Exhibition dates: 10th September – 28th October, 2016
George Tice (American, b. 1938) Jimmy’s Bar and Grill and Conmar Zipper Company, Newark, NJ, 1973 1973 Silver gelatin print
An American iconography
George Tice is a master photographer and an exceptional artist. Using a large format 8 x 10 camera this craftsman has created a “deeply-penetrating” photographic record of the American urban landscape, mainly based around the city of New Jersey where he has lived for most of his life.
Tice’s ongoing epic visual poem is at its strongest in his early period, from 1973-74. While his later 1990s work is qualified by simplified imagery and semiotic statements (for example Dorn’s Photoshop, Red Bank, NJ, 1999 and Lakewood Manor Motel, Lakewood, NJ, 1998, below) it is this early work that produces “attentive and quotidian descriptions of the everyday structures and places that define the American cultural landscape.” There seems to be a greater personal investment in these earlier images. Tice’s recognition of subject matter that mere mortals pass by is translated into beautiful, serene, tonal and dare I say, sensual images, that belie the complexity of their previsualisation. You only have to look at two images, Houses and Water Towers, Moorestown, NJ, 1973 and Hudson’s Fish Market, Atlantic City, NJ, 1973 (below) to understand that these photographs are visually complex, slightly surreal, affectionate images of places he personally knows so well. They possess a totally different feeling from the conceptual photography of the German school of Bernd and Hilla Becher. As Sanford Schwartz in The New York Times, on December 3, 1972 noted: “Tice’s pictures… show a remarkable blend of intimacy, affection and clear-sightedness.”
The almost tragic, objective renditions of a post-industrial landscape evidence a poetic intensity that has deep roots in the history of photography. Vivien Raynor, writing in The New York Times, said, “Finding precedents for Mr. Tice’s photography is easier than defining the personal qualities that make it so special. As others have remarked, his tranquil towns, usually deserted, could sometimes be those of Walker Evans updated; his industrial views are not unrelated to Charles Sheeler’s, and, for good measure, the stillness and silence of his compositions link him to Atget, the first great urban reporter.” Tice builds upon the lineage of other great artists but then, as any good artist should, he forges his own path, not reliant on the signature of others. As he himself observes, “… if you learn to see what photography is through one person’s eyes you become fixed in that one way of seeing.”
When I first started taking photographs in 1990, my heroes were Atget, Strand, Evans and Minor White. Looking at art, and looking at photographers, trained my eye. But as an artist, looking at the world is the most valuable education that you can have, for eventually you have to forge your own style, not copy someone else … and the signature that you create becomes your own. You know it’s a Mapplethorpe, just as you know it’s an Evans, or a Tice. Each piece of handwriting is unique. Nobody can teach that and it only comes with time and experience. As Paul Strand said, it takes 10 years to become an artist, 10 years to learn your craft, 10 years to drop ego away and find your own style. This is what the work of George Tice speaks to. He approaches the world with a clear mind, focused on a objective narrative that flips! exposing us (like his film), to a subjective, visceral charm all of his own making.
Dr Marcus Bunyan
Many thankx to the Joseph Bellows Gallery for allowing me to publish the photographs in the posting. Please click on the photographs for a larger version of the image.
“As I progressed further with my project, it became obvious that it was really unimportant where I chose to photograph. The particular place simply provided an excuse to produce work… you can only see what you are ready to see – what mirrors your mind at that particular time.”
“Documenting the place is principally what I do. The bulk of my photographs are of New Jersey. It may have been a subject series, like ice or aquatic plants, that could have been anywhere, but it was done in New Jersey. Most of my pictures are about place. I would say the Urban Landscape work is what is most distinctive about me.”
George Tice
George Tice (American, b. 1938) Houses and Water Towers, Moorestown, NJ, 1973 1973 Silver gelatin print
George Tice (American, b. 1938) Hudson’s Fish Market, Atlantic City, NJ, 1973 1973 Silver gelatin print
George Tice (American, b. 1938) Dorn’s Photoshop, Red Bank, NJ, 1999 1999 Silver gelatin print
George Tice (American, b. 1938) Lexington Avenue, Passaic, NJ, 1973 1973 Silver gelatin print
George Tice (American, b. 1938) Palace Funhouse, Asbury Park, 1995 1995 Silver gelatin print
George Tice (American, b. 1938) Railroad Bridge, High Bridge, NJ, 1974 1974 Silver gelatin print
George Tice (American, b. 1938) Route #440 Overpass, Perth Amboy, 1973 1973 Silver gelatin print
Joseph Bellows Gallery is pleased to announce an exhibition of photographs by one of the medium’s master photographers, George Tice. George Tice: Urban Landscapes will open with a book signing and reception with the artist on Saturday September, 10th from 6-8pm. The exhibition will continue through October 28th, 2016.
The exhibition will present a remarkable selection of forty exceptionally rare vintage 8 x 10 inch gelatin silver contact prints from the early period (1973-1974), of Tice’s ongoing epic visual poem of his native state of New Jersey. These unique vintage prints will be punctuated with larger photographs of some of artist’s most revered and significant images, as well as selections of more recent work from his extended New Jersey portrait.
Renowned for their attentive and quotidian descriptions of the everyday structures and places that define the American cultural landscape, Tice’s exquisitely printed photographs catalog a rich and layered journey that is both personal and universal. In the photographs that comprise Urban Landscapes, Tice defines a sense of America within a tradition rooted in the work of other American masters, namely Edward Hopper and Walker Evans. Tice’s photographs of New Jersey in the early to mid 1970’s describe a particular time and place; however, as the artist states, “It takes the passage of time before an image of a commonplace subject can be assessed. The great difficulty of what I attempt is seeing beyond the moment; the everydayness of life gets in the way of the eternal.” Now, with decades past, Tice’s observations have become even more poignant depictions, everlasting a specific era and landscape, as the artist intended.
As well as being one of the 20th Century’s most prominent photographers, Tice is revered as a master printer, having printed limited-edition portfolios of some of his favourite photographers, among them Edward Steichen, Edward Weston and Frederick H. Evans, as well as other important photographers including Francis Bruguiere, Ralph Steiner and Lewis Hine.
Press release from the Joseph Bellows Gallery
George Tice (American, b. 1938) Tenement Rooftops, Hoboken, NJ, 1974 1974 Silver gelatin print
George Tice (American, b. 1938) Steve’s Diner, Route 130, North Brunswick, 1974 1974 Silver gelatin print
George Tice (American, b. 1938) Ideal Diner, Perth Amboy, NJ, 1980 1980 Silver gelatin print
George Tice (American, b. 1938) White Castle, Route #1, Rahway, NJ, 1973 1973 Silver gelatin print
George Tice (American, b. 1938) Strand Theater, Keyport, NJ, 1973 1973 Silver gelatin print
George Tice (American, b. 1938) Industrial Landscape, Kearny, NJ, 1973 1973 Silver gelatin print
George Tice in conversation with Paul Caponigro
JPC You had said, “After a time you don’t want to have any photographic influences. It’s okay to be influenced by writers, poets, people in other fields but not okay by other photographers.”
GT You don’t want to be like anyone else. Like all those people who were influenced by Ansel Adams. I don’t think any of them will do better than he did.
JPC Not until they find their own voice. It’s impossible to successfully imitate someone else’s voice.
GT Right. And the natural landscape of the west, that’s not going to be better in the future, as the population increases and much of the wilderness gets erased. Timothy O’Sullivan probably had a better chance at it than Ansel Adams did. But you don’t want anyone to be too great an influence, like an apprenticeship. If I was to begin photography, study it, I wouldn’t want one teacher. I think one teacher is too great an influence. I’d rather have an education based on workshops. You draw some knowledge through every one of them. But if you learn to see what photography is through one person’s eyes you become fixed in that one way of seeing.
George Tice Conversations on the John Paul Caponigro “Illuminating Creativity” web page 07/01/1997 [Online] Cited 09/10/2016
George Tice (American, b. 1938) Jahos Brothers Clothing Store, Trenton, NJ, 1973 1973 Silver gelatin print
George Tice (American, b. 1938) Minnie’s Go-Go, Route 130, Merchantville, 1975 1975 Silver gelatin print
George Tice (American, b. 1938) Lakewood Manor Motel, Lakewood, NJ, 1998 1998 Silver gelatin print
George Tice (American, b. 1938) Esso Station and Tenement House, Hoboken, NJ, 1972 1972 Silver gelatin print
George Tice (American, b. 1938) Telephone Booth, 3 am, Railway, NJ, 1974 1974 Silver gelatin print
Joseph Bellows Gallery 7661 Girrard Avenue La Jolla, California Phone: 858 456 5620
Opening hours: Tuesday – Saturday 11am – 5pm and by appointment
The year was 1970. The year of the first Earth Day, the year that the United States invaded Cambodia, the year when National Guardsmen shot four student demonstrators at an antiwar rally at Kent State University. A year in the continuing fight for social and political rights, be they black, female or gay. As part of the larger push for Civil Rights in the 1970s these photographs, though mainly unpublished at the time, document that struggle. Today these important and joyful photographs taken by Mother Boats C.P. act as testament to the first-ever Gay Pride Parade in the world [because of the time zone], which was held in Los Angeles on June 28, 1970 to commemorate the one-year anniversary of the Stonewall Riots the previous year. Although one of several gay pride parades that took place that day around the United States, this was the only “street closing” gay pride parade held in 1970″1 The Advocate reported, “Over 1,000 homosexuals and their friends staged, not just a protest march, but a full blown parade down world-famous Hollywood Boulevard.”2 The photographs evidence that very first flowering of mass gay visibility and freedom the world had ever seen.
