette and shadow, usually played off against a plain backdrop.

There is that key word, play. There is no sense of spontaneity in his photographs, no sense of fun, no sense of an understanding of the aura of the subject.

I think of the portraits of August Sander or Richard Avedon’s series In the American West (the latter using a plain backdrop), both with their depth of vision and feeling for the people they were photographing … and then I look at the Cuzco portraits of Penn. I get nothing back about the lives of these people in Penn’s photographs. I think of the distorted nudes of Bill Brandt with their sensuality and sublime angles … and then I look at the nudes of Penn. They just don’t stack up, they feel clumsy, trite. I look at his colour still life, and I imagine the colour work of Paul Outerbridge, the absolute intensity of feeling that I can recall from Outerbridge’s still life in my mind’s eye. No such feeling exists in Penn’s still life.

If you watch the video of Penn at work in Morocco in 1971 (below), everything is controlled to within an inch of its life. A tilt of the head here, a raise of the chin there. This is a commercial studio photographer at work. As I said earlier, the work is not a celebration of photography but about the control of the photographer through the pose of the subject. Jammed into a wedge of scenery the sitters perform for his camera – Schiaparelli, Capote, Charles James et al – flaccid characters, almost caricatures in their positioning. Other than variants such as the intense eye of Pablo Picasso, or the blindness of Ingmar Bergman, I don’t believe that Penn was ever, will ever be, a great portraitist. He has no feeling for his sitters.

Of course, there is “the relationship of content to form – a relationship that underpins all art” at which Penn excels, but he is no Atget, Evans or Eggleston, where we are constantly surprised at where the photographer places the camera, how they place the frame, how they “form the starting point of the image’s visual structure,” how we wonder at the results, how we day dream the narrative. As Victor Burgin observes, “… what the world ‘is’ depends extensively upon how it is described: in a culture where the expression ‘old bag’ is in circulation to describe an ageing woman that is precisely what she is in perpetual danger of ‘being’.”

In Penn’s work the photograph and its representation is never in any danger of “becoming”, it already is. Penn’s “old bag” never changes. By repeating the same trope over and over – the formalist aesthetic, the silhouette, the plain back drop, the controlled pose – his work never evolves, never moves with an illusive quality to a place that the viewer does not feel they already know. The world of murky imperfection, uncertainty and ephemeral juxtapositions to which our mortal senses have access is replaced by a world of perfection and light in which everything has its predestined place.

Perhaps I just long for the fundamental contradictions of life in art, antinomies, options for now and the future.

Marcus

 

 

 

Irving Penn on Location in Morocco, 1971

This 8mm film footage, shot by Lisa Fonssagrives-Penn in 1971, shows Irving Penn at work in his portable studio on location in Morocco. Presented in conjunction with the exhibition “Irving Penn: Centennial,” on view at The Met Fifth Avenue from April 24 through July 30, 2017.

 

 

Irving Penn Centennial

A preview of the exhibition Irving Penn Centennial April 24 – July 30, 2017 at The Met, featuring Jeff Rosenheim, Curator in Charge, Photographs, The Metropolitan Museum of Art and Maria Morris Hambourg, Independent Curator and Former Curator in Charge, Photographs, The Metropolitan Museum of Art.

 

 

“As a way of beginning, one might compare the art of photography to the act of pointing. All of us, even the best-mannered of us, occasionally point, and it must be true that some of us point to more interesting facts, events, circumstances, and configurations than others. It is not difficult to imagine a person – a mute Virgil of the corporeal world – who might elevate the act of pointing to a creative plane, a person who would lead us through the fields and streets and indicate a sequence of phenomena and aspects that would be beautiful, humorous, morally instructive, cleverly ordered, mysterious, or astonishing, once brought to our attention, but that had been unseen before, or seen dumbly, without comprehension. This talented practitioner of the new discipline (the discipline a cross between theater and criticism) would perform with a special grace, sense of timing, narrative sweep, and wit, thus endowing the act not merely with intelligence, but with that quality of formal rigor that identifies a work of art, so that we would be uncertain, when remembering the adventure of the tour, how much of our pleasure and sense of enlargement had come from the things pointed to and how much from a pattern created by the pointer.”

.
John Szarkowski. “Atget, Pointing”

 

“The word classic is often used about Penn’s work; it entails a certain gravitas characterised by rigour almost to the point of aloofness, an awareness of beauty throughout many genres, a graphic elegance of line and contour that is uniquely his, and a relationship of his work to artists of the past, usually painters rather than photographers. Although it could be said his photography was an advertisement for a haut monde world, his work was sometimes a subtle and somewhat sly subversion of the values of that lifestyle.”

.
Mark L. Power. “Irving Penn: Beyond Beauty,” at Smithsonian Museum of American Art, Washington, DC.

 

 

The most comprehensive retrospective to date of the work of the great American photographer Irving Penn (1917-2009), this exhibition will mark the centennial of the artist’s birth. Over the course of his nearly 70-year career, Penn mastered a pared-down aesthetic of studio photography that is distinguished for its meticulous attention to composition, nuance, and detail.

The exhibition follows the 2015 announcement of the landmark promised gift from The Irving Penn Foundation to The Met of more than 150 photographs by Penn, representing every period of the artist’s dynamic career with the camera. The gift will form the core of the exhibition, which will feature more than 200 photographs by Penn, including iconic fashion studies of Lisa Fonssagrives-Penn, the artist’s wife; exquisite still lifes; Quechua children in Cuzco, Peru; portraits of urban labourers; female nudes; tribesmen in New Guinea; and colour flower studies. The artist’s beloved portraits of cultural figures from Truman Capote, Picasso, and Colette to Ingmar Bergman and Issey Miyake will also be featured. Rounding out the exhibition will be photographs by Penn that entered The Met collection prior to the promised gift.

 

Irving Penn (American, Plainfield, New Jersey 1917-2009 New York) 'Young Quechuan Man, Cuzco' December 1948, printed 1949

 

Irving Penn (American, Plainfield, New Jersey 1917-2009 New York)
Young Quechuan Man, Cuzco
December 1948, printed 1949
Gelatin silver print
Image: 7 15/16 x 7 3/16 in. (20.1 x 18.2 cm.)
Promised Gift of The Irving Penn Foundation
© The Irving Penn Foundation

 

 

In Cuzco, Penn photographed both residents and visitors who came to the city from nearby villages with goods to sell or barter at the Christmastime fiestas. Many arrived at the studio to sit for their annual family portraits. Penn later recalled that they “found me instead of him [the local photographer] waiting for them, and instead of paying me for the pictures it was I who paid them for posing.”

 

Irving Penn (American, Plainfield, New Jersey 1917-2009 New York) 'Cuzco Children' December 1948, printed 1968

 

Irving Penn (American, Plainfield, New Jersey 1917-2009 New York)
Cuzco Children
December 1948, printed 1968
Platinum-palladium print
Image: 19 1/2 x 19 7/8 in. (49.5 x 50.5 cm.)
Promised Gift of The Irving Penn Foundation
© Condé Nast

 

Irving Penn (American, Plainfield, New Jersey 1917-2009 New York) 'Two Men in White Masks, Cuzco' December 1948, printed 1984

 

Irving Penn (American, Plainfield, New Jersey 1917-2009 New York)
Two Men in White Masks, Cuzco
December 1948, printed 1984
Gelatin silver print
Image: 10 9/16 x 10 7/16 in. (26.8 x 26.5 cm.)
Promised Gift of The Irving Penn Foundation
© The Irving Penn Foundation

 

Irving Penn (American, Plainfield, New Jersey 1917-2009 New York) 'Cuzco Father and Son with Eggs' December 1948, printed January 1982

 

Irving Penn (American, Plainfield, New Jersey 1917-2009 New York)
Cuzco Father and Son with Eggs
December 1948, printed January 1982
Platinum-palladium print
Image: 11 3/4 x 11 5/16 in. (29.8 x 28.7 cm.)
Promised Gift of The Irving Penn Foundation
© Condé Nast

 

Irving Penn (American, Plainfield, New Jersey 1917-2009 New York) 'Nude No. 18' 1949-50, printed 1949-50

 

Irving Penn (American, Plainfield, New Jersey 1917-2009 New York)
Nude No. 18
1949-50, printed 1949-50
Gelatin silver print
Image: 41 x 38.4 cm (16 1/8 x 15 1/8 in.)
Gift of the artist, 2002
© The Irving Penn Foundation

 

Irving Penn (American, Plainfield, New Jersey 1917-2009 New York) 'Nude No. 42' 1949-50, printed 1949-50

 

Irving Penn (American, Plainfield, New Jersey 1917-2009 New York)
Nude No. 42
1949-50, printed 1949-50
Gelatin silver print
Image: 39.1 x 37.5 cm (15 3/8 x 14 3/4 in.)
Gift of the artist, 2002
© The Irving Penn Foundation

 

Irving Penn (American, Plainfield, New Jersey 1917-2009 New York) 'Nude No. 57' 1949-50, printed 1949-50

 

Irving Penn (American, Plainfield, New Jersey 1917-2009 New York)
Nude No. 57
1949-50, printed 1949-50
Gelatin silver print
Image: 39.4 x 37.5 cm (15 1/2 x 14 3/4 in.)
Gift of the artist, 2002
© The Irving Penn Foundation

 

Irving Penn (American, Plainfield, New Jersey 1917-2009 New York) 'Nude No. 72' 1949-50, printed 1949-50

 

Irving Penn (American, Plainfield, New Jersey 1917-2009 New York)
Nude No. 72, New York
1949-50, printed 1949-50
Gelatin silver print
Image: 39.7 x 37.5 cm (15 5/8 x 14 3/4 in.)
Gift of the artist, 2002
© The Irving Penn Foundation

 

Irving Penn (American, Plainfield, New Jersey 1917-2009 New York) 'Nude No. 130' 1949-50, printed 1949-50

 

Irving Penn (American, Plainfield, New Jersey 1917-2009 New York)
Nude No. 130
1949-50, printed 1949-50
Gelatin silver print
Image: 40 x 38.1 cm (15 3/4 x 15 in.)
Gift of the artist, 2002
© The Irving Penn Foundation

 

Irving Penn (American, Plainfield, New Jersey 1917-2009 New York) 'Kerchief Glove (Dior), Paris' 1950, printed 1984

 

Irving Penn (American, Plainfield, New Jersey 1917-2009 New York)
Kerchief Glove (Dior), Paris
1950, printed 1984
Gelatin silver print
Image: 15 3/8 x 15 5/16 in. (39.1 x 38.9 cm.)
Promised Gift of The Irving Penn Foundation
© Condé Nast

 

Irving Penn (American, Plainfield, New Jersey 1917-2009 New York) 'Balenciaga Sleeve (Régine Debrise), Paris' 1950

 

Irving Penn (American, Plainfield, New Jersey 1917-2009 New York)
Balenciaga Sleeve (Régine Debrise), Paris
1950
Gelatin silver print
Image: 10 3/16 x 10 7/16 in. (25.9 x 26.5 cm.)
Promised Gift of The Irving Penn Foundation
© Condé Nast

 

 

In general, daughters from nice families were not encouraged to be in-house models. “Being a studio model was viewed as preferable,” said Régine Debrise, who posed for the photographers Irving Penn and Henry Clarke before becoming an editor at French Vogue, “because the hours were contained and the conditions were better. Being in-house meant sharing the cabine, often a cramped room, with 10 other girls, and it lacked any kind of privacy.”

“Cabine fever: inside Dior’s fitting room,” on The Telegraph website

 

Irving Penn (American, Plainfield, New Jersey 1917-2009 New York) 'Balenciaga Mantle Coat (Lisa Fonssagrives-Penn), Paris' 1950, printed 1988

 

Irving Penn (American, Plainfield, New Jersey 1917-2009 New York)
Balenciaga Mantle Coat (Lisa Fonssagrives-Penn), Paris
1950, printed 1988
Platinum-palladium print
Image: 21 15/16 x 17 5/8 in. (55.7 x 44.7 cm.)
Promised Gift of The Irving Penn Foundation
© Condé Nast

 

 

Lisa Fonssagrives (May 17, 1911 – February 4, 1992), born Lisa Birgitta Bernstone was a Swedish fashion model widely credited as the first supermodel.

Before Fonssagrives came to the United States in 1939, she was already a top model. Her image appeared on the cover of many magazines during the 1930s, 1940s and 1950s, including Town & Country, Life, Time, Vogue, and the original Vanity Fair. She was reported as “the highest paid, highest praised, high fashion model in the business”. Fonssagrives once described herself as a “good clothes hanger”.

She worked with fashion photographers including George Hoyningen-Huene, Man Ray, Horst, Erwin Blumenfeld, George Platt Lynes, Richard Avedon, and Edgar de Evia. She married Parisian photographer Fernand Fonssagrives in 1935; they divorced and she later married another photographer, Irving Penn, in 1950. She went on to become a sculptor in the 1960s and was represented by the Marlborough Gallery in Manhattan.

Text from the Wikipedia website

 

Irving Penn (American, Plainfield, New Jersey 1917-2009 New York) 'Woman with Roses (Lisa Fonssagrives-Penn in Lafaurie Dress), Paris' 1950, printed 1968

 

Irving Penn (American, Plainfield, New Jersey 1917-2009 New York)
Woman with Roses (Lisa Fonssagrives-Penn in Lafaurie Dress), Paris
1950, printed 1968
Platinum-palladium print
Image: 22 x 15 11/16 in. (55.9 x 39.9 cm
Promised Gift of The Irving Penn Foundation
© Condé Nast (Fr.)

 

 

Jeanne LaFaurie was a Paris couturiere working from 1925 until 1958. The house was known for dependable, if not spectacular, clothing and fine draping. Courreges worked there as a draftsman in 1947. Michel Goma became the house designer 1950 – 58, when he bought the house and renamed it. It closed in 1963.

Text from the Vintage Fashion Guild website

 

Irving Penn (American, Plainfield, New Jersey 1917-2009 New York) 'Rochas Mermaid Dress (Lisa Fonssagrives-Penn), Paris' 1950

 

Irving Penn (American, Plainfield, New Jersey 1917-2009 New York)
Rochas Mermaid Dress (Lisa Fonssagrives-Penn), Paris
1950
Platinum-palladium print
Image: 19 7/8 x 19 11/16 in. (50.5 x 50 cm.)
Promised Gift of The Irving Penn Foundation
© Condé Nast

 

 

Rochas is a fashion, beauty, and perfume house founded in 1925 by French designer Marcel Rochas (born 1902, died 1955) the first designer of 2/3-length coats and skirts with pockets. “His designs could be seen as the polar opposite of Chanel’s simplicity. Dresses were proper gowns and came with the optimum amount of frills, with lace, wide shoulders and nipped-in waists.”

 

Irving Penn (American, Plainfield, New Jersey 1917-2009 New York) 'Large Sleeve (Sunny Harnett), New York' 1951, printed 1984

 

Irving Penn (American, Plainfield, New Jersey 1917-2009 New York)
Large Sleeve (Sunny Harnett), New York
1951, printed 1984
Gelatin silver print
Image: 14 3/4 x 14 3/4 in. (37.5 x 37.5 cm.)
Promised Gift of The Irving Penn Foundation
© Condé Nast

 

 

Annemarie Margot “Sunny” Harnett (1924 – May 1987) was an American model in the 1950s and actress. She can be found in fashion magazines throughout that era – including frequently on the cover of Vogue – and was often a model of choice by photographer Edgar de Evia. Harper’s Bazaar ranks her as one of the 26 greatest models of all time.

 

Irving Penn (American, Plainfield, New Jersey 1917-2009 New York) 'Marchand de Concombres [Cucumber Seller]' 1950, printed 1976

 

 

Irving Penn (American, Plainfield, New Jersey 1917-2009 New York)
Marchand de Concombres [Cucumber Seller]
1950, printed 1976
Platinum-palladium print
Purchase, The Lauder Foundation and The Irving Penn Foundation Gifts, 2014
© The Irving Penn Foundation

 

Irving Penn (American, Plainfield, New Jersey 1917-2009 New York) 'Marchande de Ballons, Paris' 1950, printed 1976

 

Irving Penn (American, Plainfield, New Jersey 1917-2009 New York)
Marchande de Ballons, Paris
1950, printed 1976
Platinum-palladium print
Image: 15 3/4 × 12 9/16 in. (40 × 31.9 cm)
Purchase, The Lauder Foundation and The Irving Penn Foundation Gifts, 2014
© Les Editions Condé Nast S. A.

 

Irving Penn (American, Plainfield, New Jersey 1917-2009 New York) 'Window Washer' 1950, printed 1967

 

Irving Penn (American, Plainfield, New Jersey 1917-2009 New York)
Window Washer
1950, printed 1967
Platinum-palladium print
Image: 19 7/8 × 14 13/16 in. (50.5 × 37.6 cm)
Purchase, The Lauder Foundation and The Irving Penn Foundation Gifts, 2014
© The Irving Penn Foundation

 

Irving Penn (American, Plainfield, New Jersey 1917-2009 New York) 'Fishmonger, London' 1950, printed 1976

 

Irving Penn (American, Plainfield, New Jersey 1917-2009 New York)
Fishmonger, London
1950, printed 1976
Platinum-palladium print
Image: 19 11/16 × 14 13/16 in. (50 × 37.6 cm)
Purchase, The Lauder Foundation and The Irving Penn Foundation Gifts, 2014
© Condé Nast Publications Ltd.

 

Irving Penn (American, Plainfield, New Jersey 1917-2009 New York) 'Pablo Picasso at La Californie, Cannes' 1957, printed February 1985

 

Irving Penn (American, Plainfield, New Jersey 1917-2009 New York)
Pablo Picasso at La Californie, Cannes
1957, printed February 1985
Platinum-palladium print
Image: 18 5/8 x 18 5/8 in. (47.3 x 47.3 cm.)
Promised Gift of The Irving Penn Foundation
© The Irving Penn Foundation

 

 

When Penn arrived at Picasso’s house in the south of France, the artist pretended not to be home. But after Penn’s assistant climbed over the locked gate, Picasso granted the photographer ten minutes. Covering his sweat-shirt with a Spanish cape, Picasso tried to playfully deflect him. Variants of this image show how Penn patiently worked the pose, allowing the artist his costume play while progressively boring in to isolate the riveting gaze of his left eye.

 

Irving Penn (American, Plainfield, New Jersey 1917-2009 New York) 'Ingmar Bergman, Stockholm, 1964' 1964, printed 1992

 

Irving Penn (American, Plainfield, New Jersey 1917-2009 New York)
Ingmar Bergman, Stockholm, 1964
1964, printed 1992
Gelatin silver print
Image: 15 1/16 x 14 15/16 in. (38.3 x 37.9 cm
Promised Gift of The Irving Penn Foundation
© The Irving Penn Foundation

 

Irving Penn (American, Plainfield, New Jersey 1917-2009 New York) 'Single Oriental Poppy, New York' 1968, printed 1989

 

Irving Penn (American, Plainfield, New Jersey 1917-2009 New York)
Single Oriental Poppy, New York
1968, printed 1989
Dye transfer print
Image: 21 7/8 x 17 1/8 in. (55.5 x 43.5 cm.)
Promised Gift of The Irving Penn Foundation
© The Irving Penn Foundation

 

Irving Penn (American, Plainfield, New Jersey 1917-2009 New York) 'Naomi Sims in Scarf, New York, c. 1969' c. 1969, printed 1985

 

Irving Penn (American, Plainfield, New Jersey 1917-2009 New York)
Naomi Sims in Scarf, New York, c. 1969
c. 1969, printed 1985
Gelatin silver print
Image: 10 1/2 x 10 3/8 in. (26.6 x 26.3 cm.)
Promised Gift of The Irving Penn Foundation
© The Irving Penn Foundation

 

 

Naomi Ruth Sims (March 30, 1948 – August 1, 2009) was an American model, businesswoman and author. She was the first African-American model to appear on the cover of Ladies’ Home Journal, and is widely credited as being the first African-American supermodel. …

She became one of the first successful black models while still in her teens, and achieved worldwide recognition from the late 1960s into the early 1970s, appearing on the covers of prestigious fashion and popular magazines. The New York Times wrote that (her) “appearance as the first black model on the cover of Ladies’ Home Journal in November 1968 was a consummate moment of the Black is Beautiful movement”. She also appeared on the cover of the October 17, 1969 issue of Life magazine. This made her the first African-American model on the cover of the magazine. The images from the 1967 New York Times fashion magazine cover and the 1969 Life magazine cover were exhibited at the Metropolitan Museum of Art in an exhibition entitled The Model as Muse.