From a personal perspective, the scanning and digital cleaning of the images and the research that has gone into this posting has been a labour of love, as it should be, for something that you care deeply about and that is important to culture and community. I came out in London in 1975 only six short years after the Stonewall Riots and, looking at the these photographs, I know how strong and resolute these fellow human beings would have had to have been, to be out of the closet and be photographed in public at such a point in the fight for gay liberation
Early gay activism
For those people engaged in research into gay identity and gay and lesbian history there is an awareness of groups like the Mattachine Society3 (founded in 1950, one of the earliest gay rights organisations in the United States, probably second only to Chicago’s Society for Human Rights4) and the Daughters of Bilitis5 (founded in 1955, the first lesbian civil and political rights organisation in the United States), which formed part of the homophile moment pre-Stonewall and gay liberation. Following these early groups, there is a really interesting period in the mid- late 1960s where there is an increasing level of activism right across America. Now however, there seems to exist a simplified narrative of this period that is skewed towards New York when in actuality there were a lot of things happening prior to and leading up to Stonewall all over the United States. Of course, events that flow on from Stonewall stand alone, but I believe that there is not a broad public awareness of the nuances of what was happening across the country: for example, in Chicago, Philadelphia, Washington, D. C., San Francisco and Los Angeles.
In August 1966 there was the Compton’s Cafeteria riot in Los Angeles,6 which occurred in the Tenderloin district of San Francisco. This incident was one of the first recorded transgender riots in United States history, preceding the more famous 1969 Stonewall Riots in New York City; in April 1965 in Philadelphia an estimated 150 people participated in a sit-in when the manager of Dewey’s restaurant refused service to several people he thought looked gay and in July of that year in the same city demonstrators picketed at Independence Hall, returning each year through 1969 for what came to be known as the Annual Reminder7 beginning a new era in Philadelphia LGBT culture as a presence in the community8; while in April 1969 in San Francisco, quite a prominent event took place which was picked up by student newspapers across the country – “when gay activist and journalist Gale Whittington was fired by the States Steamship Company after coming out in print, a small group of activists operating under the name “Committee for Homosexual Freedom” (CHF) picketed the company’s San Francisco offices every workday between noon and 1.00pm for several weeks.”9 An incomplete list of LGBT actions in the United States prior to the Stonewall riots can be found on the Wikipedia website.1
Artist and photographs
Mother Boats C.P. (a.k.a. Brian Traynor) undertook journalism and photojournalism for a few semesters between 1962-66 using old flat plate cameras and top view 120 roll film cameras, developing his prints in the dark room. He went to Vietnam on active service in 1967: “There was duty free exchange and I got an Olympus SLR c. 1967. I had up to three cameras around my neck, one black and white, one colour, and I even had a 16mm spy camera.”11 When he got back from Vietnam in 1969 with his equipment shipped back in a cargo container he went to a Sexual Freedom League (SFL)12 meeting at the Bi Centre San Francisco, joined the league and started shooting everything he could until all his gear got ripped off in the back of a hippie van a year and a half later. As Boats states, “I shot whatever was happening.”13 He became a freelance writer for the Berkeley Barb, a weekly underground newspaper that was published in Berkeley, California, during the years 1965 to 1980 – “one of the first and most influential of the counterculture newspapers of the late 1960s.”14 By this time Brian had got new cameras and founded the darkroom and took photographs for the paper. At night he completed a year course at Lanny College in Oakland (TAFE) in printing and print camera dark room techniques.
“Leo Laurence then co-founded a militant group the Committee for Homosexual Freedom (CHF) with Gale Whittington, Mother Boats, Morris Kight and others. Gale Whittington a young man who had been fired from States Steamship Company for being openly gay, after a photo of him by Mother Boats appeared in the Berkley Barb, next to the headline “HOMOS, DON’T HIDE IT!”, the revolutionary article by Leo Laurence. The same month Carl Wittman, a member of CHF, began writing Refugees from Amerika: A Gay Manifesto, which would later be described as “the bible of Gay Liberation”. It was first published in the San Francisco Free Press and distributed nationwide, all the way to New York City, as was the Berkeley Barb with Leo’s stories on CHF’s gay guerilla militant initiatives and Mother Boats’ photographs. CHF was soon to become renamed as GLF (Gay Liberation Front).”15
Boats participated in the emerging gay liberation movement, becoming president of the Psychedelic Venus Church (Psyven) which was founded by Jefferson Poland in 1969. Organised sexual radicalism reached its zenith in the activities of the church, which fused group sex with marijuana consumption with Eastern mysticism and paganism. “”We believed,” Boats later recalled, “in breaking the chains of restriction, to liberate the body and turn it on and enjoy hedonistic comforts.” Under Boat’s guidance, Psyven became the epicentre of some of the most radical and performative sexual experimentation of the era.”16 Boats permanently left the United States in 1973, first for New Zealand and then Australia: “… he sailed off into the sunset with the mostly nude crew of the three-masted cargo schooner S.V. Sofia.“17
Turning to the photographs themselves, what is fascinating about them is the fluid energy that they embody. Up until this point, gay liberation protests had either been respectful pickets or small protests by a tight coterie of people. In the sense that this was an organised public event, gay people – on this day, with this march – became visible in large numbers. For gay people this was a new and unique experience. To be out in public, and to be “out” in public was for most a daring escapade, an escape from a denial of their existence. For a culture that had been hidden and oppressed for so long this venturing out in public (instead of “passing” in the shadows) was a first: there was no point of reference for what they were doing. The point of view of these photographs captures that feeling with élan. They capture the feeling of the possibility of sexual freedom and … they just feel so very alive with that energy.
This newfound freedom was a release from oppression, if only for a short period (Russian critic Mikhail Bakhtin’s “carnivalesque”). As Boats moves in an out of the parade, varying his camera height and angles (in some images almost seeming to hover above the crowd), the ephemeral, fluid, fleeting moments that he captures are like a performative dance, something different from the usual static parade photographs of the time. Boats’ point of view is vital and alive and his photographs are redolent of the beginning of an openly gay sensibility. In the crowd we observe African Americans, Hispanic and Latino Americans, young straight couples, hippies, young children and families, gay sons with their mothers, old men and elderly husbands and wives. Most seem to be laughing and having a good time. For example, in Untitled (June 1970, below) two middle-aged women, one in a white cardigan and patterned dress, the other in a check dress, clutching a raffia type handbag with neatly permed hair are accompanied by a man in glasses with his arms folded resting his behind on a car. All three are smiling broadly for the photographer, as are the couple at left and the man behind them. It is a wonderful portrait of the spectators enjoying the spectacle of the parade and perhaps the visage of the photographer. The group portrait is grounded by the feet, particularly the two pairs of white shoes of the women planted on the tarmac, one women’s shoes bisected by a large crack in the white paint that has been laid down on the road, perhaps a metaphor for the fractured society that lives and breathes in plain sight once the festivities are over.
As much as a parade is a spectacle and performance, these photographs capture the authenticity of the display. With their link to the indexical nature of photography (this happened, on this day, in this place) the photographs acknowledge that the multicultural crowd (in some photographs up to three deep) enjoyed the spectacle. And in so doing they, the spectators, move from objective observers to becoming active participants in the parade. The clear denouement of these photographs can be summed up as this: once that sense of freedom for gay people came into being in public (and was accepted by the crowd lining the parade route) – in future, that ecstatic feeling could not be so easily put back into the closet. The genie was out of the bottle.
Legacy
To date, we must acknowledge that most of the research and visual contextualisation has been based around the New York march and the vast majority of material available is from that city. If mention is made of the march in Los Angeles, it is essentially as a footnote to the march in New York which happened on the same day. But at the time, in the July 22-August 4, 1970 issue of The Advocate (below), we can see that the New York and Los Angeles marches were given equal billing on the front page. To this point, there has been little research into this documentation of the beginnings of Gay Liberation in California. Unfortunately, most of the people involved in this activism are now in their 80s or have passed on. This is why these mainly unpublished photographs of the Los Angeles march in June 1970 are so important: they bear witness to the people, the places and the event as it was taking place. They are now our visual memories, in which we too can celebrate the first anniversary of the Stonewall Riots as it took place around the country.
11/ Email to the author from Mother Boats C.P. 28/02/2016.
12/ “In 1965, Jefferson Poland returned to San Franciso from New York where he and Leo Koch had founded the New York City League for Sexual Freedom in 1964, an organisation to promote and conduct sexual activity among its members and to agitate for political reform. In San Francisco Poland “lent his support to the creation of the Sexual Freedom League (SFL), a West Coast analogue of the New York group. … Poland began hosting weekly lectures and discussion on topics such as “Sex in the Mental Hospital,” “How to Be Queer and Like It,” and “Sex and Civil Right.” … Part of his goal was to “free bohemia from monogamy, possessiveness, jealousy, and sexual ‘faithfulness.'”” John Sides. Erotic City: Sexual Revolutions and the Making of Modern San Francisco. Oxford: OUP, 2009, p. 70.
13/ Email to the author from Mother Boats C.P. 28/02/2016.
14/ Anonymous. “Berkeley Barb,” on the Wikipedia website [Online] Cited 08/10/2016.