Irving Penn (American, Plainfield, New Jersey 1917-2009 New York) 'Ungaro Bride Body Sculpture (Marisa Berenson), Paris, 1969' 1969, printed 1985

 

Irving Penn (American, Plainfield, New Jersey 1917-2009 New York)
Ungaro Bride Body Sculpture (Marisa Berenson), Paris, 1969
1969, printed 1985
Gelatin silver print
Image: 11 15/16 x 9 5/16 in. (30.3 x 23.7 cm.) Promised Gift of The Irving Penn Foundation
© Condé Nast

 

 

Emanuel (Maffeolit) Ungaro (born 13 February 1933) is a retired French fashion designer, who founded the fashion house that bears his name in 1965. At the age of 22, he moved to Paris. Three years later he began designing for the House of Cristobal Balenciaga for three years before quitting to work for Courrèges. Four years later, in 1965 with the assistance of Swiss artist Sonja Knapp and Elena Bruna Fassio, Emanuel Ungaro opened his own fashion house in Paris.

Vittoria Marisa Schiaparelli Berenson (born February 15, 1947) is an American actress and model. A fashion model who came to prominence in the 1960s – “I once was one of the highest paid models in the world”, she told The New York Times – Berenson appeared on the cover of the July 1970 issue of Vogue as well as the cover of Time on December 15, 1975. She appeared in numerous fashion layouts in Vogue in the early 1970s and her sister Berry was a photographer for the magazine as well. She was known as “The Queen of the Scene” for her frequent appearances at nightclubs and other social venues in her youth, and Yves Saint Laurent dubbed her “the girl of the Seventies”.

Eventually, she was cast in several prominent film roles, including Gustav von Aschenbach’s wife in Luchino Visconti’s 1971 film Death in Venice, the Jewish department store heiress Natalia Landauer in the 1972 film Cabaret, for which she received acclaim (including two Golden Globe nominations, a BAFTA nomination and an award from the National Board of Review), and the tragic beauty Lady Lyndon in the Stanley Kubrick film Barry Lyndon (1975).

Texts from the Wikipedia website

 

Irving Penn (American, Plainfield, New Jersey 1917-2009 New York) 'Three Asaro Mud Men, New Guinea, 1970' 1970, printed 1976

 

Irving Penn (American, Plainfield, New Jersey 1917-2009 New York)
Three Asaro Mud Men, New Guinea, 1970
1970, printed 1976
Platinum-palladium print
Dimensions:Image: 20 1/8 x 19 1/2 in. (51.1 x 49.6 cm.)
Promised Gift of The Irving Penn Foundation
© The Irving Penn Foundation

 

Irving Penn (American, Plainfield, New Jersey 1917-2009 New York) 'Three Dahomey Girls, One Reclining, 1967' 1967, printed 1980

 

Irving Penn (American, Plainfield, New Jersey 1917-2009 New York)
Three Dahomey Girls, One Reclining, 1967
1967, printed 1980
Platinum-palladium print
Image: 19 11/16 x 19 11/16 in. (50 x 50 cm.)Promised Gift of The Irving Penn Foundation
© The Irving Penn Foundation

 

Irving Penn (American, Plainfield, New Jersey 1917-2009 New York) 'Tribesman with Nose Disc, New Guinea, 1970' 1970, printed 2002

 

Irving Penn (American, Plainfield, New Jersey 1917-2009 New York)
Tribesman with Nose Disc, New Guinea, 1970
1970, printed 2002
Gelatin silver print
Image: 15 1/2 x 15 3/8 in. (39.4 x 39.1 cm.)
Promised Gift of The Irving Penn Foundation
© The Irving Penn Foundation

 

Irving Penn (American, Plainfield, New Jersey 1917-2009 New York) 'Cigarette No. 52, New York' 1972, printed April 1974

 

Irving Penn (American, Plainfield, New Jersey 1917-2009 New York)
Cigarette No. 52, New York
1972, printed April 1974
Platinum-palladium print
Image: 23 1/2 x 18 1/2 in. (59.7 x 47 cm.)
Promised Gift of The Irving Penn Foundation
© The Irving Penn Foundation

 

Irving Penn (American, Plainfield, New Jersey 1917-2009 New York) 'Cigarette No. 85, New York' 1972, printed Fall 1975

 

Irving Penn (American, Plainfield, New Jersey 1917-2009 New York)
Cigarette No. 85, New York
1972, printed Fall 1975
Platinum-palladium print
Image: 18 1/8 x 23 1/16 in. (46.0 x 58.5 cm.)
Promised Gift of The Irving Penn Foundation
© The Irving Penn Foundation

 

Irving Penn (American, Plainfield, New Jersey 1917-2009 New York) 'Cigarette No. 98, New York' 1972, printed June 1974

 

Irving Penn (American, Plainfield, New Jersey 1917-2009 New York)
Cigarette No. 98, New York
1972, printed June 1974
Platinum-palladium print
Image: 23 3/16 x 17 1/16 in. (58.9 x 43.3 cm.)
Promised Gift of The Irving Penn Foundation
© The Irving Penn Foundation

 

Irving Penn (American, Plainfield, New Jersey 1917-2009 New York) 'Deli Package, New York' 1975, printed March 1976

 

Irving Penn (American, Plainfield, New Jersey 1917-2009 New York)
Deli Package, New York
1975, printed March 1976
Platinum-palladium print
Image: 15 7/8 x 20 11/16 in. (40.3 x 52.5 cm.)
Promised Gift of The Irving Penn Foundation
© The Irving Penn Foundation

 

Irving Penn (American, Plainfield, New Jersey 1917-2009 New York) 'Two Miyake Warriors, New York, 1998' June 3, 1998, printed January-February, 1999

 

Irving Penn (American, Plainfield, New Jersey 1917-2009 New York)
Two Miyake Warriors, New York, 1998
June 3, 1998, printed January-February, 1999
Platinum-palladium print
Image: 21 x 19 5/8 in. (53.4 x 49.8 cm.)
Promised Gift of The Irving Penn Foundation
© The Irving Penn Foundation

 

 

Issey Miyake (born 22 April 1938) is a Japanese fashion designer. He is known for his technology-driven clothing designs, exhibitions and fragrances…

In the late 1980s, he began to experiment with new methods of pleating that would allow both flexibility of movement for the wearer as well as ease of care and production. In which the garments are cut and sewn first, then sandwiched between layers of paper and fed into a heat press, where they are pleated. The fabric’s ‘memory’ holds the pleats and when the garments are liberated from their paper cocoon, they are ready-to wear. He did the costume for Ballett Frankfurt with pleats in a piece named “the Loss of Small Detail” choreographed by William Forsythe and also work on ballet “Garden in the setting”.

Text from the Wikipedia website

 

 

The Metropolitan Museum of Art
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New York, New York 10028-0198
Phone: 212-535-7710

Opening hours:
Tuesday – Thursday: 9.30 am – 5.30 pm*
Friday and Saturday: 9.30 am – 9.00 pm*
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The Metropolitan Museum of Art website

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01
Jul
17

Review: ‘Christian Thompson: Ritual Intimacy’ at Monash University Museum of Art (MUMA), Melbourne

Exhibition dates: 27th April – 8th July 2017

This project has been supported by the Victorian Government through Creative Victoria

 

PLEASE NOTE: I am still recovering from my hand operation which is going to take longer than expected. All of the text has been constructed using a dictation programme and corrected using only my right hand – a tedious process. I have to keep my mental faculties together, otherwise this hand will drive me to distraction… Marcus

 

Christian Thompson. 'Black gum 1-3' 2007

 

Christian Thompson
Black gum 1-3
2007
From the series Australian graffiti
C-type prints
Collection of the National Gallery of Australia, Canberra
Photo: Andrew Curtis

 

Christian Thompson. 'Black gum 1' 2007

 

Christian Thompson
Black gum 1
2007
From the series Australian graffiti
C-type print
Collection of the National Gallery of Australia, Canberra

 

Christian Thompson. 'Black gum 2' 2007

 

Christian Thompson
Black gum 2
C-type print
2007
From the series Australian graffiti
Collection of the National Gallery of Australia, Canberra

 

 

“While I’m interested in portraiture – I don’t consider my work as portraiture because that suggests that I’m trying to portray myself, my own visage, my own image. I employ images, icons, materials, metaphors to capture and idea and moment in time. There are many different things at play; taking a picture of myself is really the last thing that’s on my mind.”

.
Christian Thompson in conversation with Hetti Perkins, catalogue extract

 

“I’m interested in simple aesthetic gestures that can say something … something quite profound about the world that we live in. I tend to build images how I create a sculpture. I borrow from the world around me.”

On being away from home: “You’re able to remove yourself from the local discourse, and romanticise home. When you’re displaced you tend to gravitate towards certain memories … But this is who I am. It would be weird not to express that somehow. I combine memories of my past with my lived experience and an idea of where I’d like to be … it’s all montaged into one.”

.
Christian Thompson

 

“But Thompson makes things up. His ‘We bury our own’ does not let us see the early daguerreotype but improvises a series of fugues on its spiritual essence. This is the crucial step that Thompson has taken: if you repeat the spectacle you cannot escape the past. But if you, a spiritual descendant, transmogrify yourself in keeping with the aura of the image’s subject, during the prolonged period of encounter and immersion, you can ‘repatriate’ that forebear. Or so he desires.”

“Through these conjurings of the language his people spoke before colonisation set out to strip them of their culture as well as their land, Christian Thompson performs private ceremonies – to reach beyond visual statements of personal presence and reawaken the knowledge of his forebears, and allow us, his listeners and viewers, into their living story.”

.
Marina Warner. “Magical Aesthetics,” extracts from the catalogue essay

 

 

Still singing, still Dreaming,
still loving… not dying.

This is a strong survey exhibition of the work of contemporary Australian Indigenous artist and Bidjara man exploring the world, Christian Thompson. As with any survey exhibition, it can only give us a glimpse into the long standing development of the artist’s work, inviting the viewer to then research more fully the themes, conceptual acts and bodies (of work) that have led the artist to this point in his artistic development. Having said that the exhibition, together with its insightful catalogue essays and additional images that do not appear in the exhibition, allow the viewer to be challenged intellectually, aesthetically and most importantly … spiritually. And to be somewhat conflicted by the art as well, it has to be said.

Thompson’s “multidisciplinary practice explores notions of cultural hybridity, along with identity and history, creating works that transcend cultural boundaries.” His self-reflexive and self-referential bodies of work, often with the artist using his body as an “armature for his characters, costumes and various props,” are intuitive and imaginative in how they relate Aboriginal and Australian/European history, taking past time into present time which influences future time. Time, memory, history, space, landscape are conflated into one point, enunciated through acts of ritual intimacy. These ritual intimacies, these performative acts, are enabled through an understanding of a regularised and constrained repetition of norms (in this case, the declarative power of colonialism), where the taking of a photograph of an Aboriginal person (for example), is “a ritual reiterated under and through constraint, under and through the force of prohibition and taboo, with the threat of ostracism and even death controlling and compelling the shape of the production…” (Judith Butler, Bodies That Matter. New York: Routledge, 1993, p. 95).

What is so heartening to see in this exhibition is a contemporary Indigenous artist not relying on re-animating colonial images of past injustices, but re-imagining these images to produce a spiritual connection to Country, to place, to people in the present moment. As Charlotte Day, Director, MUMA and Hetti Perkins, guest curator observe in the wall text at the beginning of the exhibition, “Rather than appropriating or restaging problematic ethnographic images of indigenous ancestors held in the Museum’s photographic collection, Thompson has chosen to spend significant periods of time with these images, absorbing their ‘aura’ and developing a personal artistic and deferential response that is decisively empowered.” As Marina Warner states in her excellent catalogue essay “Magical Aesthetics”, these ritual intimacies are a “magical re-animation and adopt time-honoured processes of making holy – of hallowing. Adornment is central to ritual and a prime way of glorifying and consecration.” What Thompson is doing is not quoting but translating the source-text into new material. As Mary Jacobus notes of the work of the painter Cy Twombly, “Quotation involves the repurposing of an existing text: translation requires a swerve from the source-text as it finds new directions and enters unknown terrain.” (Mary Jacobus. Reading Cy Twombly: Poetry in Paint.  Princeton & Oxford: Princeton University Press, 2016, p. 7).

This auto-ethnographic exploration and adornment leads to a deterritorialisation and reterritorialisation of time in a heterotopic space, juxtaposing in a single real place several spaces, several sites of contestation – Thompson’s travels and research from around the world, the embodiment in his own culture and that of contemporary Australia, pop culture, fashion, music and language – where, as Hetti Perkins says, “the unknowable is a lovely thing” and where Thompson can affect and influence “the Zeitgeist through more subversive means.” These spaces of ritualised production overlaid with memory, imagination, desire, and nostalgia, these fragmented images, become a process and a performance in which Thompson seeks to ameliorate the objects aura through a process of ‘spiritual repatriation’. Thompson’s performativity is where the ritual of production and meaning is never fully predetermined at any stage of production and reception.

Here, in terms of ‘aura’ and ‘spirit’, I am interested in the word “repatriation”. Repatriation means to send (someone) back to their own country – from the verb repatriare, from re- ‘back’ + Latin patria ‘native land’. It has an etymological link to the word “patriot” – from late Latin patriota ‘fellow countryman’, from Greek patriōtēs, from patrios ‘of one’s fathers’, from patris ‘fatherland’ – and all the imperial connotations that are associated with the word. So, to send someone back (against their own will? by force?) or to be patriotic, as belonging to or coming from, the fatherland. A land that is father, farther away. Therefore, it is with regard to a centralised, monolithic body and its materialities (for the body is usually centrally placed in Thompson’s work) in Thompson’s instinctive works, that relations of discourse and power will always produce hierarchies and overlappings which are going to be contested. As Judith Butler notes,

“That each of those categories [body and materiality] have a history and a historicity, that each of them is constituted through the boundary lines that distinguish them and, hence, by what they exclude, that relations of discourse and power produce hierarchies and overlappings among them and challenge those boundaries, implies that these are both persistent and contested regions.” (Judith Butler. Bodies That Matter. New York: Routledge, 1993, pp. 66-67)

.
Thus performativity is the power of discourse, the politicisation of abjection, and the ritual of being.

This is where I become conflicted by much of this work. Intellectually and conceptually I fully understand the instinctive, intuitive elements behind the work (crystals, flowers, maps, butterflies, dreams) but aesthetically I feel little ‘aura’ emanating from the photographs. Thompson’s “peripatetic life and your bowerbird, magpie-like fascination” (p. 107) lead to all sorts of influences emerging in the work – orange from The Netherlands, Morris dancers from England, Jewish heritage, Aboriginal and Australian heritage, fashion, pop culture, music, language – all evidenced through “acts of concealment in his self-portraits.” (p. 75). Now there’s the rub!

In Thompson’s ritual intimacies the intimacy is performed only once, for the camera. It is not didactic, but it is interior and hidden, leaving much to the feelings of the viewer, looking. The re-presentation of that intimacy is performed by the viewer every time they look at the art. I think of the work of one of my favourite performance artists, Claude Cahun, where the artist inhabits her personas, adorning her androgynous face with costume after costume to become something that she wants to become – a buddha, a double, a harpy, a lunatic or a doll with equal ease. Cahun is always and emphatically herself, undermining a certain authority… and she produces indelible images that sear the mind.

I don’t get that from Thompson. I don’t know who he really is. Does it matter? Yes it does. In supposedly his most autobiographic work (according to Hetti Perkins), the video Heat (2010, below) the work emerges out of Thompson’s memories of growing up in the desert surrounding Barcaldine in central west Queensland where “heat captures the sensation that he associates with being on his country: the dry wind blowing through his hair.” Perhaps for him or someone from the desert country like Hetti Perkins (as she states in the catalogue), but not for me. I feel no ‘heat’ from these three beautiful woman standing in a contextless background with a wind machine blowing their hair. The only ‘heat’ I felt was perhaps the metaphoric heat of colonisation, violence and abuse thrust on a vulnerable culture.

Talking of vulnerable cultures, in the work Polari (2014, below) Thompson invokes the history of languages in an intimate ritual “as he seeks to reanimate and repossess vanishing knowledge. Polari is a private language … a kind of code used by sailors, circus and fairground folk, and in gay circles. … Thompson’s Polari series warns us that the artist has a language of his own, which we can overhear but not fully understand: something is withheld, in contrast to the imposed and implacable exposure which the subjects of scientific collections were made to suffer in the past.” (Warner, p. 74) But why is he using Polari specifically, a language that is strongly associated with the libertine gay culture of the 1950s-70s? Does he have a right to use this word and its linguistic heritage because he is gay? It is never stated, again another thing left hidden, concealed and unresolved.

Although no culture can ever fully own its language (language is a construct after all) … if Thompson is not gay, then I would take exception to his invoking the Polari language, just as an Indigenous artist would take exception to me using Bidjara language in an art work of my own. I remember coming out in London in 1975 and speaking Polari myself when it was still being used in pubs and clubs such as the A + B club in Soho. It was not being used as a language of resistance, far from it, but as a language of desire. It was a language used to inculcate that desire. As a video on YouTube observes of speaking Polari, “you didn’t think, oh God I’m so oppressed I can never speak about myself, you just did it, you just slipped into it without thinking.” It was your own language, like a comfortable pair of slippers. Does Thompson understand how using that word to title a body of work could be as offensive to some people as he finds the denaturing of his own culture? For me this is where the work really becomes problematic, when an artist does not enunciate these connections, where things, like sexuality, remain hidden. Similarly, with historical photographs of Indigenous people taken for ethnographic study, Thompson fails to acknowledge the work of academics such as Jane Lydon and her important books Eye Contact: Photographing Indigenous Australians (2005) and Photography, Humanitarianism, Empire (2016) where she unpacks the historical baggage of the images and notes that the photographs were not solely a tool of colonial exploitation. Lydon articulates an understanding in Eye Contact that the residents of Coranderrk, an Aboriginal settlement near Healsville, Melbourne, “had a sophisticated understanding of how they were portrayed, and they became adept at manipulating their representations.” Again, there is more than meets the eye, more than just ‘spiritual repatriation’ of aura.

For me, the magic of this exhibition arrives when Thompson lets go all obfuscation, let’s go all actions that make something obscure, unclear, or unintelligible. Where his ritual intimacies become grounded in language, earth and spirit. This happens in the video works, Desert slippers (2006, below), Refuge (2014, below), Gamu Mambu (Blood Song) (2011) and Dhagunyilangu (Brother) (2011, below). In these videos, the Other’s gaze disintegrates and we are left with poignant, heart felt words and actions that engage history, emotion, family and Country.

The video Desert slippers “features a Bidjara ritual in which a father and son transfer sweat. The desert slipper is a native cactus that symbolises the transferal of the spirit back to earth as the plant grows.” It is simple, eloquent, powerful, present. The other videos feature two baroque singers from Europe and Thompson singing in his native tongue Bidjara (Bidyara, Pitjara), a language that Wikipedia states “is an extinct Australian Aboriginal language. In 1980 it was spoken by twenty elders in Queensland, between Tambo and Augathella, Warrego and Langlo rivers.” Spelt out in black and white. Extinct. To hear Thompson sing a berceuse (French, from bercer ‘to rock’), or lullaby in his native language, a language taught to him by his father, is the most emotional of experiences. The work “combines evocative chanting and electronic elements to invoke the cultural experiences and narratives of his Bidjara culture,” and “is premised on the notion that if one word of Bidjara is spoken, or sung in this case, it remains a living language.” Amen to that.

This is the real hallowing, not the dress ups or the concealments. It is in these videos that the raw material of his and his cultures experience is transmuted into living, breathing stories, in an alchemical transmutation, a magical re-animation of past time into present and future time. My transfiguration into a more spiritual state was complete when listening in quiet contemplation. For I was given, if only for a very brief moment, access to the pain of our first peoples and a vision of hope for their future healing.

Still singing, still Dreaming,
still loving… and certainly not dying.

Dr Marcus Bunyan for Art Blart

Word count: 2,053

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

 

 

“At the heart of my practice is a concern with aura: what it is, how it can be photographed and how it can be repatriated.”

.
Christian Thompson

 

 

'Christian Thompson: Ritual intimacy', installation view

 

Christian Thompson: Ritual intimacy, installation view: Monash University Museum of Art, Melbourne 2017
Photo: Andrew Curtis

 

Christian Thompson. 'Untitled #6' 2010

 

Christian Thompson
Untitled #6
2010
From the series King Billy
C-type print
Image courtesy of the artist, Sarah Scout Presents, Melbourne, and Michael Reid, Sydney and Berlin

 

'Christian Thompson: Ritual intimacy', installation view: Monash University Museum of Art, Melbourne 2017

'Christian Thompson: Ritual intimacy', installation view: Monash University Museum of Art, Melbourne 2017

 

Christian Thompson: Ritual intimacy, installation view: Monash University Museum of Art, Melbourne 2017 featuring stills from the video Berceuse (2017)

 

 

Christian Thompson
Berceuse (extract installation view)
2017
Three-channel digital colour video, sound
5.47 minutes
Sound design: Duane Morrison

 

 

Christian Thompson
Berceuse
2017
Three-channel digital colour video, sound
5.47 minutes
Sound design: Duane Morrison

 

 

In this newly commissioned work, Thompson sings a berceuse – a cradle song or lullaby – that combines evocative chanting and electronic elements to invoke the cultural experiences and narratives of his Bidjara culture. Intended as a gesture of re-imagining his traditional Bidjara language, which is been categorised as extinct, the work is premised on the notion that if one word of Bidjara is spoken, or sung in this case, it remains a living language.

Thompson makes subtle reference to his maternal Sephardic Jewish roots by ruminating in this work on the lullaby Nani Nani:

 

Lullaby, lullaby
The boy wants a lullaby,
The mother’s son,
Who although small will grow.

Oh, oh my lady open,
Open the door,
I come home tired,
From ploughing the fields.

Oh, I won’t open them,
You don’t come home tired,
You’ve just come back,
From seeing your new lover.

 

'Christian Thompson: Ritual intimacy', installation view: Monash University Museum of Art, Melbourne 2017

'Christian Thompson: Ritual intimacy', installation view: Monash University Museum of Art, Melbourne 2017

 

Christian Thompson: Ritual intimacy, installation view: Monash University Museum of Art, Melbourne 2017 featuring the series Museum of Others (2016)

 

Installation view of 'Museum of Others (Othering the Ethnologist, Augustus Pitt Rivers)' 2016

 

Installation view of Museum of Others (Othering the Ethnologist, Augustus Pitt Rivers) 2016

 

Christian Thompson. 'Museum of Others (Othering the Anthropologist, Walter Baldwin Spencer)' 2016

 

Christian Thompson
Museum of Others (Othering the Anthropologist, Walter Baldwin Spencer)
2016
From the series Museum of Others
C-type print

 

Installation view of 'Museum of Others (Othering the Explorer, James Cook)' 2016

 

Installation view of Museum of Others (Othering the Explorer, James Cook) 2016

 

Christian Thompson. 'Othering the Explorer, James Cook' 2016

 

Christian Thompson
Museum of Others (Othering the Explorer, James Cook)
2016
From the series Museum of Others
C-type print

 

Christian Thompson. 'Equilibrium' 2016

 

Christian Thompson
Equilibrium
2016
From the series Museum of Others
C-type print

 

 

Museum of others is Thompson’s most recent photographic series and continues to reflect on his time at the University of Oxford. It features several ‘dead white males’ from the pantheon of British and Australian culture. The explorer, the ethnologist and the anthropologist all had roles in the process of colonisation in Australia but the art critic is particular to Thompson; Ruskin was the first Slade Professor of Fine Art at University of Oxford, just as Thompson was one of its first Australian Aboriginal students. Thompson explains his motivation for the series:

“Historically, it was the western gaze that was projected onto the ethnic other and I thought I’ll create a ‘museum of others’ and I’ll be the one othering, so to speak. ‘Equilibrium’ is based around the idea that the vessel is the equaliser. The vessel is the cradle of all civilisations. We all have that in common.”

Wall text from the exhibition

 

'Christian Thompson: Ritual intimacy', installation view: Monash University Museum of Art, Melbourne 2017

'Christian Thompson: Ritual intimacy', installation view: Monash University Museum of Art, Melbourne 2017

 

Christian Thompson: Ritual intimacy, installation view: Monash University Museum of Art, Melbourne 2017 featuring photographs from the series We bury our own 2010 (C-type prints)
Photo: Andrew Curtis

 

 

We bury our own is a body of work that was developed in response to the historic collection of photography, featuring Aboriginal people from the late nineteenth century, at the Pitt Rivers Museum in Oxford. Thompson noted in 2012 that these early images “have permeated my work over the last year. They have remained at the forefront of every artistic experiment and they have pushed me into new territory, they have travelled with me… I was drawn to elements of opulence, ritual, homage, fragility, melancholy, strength and even a sense of play operating in the photographs…”

Each of Thompson’s lyrical photographic images from We bury our own and Pagan sun feature himself partially disguised with props and costumes. The works are virtually monochromatic with elements highlighted in full colour, and his eyes, or face, are partially concealed or painted. The use of votive objects is explained in his equally lyrical 2012 statement: “I lamented the passing of the flowers at the meadow, I lit candles and offered blood to the ancestral beings, looked into the black sparkling sea, donned the Oxford garb, visited the water by fire light and bowed at the knees of the old father ghost gum.”

Text from the Turner Galleries website

 

Christian Thompson. 'Energy Matter' 2010

 

Christian Thompson
Energy Matter
2010
From the series We bury our own
C-type print

 

Christian Thompson. 'Lamenting the flowers' 2010

 

Christian Thompson
Lamenting the flowers
2010
From the series We bury our own
C-type print

 

Christian Thompson. 'Forgiveness of Land' 2010

 

Christian Thompson
Forgiveness of Land
2010
From the series We bury our own
C-type print

 

Christian Thompson. 'Down Under World' 2010

 

Christian Thompson
Down Under World
2010
From the series We bury our own
C-type print

 

 

“I conceived the We Bury Our Own series in 2010 after curator Christopher Morton invited me to develop a body of work that would be inspired by and in dialogue with the Australian photographic collection at the Pitt Rivers Museum…

The archival images have permeated my work over the last year. They have remained at the forefront of every artistic experiment and pushed me into new territory; they have travelled with me to residencies at the Fonderie Darling in Montreal and Greene Street Studio, New York. I was drawn to elements of opulence, ritual, homage, fragility, melancholy, strength and even a sense of play operating in the photographs. The simplicity of a monochrome and sepia palette, the frayed delicate edges and the cracks on the surface like a dry desert floor that reminded me of the salt plains of my own traditional lands.

I wanted to generate an aura around this series, a meditative space that was focused on freeing oneself of hurt, employing crystals and other votive objects that emit frequencies that can heal, ward off negative energies, psychic attack, geopathic stress and electro magnetic fields, and, importantly, transmit ideas.

I lamented the passing of the flowers at the meadow, I lit candles and offered blood to the ancestral beings, looked into the black sparkling sea, donned the Oxford garb, visited the water by fire light and bowed at the knees of the old father ghost gum. I asked the photographs in the Pitt Rivers Museum to be catalysts and waited patiently to see what ideas and images would surface in the work, I think with surprising results. Perhaps this is what art is able to do, perform a ‘spiritual repatriation’ rather than a physical one, fragment the historical narrative and traverse time and place to establish a new realm in the cosmos, set something free, allow it to embody the past and be intrinsically connected to the present?

I heard a story many years ago from some old men, they told me about a ceremony where young warriors would make incisions through the flesh exposing the joints, they would insert gems between the bones to emulate the creator spirits, often enduring infection and agonizing pain or resulting in death. The story has stuck with me for many years, one that suggests immense pain fused with intoxicating beauty. The idea of aspiring to embody the creators, to transgress the physical body by offering to our gods our spiritual heart, freeing ourselves of suffering by inducing a kind of excruciating decadent torture. This was something that played on my mind during the production of this series of photos and video work. The deliverance of the spirit back to land – the notion that art could be the vehicle for such a passage, the aspiration to occupy a space that belongs to something higher than one’s physical self.”

Christian Thompson

 

'Christian Thompson: Ritual intimacy', installation view: Monash University Museum of Art, Melbourne 2017

 

Christian Thompson: Ritual intimacy, installation view: Monash University Museum of Art, Melbourne 2017 featuring Ship of dreams, Ancient bloom, Death’s second self, and Gods and kings from the series Imperial relic 2015 (C-type prints) and a still from the video dead tongue 2015
Photo: Andrew Curtis

 

 

In Dead tongue Thompson continues to interrogate the implications of England’s empirical quest on the former colonies of the British Empire through the threat to or loss of Indigenous languages. In works such as this, Thompson actively challenges the perception that Aboriginal culture has become reduced to a captured trophy of Empire.

Wall text from the exhibition

 

'Christian Thompson: Ritual intimacy', installation view: Monash University Museum of Art, Melbourne 2017

 

Christian Thompson: Ritual intimacy, installation view: Monash University Museum of Art, Melbourne 2017 featuring Ship of dreams, Ancient bloom, Death’s second self, and Gods and kings from the series Imperial relic 2015 (C-type prints)
Photo: Andrew Curtis

 

 

In … Imperial relic, he continues to use himself as the ‘armature for his characters, costumes and various props’. Drawing on his background in sculpture, he has created ‘wearable sculptures’ including a trumpet shaped shirt collar, an eruption of white flowers from a union jack hoodie, and an armature of maps. In each his face is partially or fully obscured again. “I’m interested in ideas of submission and domination,” he says. “So the trumpet headpiece is beautiful, but it also potentially muffles or silences the voice. The same thing with maps: they are purporting different kinds of historical narrative, depending who is telling the story. One is about the history of Indigenous people, one is about the history of white colonisers and then one is about the idea of charting the land and of discovery. I’m wearing it as an armature over my own body: that’s part of my own history but also of Australian history.”

Text from the Turner Galleries website

 

Christian Thompson. 'Ancient bloom' 2015

 

Christian Thompson
Ancient bloom
2015
From the series Imperial relic
C-type print on fuji pearl metallic paper
100 x 100 cm
Image courtesy of the artist, Sarah Scout Presents, Melbourne, and Michael Reid, Sydney and Berlin

 

Christian Thompson. 'Ship of dreams' 2015

 

Christian Thompson
Ship of dreams
2015
From the series Imperial relic
C-type print on fuji pearl metallic paper
100 x 100 cm
Image courtesy of the artist, Sarah Scout Presents, Melbourne, and Michael Reid, Sydney and Berlin

 

 

The series title Imperial relic, summarises the fundamental philosophy underpinning the colonial occupation of Australia. Like the nearby series We bury our own, it is closely connected to Thompson’s studies in the collections of the Pitt Rivers Museum and shares with the Australian graffiti series Thomson’s physical presence is standing in for the Australian landscape.

The work Ancient bloom alludes to the phonograph horn out which might be heard the voice of Fanny Cochran Smith, who’s wax cylinder recordings of songs are the only historical audio recordings of any of the Tasmanian Aboriginal languages. Is also represents a Victorian-era shirt collar – a motif that has appeared in Thompson’s work since his Emotional striptease series of 2003 – but here is exaggerated into a soft-sculptural form that both projects and stifles the voice.

In Death’s second self the artist’s face is uncovered but distorted by make up and digital postproduction effects.The title quotes William Shakespeare’s Sonnet 73:

As after sunset fadeth in the west, 
Which by and by black night doth take away,
Death’s second self, that seals up all in rest.

In God and Kings Thompson is cloaked with a map of Aboriginal language groups like a coat of armour. In the Ship of dreams he reprises the motif of Australian flora obscuring his face but here his hoodie is stitched together from several flags: the red ensign (flown by British registered ships), the RAAF flag and the Australian flag.

 

“I’m interested in ideas of submission and domination … So the trumpet headpiece is beautiful, but it also potentially muffles or silences the voice. The same thing with maps: they are purporting different kinds of historical narrative, depending who is telling the story. One is about the history of Indigenous people, one is about the history of white colonisers and then one is about the idea of charting the land and of discovery. I’m wearing it as an armature over my own body: that’s part of my own history but also of Australian history.”

.
Christian Thompson

 

 

'Christian Thompson: Ritual intimacy', installation view: Monash University Museum of Art, Melbourne 2017

 

Christian Thompson: Ritual intimacy, installation view: Monash University Museum of Art, Melbourne 2017 featuring Isabella kept her dignity, I’m not going anywhere without you, Dead as a door nail and Hannah’s diary from the series Lost together 2009 (C-type prints)
Photo: Andrew Curtis

 

 

On 13 February 2008 then Prime Minister Kevin Rudd made an official apology to Aboriginal Australians for the Stolen Generations – the children of Aboriginal and Torres Strait Islander descent who were removed from their families between 1910 and 1970 under the respective Federal and State government policies of assimilation. At the time, Thompson was preparing to leave Australia for further studies aboard and felt this historic gesture allowed him to proudly take his culture and history with him as he ventured into the world.

Thompson photographed the series Lost together in the Netherlands while studying at the DasArts Academy of Theatre and Dance at Amsterdam University. The theme of the orange throughout the series is a reference to the national colour of the Netherlands, while the tartan patterning refers to early clan societies in the United Kingdom. The combination of these different styles is based on counter-cultural aesthetics – particularly punk collage of 1970s London.

 

Christian Thompson. 'Hannah's Diary' 2009

 

Christian Thompson
Hannah’s Diary
2009
From the series Lost Together
C-type print
Image courtesy of the artist, Sarah Scout Presents, Melbourne, and Michael Reid, Sydney and Berlin

 

 

MUMA | Monash University Museum of Art is proud to announce the first major survey exhibition of the work of Bidjara artist, Christian Thompson, one of Australia’s leading and most intriguing contemporary artists.

Thompson works across photography, video, sculpture, performance and sound, interweaving themes of identity, race and history with his lived experience. His work is held in the collections of major state and national art museums in Australia and internationally.

Thompson made history as one of the first two Aboriginal Australians to be accepted into the University of Oxford as a Charlie Perkins Scholar, where he completed his Doctorate of Philosophy (Fine Art) in 2016. Christian Thompson: Ritual Intimacy opens as the artist looks forward to the graduation ceremony in July, when he will be conferred his degree.

Featuring a major new commission created for this exhibition, Christian Thompson: Ritual Intimacy will survey Thompson’s diverse practice, spanning fifteen years, and will also be accompanied by the publication of the first monograph on the artist’s career and work, including essays by Brian Catling RA and Professor Dame Marina Warner DBE, CBE, FBA, FRSL.

The specially commissioned installation will be an ambitious multichannel composition, developing the sonic experimentation that is a signature of Thompson’s work. Incorporating Bidjara language, it will invite viewers into an immersive space of wall-to-wall imagery and sound:

“Bidjara is officially an endangered language but my work is motivated by the simple yet profound idea that if even one word of an endangered language is spoken it continues to be a living language,” Thompson says.

Christian Thompson: Ritual Intimacy explores the unique perspective and breadth of Thompson’s practice from the fashioning of identity through to his ongoing interest in Indigenous language as the expression of cultural survival. The new multichannel work will develop musical ideas Thompson has previously explored.

“It will be a much more ambitious iteration of a song in Bidjara. At one stage I’m singing on one screen and then other versions of me appear singing the melodies. I really see it as an opportunity to do something that’s more complex musically, more textured sonically – I also want it to be more intricate with my use of language,” the artist says.

Ritual Intimacy is curated by MUMA director Charlotte Day and guest curator Hetti Perkins. Day explains that the exhibition is part of MUMA’s Australian artist series, which affords the opportunity to look at each artist’s practice in depth. “Christian’s exhibition traces a particularly productive period of research and development, from early well-known works such as the Australian Graffiti series to more recent experiments with language in sound and song works,” Day says.

A long-time curatorial collaborator with Thompson, Perkins is the writer and presenter of art + soul, the ABC’s acclaimed television series about contemporary Aboriginal and Torres Strait Islander art. Thompson was accepted to Oxford University on an inaugural Charlie Perkins Scholarship, set up to honour Hetti Perkins’s famous father – a leader, activist and the first Aboriginal Australian to graduate from university. Perkins says the MUMA exhibition is well-earned recognition for Thompson’s work, which she featured in the second series of art + soul.

“Christian has spent periods of his adult life, as a practicing artist, away from home, but there is a common thread in his work, and it’s this connection to home or Country,” Perkins says. “In terms of the rituals or rites of the exhibition title, he is constantly reiterating that connection to home – through words, through performance, through his art, through ideas and writing,” she says.

Alongside performance and ritual, Thompson’s concept of “spiritual repatriation” is central to his work. Working with the Australian collection at famed ethnographic storehouse the Pitt Rivers Museum, Oxford, the artist was offered copies of colonial photographs of Aboriginal people but preferred not to work this way. Instead, he chose to spend significant periods of time with these ancestral images, absorbing their “aura” in order to then make his own artistic response that did not reproduce those original problematic images.

Dr Christian Thompson is a Bidjara contemporary artist whose work explores notions of identity, cultural hybridity, and history; often referring to the relationships between these concepts and the environment. Formally trained as a sculptor, Thompson’s multidisciplinary practice engages mediums such as photography, video, sculpture, performance, and sound. His work focuses on the exploration of identity, sexuality, gender, race, and memory. In his live performances and conceptual anti-portraits he inhabits a range of personas achieved through handcrafted sculptures and carefully orchestrated poses and backdrops.

Press release from MUMA

 

'Christian Thompson: Ritual intimacy', installation view: Monash University Museum of Art, Melbourne 2017

'Christian Thompson: Ritual intimacy', installation view: Monash University Museum of Art, Melbourne 2017

 

Christian Thompson: Ritual intimacy, installation view: Monash University Museum of Art, Melbourne 2017 featuring the series Polari (2014)

 

 

‘Polari’ is a form of cant or cryptic slang that evolved over several centuries from the various languages that converged in London’s theatres, circuses and fairgrounds, the merchant navy and criminal circles. It came to be associated with gay subculture, as many gay men worked in theatrical entertainment or joined ocean liners as waiters, stewards and entertainers at a time when homosexual activity was illegal. This slang rendered the speaker unintelligible to hostile outsiders, such as policeman, but fell out of use after the Sexual Offences Act (1967) effectively decriminalised homosexuality in the United Kingdom. Attracted to the theatricality and defiant nature of Polari (which he likens to the situation of Australian Indigenous languages under assimilationist policies), Thompson borrowed its name for the series which examines how subcultures express themselves.