15/ Anonymous. “Gay liberation,” on the Wikipedia website [Online] Cited 08/10/2016.
“If I could send back a message, it’s never give up. We had no way of knowing 45 years ago that we would affect the world by giving people the wherewithal to speak up in their own cultures. The majority of gay pride celebrations [around the world] are now gay pride parades. The bittersweet thing is, ‘Oh, if Morris [Kite] could have lived to see gay marriage before the Supreme Court.’ It’s funny to look back think that so much of this started from a gay pride parade in Los Angeles.”
“Reverend Bob Humphries, United States Mission founder, a gay welfare organisation; Morris Kight, Gay Liberation Front founder; and Reverend Troy Perry, Universal Fellowship of Metropolitan Community Churches founder; gathered at Rev. Perry’s home to discuss how to commemorate the one year anniversary of Stonewall. Before the three left that evening, Christopher Street West was born and calls went out, “We are going to have a parade!” Soon after, Rev. Perry stunned his congregation announcing that MCC and GLF would sponsor the parade. Aware that some identifying graphic was needed, Morris took a pop bottle and sketched out a pin. Rev. Humphries set about getting together a steering committee.
As Rev. Perry remembers, “We went to the Los Angeles Police Commission to secure a permit. When we got there, we met a policeman. He informed us that our hearing wouldn’t come up until about 3.00pm. If we wanted to leave, we could. He informed us that the Police Commission was having lunch with the Parks Commission and they were going to be late in getting started. When we came back around 2.15pm they’d already passed everything on the agenda, except us. The committee asked me to act as spokesperson for our group. I didn’t know that Edward M. Davis, the chief of police of the City of Los Angeles, was going to be there. They started questioning me. It seemed like an eternity. Chief Davis then spoke up. He said, ‘Did you know that homosexuality is illegal in the state of California?’ I looked at him, and I said, ‘No, sir, it’s not.’ We then debated the issue. And he said, ‘Well, I want to tell you something. As far as I’m concerned, granting a parade permit to a group of homosexuals to parade down Hollywood Boulevard would be the same as giving a permit to a group of thieves and robbers.’ Finally, the motion was made. One commissioner said, ‘There’ll be violence in the streets.’”
Rev. Perry recalls, “They debated among themselves. The commission was against it, but they said, ‘We’re going to give the permit, if you can post two bonds, one in the amount of $1 million, one in the amount of $500,000. And you will post in cash the amount of $1,500 to pay for the policemen that it will take to protect you. And, you must have at least 3,000 people marching. If not, you go to the sidewalks.’ I thanked them and left. We called the American Civil Liberties Union and they then entered the case. We were determined to hold that parade on June the 28th!” The next day Rev. Perry met with Herbert Selwyn, an ACLU attorney. They appeared at the Police Commission the following Friday. The Commission dropped all of its specifications except the requirement to pay $1,500 for police protection.
The following Monday the California Superior Court ordered that CSW was to receive the parade permit but also required the police to provide whatever protection needed to maintain an order. In making his ruling, the judge said “all citizens of the State of California are entitled to equal protection under its laws”. The Los Angeles Police Department was ordered to protect the participants as they would any other group, and CSW would not pay any extra taxes or fees.”
With the court order secured, the ambitious team had exactly two days to throw together a parade. It was decided to march down Hollywood Boulevard from an assembly area near Hollywood and Highland, east to Vine Street and then back to their starting point. The parade was an opportunity to be proud, see and be seen, and experience, in a public setting, that you were not alone. The parade kicked off with a VW Microbus playing some recordings of marches over an amplification system. The order ran the gamut of just about anything you could name, from the Advocate Magazine’s float with a carload of men in swimsuits, to a conservative gay group in business suits from extremely conservative Orange County.
The Gay Liberation Front came marching down the street carrying banners and shouting, “Two, four, six, eight, gay is just as good as straight.” Another organisation marching was a group of friends carrying a large sign reading, “Heterosexuals for Homosexual Freedom.” It was a direct, welcome, and reassuring gesture.
What they didn’t know at the time was that while other cities were hosting marches, it was Los Angeles that held the world’s first TLGB Pride Parade. The success of the 1970 parade led immediately to talk of making the parade an annual event. The 1971 and 1972 parades had entries that created controversies; and disagreements within the steering committee lead to no parade being produced in 1973.”
Text from the LA Pride website [Online] Cited 10/10/2016. No longer available online
“The Metropolitan Community Church (MCC), also known as the Universal Fellowship of Metropolitan Community Churches (UFMCC), is an international Protestant Christian denomination. There are 222 member congregations in 37 countries, and the Fellowship has a specific outreach to lesbian, gay, bisexual, and transgender families and communities.
The Fellowship has Official Observer status with the World Council of Churches. The MCC has been denied membership in the US National Council of Churches, but many local MCC congregations are members of local ecumenical partnerships around the world and MCC currently belongs to several statewide councils of churches in the United States…
The first congregation was founded in Huntington Park, California by Troy Perry on October 6, 1968. This was a time when Christian attitudes toward homosexuality were almost universally unfavourable. The first congregation originally met in Perry’s Huntington Park home. The church first gained publicity by ads taken out in the Advocate magazine.
In 1969 the congregation had outgrown Perry’s living room and moved to rented space at the Huntington Park Women’s Club. It was at this point in time membership in the church grew to about 200 people. Due to discrimination the church was forced to move, and had a hard time finding a permanent place. During this period during the spring and summer of 1969 the church moved first to the Embassy Auditorium, and then a United Methodist Church for two weeks. The church ended up renting out the Encore Theatre in Hollywood from 1969 through 1971.
Within months of the first worship service, Perry began receiving letters and visits from people who wanted to start Metropolitan Community Churches in other cities. MCC groups from eight U.S. cities were represented at the first General Conference in 1970: Los Angeles, San Francisco, San Diego, and Costa Mesa, California; Chicago, Illinois; Phoenix, Arizona; Kanohe, Hawaii; and Dallas, Texas. An MCC group existed in Miami, Florida, but did not send a delegate.
The church had its final move to a building it purchased at 2201 South Union Avenue in Los Angeles in early 1971. The building was consecrated on March 7, 1971. MCC worshiped there until January 27 of 1973, when the building was destroyed by what the Fire Department called a fire “of suspicious origin.”
The MCC has grown since then to have a presence in 37 countries with 222 affiliated churches. The largest presence is found in the United States, followed by Canada. The denomination continues to grow: In 2010, El Mundo reported that the first MCC congregation in Spain would be established in Madrid in October. It would be the first church to recognise and perform religious same-sex marriages in the country, as the Roman Catholic Church (the former state church) refuses to perform same-sex marriage ceremonies or adoptions.”
The Gay Liberation Front (GLF) was the name of a number of gay liberation groups, the first of which was formed in New York City in 1969, immediately after the Stonewall riots, in which police clashed with gay demonstrators.
The American Gay Liberation Front (GLF) advocated for sexual liberation for all people; they believed heterosexuality was a remnant of cultural inhibition and felt that change would not come about unless the current social institutions were dismantled and rebuilt without defined sexual roles. To do this, the GLF was intent on transforming the idea of the nuclear family and making it more akin to a loose affiliation of members without biological subtexts. Prominent members of the GLF also opposed and addressed other social inequalities between the years of 1969 to 1972 such as militarism, racism, and sexism, but because of internal rivalries the GLF officially ended its operations in 1972.
“Because we were all involved with the court case, we really didn’t have much of a parade planned! Well, we got on the phones and started calling everybody. And, my goodness, that Sunday afternoon when we marched – thank God – we had a lot of people marching. We had about 50,000 people on the sidewalks. I had never seen more people with hats and dark shades on in my life. I was surprised that more of them didn’t get in the streets with us, but people were worried. They had jobs. They were concerned about being on television, being photographed. And yet, it was the best feeling in the world.”
“The Boys in the Band is a 1970 American drama film directed by William Friedkin. The screenplay by Mart Crowley is based on his Off Broadway play of the same title. It is among the first major American motion pictures to revolve around gay characters and is often cited as a milestone in the history of queer cinema.
The ensemble cast, all of whom also played the roles in the play’s initial stage run in New York City, includes Kenneth Nelson as Michael, Peter White as Alan, Leonard Frey as Harold, Cliff Gorman as Emory, Frederick Combs as Donald, Laurence Luckinbill as Hank, Keith Prentice as Larry, Robert La Tourneaux as Cowboy, and Reuben Greene as Bernard. Model/actress Maud Adams has a brief cameo appearance as a fashion model in a photo shoot segment in the opening montage of scenes.
The film is set in an Upper East Side apartment in New York City in the late 1960s. Michael, a Roman Catholic sporadically-employed writer, and recovering alcoholic, is preparing to host a birthday party for his friend Harold. Another of his friends, Donald, a self-described underachiever who has moved from the city, arrives and helps Michael prepare. Alan, Michael’s (presumably straight) old college roommate from Georgetown, calls with an urgent need to see Michael. Michael reluctantly agrees and invites him to come over.
One by one, the guests arrive. Emory is a stereotypical flamboyant interior decorator; Hank, a soon-to-be-divorced schoolteacher, and Larry, a fashion photographer, are a couple, albeit one with monogamy issues; and Bernard is an amiable black bookstore clerk. Alan calls again to inform Michael that he won’t be coming after all, and the party continues in a festive manner. But, unexpectedly, Alan has decided to drop by after all, and his arrival throws the gathering into turmoil.
“Cowboy” – a male hustler and Emory’s “gift” to Harold – arrives. As tensions mount, Alan assaults Emory and in the ensuing chaos Harold finally makes his grand appearance. In the midst of the scuffle, Michael impulsively begins drinking again. As the guests become more and more intoxicated, hidden resentments begin to surface, and the party moves indoors from the patio due to a sudden downpour.
Michael, who believes Alan is a closeted homosexual, begins a telephone game in which the objective is for each guest to call the one person whom he truly believes he has loved. With each call, past scars and present anxieties are revealed. Bernard reluctantly attempts to call the son of his mother’s employer, with whom he’d had a sexual encounter as a teenager, while Emory calls a dentist on whom he’d had a crush while in high school; both Bernard and Emory immediately regret having made the phone calls. Hank and Larry attempt to call one-another (via two separate phone lines in Michael’s apartment). Michael’s plan to “out” Alan with the game appears to backfire when Alan calls his wife, not the male college friend Justin Stewart whom Michael had presumed to be Alan’s lover. As the party ends and the guests depart, Michael collapses into Donald’s arms, sobbing. When he pulls himself together, it appears his life will remain very much the same.”
The highly quotable campy gay classic from the last days of the era before the Stonewall Riots. Michael (Kenneth Nelson) throws a birthday party for Harold (Leonard Frey) and invites their crowd of gay friends. In attendance are Donald (Frederick Combs), whose homosexuality has put him into therapy; Emory (Cliff Gorman), a flaming queen; Bernard (Reuben Greene), a black bookstore clerk; Hank (Laurence Luckinbill), a teacher who’s separated from his wife; and Larry (Keith Prentice), his boyfriend, who doesn’t think their relationship should mean that he has to stop sleeping around. Things are complicated by the arrival of Alan (Peter White), Michael’s presumably straight friend from collegee, and Cowboy (Robert La Tourneaux), a prostitute who is Emory’s birthday present for Harold.
Written by Mart Crowley and based on his play of the same name, directed by William Friedkin, who went on to direct The Exorcist. Tragically, several of the cast members are now dead from AIDS. Rated R for a lot of sex talk and a brief bare butt shot.
“Morris Kight (born November 19, 1919 – died January 19, 2003) was an American gay rights pioneer and peace activist. He is considered one of the original founders of the gay and lesbian civil rights movement in the United States…
In 1958, Kight moved to Los Angeles, where he was the founder or co-founder of many gay and lesbian organisations. The first such organisation was the ‘militant’ Committee for Homosexual Freedom or CHF, with Leo Laurence, Gale Whittington, Mother Boats and others, later to be renamed the Gay Liberation Front (GLF) in October 1969, the third GLF in the country (after New York and Berkeley). The name was used to show solidarity with the Vietnamese National Liberation Front. By the next year, there were over 350 GLF organisations around the country. He also co-founded Christopher Street West gay pride parade in Los Angeles in 1970, Aid For AIDS in 1983, and the Gay Community Center in 1971, (now the Los Angeles Gay and Lesbian Center), the Stonewall Democratic Club in 1975, and many others. Kight remarked that creating the Community Center was the achievement of which he was most proud.
Kight brought his experiences in political action into the realm of gay rights. One of the first actions by the LA GLF was against a local eatery called Barney’s Beanery. The restaurant, located in West Hollywood, not only had a sign above bar that said “Fagots [sic] Stay Out”, but also printed up matchbook covers with the same saying. Kight, along with Troy Perry and 100 activists protested outside, sending in protesters occasionally to order coffee and take up space at the tables. The protest was initially successful – the owner eventually handed Kight the sign in front of news cameras. But after the media left the owner replaced the sign, where it remained until West Hollywood’s first lesbian mayor, Valerie Terrigno, took it down when the city council passed an anti-discrimination ordinance. Perry vowed at the initial protest to never set foot in the place again until the owner apologised, which finally happened in 2005…
(The owner John Anthony put up a sign among the old license plates and other ephemera along the wall behind the bar that read “FAGOTS [sic] – STAY OUT”. Though the owner was known to be antagonistic towards gays, going as far as posing (in front of his sign) for a picture in a 1964 Life article on “Homosexuality in America” over a caption where he exclaims “I don’t like ’em…”, the sign was ostensibly put up as a response to pressure from the police who had a tendency towards discriminatory practices against homosexuals and consequently establishments that catered to the group… After the then-mayor, Valerie Terrigno, the entire city council and gay rights activists marched into Barney’s and relieved the wall of the offending sign in December 1984, it was held by Morris Kight for many years and now rests in the ONE National Gay and Lesbian Archives.
In September 2001, he made a video documentary with West Hollywood Public Access host James Fuhrman called “Early Gay and Lesbian History in Los Angeles”, which included his recollections of the Beanery protest and other actions. He had a longtime companion named Roy Zucheran. Three days before his death, he donated his memorabilia and archives to the ONE National Gay and Lesbian Archives in Los Angeles. UCLA also has possession of some of his archives.”
“The International Imperial Court System (IICS) also known as the International Court System is one of the oldest and largest LGBT organisations in the world. The Imperial Court System is a grassroots network of organisations that works to build community relationships for equality and raise monies for charitable causes through the production of annual Gala Coronation Balls that invite an unlimited audience of attendees to be presented at Royal Court in their fanciest attire throughout North America along with numerous other fundraisers each year, all for the benefit of their communities. The Imperial Court System is the second largest LGBT organisation in the world, surpassed only by the Metropolitan Community Church.
The Imperial Court System in the United States was founded in San Francisco, California, in 1965 by José Sarria. Sarria, affectionately known as “Mama José” or similar among Imperial Court members, adopted the surname “Widow Norton” as a reference to Joshua Norton, a much-celebrated citizen of 19th-century San Francisco who had declared himself Emperor of the United States and Protector of Mexico in 1859. Sarria soon became the nexus of a fundraising group with volunteer members bearing titles of nobility bestowed by yearly elected figurehead leaders of Emperor and Empress. In the United States, the first court outside of San Francisco was in Portland, Oregon, which joined with San Francisco in 1971 to start the Court System, followed by Seattle, and then by Vancouver (by the self-proclaimed Empress of Canada, ted northe (who always spelled his name in the lower case), who founded the Canadian Court System in 1971, after being inspired by attending a ball in Portland OR, and thus became the International Court System). These empires operated and formed policies more-or-less independently until an Imperial Court Council led by Sarria was formed to prevent participation by groups that were not strictly and solely involved with charitable fundraising…
Titles
Each court holds an annual “coronation” (or “adornment” in the case of baronies and ducal courts) which is usually the chapter’s largest fundraiser and is attended by both local people and members of other chapters from across North America. The evening culminates with the ceremony in which the new monarch or monarchs are crowned. The method by which monarchs are selected varies from chapter to chapter, ranging from election by vote among the active membership in closed session to election by open vote of the community region in which individuals are residents… held between one week to up to six months before the coronation to election by all in attendance on the night of the ceremony.
The office of monarch is taken very seriously within the court system and requires a large commitment of the holder’s time and money. Accordingly, while the presence of an “imperial couple” is the norm, it is not uncommon for an emperor or empress to reign alone depending on the availability of suitably dedicated and charismatic candidates with the necessary resources to fulfil the requirements of a one-year reign.
In the most frequent case, several weeks after coronation the new monarch or monarchs present their court titles at a fundraiser called investitures. The titles given to members vary from one chapter to another and are primarily left to the discretion of the reigning monarch or monarchs, the fons honorum (fountain of honor) of their chapter. Typical titles awarded are Imperial Crown Prince, Grand Duchess, Marquess, Viscount, etc. Other appellations bestowed resemble offices or professions within a medieval or modern noble court rather than titles of nobility, such as “Court Jester” or “Chancellor of the Realm” and so forth. These titles may be as serious-sounding or as humorously campy as the monarchs wish.”
“It occurs to me that perhaps some (younger) people have heard the phrase “Beautiful Downtown Burbank” applied to Burbank, California, but aren’t aware of how the phrase got started.
It was first used on a television show, “Rowan and Martin’s Laugh-In,” which premiered in 1968 on the NBC television network. NBC is, of course, located in Burbank. Gary Owens served as the announcer for it, and coined the phrase from the beginning, so the phrase dates from 1968. (Short video here.) It soon caught on and put Burbank on the map with television viewers all across the country. It wasn’t long before postcards began to be printed with this phrase.
The joke, of course, is that beauty is in the eye of the beholder. While there are many who insist that Burbank is indeed beautiful, others, like Frank Zappa, have claimed that the San Fernando Valley is the ugliest and most charmless place in the country. Whether that is the case, you may decide.
On June 28, 1970 – a year and a day after the spontaneous protest that took place in New York after the raid on the Stonewall Inn – large-scale parades were held in N.Y., L.A., and Chicago.
“Two side-by-side articles from The Advocate, July 22-August 4, 1970, offer descriptions and photos of the first parades and celebrations following the one-year anniversary of the Stonewall riots. Nancy Tucker wrote of the New York march, “Some two to three thousand homosexuals from cities around the East Coast gathered here on June 28 and marched from Greenwich Village to Central Park to demonstrate for ‘Gay Pride’ and ‘Gay Power.'”