 

Christian Thompson. 'Siren' 2014

 

Christian Thompson
Siren
2014
From the series Polari
C-type print
Image courtesy of the artist, Sarah Scout Presents, Melbourne, and Michael Reid, Sydney and Berlin

 

Christian Thompson. 'Trinity II' 2014

 

Christian Thompson
Trinity II
2014
From the series Polari
C-type print
Image courtesy of the artist, Sarah Scout Presents, Melbourne, and Michael Reid, Sydney and Berlin

 

Christian Thompson. 'Trinity III' 2014

 

Christian Thompson
Trinity III
2014
From the series Polari
C-type print
Image courtesy of the artist, Sarah Scout Presents, Melbourne, and Michael Reid, Sydney and Berlin

 

Christian Thompson. 'Ariel' 2014

 

Christian Thompson
Ariel
2014
From the series Polari
C-type print
Image courtesy of the artist, Sarah Scout Presents, Melbourne, and Michael Reid, Sydney and Berlin

 

Christian Thompson: Ritual intimacy, installation view: Monash University Museum of Art, Melbourne 2017 featuring

 

Christian Thompson: Ritual intimacy, installation view: Monash University Museum of Art, Melbourne 2017

 

Christian Thompson. 'Ellipse' 2014

 

Christian Thompson
Ellipse
2014
From the series Polari
C-type print
Image courtesy of the artist, Sarah Scout Presents, Melbourne, and Michael Reid, Sydney and Berlin

 

 

Polari was a form of slang used by gay men in Britain prior to the decriminalisation of homosexuality in 1967, used primarily as a coded way for them to discuss their experiences. It quickly fell out of use in the 70s, although several words entered mainstream English and are still used today. For more about Polari see Wikipedia.

 

 

Author and academic Paul Baker of Lancaster University discusses a form of gay slang known as Polari that was spoken in Britain. It was a secret type of language used mainly by gay men and some lesbians and members of the trans, drag and other communities in the United Kingdom in the 20th century until it largely died out by the early 1970s.

 

 

Christian Thompson
Refuge
2014
Video and sound
4 mins 18 secs

 

Refuge is a video work by contemporary Australian artist Christian Thompson. Thompson sings in the endangered Bidjara language of his heritage. A collaboration with James Young formerly of ‘Nico’ and recorded the original track in Oxford, United Kingdom.

 

'Christian Thompson: Ritual intimacy', installation view: Monash University Museum of Art, Melbourne 2017

'Christian Thompson: Ritual intimacy', installation view: Monash University Museum of Art, Melbourne 2017

'Christian Thompson: Ritual intimacy', installation view: Monash University Museum of Art, Melbourne 2017

 

Christian Thompson: Ritual intimacy, installation view: Monash University Museum of Art, Melbourne 2017 featuring stills from the video Heat (2010)

 

 

Christian Thompson
Heat (extract)
2010
Three-channel digital colour video, sound
5.52 minutes

 

 

Like the Australian graffiti photographs [see photographs below], Heat come out of Thompson’s memories of growing up in the desert surrounding Barcaldine in central west Queensland. Barcaldine is famous for its role in the foundation organised labor in Queensland and ultimately the formation of the Australian Labor Party. It also holds historical significance for Thompson’s family as it is where his great-great-grandfather, Charlie Thompson, surreptitiously bought a block of land before Aboriginal people could legally buy land, creating a safe haven for his family and other Aboriginal families at the time when Aboriginal people had few legal rights. For Thompson, heat captures the sensation that he associates with being on his country: the dry wind blowing through his hair. It features the three granddaughters of Aboriginal rights pioneer Charlie Perkins, who are the daughters of Thompson’s Long time collaborator Hetti Perkins.

 

'Christian Thompson: Ritual intimacy', installation view: Monash University Museum of Art, Melbourne 2017

 

Christian Thompson: Ritual intimacy, installation view: Monash University Museum of Art, Melbourne 2017 featuring photographs from the series Australian graffiti (2007)

 

Christian Thompson. 'Untitled (Blue Gum)' 2007

 

Christian Thompson
Untitled (blue gum)
2007
From the series Australian graffiti
C-type print
Image courtesy of the artist, Sarah Scout Presents, Melbourne, and Michael Reid, Sydney and Berlin

 

Christian Thompson. 'Untitled (banksia)' 2007

 

Christian Thompson
Untitled (banksia)
2007
From the series Australian graffiti
C-type print
Monash University Collection

 

 

Australian graffiti was the last work that Thompson made before leaving Australia for Europe. It connects with his memories of growing up in the outback and its desert flowers, which he perceives to be both fragile and immensely powerful. I adorning himself with garlands of these flowers and flamboyant garments of the 1980s and 1990s – the period in which he grew up – Thompson juxtaposes these elements against his own Bidjara masculinity. By wearing native flora he also stands in for the landscape, invoking an Indigenous understanding of the landscape as a corporeal, living ancestral being.

 

 

Christian Thompson
Desert slippers
2006
Single-channel digital colour video, sound
34 seconds

 

 

Desert slippers was made at the time the Northern Territory government commissioned research into allegations of the abuse of children in Aboriginal communities. When the ‘Little Children are Sacred’ report was tabled the following year, the federal government under John Howard staged the Northern Territory Emergency Response (NTER), which quickly became known as ‘the intervention’. This action was enacted without consultation with Indigenous people and ignored the substantive recommendations of the report to which it was allegedly responding.

Thompson made this video, involving his father, and the ceremonial aspects of their daily lives, during this period. Desert slippers features a Bidjara ritual in which a father and son transfer sweat. The desert slipper is a native cactus that symbolises the transferal of the spirit back to earth as the plant grows.

 

 

Christian Thompson
Dhagunyilangu (Brother) 
(extract installation view)
2011
Single-channel digital colour video, sound, subtitled
2.19 minutes

 

 

Christian Thompson
Dhagunyilangu (Brother)

2011
Single-channel digital colour video, sound, subtitled
2.19 minutes

 

 

Gamu Mambu (Blood Song) and Dhagunyilangu (Brother) were made in England and in the Netherlands respectively. While studying at the DasArts Academy of Theatre and Dance in Amsterdam, a centre for the study of early musical styles such as the baroque, Thompson realised that his own Bidjara language could be interpreted through the matrix of another cultural context and sphere. He undertook operatic training with this in mind, choosing in the end to work with specialist singers Sonja Gruys and Jeremy Vinogradov to realise the two works.

 

 

Monash University Museum of Art (MUMA)
Ground Floor, Building F,
Monash University Caulfield campus,
900 Dandenong Road,
Caulfield East, VIC 3145
T: 61 3 9905 4217

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Saturday 12 – 5pm

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09
Jun
17

Exhibition: ‘Wolfgang Tillmans: 2017’ at Tate Modern, London

Exhibition dates: 15th February – 11th June 2017

 

Wolfgang Tillmans (German, born 1968) 'The State We're In, A' 2015

 

Wolfgang Tillmans (German, born 1968)
The State We’re In, A (Room 14)
2015
Ink-jet print
Dimensions variable
© Wolfgang Tillmans

 

Wolfgang Tillmans (German, born 1968) 'The Cock (Kiss)' 2002

 

Wolfgang Tillmans (German, born 1968)
The Cock (Kiss)
2002
Ink-jet print
Dimensions variable
© Wolfgang Tillmans

 

 

If one thing matters, everything matters
(A love letter to Wolfgang Tillmans)

I believe that Wolfgang Tillmans is the number one photo-media artist working today. I know it’s a big call, but that’s how I see it.

His whole body of work is akin to a working archive – of memories, places, contexts, identities, landscapes (both physical and imagined) and people. He experiments, engages, and imagines all different possibilities in and through art. As Adrian Searle observes, “Tillmans’ work is all a kind of evidence – a sifting through material to find meaning.” And that meaning varies depending on the point of view one comes from, or adopts, in relation to the art. The viewer is allowed to make their own mind up, to dis/assemble or deepen relationships between things as they would like, or require, or not as the case may be. Tillmans is not didactic, but guides the viewer on that journey through intersections and nodal points of existence. The nexus of life.

Much as I admire the writing of art critic John McDonald, I disagree with his assessment of the work of Wolfgang Tillmans at Tate Modern (see quotation below). Personally, I find that there are many memorable photographs in this exhibition … as valuable and as valid a way of seeing the world in a contemporary sense, as Eggleston’s photographs are in a historic visualisation. I can recall Tillmans’ images just an intimately as I can Eggleston’s. But they are of a different nature, and this is where McDonald’s analysis is like comparing apples and pears. Eggleston’s classical modernist photographs depend on the centrality of composition where his images are perfectly self-contained, whether he is photographing a woman in a blue dress sitting on a kerb or an all green bathroom. They are of their time. Times have changed, and how we view the world has changed.

For Tillmans no subject matter is trivial (If One Thing Matters, Everything Matters – the title of a 2003 exhibition at Tate Britain), and how he approaches the subject is totally different from Eggleston. As he says of his work, his images are “calls to attentiveness.” What does he mean by this? Influenced by the work of the philosopher Jiddu Krishnamurti whom I have also studied, a call to attentiveness is a way of being open and responsive to the world around you, to its infinite inflections, and to not walk around as if in a dream, letting the world pass you by. To be open and receptive to the energies and connections of the world spirit by seeing clearly.

Krishnamurti insightfully observed that we do not need to make images out of every word, out of every vision and desire. We must be attentive to the clarity of not making images – of desire, of prejudice, of flattery – and then we might become aware of the world that surrounds us, just for what it is and nothing more.1 Then there would be less need for the absenting of self into the technological ether or the day dreams of foreign lands or the desire for a better life. But being aware is not enough, we must be attentive of that awareness and not make images just because we can or must. This is a very contemporary way of looking at the world. As Krishnamurti says,

“Now with that same attention I’m going to see that when you flatter me, or insult me, there is no image, because I’m tremendously attentive … I listen because the mind wants to find out if it is creating an image out of every word, out of every contact. I’m tremendously awake, therefore I find in myself a person who is inattentive, asleep, dull, who makes images and gets hurt – not an intelligent man. Have you understood it at least verbally? Now apply it. Then you are sensitive to every occasion, it brings its own right action. And if anybody says something to you, you are tremendously attentive, not to any prejudices, but you are attentive to your conditioning. Therefore you have established a relationship with him, which is entirely different from his relationship with you. Because if he is prejudiced, you are not; if he is unaware, you are aware. Therefore you will never create an image about him. You see the difference?”2

.
Then you are sensitive to every occasion, it brings its own right action. You are attentive and tremendously awake.

This is the essence of Tillmans work. He is tremendously attentive to the images he is making (“a representation of an unprivileged gaze or view” as he puts it) and to the associations that are possible between images, that we make as human beings. He is open and receptive to his conditioning and offers that gift to us through his art, if we recognise it and accept it for what it is. If you really look and understand what the artist is doing, these images are music, poetry and beauty – are time, place, belonging, voyeurism, affection, sex. They are archaic and shapeless and fluid and joy and magic and love…

They are the air between everything.

Dr Marcus Bunyan

 

  1. Krishnamurti. Beginnings of Learning. London: Penguin, 1975, p. 131
  2. Ibid., pp. 130-131

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

 

 

“To look at Eggleston alongside those he has inspire [Wolfgang Tillmans and Juergen Teller for example] is to see a surprisingly old-fashioned artist. No matter how instinctive his approach or how trivial his subjects, Eggleston believes in the centrality of composition. His images are perfectly self-contained. They don’t depend on a splashy, messy installation or a political stance. …

In the current survey of Tillmans’s work at Tate Modern photos of every description are plastered across the walls in the most anarchic manner, with hardly a memorable composition. Yet this shapeless stuff is no longer reviled by the critics – it’s the height of fashion.”

.
John McDonald “William Eggleston: Portraits”

 

“For a long time in Britain, there was a deep suspicion of my work. People saw me as a commercial artist trying to get into the art world, and the work was dismissed as shallow or somehow lightweight. There are still many misconceptions about what I do – that my images are random and everyday, when they are actually neither. They are, in fact, the opposite. They are calls to attentiveness.”

.
Wolfgang Tillmans

 

 

Installation view of room 4 (detail) from the exhibition 'Wolfgang Tillmans: 2017', which includes the latest iteration of the 'truth study centre' project

 

Installation view of room 4 (detail), which includes the latest iteration of the truth study centre project, with
Image © Tate Modern showing Wolfgang Tillmans: 2017 at Tate Modern 15 February – 11 June

 

 

The Tate show includes a room full of his “truth study centres”, which comprise often contradictory newspaper cuttings as well as photographs and pamphlets that aim to show how news is manipulated according to the political loyalties of those who produce it. As activists go, though, Tillmans is defiantly centre ground. “This is about strengthening the centre. I can understand left-wing politics from a passionate, idealistic point of view, but I do not think it is the solution to where we are now. The solution is good governance, moderation, agreement. Post-Brexit, post-Trump, the voices of reason need to be heard more than ever.”

Wolfgang Tillmans quoted on The Guardian website

 

Installation view of room 13 (detail) from the exhibition 'Wolfgang Tillmans: 2017' at Tate Modern

 

Installation view of room 13 (detail), which focuses in on Tillmans’ portraiture with Eleanor / Lutz, a (2016) at right
Image © Tate Modern showing Wolfgang Tillmans: 2017 at Tate Modern 15 February – 11 June

 

Wolfgang Tillmans. 'Eleanor / Lutz, a' 2016

 

Wolfgang Tillmans (German, born 1968)
Eleanor / Lutz, a
2016
Ink-jet print
Dimensions variable
© Wolfgang Tillmans

 

 

Portrait of Wolfgang Tillmans, Tate Modern Boiler House, Level 3, 14/02/2017 in front of his works, Transient 2, 2015 and Tag/Nacht II, 2010

 

Wolfgang Tillmans (German, born 1968) 'Tag/Nacht II' 2010

 

Wolfgang Tillmans (German, born 1968)
Tag/Nacht II
2010
Ink-jet print
Dimensions variable
© Wolfgang Tillmans

 

 

The State We’re In, A, is part of Neue Welt [New World], the loose family of pictures I began at the end of the last decade. These had two points of departure: “What does the outside world look like to me 20 years after I began photographing?” and “What does it look like in particular with a new photographic medium?”

.
Wolfgang Tillmans

 

“This exhibition is not about politics, it’s about poetry, it’s about installation art. It’s about thinking about the world. I’ve never felt that l can be separated, because the political is only the accumulation of many people’s private lives, which constitute the body politics…”

“My work has always been motivated by talking about society, by talking about how we live together, by how we feel in our bodies. Sexuality, like beauty, is never un-political, because they relate to what’s accepted in society. Two men kissing, is that acceptable? These are all questions to do with beauty.”

.
Wolfgang Tillmans quoted on the Art News website

 

“There is music. There is dancing. Bewilderment is part of the pleasure, as we move between images and photographic abstractions. Tillmans’ asks us to make connections of all kinds – formal, thematic, spatial, political. He asks what the limits of photography are. There are questions here about time, place, belonging, voyeurism, affection, sex. After a while it all starts to tumble through me.”

.
Adrian Searle review on the Guardian website

 

 

What are we to make of the world in which we find ourselves today? Contemporary artist Wolfgang Tillmans offers plenty of food for thought.

This is Wolfgang Tillmans’s first ever exhibition at Tate Modern and brings together works in an exciting variety of media – photographs, of course, but also video, digital slide projections, publications, curatorial projects and recorded music – all staged by the artist in characteristically innovative style. Alongside portraiture, landscape and intimate still lifes, Tillmans pushes the boundaries of the photographic form in abstract artworks that range from the sculptural to the immersive.

The year 2003 is the exhibition’s point of departure, representing for Tillmans the moment the world changed, with the invasion of Iraq and anti-war demonstrations. The social and political form a rich vein throughout the artist’s work. German-born, international in outlook and exhibited around the world, Tillmans spent many years in the UK and is currently based in Berlin. In 2000, he was the first photographer and first non-British artist to receive the Turner Prize.

 

Room one

Static interference typically appears on a television screen when an analogue signal is switched off. This can occur when a station’s official programme finishes for the night or if a broadcast is censored. In Tillmans’s Sendeschluss/End of Broadcast 2014 it represents the coexistence of two different generations of technology. The chaotic analogue static was displayed on a digital television, which allowed Tillmans’s high-resolution digital camera to record the pattern as it really appeared, something that would not have been possible with a traditional cathode ray tube television. This work shows Tillmans’s interest in questioning what we believe to be true: the seemingly black-and-white image turns out to be extremely colourful when viewed very close up.

Other works in this room reflect on digital printmaking and photography today. For example, the technical ability to photograph a nightscape from a moving vehicle without blurring, as in these images of Sunset Boulevard, is unprecedented. Itself the subject of many famous art photographs, this iconic roadway appears here littered with large format inkjet prints in the form of advertising billboards. In Double Exposure 2012-13 Tillmans juxtaposes images of two trade fairs – one for digital printers, the other for fruit and vegetables. Encounter 2014 shows a different photo-sensitive process. A pot had been left on top of a planter preventing light from reaching the sprouts underneath and leaving them white, while the surrounding growths that caught the daylight turned green.

 

Wolfgang Tillmans (German, born 1968) 'Sendeschluss / End of Broadcast I' 2014

 

Wolfgang Tillmans (German, born 1968)
Sendeschluss / End of Broadcast I
2014
Pigmented inkjet print
107 1/2 × 161 1/2″ (273.1 × 410.2 cm)
© Wolfgang Tillmans

 

Television white noise that the artist photographed while in Russia. For Tillmans, the image signifies resistance on his part to making clear images, but without the text its ostensibly radical nature would not be known.

 

Installation view of room 1 (detail), with 'Sendeschluss / End of Broadcast I' 2014, at left

 

Installation view of room 1 (detail), with Sendeschluss / End of Broadcast I, 2014, at left

 

Wolfgang Tillmans (German, born 1968) 'Double Exposure' 2012-13

 

Wolfgang Tillmans (German, born 1968)
Double Exposure
2012-13
Pigmented inkjet print
© Wolfgang Tillmans

 

 

Room two

Tillmans spends much of his time in the studio, yet he only occasionally uses it as a set for taking portraits. Instead, it is where prints are made and exhibitions are planned in architectural models, and where he collects materials and generates ideas. Over the years this environment has become a subject for his photographs, presenting a radically different view of the artist’s studio to the more traditional depictions seen in paintings over the centuries.

These works made around the studio demonstrate Tillmans’s concern with the physical process of making photographs, from chemical darkroom processes and their potential to create abstract pictures without the camera, to digital technology that is vital to the production of contemporary images, and the paper onto which they are printed. Tillmans’s understanding of the material qualities of paper is fundamental to his work, and photographs can take on a sculptural quality in series such as Lighter, 2005-ongoing and paper drop, 2001-ongoing, seen later in the exhibition.

In CLC 800, dismantled 2011 Tillmans uses photography to record a temporary installation, the result of unfastening every single screw in his defunct colour photocopier. He prefers to photograph his three-dimensional staged scenarios rather than actually displaying them as sculptures. He has often described the core of his work as ‘translating the three dimensional world into two dimensional pictures’.