Covering the Los Angeles Pride Parade, an accompanying article states: “The Gay Community of Los Angeles made its contribution to Americana on June 28. Over 1,000 homosexuals and their friends staged, not just a protest march, but a full blown parade down world-famous Hollywood Boulevard.””
The first-ever Gay Pride Parade was held in Los Angeles on June 28, 1970 to commemorate the one-year anniversary of the Stonewall Riots at the Stonewall Inn on Christopher Street in New York City. The CSW parade was started by a number of Los Angeles gay activists, prominent among them Morris Kight, Reverend Troy Perry, and Bob Humphries. Although one of several gay pride parades that took place that day around the United States, this was the only “street closing” gay pride parade held in 1970 – something emulated by the other parades the following year. After several troubled years (no parade was held in 1973), the CSW parade returned in 1974, and originated yet another feature of the modern gay pride movement by adding a festival to its annual event. There was always a tense relationship between CSW, the businesses on Hollywood Boulevard and the Los Angeles Police Department (LAPD), so in 1979 the parade and festival were moved to the more friendly environs of Santa Monica Boulevard, in the soon-to-be-incorporated (1984) City of West Hollywood. CSW is now celebrated every June in West Hollywood, and involves an all-weekend festival. This poster was for the second Christopher Street West Parade held in Los Angeles. No offset printshop was willing to print this poster until organisers contacted Peace Press. A workers’ collective founded by anti-Viet Nam War activists in 1967, Peace Press not only printed this poster, but were also enthusiastic about printing pamphlets about gay rights when arrested, drafted, etc.
Anonymous. “Christopher St. West,” on the Centre for the Study of Political Graphics website [Online] Cited 10/10/2016. No longer available online
Troy Deroy Perry Jr (born July 27, 1940) founded the Metropolitan Community Church, a Christian denomination with a special affirming ministry with the lesbian, gay, bisexual, and transgender communities, in Los Angeles on October 6, 1968.
Founding the Metropolitan Community Church
In 1968, after a suicide attempt following a failed love affair, and witnessing a close friend being arrested by the police at the Black Cat Tavern, a Los Angeles gay bar, Perry felt called to return to his faith and to offer a place for gay people to worship God freely. Perry put an advertisement in The Advocate announcing a worship service designed for gays in Los Angeles. Twelve people turned up on October 6, 1968 for the first service, and “Nine were my friends who came to console me and to laugh, and three came as a result of the ad.” After six weeks of services in his living room, the congregation shifted to a women’s club, an auditorium, a church, and finally to a theatre that could hold 600 within several months. In 1971, their own building was dedicated with over a thousand members in attendance.
Being outspoken has caused several MCC buildings to be targeted for arson, including the original Mother Church in Los Angeles. Perry’s theology has been described as conservative, but social action was a high priority from the beginning of the establishment of the denomination. Perry performed same sex unions as early as 1970 and ordained women as pastors as early as 1972. MCC has over 300 congregations in 18 countries. The 2007 documentary film titled Call Me Troy is the story of his life and legacy, including the founding of MCC and his struggles as a civil rights leader in the gay community
Activism
Perry’s activism has taken many turns, including positions on a number of boards of gay, lesbian, bisexual, and transgender organisations. He held a seat on the Los Angeles County Commission on Human Relations in 1973. Perry worked in political arenas to oppose Anita Bryant in the Save the Children campaign in 1977, that sought to overturn an anti-discrimination ordinance passed by the city of Miami. Unsuccessful in Miami, he also worked to oppose the Briggs Initiative in California that was written to ensure gay and lesbian teachers would be fired or prohibited from working in California public schools. The Briggs Initiative was soundly defeated in 1978, due in large part to grass-roots organising, which Perry participated in. Perry also planned the National March on Washington for Lesbian and Gay Rights in 1979 with Robin Tyler.
In 1978 he was honoured by the American Civil Liberties Union Lesbian and Gay Rights Chapter with its Humanitarian Award. He holds honorary doctorates from Episcopal Divinity School in Boston, Samaritan College (Los Angeles), and La Sierra University in Santa Monica, California for his work in civil rights, and was recently lauded by the Gay Press Association with its Humanitarian Award. Rev. Perry was invited to the White House in 1977 by President Jimmy Carter to discuss gay and lesbian civil rights, and by President Bill Clinton in 1995 for the first White House Conference on HIV/AIDS. In 1997 he was invited to the first White House Conference on Hate Crimes. Perry was also a guest of the President that same year for breakfast in the state dining room in the White House, to be honoured with 90 other clergy for their work in American society.
On Valentine’s Day 2004 he spoke to a crowd of gay newlyweds at the Marriage Equality Rally at the California State Capitol. He retired as Moderator of the MCC in 2005, and the Reverend Elder Nancy Wilson succeeded him at an installation service on 29 October 2005. He remains active in public speaking and writing.
Reverend Bob Humphries founded the United States Mission, a non-sectarian religious organisation, in 1962 to provide social services to homeless residents of downtown Los Angeles. Branches of the Mission were also established in cities in the Southwest and Pacific Northwest. Beginning in the late-1960s the US Mission advocated for gay rights and social services in Southern California.
“Born on April 24, 1934, and raised in Bisbee, Arizona, Robert Humphries, was the kind of person who only comes along once in a 100 years. Finding an overwhelming need among the poor in Los Angeles he and a group of his friends, turned an ideal, into one of the oldest organisations still in existence in the Gay and Lesbian Community. Thus in 1962, the United States Mission was born. The Mission provides shelter, food, clothing, self-help, and transitional housing for those in need, as well as meals and other services to the elderly. His legacy lives on in facilities in Los Angeles, San Francisco, San Diego, San Jose, Sacramento, Salinas, Modesto, Portland, Oregon, Seattle Washington, San Antonio Texas, Houston Texas, Phoenix Arizona, Kansas City Missouri, Omaha Nebraska, Pahoa Hawaii and the Missions Corporate headquarters in Fresno California.
Rev. Humphries was a pioneer in supporting the Gay Liberation Movement, co-founding and participating in the Christopher Street West March, he became a force in the fight for Civil Rights for all. He was often interviewed about his beliefs, and his program of “People Helping People,” he stated, “It’s not our purpose to build ivory towers for ourselves.” He preserved in his beliefs, and found many others who helped make his program become larger and stronger, and become the first organisation of its kind to be officially commended, not only be the mayor of Los Angeles, but the city council, Human Relations Commission and the California State Assembly. He had a remarkable, ability not to judge or give up on any one, and as he leaves behind no blood relatives, he will be mourned and dearly missed by the family, his forty years of ministry created.”
Reverend Bob Humphries died in Fresno, California, on January 30, 2002. He was 67.
TAO (Transvestite/Transsexual Action Organization)
“Aside from the EEF, only one transsexual organization had a national presence in the early 1970s. Angela Douglas was the force behind the group. From the mid-1960s Douglas, still living as a man, had scraped by as an aspiring rock musician and gadabout hippie, frequently high on various drugs. In 1969, shortly after she began to dress publicly as a woman, she joined the Los Angeles Gay Liberation Front, even though she did not consider herself to be gay. (She considered herself transsexual. Both before and after she lived as a woman, she was attracted primarily to women). She traveled around the country and participated actively in gay liberation protests and demonstrations. She split with GLF when she discovered the “anti-transvestic” attitudes of the gay men she encountered and when she found that GLF ignored the transsexuals who wanted to push for a clinic in Los Angeles. “I’d had my fill,” she wrote, “of insults from gays, all demanding I be a man and stop messing as a woman.” As the sexual liberation movement splintered into distinct groups for gay men, lesbians, drag queens, and transsexuals, Douglas started her own militant organisation, TAO, in Los Angeles, first for transvestites and transsexuals and then for transsexuals only.
At its founding in 1970, TAO stood for Transvestite/Transsexual Action Organization, and a year later Transsexual Action Organization. It used the same militant tactics found in gay liberation and other radical social movements. With her countercultural style, Douglas had an outspoken, in-your-face approach to political activism, and under her leadership TAO called for confrontational protests and sets demonstrations. In an early action, Douglas and another transsexual “blocked the entrance” to the theater showing the film Myra Breckinridge to protest the exploitative and ill-informed portrayal of a transsexual and also the used of a non transsexual actor (Raquel Welch) to play the transsexual role. TAO also protested when Los Angeles welfare officials refused to continue aid to men who dressed as women… As part of the more radical “second wave,” it spoke out against sexism and worked with women’s liberation groups and also maintained contact with the Gay Liberation Front. “As I progress as a transsexual,” Douglas wrote to Harry Benjamin, “I find myself more attune[d] to Women’s Liberation, in particular, the demands and ideas of gay women.” In a letter to Playboy magazine, published in 1970, Douglas explained that TAO supported “both gay liberation and women’s liberation: we believe that all victims of prejudice and discrimination must work together to change this society.”
Joanne Meyerowitz. How Sex Changed: A History of Transsexuality in the United States. Cambridge, Mass., and London: Harvard University Press, 2002, pp. 237-238.
Just look. Really look. And then think about that looking.
Minute, democratic observations produce images which nestle, and take hold, and grow in the imagination.
No words are necessary. This is a looking that comes from the soul.
Dr Marcus Bunyan
Many thankx to the National Portrait Gallery, London for allowing me to publish the photographs in the posting. Please click on the photographs for a larger version of the image.
“A lot of these pictures I take are of very ordinary, unremarkable things. Can one learn to see? I don’t know. I think probably one is born with the ability to compose an image, in the way one is born with the ability to compose music. It is vastly more important to think about the looking, though, rather than to try to talk about a picture and what it means. The graphic image and words, well, they are two very different animals.”
William Eggleston
“Eggleston is someone who has always tried to maintain emotional detachment in his work, photographing landscapes and inanimate objects with the same attention he would apply to people. He does not believe a photograph is a ‘window on the soul’ as we so often have it, nor does he think a viewer can ever truly understand a photographer’s thoughts and feelings from the pictures they make. Instead, he photographs ‘democratically’, which is to say, he gives even the smallest observations equal weight. His usual method is to capture people going about their business unawares, often performing ordinary tasks like eating in a restaurant or pumping petrol at a filling station. He photographs everyone the same, whether they are a celebrity, a member of his family, or a stranger.”
Curator Phillip Prodger
William Eggleston is a pioneering American photographer renowned for his vivid, poetic and mysterious images. This exhibition of 100 works surveys Eggleston’s full career from the 1960s to the present day and is the most comprehensive display of his portrait photography ever. Eggleston is celebrated for his experimental use of colour and his solo show at the Museum of Modern Art, New York, in 1976 is considered a pivotal moment in the recognition of colour photography as a contemporary art form. Highlights of the exhibition will include monumental prints of two legendary photographs first seen forty years ago: the artist’s uncle Adyn Schuyler Senior with his assistant Jasper Staples in Cassidy Bayou, Mississippi, and Devoe Money in Jackson, Mississippi.
Also on display will be a selection of never-before seen vintage black and white prints from the 1960s. Featuring people in diners, petrol stations and markets in and around the artist’s home in Memphis, Tennessee, they help illustrate Eggleston’s unique view of the world.
For Eggleston this photo is highly personal. Jasper Staples, the figure on the right, had been around him for his whole life as his family’s “house man”. Here he is next to his employer, Eggleston’s uncle, at a funeral. His exact mimicking of his boss’s posture and their shared focus on an event happening off-camera gives them a moment of unity. Yet the composition of the shot, with their balance and the open car door suggesting some ongoing action, is highly theatrical and might even put us in mind of a TV detective show.
Fred Maynard. “William Eggleston, the reluctant portraitist,” on the 1843 Magazine / The Economist website July 26th, 2016 [Online] Cited 01/10/2016. No longer available online
One of Eggleston’s most famous images, this pictures shows why he is known as the man who brought colour photography into the artistic mainstream. The subject, Marcia Hare, floats on a cloud-like bed of soft-focus grass, the red buttons on her dress popping out like confectionary on a cake. The dye-transfer technique which Eggleston borrowed from commercial advertising and turned into his trademark gives such richness to the colour that we are brought out of the Seventies and into the realm of Pre-Raphaelite painting. The ghost of Millais’s “Ophelia” sits just out of reach, a connection which the inscrutable artist is happy, as ever, to neither confirm nor deny.
Fred Maynard. “William Eggleston, the reluctant portraitist,” on the 1843 Magazine / The Economist website July 26th, 2016 [Online] Cited 01/10/2016. No longer available online
“This is Devoe, a distant relative of mine (although I can’t remember exactly how), but also a friend. She is dead now, but we were very close. She was a very sweet and charming lady. I took this picture in the yard at the side of her house. I would often visit her there in Jackson. I remember I found the colour of her dress and the chair very exciting, and everything worked out instantly. I think this is the only picture I ever took of her, but I would say it sums her up. I didn’t pose her at all – I never do, usually because it all happens so quickly, but I don’t think I would have moved her in any way. I’m still very pleased with the photograph.”
“These two are strangers. I happened to be walking past and there it was, the picture. As usual I took it very rapidly and we didn’t speak. I think I was fortunate to catch that expression on the woman’s face. A lot of these pictures I take are of very ordinary, unremarkable things. Can one learn to see? I don’t know. I think probably one is born with the ability to compose an image, in the way one is born with the ability to compose music. It is vastly more important to think about the looking, though, rather than to try to talk about a picture and what it means. The graphic image and words, well, they are two very different animals.”
A previously unseen image of The Clash frontman Joe Strummer and a never-before exhibited portrait of the actor and photographer Dennis Hopper will be displayed for the first time in the National Portrait Gallery this summer. They will be included in the first museum exhibition devoted to the portraits of pioneering American photographer, William Eggleston it was announced today, Thursday 10 March 2016.
William Eggleston Portraits(21 July to 23 October) will bring together over 100 works by the American photographer, renowned for his vivid, poetic and mysterious images of people in diners, petrol stations, phone booths and supermarkets. Widely credited with increasing recognition for colour photography, following his own experimental use of dye-transfer technique, Eggleston will be celebrated by a retrospective of his full career, including a selection of never-before seen vintage black and white photographs from the 1960s taken in and around the artist’s home in Memphis, Tennessee.
The first major exhibition of Eggleston’s photographs in London since 2002 and the most comprehensive of his portraits, William Eggleston Portraits will feature family, friends, musicians and actors including rarely seen images of Eggleston’s own close relations. It will provide a unique window on the artist’s home life, allowing visitors to see how public and private portraiture came together in Eggleston’s work. It will also reveal, for the first time, the identities of many sitters who have until now remained anonymous. Other highlights include monumental, five foot wide prints of the legendary photographs of the artist’s uncle, Adyn Schuyler Senior, with his assistant Jasper Staples in Cassidy Bayou, Mississippi and Devoe Money in Jackson, Mississippi from the landmark book Eggleston’s Guide (1976).
Since first picking up a camera in 1957, Eggleston’s images have captured the ordinary world around him and his work is said to find ‘beauty in the everyday’. His portrayal of the people he encountered in towns across the American South, and in Memphis in particular, is shown in the context of semi-public spaces. Between 1960 and 1965, Eggleston worked exclusively in black and white and people were Eggleston’s primary subject, caught unawares while going about ordinary tasks. In the 1970s, Eggleston increasingly frequented the Memphis night club scene, developing friendships and getting to know musicians and artists. His fascination with club culture resulted in the experimental video ‘Stranded in Canton’, a selection of which will also be on view at the exhibition. ‘Stranded in Canton’ chronicles visits to bars in Memphis, Mississippi and New Orleans.
Eggleston’s 1976 show at the Museum of Modern Art, New York, is considered a pivotal moment in the recognition of colour photography as a contemporary art form. His work has inspired many present day photographers, artists and filmmakers, including Martin Parr, Sofia Coppola, David Lynch and Juergen Teller.
Dr Nicholas Cullinan, Director of the National Portrait Gallery, London, says: “William Eggleston makes memorable photographic portraits of individuals – including friends and family, musicians and artists – that are utterly unique and highly influential. More than this, Eggleston has an uncanny ability to find something extraordinary in the seemingly everyday. Combining well-known works with others previously unseen, this exhibition looks at one of photography’s most compelling practitioners from a new perspective.”
Curator Phillip Prodger, Head of Photographs at the National Portrait Gallery says, “Few photographers alive today have had such a profound influence on the way photographs are made and seen as William Eggleston. His pictures are as fresh and exciting as they were when they first grabbed the public’s attention in the 1970s. There is nothing quite like the colour in an Eggleston photograph – radiant in their beauty, that get deep under the skin and linger in the imagination.
Press release from the National Portrait Gallery, London
William Eggleston: Democratic Camera, Photographs and Video, 1961-2008
This candid interview with photographer William Eggleston was conducted by film director Michael Almereyda on the occasion of the opening of Eggleston’s retrospective William Eggleston: Democratic Camera, Photographs and Video, 1961-2008 at the Whitney Museum of American Art. A key figure in American photography, Eggleston is credited with helping to usher in the era of colour photography. Eggleston discusses his shift from black and white to colour photography in this video as, “it never was a conscious thing. I had wanted to see a lot of things in colour because the world is in colour”. Also included in this video are Eggleston’s remarks about his personal relationships with the subjects of many of his photographs.
Text from the YouTube website
According to Eggleston talking on the above video, this was his first successful colour negative.
The photo that made Eggleston’s name, this image of a grocery-store boy lining up shopping carts is a prime example of his ability to capture the humdrum reality of life in mid-century America. Yet it is also something more: the delicacy of his motion, the tension in his posture, the concentration on his brow evoke a master craftsman at work. Despite Eggleston’s presence, he seems entirely unselfconscious: caught in perfect profile and sun-dappled like a prime specimen of American youth. Eggleston, hovering between documentarian and sentimentalist, creates a semi-ironic paean to America.
Fred Maynard. “William Eggleston, the reluctant portraitist,” on the 1843 Magazine / The Economist website July 26th, 2016 [Online] Cited 01/10/2016. No longer available online
“I took this picture in front of the music school of the university in Memphis. She was waiting on an automobile to come pick her up. I remember she was studying the sheaves of music on her lap. Not one word was exchanged – I was gone before she had the chance to say anything to me and it happened so fast that she wasn’t even sure I had taken a picture. I didn’t make a point of carrying a camera, but I usually had one with me.”
The closest Eggleston came to taking traditional portraits was in a series he shot in bars in his native Memphis and the Mississippi Delta in 1973-4. The sitters in his Nightclub Portraits – anonymous figures plucked, slightly flushed, from their nights out – are not posing but instead are photographed mid-conversation, Eggleston capturing them at their most unguarded. What is remarkable about this example is the strange composure of the subject, the slightly ethereal sheen as the flash from the camera is reflected by her make-up. Eggleston’s precise focus picks out the individual threads of her cardigan. Something hyper-real and statuesque emerges from an ordinary night out.