 

Wolfgang Tillmans. 'paper drop' 2014

 

Wolfgang Tillmans (German, born 1968)
paper drop Prinzessinnenstrasse
2014
Pigmented inkjet print
© Wolfgang Tillmans

 

 

Perhaps as a continuation of his more textural photographs – depicting fabrics and still lifes so close up they become difficult to read – experiments in abstraction followed suit, many of them featuring what is perhaps his favourite motif: the fold, which, as the exhibition’s curator Chris Dercon kindly reminded us, was considered by the philosopher Leibniz as one of the most accurate ways to depict the complexities of the human soul.

Text from the Art News website

 

Wolfgang Tillmans (German, born 1968) 'CLC 800, dismantled' 2011

 

Wolfgang Tillmans (German, born 1968)
CLC 800, dismantled
2011
Pigmented inkjet print
© Wolfgang Tillmans

 

 

Room three

Having spent the preceding decade working largely on conceptual and abstract photographs, in 2009 Tillmans embarked on the four-year project Neue Welt. Looking at the world with fresh eyes, he aimed to depict how it has changed since he first took up the camera in 1988. He travelled to five continents to find places unknown to him and visited familiar places as if experiencing them for the first time. Interested in the surface of things as they appeared in those lucid first days of being in a new environment, he immersed himself in each location for just a brief period. Now using a high resolution digital camera, Tillmans captured images in a depth of detail that is immediately compelling, but also suggests the excess of information that is often described as a condition of contemporary life.

Communal spaces, people, animals, and still-life studies of nature or food are just some of the subjects that feature in Neue Welt. Seen together, these images offer a deliberately fragmented view. Rather than making an overarching statement about the changing character of modern life, Tillmans sought only to record, and to create a more empathetic understanding of the world. Over the course of the project, however, some shrewd observations about contemporary worldviews did emerge. One related to the changing shape of car headlights, which he noted are now very angular in shape, giving them a predatory appearance that might reflect a more competitive climate.

 

Wolfgang Tillmans (German, born 1968) 'astro crusto, a' 2012

 

Wolfgang Tillmans (German, born 1968)
astro crusto, a
2012
Pigmented inkjet print
© Wolfgang Tillmans

 

Installation shot of room 3 from the exhibition 'Wolfgang Tillmans: 2017' at Tate Modern

 

Installation view of room 3 (detail), with Headlight (f) 2012, at left; and Munuwata sky, 2011 at right
Image © Tate Modern showing Wolfgang Tillmans: 2017 at Tate Modern 15 February – 11 June

 

Wolfgang Tillmans (German, born 1968) 'Headlight (f)' 2012

 

Wolfgang Tillmans (German, born 1968)
Headlight (f)
2012
Pigmented inkjet print
© Wolfgang Tillmans

 

Wolfgang Tillmans (German, born 1968) 'Munuwata sky' 2011

 

Wolfgang Tillmans (German, born 1968)
Munuwata sky
2011
Pigmented inkjet print
© Wolfgang Tillmans

 

 

Room four

In the mid-2000s, prompted by global events, such as the claim that Iraq had weapons of mass destruction, Tillmans became interested in the assertions made by individuals, groups or organisations around the world that their viewpoint represented the absolute truth about a number of political and ethical questions.

He began his wryly-named truth study center project in 2005. Photographs, clippings from newspapers and magazines, objects, drawings, and copies of his own images are laid out in deliberate – and often provocative – juxtapositions. These arrangements reflect the presentation of information by news outlets in print and online. They also draw attention to gaps in knowledge, or areas where there is room for doubt. For each installation, the material presented in the truth study centers is selected according to its topical and geographic context. In 2017, the subject of truth and fake news is at the heart of political discourse across the world. This iteration of the project focuses in particular on how constructions of truth work on a psychological and physiological level.

The Silver 1998-ongoing prints connect to reality in a different way. Made by passing monochromatically exposed photographic paper through a dirty photo-developing machine, they collect particles and residue from the rollers and liquids. This makes them, in effect, a record of the chemical and mechanical process from which they originate.

 

Wolfgang Tillmans (German, born 1968) 'truth study center' 2017

 

Wolfgang Tillmans (German, born 1968)
truth study center
2017
Pigmented inkjet print
© Wolfgang Tillmans

 

 

Room five

Tillmans has described how, as a photographer, he feels increasingly less obligated to reflect solely on the outside world through documentary images. In his abstract works, he looks inwards: exploring the rudiments of photographic processes and their potential to be used as a form of self-expression.

Like the Silver works in the previous room, the abstract Greifbar 2014-15 images are made without a camera. Working in the darkroom, Tillmans traces light directly onto photographic paper. The vast swathes of colour are a record of the physical gestures involved in their construction, but also suggest aspects of the body such as hair, or pigmentation of the skin. This reference to the figurative is reflected in the title, which translates as ‘tangible’.

Tillmans has observed that even though these works are made by the artist’s hand, they look as though they could be ‘scientific’ evidence of natural processes. For him, this interpretation is important, because it disassociates the works from the traditional gestural technique of painting. That the image is read as a photographic record, and not the result of the artist’s brushstroke, is essential to its conceptual meaning.

 

Wolfgang Tillmans (German, born 1968) 'Greifbar 29' 2014

 

Wolfgang Tillmans (German, born 1968)
Greifbar 29
2014
Ink-jet print
© Wolfgang Tillmans

 

 

Room six

Tillmans is interested in social life in its broadest sense, encompassing our participation in society. His photographs of individuals and groups are underpinned by his conviction that we are all vulnerable, and that our well-being depends upon knowing that we are not alone in the world.

Tillmans has observed that although cultural attitudes towards race, gender and sexuality have become more open over the three decades since he began his artistic practice, there is also greater policing of nightlife, and urban social spaces are closing down. His photographs taken in clubs, for example, testify to the importance of places where people can go today to feel safe, included, and free.

This concern with freedom also extends to the ways in which people organise themselves to make their voices heard. Images of political marches and protests draw attention to the cause for which they are fighting. They also form part of a wider study of what Tillmans describes as the recent ‘re-emergence’ of activism.

 

Wolfgang Tillmans (German, born 1968) 'The Blue Oyster Bar, Saint Petersburg' 2014

 

Wolfgang Tillmans (German, born 1968)
The Blue Oyster Bar, Saint Petersburg
2014
Ink-jet print
© Wolfgang Tillmans

 

Wolfgang Tillmans (German, born 1968) 'NICE HERE but ever been to KRYGYZSTAN free Gender Expression WORLDWIDE' 2006

 

Wolfgang Tillmans (German, born 1968)
NICE HERE but ever been to KRYGYZSTAN free Gender Expression WORLDWIDE
2006
Ink-jet print
© Wolfgang Tillmans

 

 

Room seven

Playback Room is a space designed for listening to recorded music. The project first ran at Between Bridges, the non-profit exhibition space Tillmans opened in London in 2006 and has since transferred to Berlin. In three exhibition (‘Colourbox’, ‘American Producers’ ‘Bring Your Own’) that took place between September 2014 and February 2015, he invited visitors to come and listen to music at almost the same quality at which it was originally mastered.

Whereas live music can be enjoyed in concert halls and stadiums, and visual art can be enjoyed in museums, no comparable space exists for appreciating studio music. Musicians and producers spend months recording tracks at optimal quality, yet we often listen to the results through audio equipment and personal devices that are not fit for perfect sound reproduction. Playback Room is a response to this. An example of Tillmans’s curatorial practice, he has chosen to include it here to encourage others to think about how recorded music can be given prominence within the museum setting.

The three tracks you hear in this room are by Colourbox, an English band who were active between 1982 and 1987. Tillmans, a long-term fan of the band, chose their music for Playback Room because they never performed live, thus emphasising the importance of the studio recordings.

 

Room eight

Tillmans began experimenting with abstraction while in high school, using the powerful enlargement function of an early digital photocopier to copy and degrade his own photographs as well as those cut from newspapers. He describes the coexistence of chance and control involved in this process as an essential ingredient in most of his work.

Ever since then, he has found ways to resist the idea that the photograph is solely a direct record of reality. In 2011, this area of his practice was compiled for the first time in his book Abstract Pictures. For a special edition of 176 copies Tillmans manipulated the printing press, for example by running it without plates or pouring ink into the wrong compartments, to create random effects and overprinted pages.

Some of his abstract photographs are made with a camera and others without, through the manipulation of chemicals, light, or the paper itself. Importantly, however, Tillmans does not distinguish between the abstract and the representational. He is more interested in what they have in common. The relationship between photography, sculpture and the body, for example, is expressed in abstract photographs made by crumpling a sheet of photographic paper, but also in close-ups of draped and wrinkled clothing such as Faltenwurf (Pines) a, 2016 in Room 9.

 

Wolfgang Tillmans (German, born 1968) 'Concorde L433-11' 1997

 

Wolfgang Tillmans (German, born 1968)
Concorde L433-11
1997
Ink-jet print
Tate
© Wolfgang Tillmans, courtesy Maureen Paley, London

 

 

Room nine

Artist books, exhibition catalogues, newspaper supplements and magazine spreads, posters and leaflets are an integral part of Tillmans’s output. These various formats and the ways in which they are distributed or made visible in the public space allow him to present work and engage audiences in a completely different manner to exhibitions. For him the printed page is as valid a venue for artistic creation as the walls of a museum. Many such projects are vital platforms on which he can speak out about a political topic, or express his continued interest in subjects such as musicians, or portraiture in general.

Recently, the print layout has enabled Tillmans to share a more personal aspect of his visual archive. Originally designed as a sixty-six page spread for the Winter 2015/Spring 2016 edition of Arena Homme +, this grid of images looks back at Fragile, the name he gave as a teenager to his creative alter-ego. Spanning 1983 to 1989 – the year before he moved to England to study – the photographs and illustrations provide a sensitive insight into a formative period in Tillmans’s life, predating the time when he chose photography as his main medium of expression.

The layout is also an example of the intricate collaging technique that he has employed in printed matter since 2011, deliberately obscuring some images by overlapping others on top of them

 

Wolfgang Tillmans (German, born 1968) 'Faltenwurf (Pines), a' 2016

 

Wolfgang Tillmans (German, born 1968)
Faltenwurf (Pines), a
2016
Ink-jet print
© Wolfgang Tillmans

 

Wolfgang Tillmans (German, born 1968) 'Tukan' 2010

 

Wolfgang Tillmans (German, born 1968)
Tukan
2010
Ink-jet print
© Wolfgang Tillmans

 

 

Room ten

An acute awareness of fragility endures across Tillmans’s practice in all of its different forms. Often this is expressed in his attentiveness to textures and surfaces. Collum 2011 is taken from Central Nervous System 2008-13, a group of portraits featuring only one subject, where the focus on intimate details, such as the nape of the neck or the soft skin of the outer ear, both emphasises and celebrates the frailty of the human body.

Weed 2014, a four-metre tall photograph taken in the garden of the artist’s London home, invites us to consider the beauty and complexity of a plant usually seen as a nuisance. The dead leaf of a nearby fig tree appears as both a sculptural form and a memento mori. Dusty Vehicle 2012, photographed in Jeddah, Saudi Arabia, is highly specific in its depiction of texture, yet the reasons leading to this roadside arrangement remain a mystery.

The focus on a very few works in this room serves as an example of Tillmans’s varied approaches to exhibiting his prints. Though best known for installations comprising many pictures, he always places emphasis on the strength of the individual image. By pinning and taping work to the wall, as well as using frames, Tillmans draws attention to the edges of the print, encouraging the viewer to interact with the photograph as an object, rather than a conduit for an image.

 

Wolfgang Tillmans (German, born 1968) 'Dusty Vehicle' 2012

 

Wolfgang Tillmans (German, born 1968)
Dusty Vehicle
2012
Ink-jet print
© Wolfgang Tillmans

 

Wolfgang Tillmans (German, born 1968) 'Collum' 2011

 

Wolfgang Tillmans (German, born 1968)
Collum
2011
Ink-jet print
© Wolfgang Tillmans

 

Wolfgang Tillmans (German, born 1968) 'Weed' 2014

 

Wolfgang Tillmans (German, born 1968)
Weed
2014
Photograph, inkjet print on paper
© Wolfgang Tillmans

 

 

Room eleven

In this room Tillmans highlights the coexistence of the personal, private, public, and political spheres in our lives. The simultaneity of a life lived as a sexual being as well as a political being, or in Tillmans’s case as a conceptual artist as well as a visually curious individual, plays out through the installation.

The entirely white view taken from the inside of a cloud, a word charged with multiple meanings, is presented alongside the close-up and matter-of-fact view of male buttocks and testicles. Like nackt, 2 2014, the small photograph The Air Between 2016 is the result of a lifelong interest in visually describing what it feels like to live in our bodies. Here the attention lies in photographing the air, the empty space between our skin and our clothes.

In still life, Calle Real II 2013, a severed agave chunk is placed on a German newspaper article describing the online depiction of atrocities by Islamic State. The image is as startling in its depiction of the finest green hues as it is in capturing how, simultaneously, we take in world events alongside details of our personal environment.

This room, which Tillmans considers as one work or installation in its entirety, is an example of his innovative use of different photographic prints and formats to reflect upon how we experience vastly different aspects of the world at the same time.

 

Wolfgang Tillmans (German, born 1968) 'The Air Between' 2016

 

Wolfgang Tillmans (German, born 1968)
The Air Between
2016
Ink-jet print
© Wolfgang Tillmans

 

Wolfgang Tillmans (German, born 1968) 'Still life, Calle Real II' 2013

 

Wolfgang Tillmans (German, born 1968)
Still life, Calle Real II
2013
Ink-jet print
© Wolfgang Tillmans

 

Wolfgang Tillmans (German, born 1968) 'Nackt, 2 (nude, 2)' 2014

 

Wolfgang Tillmans (German, born 1968)
Nackt, 2 (nude, 2)
2014
Ink-jet print
© Wolfgang Tillmans

 

 

Room twelve

Tillmans has always been sensitive to the public side of his role as an artist, acknowledging that putting images out in the public world unavoidably places himself in the picture as well. His participation in activities such as lectures and interviews has been a platform for his voice from the beginning of his career.

Since 2014 he has also allowed performance to become a more prominent strand of his practice. Filmed in a hotel room in Los Angeles and an apartment in Tehran, Instrument 2015 is the first time that Tillmans has put himself in front of the camera for a video piece. Across a split screen, we see two separate occasions on which he has filmed himself dancing. The accompanying soundtrack was created by distorting the sound of his feet hitting the floor. In the absence of any other music, his body becomes an instrument.

On one side of the screen we see his body, on the other only his shadow. Referring to the shadow, New York Times critic Roberta Smith commented that:

“Disconcertingly, this insubstantial body is slightly out of sync with the fleshly one. It is a ghost, a shade, the specter that drives us all. The ease with which we want to believe that the two images are connected, even though they were filmed separately, might also act as a reminder to question what we assume to be true.”

 

Room thirteen

Portraiture has been central to Tillmans’s practice for three decades. For him, it is a collaborative act that he has described as ‘a good levelling instrument’. No matter who the sitter – a stranger or someone close to him, a public figure, an unknown individual, or even the artist himself – the process is characterised by the same dynamics: of vulnerability, exposure, honesty and always, to some extent, self-consciousness. Tillmans sees every portrait as resulting from the expectations and hopes of both sitter and photographer.

The portrait’s ability to highlight the relationship between appearance and identity is a recurring point of interest. In 2016, at HM Prison Reading, Tillmans took a distorted self-portrait in a damaged mirror once used by inmates. The disfigured result is the artist’s expression of the effects on the soul wrought by physical and psychological confinement and also censorship. Whoever looked into the reflective surface would gain a completely inaccurate impression of what they looked like, and how they are perceived by others.

 

Wolfgang Tillmans (German, born 1968) 'Separate System, Reading Prison' 2016

 

Wolfgang Tillmans (German, born 1968)
Separate System, Reading Prison
2016
Ink-jet print
© Wolfgang Tillmans

 

Wolfgang Tillmans. 'Anders pulling splinter from his foot' 2004

 

Wolfgang Tillmans (German, born 1968)
Anders pulling splinter from his foot
2004
Ink-jet print
© Wolfgang Tillmans

 

 

“The image’s reference to both Dorian Gray and Francis Bacon is evident. This catapults a new association: perhaps Bacon was painting Gray all along. Insistently, fearlessly, longingly.

As with much of Bacon’s oeuvre, and the very particular picture of Dorian Gray, a distorted, forward-facing male figure intimidates the viewer with his unmade face. However, Tillsman’s piece is not a picture, it is a photograph. Here, the artist (as was the case with Bacon/Wilde) is not the one dissembling what’s inside the frame, subjecting it with his brush. No. In Tillsman’s image, a piece of thick glass distorts the artist. Here, the artist is no longer the lens that is able to affect his surroundings. Here, the surroundings distort the artist.

The message Tillsman delivers is clear: things have changed. The world disfigures the subject while the artist is trapped, forced to stand there and watch.”

Text by Ana Maria Caballero on The Drugstore Notebook website

 

Room fourteen

Symbol and allegory are artistic strategies Tillmans is usually keen to avoid. The State We’re In, A 2015 is a departure from this stance: the work’s title is a direct reference to current global political tensions. Depicting the Atlantic Ocean, a vast area that crosses time zones and national frontiers, it records the sea energised by opposing forces, but not yet breaking into waves. Differing energies collide, about to erupt into conflict.

The photographs in this room deal with borders and how they seem clear-cut but are actually fluid. In these images, borders are made tangible in the vapour between clouds, the horizon itself or the folds in the two Lighter photo-objects. The shipwreck left behind by refugees on the Italian island of Lampedusa, depicted in this photograph from 2008, is a reminder that borders, represented elsewhere in more poetic delineations, can mean a question of life and death.

The text and tables sculpture Time Mirrored 3 2017 represents Tillmans’s interest in connecting the time in which we live to a broader historical context. He always understands the ‘Now’ as the history of the future. Events perceived as having happened over a vast gulf of time between us and the past, become tangible when ‘mathematically mirrored’ and connected to more recent periods of time in our living memory.

In contrast to the epic themes of sea and time, the pictures of an apple tree outside the artist’s London front door, a subject he has photographed since 2002, suggest a day-to-day positive outlook.

 

Wolfgang Tillmans (German, born 1968) 'Italian Coastal Guard Flying Rescue Mission off Lampedusa' 2008

 

Wolfgang Tillmans (German, born 1968)
Italian Coastal Guard Flying Rescue Mission off Lampedusa
2008
Ink-jet print
© Wolfgang Tillmans

 

Wolfgang Tillmans (German, born 1968) 'Lampedusa' 2008

 

Wolfgang Tillmans (German, born 1968)
Lampedusa
2008
Ink-jet print
© Wolfgang Tillmans

 

Installation view of room 14 (detail)

 

Installation view of room 14 (detail), featuring at left, pictures of an apple tree outside the artist’s London front door and at right, La Palma 2014

 

Wolfgang Tillmans (German, born 1968) 'La Palma' 2014

 

Wolfgang Tillmans (German, born 1968)
La Palma
2014
Ink-jet print
© Wolfgang Tillmans

 

Wolfgang Tillmans (German, born 1968) 'Apple tree' 2007

 

Wolfgang Tillmans (German, born 1968)
Apple tree
2007
Ink-jet print
© Wolfgang Tillmans

 

Wolfgang Tillmans (German, born 1968) 'Apple tree' Various dates

 

Wolfgang Tillmans (German, born 1968)
Apple tree
Various dates
Ink-jet prints
© Wolfgang Tillmans

 

 

Book for Architects

Book for Architects 2014 is the culmination of Tillmans’s longstanding fascination with architecture. First presented at Rem Koolhaas’s 14th International Architecture Exhibition, Venice, 2013, it explores the contrast between the rationality and utopianism that inform design and the reality of how buildings and streets come to be constructed and inhabited.

In 450 images taken in 37 countries, across 5 continents, Tillmans hones in on the resourceful and ingenious ways in which people adapt their surroundings to fit their needs. These are individual and uncoordinated decisions that were not anticipated in architects’ plans, but still impact the contemporary built environment.

Across the double projection, we see examples of how buildings come to sit within a city plan, the ad-hoc ways in which they are modified, and the supposed ‘weaknesses’ of a space such as the corners where there are service doors, fire escapes, or alarm systems.

 

Wolfgang Tillmans (German, born 1968) 'Shit buildings going up left, right and centre' 2014

 

Wolfgang Tillmans (German, born 1968)
Shit buildings going up left, right and centre
2014
Book for Architects Plate 083 2014
© Wolfgang Tillmans

 

Wolfgang Tillmans (German, born 1968) 'Untitled' 2012

 

Wolfgang Tillmans (German, born 1968)
Untitled
2012
Book for Architects 2014
© Wolfgang Tillmans

 

 

“He has said of his photographs that “they are a representation of an unprivileged gaze or view … In photography I like to assume exactly the unprivileged position, the position that everybody can take, that chooses to sit at an airplane window or chooses to climb a tower.”

.
Wolfgang Tillmans quoted in Peter Halley, Midori Matsui, Jan Verwoert, Wolfgang Tillmans, London 2002, p. 136

 

 

Wolfgang Tillmans has earned recognition as one of the most exciting and innovative artists working today. Tate Modern presents an exhibition concentrating on his production across different media since 2003. First rising to prominence in the 1990s for his photographs of everyday life and contemporary culture, Tillmans has gone on to work in an ever greater variety of media and has taken an increasingly innovative approach to staging exhibitions. Tate Modern brings this variety to the fore, offering a new focus on his photographs, video, digital slide projections, publications, curatorial projects and recorded music.

Social and political themes form a rich vein throughout Tillmans’s work. The destabilisation of the world has arisen as a recurring concern for the artist since 2003, an important year when he felt the world changed with the invasion of Iraq and anti-war demonstrations. In 2017, at a moment when the subject of truth and fake news is at the heart of political discourse, Tillmans presents a new configuration of his tabletop installation truth study center 2005-ongoing. This ongoing project uses an assembly of printed matter from pamphlets to newspaper cuttings to his own works on paper to highlight Tillmans’s continued interest in word events and how they are communicated in the media.

Wolfgang Tillmans: 2017 will particularly highlight the artist’s deeper engagement with abstraction, beginning with the important work Sendeschluss / End of Broadcast I 2014. Based on images the artist took of an analogue TV losing signal, this work combines two opposing technologies – the digital and the analogue. Other works such as the series Blushes 2000-ongoing, made without a camera by manipulating the effects of light directly on photographic paper, show how the artist’s work with abstraction continues to push the boundaries and definitions of the photographic form.

The exhibition includes portraiture, landscape and still lives. A nightclub scene might record the joy of a safe social space for people to be themselves, while large-scale images of the sea such as La Palma 2014 or The State We’re In, A 2015 document places where borders intersect and margins are ever shifting. At the same time, intimate portraits like Collum 2011 focus on the delicacy, fragility and beauty of the human body. In 2009, Tillmans began using digital photography and was struck by the expanded opportunities the technology offered him. He began to travel more extensively to capture images of the commonplace and the extraordinary, photographing people and places across the world for the series Neue Welt 2009 – 2012.

The importance of Tillmans’s interdisciplinary practice is showcased throughout the exhibition. His Playback Room project, first shown at his Berlin exhibition space Between Bridges, provides a space within the museum for visitors to experience popular music by Colourbox at the best possible quality. The video installation Instrument 2015 shows Tillmans dancing to a soundtrack made by manipulating the sound of his own footsteps, while in the Tanks Studio his slide projection Book for Architects 2014 is being shown for the first time in the UK. Featuring thirty-seven countries and five continents, it reveals the tension between architectural form and function. In March, Tillmans will also take over Tate Modern’s south Tank for ten days with a specially-commissioned installation featuring live music events.

Wolfgang Tillmans: 2017 is co-curated by Chris Dercon and Helen Sainsbury, Head of Programme Realisation, Tate Modern with Emma Lewis, Assistant Curator, Tate Modern. The exhibition is accompanied by a catalogue from Tate Publishing designed by Wolfgang Tillmans and a programme of talks and events in the gallery.

Press release from Tate Modern

 

Images from the exhibition

Installation view of the exhibition 'Wolfgang Tillmans: 2017' at Tate Modern 15 February - 11 June

 

Installation view of the exhibition Wolfgang Tillmans: 2017 with at left, Sunset night drive (2014) and at centre right, Young Man, Jeddah (2012)

 

Wolfgang Tillmans (German, born 1968) 'Sunset night drive' 2014

 

Wolfgang Tillmans (German, born 1968)
Sunset night drive
2014
Ink-jet print
© Wolfgang Tillmans

 

Wolfgang Tillmans (German, born 1968) 'Young Man, Jeddah' 2012

 

Wolfgang Tillmans (German, born 1968)
Young Man, Jeddah
2012
Ink-jet print
© Wolfgang Tillmans

 

Wolfgang Tillmans (German, born 1968) 'Young Man, Jeddah (B)' 2012

 

Wolfgang Tillmans (German, born 1968)
Young Man, Jeddah (B)
2012
Ink-jet print
© Wolfgang Tillmans

 

Wolfgang Tillmans (German, born 1968) '17 Years Supply' 2014

 

Wolfgang Tillmans (German, born 1968)
17 Years Supply
2014
Ink-jet print
© Wolfgang Tillmans

 

 

“Now the camera is staring into a big cardboard box, half-filled with pharmacist’s tubs and packages, 17 years’ supply of antiretroviral and other medications to treat HIV/Aids. I imagine the sound that box would make if you shook it, what that sound might say about a human life, its vulnerability and value.” ~ Adrian Searle

 

Wolfgang Tillmans (German, born 1968) 'Market I' 2012

 

Wolfgang Tillmans (German, born 1968)
Market I
2012
Ink-jet print
© Wolfgang Tillmans

 

Wolfgang Tillmans (German, born 1968) 'Studio still life, c' 2014

 

Wolfgang Tillmans (German, born 1968)
Studio still life, c
2014
Ink-jet print
© Wolfgang Tillmans

 

Wolfgang Tillmans (German, born 1968) 'Juan Pablo & Karl Chingaza' 2012

 

Wolfgang Tillmans (German, born 1968)
Juan Pablo & Karl Chingaza
2012
Ink-jet print
© Wolfgang Tillmans

 

Wolfgang Tillmans (German, born 1968) 'Iguazu' 2010

 

Wolfgang Tillmans (German, born 1968)
Iguazu
2010
Ink-jet print
© Wolfgang Tillmans

 

Wolfgang Tillmans (German, born 1968) 'Oscar Niemeyer' 2010

 

Wolfgang Tillmans (German, born 1968)
Oscar Niemeyer
2010
Ink-jet print
© Wolfgang Tillmans

 

Wolfgang Tillmans (German, born 1968) 'Tube escalator joint' 2009

 

Wolfgang Tillmans (German, born 1968)
Tube escalator joint
2009
Ink-jet print
© Wolfgang Tillmans

 

Wolfgang Tillmans (German, born 1968) 'JAL' 1997

 

Wolfgang Tillmans (German, born 1968)
JAL
1997
Ink-jet print
© Wolfgang Tillmans

 

Wolfgang Tillmans (German, born 1968) 'Port-au-Prince' 2010

 

Wolfgang Tillmans (German, born 1968)
Port-au-Prince
2010
Ink-jet print
© Wolfgang Tillmans

 

Wolfgang Tillmans (German, born 1968) 'London Olympics' 2012

 

Wolfgang Tillmans (German, born 1968)
London Olympics
2012
Ink-jet print
© Wolfgang Tillmans

 

Wolfgang Tillmans (German, born 1968) 'Fespa Car' 2012

 

Wolfgang Tillmans (German, born 1968)
Fespa Car
2012
Ink-jet print
© Wolfgang Tillmans

 

Wolfgang Tillmans (German, born 1968) 'The Spectrum Dagger' 2016

 

Wolfgang Tillmans (German, born 1968)
The Spectrum Dagger
2016
Ink-jet print
© Wolfgang Tillmans

 

Wolfgang Tillmans (German, born 1968) 'Gaza Wall' 2009

 

Wolfgang Tillmans (German, born 1968)
Gaza Wall
2009
Ink-jet print
© Wolfgang Tillmans

 

Wolfgang Tillmans (German, born 1968) 'Simon, Sebastian Street' 2013

 

Wolfgang Tillmans (German, born 1968)
Simon, Sebastian Street
2013
Ink-jet print
© Wolfgang Tillmans

 

Wolfgang Tillmans (German, born 1968) 'Arms and Legs' 2014

 

Wolfgang Tillmans (German, born 1968)
Arms and Legs
2014
Ink-jet print
© Wolfgang Tillmans

 

 

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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12
May
17

Exhibition: ‘Political Acts: Pioneers of Performance Art in Southeast Asia’ at the Arts Centre Melbourne

Exhibition dates: 11th February – 21st May 2017

Curator: Dr Steven Tonkin

 

 

Just a quick comment on this exhibition as I’m not feeling very well with my ongoing hand issues.

This is one of the best exhibitions I have seen this year in Melbourne.

All of the works, whether video or photographic, are conceptually engaging, intellectually stimulating and visually powerful. I spent a couple of hours over two visits soaking in the narratives and mise-en-scène of every performance. I was totally immersed in the stories the artists were telling. As with all good art, the works engage the viewer and challenge our point of view in the most profound and complex ways.

While the works may be “political” “acts” the performances act on the viewer at a deeper existential level: what are we doing to the world, our only planet, and the people that live on it. What is the cost of rampant capitalism and consumerism in social, political and environmental terms. Every single work in this exhibition is grounded in these concerns. Unlike a lot of contemporary art which is all about surface and as deep as a peanut, this conceptual art is based on the fundamental building blocks of humanity – our connection to earth and to one another – often expressed through aesthetically beautiful images manifested in the physical body.

Favourites are the mesmerising 12-hour performance of Melati Suryodarmo I’m a Ghost in My Own House (2012) where the artist’s “methodical grinding of charcoal briquettes to dust can be seen as a metaphor for the crushing of the human spirit by the pressures of life”; the powerful dancing and mechanical digger in Khvay Samnang’s Where is my Land? (2014); and the beautiful face pictures in Moe Satt’s F ‘n’ F (Face and Fingers) (2009). I could watch the latter over and over again, so archetypal and elemental does the androgynous face of the artist become.

But really, every piece in this exhibition is worthy of contemplation. Not to be missed.

Marcus

 

Performance art is one of the driving forces in contemporary art across Southeast Asia. It is an art form that acknowledges the cultural traditions of performance within the region, while also providing avant-garde artists with a creative means to critically explore social, political and environmental issues.

The exhibition Political Acts will present a selection of artists’ films, photographs and installations by some of the innovative pioneers of performance art in Southeast Asia.

Artists represented are Dadang Christanto (Indonesia/Australia), Lee Wen (Singapore), Liew Teck Leong (Malaysia), Khvay Samnang (Cambodia), Moe Satt (Myanmar), Melati Suryodarmo (Indonesia) and Tran Luong (Vietnam).

 

 

 

Melati Suryodarmo (Born 1969, Surakarta, Central Java, Indonesia)
I’m a Ghost in My Own House (extract)
2012
Single channel video installation
Duration: 30.30 mins

12-hour performance at Lawangwangi Foundation, Bandung, Indonesia, in 2012

 

 

Melati Suryodarmo‘s practice encompasses live art performances which are then presented through films, photography and installations. A film of her renowned 12-hour durational work of I’m a Ghost in My Own House (2012), is shown in this exhibition. In this work the artist’s methodical grinding of charcoal briquettes to dust can be seen as a metaphor for the crushing of the human spirit by the pressures of life.

The artist says that “talking about politics, society or psychology is meaningless unless it can be manifested in the physical body.” This is exemplified by Sweet Dreams Sweet, a group performance choreographed by Suryodarmo in Jakarta in 2013. It involved a group of 30 young female performers, all identically dressed to conceal their individuality. This work questions the impact of the political and cultural hegemony in Indonesian society.

 

Melati Suryodarmo. 'Sweet Dreams Sweet' 2013

 

Melati Suryodarmo
Sweet Dreams Sweet
2013
Courtesy the artist

 

Khvay Samnang. 'Rubber Man #3' 2014

 

Khvay Samnang (Born 1982, Cambodia)
Rubber Man #3
2014
Courtesy the artist and SA SA BASSAC, Phnom Penh

 

 

Since 2011 Khvay Samnang has used sand as a material for social and political commentary. In Where is my Land? (2014) he critiques the unstoppable momentum of urban development around Phnom Penh, which has resulted in the infilling of traditional lakes and the forced removal of local residents.

In his recent and widely celebrated Rubber Man series from 2014, Khvay poured pristine white rubber over his naked and partially obscured body. He draws attention to the devastating environmental impact of large-scale, foreign-owned rubber plantations on the once remote and previously pristine rainforests of northeast Cambodia.

 

 

Khvay Samnang (Born 1982, Cambodia)
Where is my Land? (extract)
2014
Single channel video installation
Duration: 13.30 mins

 

Lee Wen. 'Splash! #7' 2003

 

Lee Wen
Splash! #7
2003
Courtesy the artist and iPreciation, Singapore

 

 

A driving force in contemporary art across Southeast Asia, performance art will be the focus of a new free exhibition at Arts Centre Melbourne in Political Acts: Pioneers of Performance Art in Southeast Asia, presented as part of the inaugural Asia TOPA: Asia-Pacific Triennial of Performing Arts in Gallery 1 from 11 February 2017…

“In the last decade performance art and performative practices have taken centre stage within the global contemporary art world,” says Curator, Dr Steven Tonkin. “The seven artists in Political Acts are ground-breaking practitioners of performance art. As individuals, they offer personal viewpoints on their respective national and regional cultures. As a collective, they illustrate interesting commonalities in artistic strategies and approaches.”

“Most importantly, these provocative contemporary artists highlight the major political, social, economic and environmental issues confronted and critiqued through performance art in Southeast Asia today.”

Dadang Christanto is an internationally acclaimed artist. Born in central Java in 1957, Christanto moved to Australia in 1999. He exhibits and performs regularly in both Australia and Indonesia and has spent his artistic life commemorating the victims of political violence and crimes against humanity.

Singaporean performance artist Lee Wen explores social identity and is best known for his Yellow Man performances. Painting his own body with bright yellow poster paint, he expresses an exaggerated symbol of his ethnic identity. He received the prestigious Cultural Medallion for his contribution to visual art in Singapore.

Born in Kuala Lumpur in 1970, Liew Teck Leong studied Fine Art at the Malaysian Institute of Art in the early 1990s, initially becoming an expressionist painter. In the 2000s his practice changed direction to incorporate installation, photography and public art performances, when he became an active member of the artists’ collective Rumah Air Panas/RAP Art Society.

Born in 1982, Khvay Samnang studied painting and graduated from the Royal University of Fine Arts, Phnom Penh, in 2006. He now works across performance, photography, video and installation. Khvay was one of the co-founders of the artists’ collective known as Stiev Selepak (or Art Rebels), and was involved in establishing the artist-run space Sa Sa Art Projects in Phnom Penh’s historic White Building. He is one of the leading Cambodian artists to have come to international attention over the last decade.

Born in Yangon in 1983, Moe Satt is one of the cohort of young artists who have begun to transform the contemporary art scene in Myanmar. Principally self taught, Moe Satt uses his body as the primary vehicle for his art, although his practice now also encompasses photography, film and installations. His artistic career mirrors the wider socio-political changes that have occurred in Myanmar over the last decade, from isolation under military rule to the current democratic reforms.

Born in 1969 in Surakarta (or Solo), Central Java, Indonesia, Melati Suryodarmo grew up in the creative environment provided by her father Suprapto, founder of Amerta – an exploratory free-form dance movement. Suryodarmo sees her art practice as opening the door to new perceptions, traversing traditional cultural and political boundaries ‘in an effort to find [one’s] identity’.

Born in Hanoi in 1960, Tran Luong trained as a painter at the Hanoi University of Fine Arts. He achieved recognition as a member of the ‘Gang of Five’, a group of artists whose works were a catalyst for contemporary art in Vietnam from the late 1980s. A widely respected multidisciplinary artist, curator and mentor for the next generation of contemporary Vietnamese artists, his collaborative approach to art-making involves local communities.

“The inaugural Asia TOPA: Asia-Pacific Triennial of Performing Arts is an artistic celebration of our relationship with contemporary Asia,” says Arts Centre Melbourne CEO, Claire Spencer. “Vital, fresh and always unpredictable, Asia TOPA offers a city-wide window onto the creative imaginations fuelling the many cultures of our region.”

“Cultural engagement is key to expressing who we are, where we have come from, and how we connect with each other across the Asia-Pacific region. The dazzling array of artists featured in Asia TOPA will provide new ways of understanding the deep connections that run between us all.”

Press release from the Arts Centre Melbourne

 

Dadang Christanto. 'Tooth Brushing' 1979-2015-2017

 

Dadang Christanto (Born 1957, central Java)
Tooth Brushing
1979-2015-2017
Courtesy the artist, Gallerysmith, and 4A Centre for Contemporary Asian Art

 

 

Dadang Christanto (Born 1957, central Java)
Tooth Brushing (extract)
2017
Single channel video installation
Duration: 6.00 mins

Performance in Political Acts: Pioneers of Performance Art in Southeast Asia at the Arts Centre Melbourne on 10 February 2017

 

 

Moe Satt (Born 1983, Yangon, Myanmar)
F ‘n’ F (Face and Fingers) (extract)
2009
Single channel video
Duration: 12.00 mins

 

 

Moe Satt’s early performance piece, F ‘n’ F (Face and Fingers) from 2008-09, is simple in conception but complex in the multiple meanings that can be read into the choreographed combinations of hand and facial gestures. Among the artist’s favourites are a universal ‘Thumbs Up’ and the potent symbol of a ‘Gun’ pressed to his temples.

In his The Bicycle-Tyre-Rolling Event from Yangon the artist re-enacts a childhood game of racing discarded rubber bicycle tyres with friends. In this series of photographs the public places and monuments he rolls the tyre past present a performative narrative of his country’s history. For example, the beautiful vistas of Yangon’s two large man-made lakes belie their entwined histories of demonstrations and death.

 

Installation view of Moe Satt's 'The Bicycle-Tyre-Rolling Event from Yangon' (2013)

 

Installation view of Moe Satt’s The Bicycle-Tyre-Rolling Event from Yangon (2013)

 

 

Tran Luong (Born 1960, Hanoi)
Steam Rice Man (extract)
2001
Single channel video
Duration: 5.00 mins

Performance at the Mao Khe Coal Mine, Quang Ninh Province, Vietnam in 2001

 

 

Tran Luong (Born 1960, Hanoi)
Lap Lòe (extract)
2012
Three channel video and sound installation
Duration: 5.00 mins

 

 

Tran Luong‘s collaborative approach to art-making often involves working with local communities, such as rural coal miners in northern Vietnam in 2001. During that time he created his early performance art work Steam Rice Man.

Tran Luong weaves his personal experiences with concerns for the wider socio-political situation in Vietnam. One influential moment was seeing his son arrive home from school wearing a red scarf around his neck. It reminded the artist of the communist red scarf he had to wear as a boy.