Fred Maynard. “William Eggleston, the reluctant portraitist,” on the 1843 Magazine / The Economist website July 26th, 2016 [Online] Cited 01/10/2016. No longer available online
“I don’t know who this woman is, I simply saw her on the street. I never know what I am looking for until I see it. The images just seem to happen, wherever I happen to be. Was I attracted by the movement? I think I was attracted to the bright orange of her dress. She wasn’t raising her hand as a result of anything I did, but I think I must have been aware of the repeat made by her shadow in the frame – subconsciously at least – it needed to be in the picture.”
“Refusing to be pinned down to any viewpoint or agenda, Eggleston’s greatest strength is his almost enraging ambiguity. He is neither a sentimentalist nor a documentarian, neither subjective nor objective: he somehow captures that ephemeral moment we experience when we’re not quite sure why a memory sticks with us, why an otherwise mundane glance from a stranger seems to take on a greater significance.
His refusal to think of himself as a portraitist is what gives this exhibition such wry power. Here is a photographer who makes no distinctions, viewing every subject from cousins to coke cans with the same inscrutable gaze. When approached about the idea of a portrait show, the NPG’s Philip Prodger recalls, Eggleston expressed surprise because he didn’t “do” portraits. Prodger reframed the exhibition as a series of photos that just happened to have people in them. “That makes sense”, Eggleston deadpanned.
The unvarnished Americana for which he is so famous – brash logos and a hint of rust – can contain something uneasy, even threatening, precisely because Eggleston maintains a blithe poker-face about his feelings on his subjects. Walking through this exhibition is to meet more placards marked “Untitled” than you can handle. The names of previously anonymous sitters, revealed specially for this exhibition, are hardly likely to make things much more concrete for the viewer. Rather we are let in on an extraordinary experience, moving between the mysterious faces of a transitional moment in American history, not quite sure whether some greater revelation is bubbling under the surface.”
Extract from Fred Maynard. “William Eggleston, the reluctant portraitist,” on the 1843 Magazine / The Economist website July 26th, 2016 [Online] Cited 01/10/2016. No longer available online
Curators: Darcy Grimaldo Grigsby, Richard and Rhoda Goldman Distinguished Professor in the Arts and Humanities at UC Berkeley
Alexander Gardner (American born Scotland, 1821-1882) A group of Contrabands at Haxall’s Mill, Richmond, Virginia, on June 9, 1865 (detail) 1865 Stereo view
‘I Sell the Shadow to Support the Substance’
Former New York slave Sojourner Truth (which literally means “itinerant preacher”) strategically deployed photography as a form of political activism. This deployment is part of a long tradition of photography being used in the African American struggle for political change, from before the Civil War to the Civil Rights Movement.
Standing six feet tall and speaking with a thick Dutch accent (due to her having been born of slave parents owned by a wealthy Dutch patroon in Ulster County, New York) Sojourner Truth (c. 1797-1883), the name she adopted on June 1, 1843, devoted her life to women’s rights and the abolition of slavery. Driven by a deep religious conviction she was a evangelist, feminist and abolitionist who possessed enormous charisma – “Harriet Beecher Stowe attested to Truth’s personal magnetism, saying that she had never “been conversant with anyone who had more of that silent and subtle power which we call personal presence than this woman.” “During the Reconstruction period (1865-1877) after the American Civil War, “Truth barely supported herself by selling a narrative of her life as well as her “shadows,” photographs of herself.” (Sojourner Truth, Black History)
What is interesting, as author Nell Irvin Painter observes in the accompanying video in this posting, is how Truth controlled the dissemination of her own image – her shadow – as a means of self promotion. As the press release states, “Truth could not read or write, but she had her statements repeatedly published in the press, enthusiastically embraced new technologies such as photography, and went to court three times to claim her legal rights. Uniquely among portrait sitters, she had her photographic cartes de visite copyrighted in her own name and added the caption ‘I Sell the Shadow to Support the Substance’. Sojourner Truth, foregrounding her self-selected proper name, her agency, and her possession of self.” As the exhibition brochure observes, “Sojourner Truth’s very terms, “substance” and “shadow,” were economic as well as photographic metaphors in the fierce debates about money: shadow was aligned with the abolition of slavery, substance with proslavery and anti-black sentiment. Sojourner Truth knew this opposition very well.” Her speech, authorship, and recourse to law coexist with her image.
Her possession of self is intimately tied to the photographic depiction of her bodily form. She sells the photograph to support the body and, as her agency, the images become a form of self-actualisation. In this sense the image that she controls becomes her holistic body, for she never displays her injured hand or the scars on her back that she were inflicted on her during slavery. These photographs are how she would like to see herself, how she portrays and promotes herself to others and for this reason they are amazing documents to study. What a human being, to have that perspicacious nature – from Latin perspicax, perspicac- ‘seeing clearly’ – to clearly see her place in the world and to clearly understand how to project her image into the world using new technologies such as photography. For someone who could not read or write this clear seeing in the use of photography at such an early time in the history of photography is almost incomparable.
Dr Marcus Bunyan
Many thankx to the Berkeley Art Museum and Pacific Film Archive for allowing me to publish the photographs in the posting. Please click on the photographs for a larger version of the image.
Truth is powerful and it prevails.
I am not going to die, I’m going home like a shooting star.
Religion without humanity is very poor human stuff.
If women want any rights more than they’s got, why don’t they just take them, and not be talking about it.
It is the mind that makes the body.
Sojourner Truth
Cicely Tyson performs Sojourner Truth’s “Ain’t I a Woman?”, originally delivered extemporaneously in 1851 at the Ohio Women’s Rights Convention.
Unknown photographer (American) Carte de visite of Sojourner Truth with a photograph of her grandson, James Caldwell, on her lap 1863 Albumen print mounted on cardboard 4 x 2 1/2 in. UC Berkeley Art Museum and Pacific Film Archive, gift of Darcy Grimaldo Grigsby
On July 4, 1863, in the National Anti-Slavery Standard, Truth announced her grandson’s enlistment in the famous 54th Massachusetts Regiment, the first all-black volunteer infantry. “Her faith is strong that God’s hand is in this war, and that it will end in the destruction of slavery, which day she hopes to live to see. The enlisting of the coloured people she considers the most hopeful feature of the war.”
Truth was very proud of her grandson James Caldwell, whom she described as “a tall, able-bodied lad” determined to redeem white people from God’s curse and to save the nation. Truth also expressed her frustration that she herself could not lead “the coloured troops”; instead she “can only send you her shadow.” Even at this early date, Sojourner Truth conceived of her “shadows” as the means to raise money. The article ends: “We are sure that many of our readers will thank us for informing them that Sojourner will send her photograph by mail to any one who will write her enclosing 50 cents and a 3-cent stamp. Letters to be directed to Battle Creek, Michigan.”
Sojourner Truth believed in paper and words: the paper currency created by the Federal government to support the war; the newspapers in which she had her letters published; the cartes de visite that she sold to support herself, labeled and copyrighted; the stamps that could send her paper photographs across the country to supporters; the tax stamps that the government required again to raise funds on behalf of the Union cause.
Text from the exhibition brochure
Sojourner Truth Quotes, Speech, Biography, Education, Facts, History
Sojourner Truth (/soʊˈdʒɜːrnər ˈtruːθ/; born Isabella (“Bell”) Baumfree; c. 1797 – November 26, 1883) was an African-American abolitionist and women’s rights activist. Truth was born into slavery in Swartekill, Ulster County, New York, but escaped with her infant daughter to freedom in 1826. After going to court to recover her son, in 1828 she became the first black woman to win such a case against a white man.
She gave herself the name Sojourner Truth in 1843. Her best-known speech was delivered extemporaneously, in 1851, at the Ohio Women’s Rights Convention in Akron, Ohio. The speech became widely known during the Civil War by the title “Ain’t I a Woman?,” a variation of the original speech re-written by someone else using a stereotypical Southern dialect; whereas Sojourner Truth was from New York and grew up speaking Dutch as her first language. During the Civil War, Truth helped recruit black troops for the Union Army; after the war, she tried unsuccessfully to secure land grants from the federal government for former slaves.
In 2014, Truth was included in Smithsonian magazine’s list of the “100 Most Significant Americans of All Time”.
Text from the YouTube website
Synopsis
Born in New York circa 1797, Sojourner Truth was the self-given name, from 1843 onward, of Isabella Baumfree, an African-American abolitionist and women’s rights activist. Truth was born into slavery in Swartekill, New York, but escaped with her infant daughter to freedom in 1826. Her best-known speech on racial inequalities, “Ain’t I a Woman?” was delivered extemporaneously in 1851 at the Ohio Women’s Rights Convention.
Born into slavery
Born Isabella Baumfree circa 1797, Sojourner Truth was one of as many as 12 children born to James and Elizabeth Baumfree in the town of Swartekill, in Ulster County, New York. Truth’s date of birth was not recorded, as was typical of children born into slavery, but historians estimate that she was likely born around 1797. Her father, James Baumfree, was a slave captured in modern-day Ghana; Elizabeth Baumfree, also known as Mau-Mau Bet, was the daughter of slaves from Guinea. The Baumfree family was owned by Colonel Hardenbergh, and lived at the colonel’s estate in Esopus, New York, 95 miles north of New York City. The area had once been under Dutch control, and both the Baumfrees and the Hardenbaughs spoke Dutch in their daily lives.