In Lap Lòe (or ‘flicker’), the three channel video installation in this exhibition, a red scarf has become aesthetically abstracted for the screen – blowing like a flag in the wind, snapping hypnotically and painfully across the artist’s body, and falling gracefully through the area. The red scarf is a powerful symbol for personal and collective memory.

 

Tran Luong (Born 1960, Hanoi) 'Coc Cach' 2013-16

 

Tran Luong (Born 1960, Hanoi)
Coc Cach
2013-16
Courtesy the artist

 

Liew Teck Leong. 'Body+Dots+Politics (Yellow)' 2016

 

Liew Teck Leong (Born 1970, Kuala Lumpur)
Body+Dots+Politics (Yellow)
2016
Courtesy the artist

 

 

Arts Centre Melbourne
Gallery 1, Theatres Building
100 St Kilda Road, Melbourne VIC 3004

Arts Centre Melbourne website

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21
Apr
17

Exhibition: ‘The Shape of Things: Photographs from Robert B. Menschel’ at The Museum of Modern Art (MoMA), New York

Exhibition dates: 29th October 2016 – 7th May 2017

 

Photography is … a language for asking questions about the world. The Shape of Things imbues this aphorism with a linear taxonomy in its written material (while the installation “occasionally diverges from a strict chronological progression”), no matter that each “moment” in the history of photography – historical, modern, contemporary – is never self contained or self sufficient, that each overlaps and informs one another, in a nexus of interweaving threads.

Charles Harry Jones’ Peapods (c. 1900) are as modern as Bernd and Hilla Becher’s Cooling Towers (1973); Margaret Watkins’ Design Angles (1919) are as directorial as Jan Groover’s Untitled (1983) or Charles Harry Jones’ Onions (c. 1900). And so it goes…

The ideation “the shape of things” is rather a bald fundamental statement in relation to how we imagine and encounter the marvellous. No matter the era, the country or the person who makes them; no matter the meanings readable in photographs or their specific use value in a particular context – the photograph is still the footprint of an idea and, as John Berger asks, a trace naturally left by something that has past? That flicker of imagination in the mind’s eye which has no time.

As Sartre says in Being and Nothingness, “Temporality is only a tool of vision.”

Marcus

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

 

 

The Shape of Things presents a compact and non-comprehensive history of photography, from its inception to the early twenty-first century, in one hundred images. The exhibition is drawn entirely from the 504 photographs that have entered The Museum of Modern Art’s collection with the support of Robert B. Menschel over the past forty years, including a notable selection of works from his personal collection that were given in 2016 and are being shown here for the first time.

“Photography is less and less a cognitive process, in the traditional sense of the term, or an affirmative one, offering answers, but rather a language for asking questions about the world,” wrote the Italian photographer and critic Luigi Ghirri in 1989. Echoing these words, the exhibition presents the history of the medium in three parts, emphasising the strengths of Menschel’s collection and mirroring his equal interest in historical, modern, and contemporary photography. Each section focuses on a moment in photography’s history and the conceptions of the medium that were dominant then: informational and documentary in the nineteenth and early twentieth centuries, more formal and subjective in the immediate postwar era, and questioning and self-referential from the 1970s onward. The installation occasionally diverges from a strict chronological progression, fuelled by the conviction that works from different periods, rather than being antagonistic, correspond with and enrich each other.

 

Installation view of 'The Shape of Things: Photographs from Robert B. Menschel' at The Museum of Modern Art, New York, October 29, 2016 - May 7, 2017

Installation view of 'The Shape of Things: Photographs from Robert B. Menschel' at The Museum of Modern Art, New York, October 29, 2016 - May 7, 2017

Installation view of 'The Shape of Things: Photographs from Robert B. Menschel' at The Museum of Modern Art, New York, October 29, 2016 - May 7, 2017

Installation view of 'The Shape of Things: Photographs from Robert B. Menschel' at The Museum of Modern Art, New York, October 29, 2016 - May 7, 2017

Installation view of 'The Shape of Things: Photographs from Robert B. Menschel' at The Museum of Modern Art, New York, October 29, 2016 - May 7, 2017

 

Installation views of The Shape of Things: Photographs from Robert B. Menschel at The Museum of Modern Art, New York, October 29, 2016 – May 7, 2017
© 2016 The Museum of Modern Art
Photo: John Wronn

 

 

The exhibition The Shape of Things: Photographs from Robert B. Menschel presents a compact history of photography, from its inception to the early 21st century, in 100 images. On view from October 29, 2016, through May 7, 2017, the exhibition is drawn entirely from the 504 photographs that have entered The Museum of Modern Art’s collection over the past 40 years with the support of longtime Museum trustee Robert B. Menschel. It includes a notable selection of works from his personal collection that were given in 2016 and are being shown here for the first time. The Shape of Things is organised by Quentin Bajac, the Joel and Anne Ehrenkranz Chief Curator of Photography, with Katerina Stathopoulou, Curatorial Assistant, Department of Photography, MoMA.

Borrowing its title from the eponymous work by Carrie Mae Weems (American, b. 1953), the exhibition presents the history of the medium in three parts, emphasising the strengths of Menschel’s collection and mirroring his equal interest in historical, modern, and contemporary photography. Each section focuses on a moment in photography’s history and the conceptions of the medium that were dominant then: informational and documentary in the 19th and early 20th centuries, more formal and subjective in the immediate postwar era, and questioning and self-referential from the 1970s onward. The installation occasionally diverges from a strict chronological progression, fuelled by the conviction that works from different periods, rather than being antagonistic, correspond with and enrich each other.

 

Historical

From 1840 to 1900, in photography’s infancy as a medium, artists principally sought to depict truthful representations of their surrounding environments. This primal stage is distinguished by a debate on the artistic-versus-scientific nature of the invention. Photographers engaged with the aesthetic and technical qualities of the medium, experimenting with tone, texture, and printing processes. The exhibition begins with seminal photographs such as William Henry Talbot Fox’s (British, 1800-1877) 1843 picture Rue Basse des Remparts, Paris, taken from the windows of the Hôtel de Douvres. Also on view is the astronomer Jules Janssen’s (French, 1824-1907) masterpiece L’Atlas de photographies solaires (Atlas of solar photographs), published in 1903. Summing up a quarter-century of daily photography at Janssen’s observatory in Meudon, France, the volume on view contains 30 images of the photosphere, demonstrating photography’s instrumental role in advancing the study of science. Other artists included in this section are Louis-August and Auguste-Rosalie Bisson (Bisson brothers), Eugène Cuvelier, Roger Fenton, Hugh W. Diamond, Charles Marville, and Henri Le Secq.

 

Modern

As photographers grappled with war and its aftermath, they began to turn their focus away from documenting the world around them and toward capturing their own personal experiences in a more formal, subjective way. A selection of works from 1940 to 1960 explores this theme, including works by two artists whose images Menschel collected extensively: Harry Callahan (American, 1912-1999) and Aaron Siskind (American, 1903-1991). A selection from Callahan’s quintessential photographs of urban environments – from Chicago and New York to Aix-en Provence and Cuzco, Peru – double exposures of city views, and portraits of his wife Eleanor and daughter Barbara, underscore the breadth of his oeuvre. In the summer of 1951, while teaching alongside Callahan at Black Mountain College in North Carolina, Siskind began the series of pictures of the surfaces of walls for which he is best known. One of the early works in the series on view, North Carolina 30 (1951), shows the bare legs of a woman framed by the words “IN” and”AND” amid layers of peeling layers of posters. In their planarity and graphic quality, these pictures also have a kinship with paintings by the Abstract Expressionists, alongside whom Siskind began exhibiting in the late 1940s. Other artists in this section include Berenice Abbott, Robert Frank, Lee Friedlander, John Gossage, André Kertész, Clarence John Laughlin, and Dora Maar.

 

Contemporary

From the 1970s onward, photographers began working in what A. D. Coleman defined as “The Directorial Mode,” wherein the photographer consciously creates events for the sole purpose of making images. John Coplans (British, 1920-2003) took his own body, naked and with the head invisible, as the subject of his work – both carrying on and contradicting the tradition of the self-portrait centered on the face – as seen in Self-Portrait (Back with Arms Above) (1984). Joan Fontcuberta’s (Spanish, b. 1955) series Herbarium appears at first glance to be a collection of botanical studies, depicting plants with new and distinctive contours and rigorously scientific names. However, as revealed by his fictional character Dr. Hortensio Verdeprado (“green pasture” in Spanish), the “plants” are actually carefully composed by the photographer using scrap picked up in industrial areas around Barcelona. Made of bits of paper and plastic, small animal bones, and other detritus, these forms are not only non-vegetal – there is almost nothing natural about them at all. Fontcuberta is interested in the way data assumes meaning through its presentation and in the acceptance of the photographic image as evidence of truth. Other artists in this section include Jan Groover, David Levinthal, An-My Lê, Michael Spano, JoAnn Verburg, and William Wegman.

Press release from the Museum of Modern Art

 

Roger Fenton (British, 1819-1869) 'Greek Hero' c. 1857

 

Roger Fenton (British, 1819-1869)
Greek Hero
c. 1857
Salted-paper print from a wet-collodion glass negative
13 7/16 × 10 3/16″ (34.2 × 25.8 cm)
The Museum of Modern Art, New York
Robert and Joyce Menschel Fund

 

Hugh W. Diamond (British, 1809-1886) 'Untitled' c. 1852-55

 

Hugh W. Diamond (British, 1809-1886)
Untitled
c. 1852-55
Albumen silver print from a glass negative
6 1/2 x 5 5/16″ (16.6 x 13.5 cm)
Horace W. Goldsmith Fund through Robert B. Menschel

 

William Henry Fox Talbot (British, 1800-1877) 'Rue Basse des Remparts, Paris' May 1843

 

William Henry Fox Talbot (British, 1800-1877)
Rue Basse des Remparts, Paris
May 1843
Salted paper print
6 11/16 × 6 3/4″ (17 × 17.2 cm)
Promised gift of Robert B. Menschel

 

Charles Marville (French, 1816-1879) 'Pont Neuf' 1870s

 

Charles Marville (French, 1816-1879)
Pont Neuf
1870s
Albumen silver print
14 1/8 x 8 1/4″ (36 x 23.5 cm)
Horace W. Goldsmith Fund through Robert B. Menschel

 

Charles Marville (French, 1816-1879) 'Rue des Prêtres-Saint-Germain-l'Auxerrois' c. 1866

 

Charles Marville (French, 1816-1879)
Rue des Prêtres-Saint-Germain-l’Auxerrois
c. 1866
Albumen silver print
11 13/16 × 10 1/2″ (30 × 26.6 cm)
Promised gift of Robert B. Menschel

 

Charles Marville (French, 1816-1879) 'Rue du Cygne' c. 1865

 

Charles Marville (French, 1816-1879)
Rue du Cygne
c. 1865
Albumen silver print from a glass negative
11 3/4 x 10 9/16″ (29.9 x 26.9 cm)
Horace W. Goldsmith Fund through Robert B. Menschel

 

Alfred Stieglitz (American, 1864-1946) 'The Terminal' 1893

 

Alfred Stieglitz (American, 1864-1946)
The Terminal
1893
Photogravure mounted to board
10 × 13 3/16″ (25.4 × 33.5 cm)
Promised gift of Robert B. Menschel

 

 

Truthful representations, 1840-1930

“One advantage of the discovery of the Photographic Art will be, that it will enable us to introduce into our pictures a multitude of minute details which add to the truth and reality of the representation, but which no artist would take the trouble to copy faithfully from nature.

Contenting himself with a general effect, he would probably deem it beneath his genius to copy every accident of light and shade; nor could he do so indeed, without a disproportionate expenditure of time and trouble, which might be otherwise much better employed.

Nevertheless, it is well to have the means at our disposal of introducing these minutiae without any additional trouble, for they will sometimes be found to give an air of variety beyond expectation to the scene represented.”

William Henry Fox Talbot, The Pencil of Nature, 1844-46

 

“I was interested in a straightforward 19th-century way of photographing an object. To photograph things frontally creates the strongest presence and you can eliminate the possibilities of being too obviously subjective. If you photograph an octopus, you have to work out which approach will show the most typical character of the animal. But first you have to learn about the octopus. Does it have six legs or eight? You have to be able to understand the subject visually, through its visual appearance. You need clarity and not sentimentality.”

Hilla Becher, in “The Music of the Blast Furnaces: Bernhard and Hilla Becher in Conversation with James Lingwood,” Art Press, no. 209 (1996)

 

Charles Harry Jones (British, 1866-1959) 'Peapods' c. 1900

 

Charles Harry Jones (British, 1866-1959)
Peapods
c. 1900
Gelatin silver printing-out-paper print
6 5/16 x 8 1/4″ (16 x 20.9 cm)
Promised gift of Robert B. Menschel

 

Bernd Becher (German, 1931-2007), Hilla Becher (German, 1934-2015) 'Cooling Towers' 1973

 

Bernd Becher (German, 1931-2007), Hilla Becher (German, 1934-2015)
Cooling Towers
1973
Gelatin silver prints
Each 15 3/4 × 11 13/16″ (40 × 30 cm)
The Museum of Modern Art, New York
Promised gift of Robert B. Menschel
© 2016 Estate Bernd and Hilla Becher

 

Berenice Abbott (American, 1898-1991) 'George Washington Bridge, Riverside Drive and West 179th Street, Manhattan' January 17, 1936

 

Berenice Abbott (American, 1898-1991)
George Washington Bridge, Riverside Drive and West 179th Street, Manhattan
January 17, 1936
Gelatin silver print
9 9/16 x 7 5/8″ (24.3 x 19.3 cm)
The Museum of Modern Art, New York
Promised gift of Robert B. Menschel
© 2016 Berenice Abbott/Commerce Graphics

 

Berenice Abbott (American, 1898-1991) 'Gunsmith, 6 Centre Market Place, Manhattan' February 4, 1937

 

Berenice Abbott (American, 1898-1991)
Gunsmith, 6 Centre Market Place, Manhattan
February 4, 1937
Gelatin silver print 9 5/8 x 7 9/16″ (24.4 x 19.1 cm)
Gift of the Robert and Joyce Menschel Foundation

 

Bernd Becher (German, 1931-2007), Hilla Becher (German, 1934-2015) 'Hannover Mine 1/2/5, Bochum-Hordel, Ruhr Region, Germany' 1973

 

Bernd Becher (German, 1931-2007), Hilla Becher (German, 1934-2015)
Hannover Mine 1/2/5, Bochum-Hordel, Ruhr Region, Germany
1973
Gelatin silver print
18 7/16 x 22 11/16″ (46.9 x 57.6 cm)
Horace W. Goldsmith Fund through Robert B. Menschel

 

Bernd Becher (German, 1931-2007), Hilla Becher (German, 1934-2015) 'Duisburg-Bruckhausen, Ruhr Region, Germany' 1999

 

Bernd Becher (German, 1931-2007), Hilla Becher (German, 1934-2015)
Duisburg-Bruckhausen, Ruhr Region, Germany
1999
Gelatin silver print
19 5/16 x 24″ (49.1 x 60.9 cm)
Horace W. Goldsmith Fund through Robert B. Menschel

 

Louis-Auguste Bisson (French, 1814-1876) 'Cathedral of Notre Dame, Paris (detail of facade)' c. 1853

 

Louis-Auguste Bisson (French, 1814-1876)
Cathedral of Notre Dame, Paris (detail of facade)
c. 1853
Albumen silver print from a glass negative
14 7/16 x 17 13/16″ (36.6 x 45.3 cm)
Acquired through the generosity of Robert B. Menschel

 

Germaine Krull (Dutch, born Germany. 1897-1985) 'Rails' c. 1927

 

Germaine Krull (Dutch, born Germany. 1897-1985)
Rails
c. 1927
Gelatin silver print
15 7/16 x 10 3/8″ (39.2 x 26.3 cm)
Horace W. Goldsmith Fund through Robert B. Menschel

 

Germaine Krull (Dutch, born Germany. 1897-1985) 'Le Metal Inspirateur d'Art (Metal Inspiration of Art)' 1930

 

Germaine Krull (Dutch, born Germany. 1897-1985)
Le Metal Inspirateur d’Art (Metal Inspiration of Art)
1930
Gelatin silver print
6 5/8 x 8 7/16″ (16.8 x 21.5 cm)
Promised gift of Robert B. Menschel

 

 

Personal experiences, 1940-1960

“As photographers, we must learn to relax our beliefs. Move on objects with your eye straight on, to the left, around on the right. Watch them grow large as you approach, group and regroup themselves as you shift your position. Relationships gradually emerge, and sometimes assert themselves with finality. And that’s your picture.

What I have just described is an emotional experience. It is utterly personal: no one else can ever see quite what you have seen, and the picture that emerges is unique, never made and never to be repeated. The picture – and this is fundamental – has the unity of an organism. Its elements were not put together, with whatever skill or taste or ingenuity. It came into being as an instant act of sight.”

Aaron Siskind, “The Drama of Objects,” Minicam Photography 8, no. 9 (1945)

 

“The business of making a photograph may be said in simple terms to consist of three elements: the objective world (whose permanent condition is change and disorder), the sheet of paper on which the picture will be realized, and the experience which brings them together. First, and emphatically, I accept the flat plane of the picture surface as the primary frame of reference of the picture. The experience itself may be described as one of total absorption in the object. But the object serves only a personal need and the requirements of the picture. Thus rocks are sculptured forms; a section of common decorated ironwork, springing rhythmic shapes; fragments of paper sticking to a wall, a conversation piece. And these forms, totems, masks, figures, shapes, images must finally take their place in the tonal field of the picture and strictly conform to their space environment. The object has entered the picture in a sense; it has been photographed directly. But it is often unrecognizable; for it has been removed from its usual context, disassociated from its customary neighbours and forced into new relationships.”

Aaron Siskind, “Credo,” Spectrum 6, no. 2 (1956)

 

Weegee (Arthur Fellig) (American, born Austria. 1899-1968) 'The Gay Deceiver' c. 1939

 

Weegee (Arthur Fellig) (American, born Austria. 1899-1968)
The Gay Deceiver
c. 1939
Gelatin silver print
13 x 10 1/4″ (33 x 26 cm)
Promised gift of Robert B. Menschel

 

Harry Callahan (American, 1912-1999) 'Chicago' 1951

 

Harry Callahan (American, 1912-1999)
Chicago
1951
Dye transfer print
10 5/16 x 15 11/16″ (26.2 x 39.9 cm)
Promised gift of Robert B. Menschel

 

Clarence John Laughlin (American, 1905-1985) 'Spectre of Coca-Cola' 1962

 

Clarence John Laughlin (American, 1905-1985)
Spectre of Coca-Cola
1962
Gelatin silver print, printed 1981
13 1/4 x 10 3/8″ (33.6 x 26.4 cm)
Robert B. Menschel Fund

 

Harry Callahan (American, 1912-1999) 'Siena' 1968

 

Harry Callahan (American, 1912-1999)
Siena
1968
Gelatin silver print
9 × 8 7/8″ (22.9 × 22.5 cm)
Promised gift of Robert B. Menschel

 

Harry Callahan (American, 1912-1999) 'Chicago' c. 1952

 

Harry Callahan (American, 1912-1999)
Chicago
c. 1952
Dye transfer print
8 3/4 × 13 7/16″ (22.3 × 34.1 cm)
Promised gift of Robert B. Menschel

 

Harry Callahan (American, 1912-1999) 'Chicago' c. 1949

 

Harry Callahan (American, 1912-1999)
Chicago
c. 1949
Gelatin silver print
7 11/16 x 9 9/16″ (19.5 x 24.3 cm)
Gift of Robert and Joyce Menschel

 

Harry Callahan (American, 1912-1999) 'Eleanor and Barbara, Chicago' 1953

 

Harry Callahan (American, 1912-1999)
Eleanor and Barbara, Chicago
1953
Gelatin silver print
7 11/16 x 9 11/16″ (19.5 x 24.6 cm)
Gift of Robert and Joyce Menschel

 

Harry Callahan (American, 1912-1999) 'Providence' 1974

 

Harry Callahan (American, 1912-1999)
Providence
1974
Gelatin silver print
6 9/16 × 6 7/16″ (16.6 × 16.3 cm)
Promised gift of Robert B. Menschel

 

André Kertész (American, born Hungary. 1894-1985) 'New York' August 10, 1969

 

André Kertész (American, born Hungary. 1894-1985)
New York
August 10, 1969
Gelatin silver print
13 11/16 x 9 3/4″ (34.7 x 24.7 cm)
Promised gift of Robert B. Menschel

 

 

Directorial modes, 1970s and beyond

“Here the photographer consciously and intentionally creates events for the express purpose of making images thereof. This may be achieved by intervening in ongoing ‘real’ events or by staging tableaux – in either case, by causing something to take place which would not have occurred had the photographer not made it happen.

Here the authenticity of the original event is not an issue, nor the photographer’s fidelity to it, and the viewer would be expected to raise those questions only ironically. Such images use photography’s overt veracity by evoking it for events and relationships generated by the photographer’s deliberate structuring of what takes place in front of the lens as well as of the resulting image. There is an inherent ambiguity at work in such images, for even though what they purport to describe as ‘slices of life’ would not have occurred except for the photographer’s instigation, nonetheless those events (or a reasonable facsimile thereof) did actually take place, as the photographs demonstrate.

… This mode I would define as the directorial.”

A. D. Coleman, “The Directorial Mode: Notes Towards a Definition,” Artforum 15, no. 1 (1976)

 

Aaron Siskind (American, 1903-1991) 'Chicago 30' 1949

 

Aaron Siskind (American, 1903-1991)
Chicago 30
1949
Gelatin silver print
14 x 17 13/16″ (35.6 x 45.3 cm)
Gift of Robert and Joyce Menschel

 

Aaron Siskind (American, 1903-1991) 'North Carolina 30' 1951

 

Aaron Siskind (American, 1903-1991)
North Carolina 30
1951
Gelatin silver print
13 1/16 × 9 11/16″ (33.2 × 24.6 cm)
Promised gift of Robert B. Menschel

 

Lee Friedlander (American, born 1934) 'Glenwood Springs, Colorado' 1981

 

Lee Friedlander (American, born 1934)
Glenwood Springs, Colorado
1981
Gelatin silver print
8 5/8 x 12 15/16″ (21.9 x 32.8 cm)
Horace W. Goldsmith Fund through Robert B. Menschel

 

Jan Groover (American, 1943-2012) 'Untitled' 1983

 

Jan Groover (American, 1943-2012)
Untitled
1983
Gelatin silver print
10 3/16 x 13 1/2″ (25.9 x 34.3 cm)
Promised gift of Robert B. Menschel

 

Margaret Watkins (Canadian, 1884-1969) 'Design Angles' 1919

 

Margaret Watkins (Canadian, 1884-1969)
Design Angles
1919
Gelatin silver print
8 5/16 x 6 3/8″ (21.1 x 16.2 cm)
Acquired through the generosity of Robert B. Menschel

 

Charles Harry Jones (British, 1866-1959) 'Onions' c. 1900

 

Charles Harry Jones (British, 1866-1959)
Onions
c. 1900
Gelatin silver printing-out-paper print
5 7/8 x 8 1/4″ (15 x 21cm)
Promised gift of Robert B. Menschel

 

Aaron Siskind (American, 1903-1991) 'Jalapa 30 (Homage to Franz Kline)' 1973

 

Aaron Siskind (American, 1903-1991)
Jalapa 30 (Homage to Franz Kline)
1973
Gelatin silver print
9 1/2 x 9 15/16″ (24.1 x 23.6 cm)
Gift of Robert and Joyce Menschel

 

Aaron Siskind (American, 1903-1991) 'Jalapa 38 (Homage to Franz Kline)' 1973

 

Aaron Siskind (American, 1903-1991)
Jalapa 38 (Homage to Franz Kline)
1973
Gelatin silver print
9 1/2 x 8 15/16″ (24.1 x 22.8 cm)
Gift of Robert and Joyce Menschel

 

Aaron Siskind (American, 1903-1991) 'Lima 89 (Homage to Franz Klein)' 1975

 

Aaron Siskind (American, 1903-1991)
Lima 89 (Homage to Franz Klein)
1975
Gelatin silver print
10 3/16 × 9 5/8″ (25.9 × 24.4 cm)
Promised gift of Robert B. Menschel

 

John Gossage (American, born 1946) 'Monumentenbricke' 1982

 

John Gossage (American, born 1946)
Monumentenbricke
1982
Gelatin silver print
12 3/16 x 9 11/16″ (30.9 x 24.6 cm)
Promised gift of Robert B. Menschel

 

Val Telberg (American, born Russia. 1910-1995) 'Exhibition of the Witch' c. 1948

 

Val Telberg (American, born Russia. 1910-1995)
Exhibition of the Witch
c. 1948
Gelatin silver print
10 15/16 × 13 3/4″ (27.8 × 35 cm)
The Museum of Modern Art, New York
Promised gift of Robert B. Menschel
© 2016 Estate of Val Telberg

 

Frederick Sommer (American, born Italy. 1905-1999) 'I Adore You' 1947

 

Frederick Sommer (American, born Italy. 1905-1999)
I Adore You
1947
Gelatin silver print
7 9/16 × 9 1/2″ (19.2 × 24.1 cm)
The Museum of Modern Art, New York
Promised gift of Robert B. Menschel

 

John Coplans (British, 1920-2003) 'Self-Portrait (Back with Arms Above)' 1984

 

John Coplans (British, 1920-2003)
Self-Portrait (Back with Arms Above)
1984
Gelatin silver print
19 13/16 × 15″ (50.4 × 38.1 cm)
Promised gift of Robert B. Menschel

 

Joan Fontcuberta (Spanish, born 1955) 'Giliandria Escoliforcia' 1983

 

Joan Fontcuberta (Spanish, born 1955)
Giliandria Escoliforcia
1983
Gelatin silver print
10 9/16 x 8 1/2″ (26.8 x 21.5 cm)
Robert and Joyce Menschel Fund

 

Joan Fontcuberta (Spanish, born 1955) 'Mullerpolis Plunfis' 1983

 

Joan Fontcuberta (Spanish, born 1955)
Mullerpolis Plunfis
1983
Gelatin silver print
10 9/16 x 8 1/2″ (26.8 x 21.5 cm)
Robert and Joyce Menschel Fund

 

An-My Lê (American, born Vietnam 1960) '29 Palms: Mortar Impact' 2003-04

 

An-My Lê (American, born Vietnam 1960)
29 Palms: Mortar Impact
2003-04
Gelatin silver print
26 1/2 × 38 1/16″ (67.3 × 96.7 cm)
The Museum of Modern Art, New York
Robert B. Menschel Fund
© 2016 An-My Lê

 

An-My Lê (American, born Vietnam 1960) '29 Palms: Infantry Platoon (Machine Gunners)' 2003-04

 

An-My Lê (American, born Vietnam 1960)
29 Palms: Infantry Platoon (Machine Gunners)
2003-04
Gelatin silver print
26 1/2 × 38 1/16″ (67.3 × 96.7 cm)
The Museum of Modern Art, New York
Robert B. Menschel Fund
© 2016 An-My Lê

 

David Levinthal and Garry Trudeau. 'Hitler Moves East' 1977

 

David Levinthal (American, born 1949)
Untitled from the series Hitler Moves East
1975
Gelatin silver print
10 9/16 x 13 7/16″ (26.8 x 34.1 cm)
The Fellows of Photography Fund and Horace W. Goldsmith Fund through Robert B. Menschel

 

William Wegman (American, born 1943) 'Contemplating the Bust of Man Ray from the portfolio Man Ray' 1976

 

William Wegman (American, born 1943)
Contemplating the Bust of Man Ray from the portfolio Man Ray
1976
Gelatin silver print
7 5/16 × 6 7/8″ (18.5 × 17.5 cm)
Promised gift of Robert B. Menschel

 

Michael Spano (American, born 1949) 'Photogram-Michael Spano' 1983

 

Michael Spano (American, born 1949)
Photogram-Michael Spano
1983
Gelatin silver print
57 7/8 x 23 15/16″ (145.2 x 60.8 cm) (irregular)
Robert B. Menschel Fund

 

Carrie Mae Weems (American, born 1953) 'The Shape of Things' 1993

 

Carrie Mae Weems (American, born 1953)
The Shape of Things
1993
Gelatin silver prints
a) 26 7/8 x 26 15/16″ (68.2 x 68.4 cm) b) 26 15/16 x 26 7/8″ (68.5 x 68.3 cm)
Gift of Robert B. Menschel

 

 

The Museum of Modern Art
11 West 53 Street
New York, NY 10019
T: (212) 708-9400

Opening hours:
Monday – Thursday, Saturday – Sunday 10.30 am – 5.30 pm
Friday, 10.30 am – 8.00 pm

MOMA website

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12
Mar
17

Exhibition: ‘Multitude, Solitude: The Photographs of Dave Heath’ at The Nelson-Atkins Museum of Art, Kansas City

Exhibition dates: 19th November 2016 – 19th March 2017

Curator: Keith F. Davis, Senior Curator, Photograph

 

 

This will be short and sweet because of my hands… love this artist’s work.

 

Triumph of the spirit

Abandoned by both parents at age 4, he grew up in foster homes and an orphanage in Philadelphia.

High contrast images – burnt in backgrounds and then bleached back faces.

Raw, loneliness, love, sadness, homesick, Christ figure (Carl Dean Kipper) bringing out emotion.

Establishment of relationships contrasted with isolation and loneliness.

Sense of inner self – faces and forms. Sensitivity. Unpretentious.

A deeply humane approach to being witness to the human condition.

The condition of becoming.

Marcus

.
Many thankx to the The Nelson-Atkins Museum of Art for allowing me to publish the photographs in the posting. Please click on the photographs for a larger version of the image.

 

 

Heath has always, and instinctively, understood the power of sympathetic vision. His photographs of people are infused with a special emotional directness and power. They reflect a fundamental, and almost tactile, need to connect.

.
Keith F. Davis, Senior Curator, Photography at The Nelson-Atkins Museum of Art

 

 

Dave Heath, (Canadian, born United States, 1931-2016) 'Carl Dean Kipper, Korea' 1953-1954

 

Dave Heath (Canadian, born United States, 1931-2016)
Carl Dean Kipper, Korea
1953-1954
Gelatin silver print
6 3/4 x 9 3/4 inches
The Nelson-Atkins Museum of Art, Kansas City, Missouri
Gift of Hallmark Cards, Inc.

 

Dave Heath, (Canadian, born United States, 1931-2016) 'Central Park, New York City' 1957

 

Dave Heath (Canadian, born United States, 1931-2016)
Central Park, New York City
1957
Gelatin silver print
6 3/8 x 9 1/2 inches
The Nelson-Atkins Museum of Art, Kansas City, Missouri
Gift of the Hall Family Foundation

 

Dave Heath, (Canadian, born United States, 1931-2016) 'Rochester, New York' 1958

 

Dave Heath (Canadian, born United States, 1931-2016)
Rochester, New York
1958
Gelatin silver print
6 1/2 x 9 3/4 inches
The Nelson-Atkins Museum of Art, Kansas City, Missouri
Gift of Hallmark Cards, Inc.

 

Dave Heath, (Canadian, born United States, 1931-2016) 'Washington Square, New York City' 1958

 

Dave Heath (Canadian, born United States, 1931-2016)
Washington Square, New York City
1958
Gelatin silver print
12 1/2 x 8 3/8 inches
The Nelson-Atkins Museum of Art, Kansas City, Missouri
Gift of Hallmark Cards, Inc.

 

Dave Heath, (Canadian, born United States, 1931-2016) 'Seven Arts Coffee Gallery, New York City' 1958

 

Dave Heath (Canadian, born United States, 1931-2016)
Seven Arts Coffee Gallery, New York City
1958
Gelatin silver print
9 3/4 x 6 5/8 inches
The Nelson-Atkins Museum of Art, Kansas City, Missouri
Gift of Hallmark Cards, Inc.

 

Dave Heath, (Canadian, born United States, 1931-2016) 'New York City' c. 1960

 

Dave Heath (Canadian, born United States, 1931-2016)
New York City
c. 1960
Gelatin silver print
9 1/4 x 7 3/8 inches
The Nelson-Atkins Museum of Art, Kansas City, Missouri
Gift of the Hall Family Foundation

 

Dave Heath, (Canadian, born United States, 1931-2016) 'New York City' 1962

 

Dave Heath (Canadian, born United States, 1931-2016)
New York City
1962
Gelatin silver print
11 1/16 x 8 1/2 inches
The Nelson-Atkins Museum of Art, Kansas City, Missouri
Gift of the Hall Family Foundation

 

Dave Heath, (Canadian, born United States, 1931-2016) 'Erin Freed, New York City' 1963

 

Dave Heath (Canadian, born United States, 1931-2016)
Erin Freed, New York City
1963
Gelatin silver print
7 1/4 x 8 3/4 inches
The Nelson-Atkins Museum of Art, Kansas City, Missouri
Gift of the Hall Family Foundation

 

 

A major exhibition showcasing the work of Dave Heath, one of the most original photographers of the last half of the 20th century, opened at The Nelson-Atkins Museum of Art in Kansas City on Nov. 19. Multitude, Solitude: The Photographs of Dave Heath is curated by Keith F. Davis, Senior Curator, Photography, who wrote a widely acclaimed catalogue of the same title to accompany the exhibition. The Nelson-Atkins has the largest holding of Heath’s work in the United States, and the exhibition was entirely assembled from the museum’s collection. A smaller version of the show opened at the Philadelphia Museum of Art in September 2015 to critical praise.

“Dave Heath has had one of the most important careers in modern photography,” said Julián Zugazagoitia, Menefee D. and Mary Louise Blackwell CEO and Director of the Nelson-Atkins. “With little formal training, he applied his determination and curiosity to learning about photography and the history of art. And we see the result in this exhibition: the flowering of one of the greatest talents of his generation.”

The exhibition spans the full breadth of Heath’s creative career, from the late 1940s into the 21st- century. It begins with his earliest pictures, his first book prototypes, his first audio-visual artistic work (“Beyond the Gates of Eden,” 1969), and concludes with his colour street pictures of 2001-2007. The exhibition centres on Heath’s 1965 photo-book A Dialogue with Solitude, a sequence of 82 photographs widely considered his defining achievement.

Heath’s photographs are a powerful expression of his emotional life, his concern for interpersonal contact and communion. Abandoned by both parents at age 4, he grew up in foster homes and an orphanage in Philadelphia. This experience shaped his creative vision, an expression of a profound sense of pain, loneliness, alienation, longing, joy, and hope. Guided by an entirely personal expressive need, Heath used the camera to understand himself and the society around him.

“Heath has always, and instinctively, understood the power of sympathetic vision,” said Davis. “His photographs of people are infused with a special emotional directness and power. They reflect a fundamental, and almost tactile, need to connect.”

Heath’s interest in photography was sparked in 1947, when he saw Ralph Crane’s photo-essay “Bad Boy’s Story”, about an alienated boy in an orphanage, in Life magazine. He identified with Crane’s subject and grasped the power of the photograph to transcend simple reportage. Largely self-taught, Heath studied for a year at the Philadelphia College of Art before working for a commercial photo studio in Chicago. He came to national attention after his move to New York City in 1957. He was awarded a Guggenheim Fellowship in 1963 and his work was included in major exhibits at the Museum of Modern Art, the Art Institute of Chicago, and elsewhere. He taught from 1965 to 1996, with 36 of those years spent at Ryerson University, Toronto, Ontario.

Heath died on his 85th birthday, June 27, 2016, knowing that his work had reached wider audiences and recognised for his individual and powerful voice.

Press release from The Nelson-Atkins Museum of Art

 

Dave Heath, (Canadian, born United States, 1931-2016) 'Vengeful Sister, Chicago' 1956

 

Dave Heath (Canadian, born United States, 1931-2016)
Vengeful Sister, Chicago
1956
Gelatin silver print
7 3/16 x 8 7/8 inches
The Nelson-Atkins Museum of Art, Kansas City, Missouri
Gift of the Hall Family Foundation

 

Dave Heath, (Canadian, born United States, 1931-2016) 'Chicago' 1956

 

Dave Heath (Canadian, born United States, 1931-2016)
Chicago
1956
Gelatin silver print
12 1/2 x 8 1/2 inches
The Nelson-Atkins Museum of Art, Kansas City, Missouri
Gift of the Hall Family Foundation

 

Dave Heath, (Canadian, born United States, 1931-2016) 'Greenwich Village, New York City' 1957

 

Dave Heath, (Canadian, born United States, 1931-2016)
Greenwich Village, New York City
1957
Gelatin silver print
12 1/2 x 9 1/2 inches
The Nelson-Atkins Museum of Art, Kansas City, Missouri
Gift of the Hall Family Foundation

 

Dave Heath, (Canadian, born United States, 1931-2016) 'Santa Barbara, California' 1964

 

Dave Heath, (Canadian, born United States, 1931-2016)
Santa Barbara, California
1964
Gelatin silver print
5 x 7 9/16 inches
The Nelson-Atkins Museum of Art, Kansas City, Missouri
Gift of the Hall Family Foundation

 

Dave Heath, (Canadian, born United States, 1931-2016) 'Berkeley, California' 1964

 

Dave Heath, (Canadian, born United States, 1931-2016)
Berkeley, California
1964
Gelatin silver print
4 5/8 x 6 13/16 inches
The Nelson-Atkins Museum of Art, Kansas City, Missouri
Gift of Elizabeth and Jeffrey Klotz and family

 

Dave Heath, (Canadian, born United States, 1931-2016) 'Kansas City, Kansas' 1967

 

Dave Heath, (Canadian, born United States, 1931-2016)
Kansas City, Kansas
1967
Gelatin silver print
7 3/8 x 10 3/4 inches
The Nelson-Atkins Museum of Art, Kansas City, Missouri
Gift of the Hall Family Foundation

 

Dave Heath, (Canadian, born United States, 1931-2016) 'New York City' September 19, 2004

 

Dave Heath, (Canadian, born United States, 1931-2016)
New York City
September 19, 2004
Inkjet print (printed January 25, 2008)
11 7/8 × 18 1/16 inches
Gift of the Hall Family Foundation

 

Dave Heath, (Canadian, born United States, 1931-2016) 'New York City' October 5, 2005

 

Dave Heath, (Canadian, born United States, 1931-2016)
New York City
October 5, 2005
Inkjet print (printed January 25, 2008)
11 7/8 × 18 1/16 inches
Gift of the Hall Family Foundation

 

Dave Heath, (Canadian, born United States, 1931-2016) 'Toronto' October 20, 2007

 

Dave Heath, (Canadian, born United States, 1931-2016)
Toronto
October 20, 2007
Inkjet print (printed December 18, 2007)
11 7/8 × 18 1/16 inches
Gift of the Hall Family Foundation

 

 

The Nelson-Atkins Museum of Art
4525 Oak Street
Kansas City, MO 64111

Opening hours:
Wed, 10 am – 5 pm
Thurs, Fri, 10 am – 9 pm
Sat, 10 am – 5 pm
Sun, 10 am – 5 pm

The Nelson-Atkins Museum of Art website

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Marcus Bunyan black and white archive: ‘Études’ 1994

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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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