After the colonel’s death, ownership of the Baumfrees passed to his son, Charles. The Baumfrees were separated after the death of Charles Hardenbergh in 1806. The 9-year-old Truth, known as “Belle” at the time, was sold at an auction with a flock of sheep for $100. Her new owner was a man named John Neely, whom Truth remembered as harsh and violent. She would be sold twice more over the following two years, finally coming to reside on the property of John Dumont at West Park, New York. It was during these years that Truth learned to speak English for the first time…
Fighting for abolition and women’s rights
On June 1, 1843, Isabella Baumfree changed her name to Sojourner Truth, devoting her life to Methodism and the abolition of slavery. In 1844, she joined the Northampton Association of Education and Industry in Northampton, Massachusetts. Founded by abolitionists, the organisation supported a broad reform agenda including women’s rights and pacifism. Members lived together on 500 acres as a self-sufficient community. Truth met a number of leading abolitionists at Northampton, including William Lloyd Garrison, Frederick Douglass and David Ruggles.
Although the Northampton community disbanded in 1846, Sojourner Truth’s career as an activist and reformer was just beginning…
Advocacy during the Civil War
Sojourner Truth put her reputation to work during the Civil War, helping to recruit black troops for the Union Army. She encouraged her grandson, James Caldwell, to enlist in the 54th Massachusetts Regiment. In 1864, Truth was called to Washington, D.C., to contribute to the National Freedman’s Relief Association. On at least one occasion, Truth met and spoke with President Abraham Lincoln about her beliefs and her experience.
True to her broad reform ideals, Truth continued to agitate for change even after Lincoln’s Emancipation Proclamation. In 1865, Truth attempted to force the desegregation of streetcars in Washington by riding in cars designated for whites. A major project of her later life was the movement to secure land grants from the federal government for former slaves. She argued that ownership of private property, and particularly land, would give African Americans self-sufficiency and free them from a kind of indentured servitude to wealthy landowners. Although Truth pursued this goal forcefully for many years, she was unable to sway Congress.
Death and legacy
Sojourner Truth died at her home in Battle Creek, Michigan, on November 26, 1883. She is buried alongside her family at Battle Creek’s Oak Hill Cemetery. Until old age intervened, Truth continued to speak passionately on the subjects of women’s rights, universal suffrage and prison reform. She was also an outspoken opponent of capital punishment, testifying before the Michigan state legislature against the practice. She also championed prison reform in Michigan and across the country. While always controversial, Truth was embraced by a community of reformers including Amy Post, Wendell Phillips, William Lloyd Garrison, Lucretia Mott and Susan B. Anthony – friends with whom she collaborated until the end of her life.
Truth is remembered as one of the foremost leaders of the abolition movement and an early advocate of women’s rights. Although she began her career as an abolitionist, the reform causes she sponsored were broad and varied, including prison reform, property rights and universal suffrage. Abolition was one of the few causes that Truth was able to see realized in her lifetime. Her fear that abolitionism would falter before achieving equality for women proved prophetic.
Text from “Sojourner Truth Biography: Civil Rights Activist, Women’s Rights Activist (c. 1797-1883),” on Biography.com website [Online] Cited 28/09/2016. No longer available online
Unknown photographer (American) Captioned carte de visite of Sojourner Truth (front) 1864 Albumen print mounted on cardboard 4 x 2 1/2 in. UC Berkeley Art Museum and Pacific Film Archive, gift of Darcy Grimaldo Grigsby
In 1864 Truth began to inscribe her cartes de visite with a caption, her name, and a copyright: “I Sell the Shadow to Support the Substance. SOJOURNER TRUTH.” Truth’s use of the first-person present tense “I sell” declares her ownership of her image: to sell it, she must own it. Most significantly, by using this caption Sojourner Truth knowingly aligned her photographs with paper money.
Sojourner Truth’s very terms, “substance” and “shadow,” were economic as well as photographic metaphors in the fierce debates about money: shadow was aligned with the abolition of slavery, substance with proslavery and anti-black sentiment. Sojourner Truth knew this opposition very well. She was making cheap paper notes, printed and reproduced in multiples, featuring her portrait. She had invented her own kind of paper currency, and for the same reasons as the government: in order to produce wealth dependent on a consensus that representation produces material results, to make money where there was none, and to do so partly in order to abolish slavery.
During the Civil War, a ferocious debate raged about whether paper could represent value like coin. Paper greenbacks – the first federally issued banknotes in American history – were attacked by those who believed that money was not a representation but a “substance.” Hard money advocates (naively) believed that gold was value, not its representation… Like paper bills, cartes de visite functioned during these years as currency and as clandestine political tokens.
The photographs of Sojourner Truth register only her appearance, not her commanding presence. They are shadows, and some are more elusive and mute than others. Yet the printed words – name, caption, and copyright – remain forthright: her speech, authorship, and recourse to law coexist with her image. Those printed words force us to acknowledge the illiterate woman’s authorship, as well as her eloquence, her agency, and her legal claim to property, even as we value these humble objects. [The image above and verso below] is one of two known cartes de visite of Sojourner Truth that bear not only the caption, name, and copyright, but also a tax stamp that dates the photograph to 1864. Tax stamps were created to raise money for the Union cause, although they were attached to only a very small percentage of purchased photographs.
In all her seated portraits, Truth carefully chose the items she held in her lap: initially, the photograph of her heroic missing grandson and thereafter, her knitting. We must take her choices seriously. During the Civil War knitting acquired new patriotic connotations. No longer merely a feminine domestic art, knitting had become a public duty; newspapers published pleas for sewing and knitting societies to devote themselves to serving the cause.
During the Civil War, Truth was determined to teach her skills to the emancipated slaves, often Southern field hands, living in Freedmen’s Villages. A Union officer reported that Truth would say, “Be clean, be clean, for cleanliness is a part of godliness.” He paraphrased Truth’s beliefs: “[T]hey must learn to be independent – learn industry and economy – and above all strive to show people that they could be something. She urged them to embrace for their children all opportunities of education and advancement. In fact, she talked to them as a white person could not, for they would have been offended with such plain truths from any other source […] She goes into their cabins with her knitting in her hand, and while she talks with them she knits. Few of them know how to knit, and but few know how to make a loaf of bread, or anything of the kind. She wants to teach the old people how to knit, for they have no employment, and they will be much happier if usefully employed.”
Truth associated knitting with industry and advancement, not gentility. With real savvy, she informally introduced the craft to freed slaves by demonstrating the skill, not just telling her audience to learn it. The many cartes de visite that feature her knitting sustain this demonstration.
Text from the exhibition brochure
Unknown photographer (American) Captioned carte de visite of Sojourner Truth (back) 1864 Albumen print mounted on cardboard 4 x 2 1/2 in. UC Berkeley Art Museum and Pacific Film Archive, gift of Darcy Grimaldo Grigsby
Unknown photographer (American) Captioned carte de visite of Sojourner Truth c. 1864-65 Albumen print mounted on cardboard 4 x 2 1/2 in. UC Berkeley Art Museum and Pacific Film Archive, gift of Darcy Grimaldo Grigsby
The University of California, Berkeley Art Museum and Pacific Film Archive (BAMPFA) presents , on view July 27 through October 23, 2016. The exhibition features a large selection of photographic cartes de visite of the famed former slave, as well as other Civil War era photographs and Federal currency, none of which have been exhibited before.
The exhibition is organised by Darcy Grimaldo Grigsby, Richard and Rhoda Goldman Distinguished Professor in the Arts and Humanities at UC Berkeley and author of “Enduring Truths. Sojourner’s Shadows and Substance” (University of Chicago Press, 2015), the first book to explore how Truth used her image, the press, the postal service, and copyright laws to support her activism and herself. Many of the photographs included in the exhibition were a recent gift from Professor Grigsby to BAMPFA.
Runaway slave Sojourner Truth gained renown in the nineteenth century as an abolitionist, feminist, and orator. This exhibition showcases the photographic carte de visite portraits of Truth that she sold at lectures and by mail as a way of making a living. First invented by French photographer André-Adolphe-Eugène Disdéri in 1854, cartes de visite are similar in size to the calling cards that preceded them, approximately two-and one-half by four inches, and consist of albumen photographs made from glass negatives glued onto cardboard mounts. By the end of the 1850s, the craze for the relatively inexpensive cartes de visite had reached the United States. Americans who could never have afforded a portrait could now have their likeness memorialised. Combined with the emergence of the new US postal system, these cards appealed to a vast nation of dispersed peoples.
Truth could not read or write, but she had her statements repeatedly published in the press, enthusiastically embraced new technologies such as photography, and went to court three times to claim her legal rights. Uniquely among portrait sitters, she had her photographic cartes de visite copyrighted in her own name and added the caption ‘I Sell the Shadow to Support the Substance’. Sojourner Truth, foregrounding her self-selected proper name, her agency, and her possession of self.
This exhibition places Truth’s cartes de visite in context by reconstructing the flood of paper federal banknotes, photographs, letters, autographs, stamps, prints, and newspapers that created political communities across the immense distances of the nation during the Civil War. Like the federal government that resorted to the printing of paper currency to finance the war against slavery, Truth was improvising new ways of turning paper into value in order to finance her activism as an abolitionist and advocate of women’s rights.
Sojourner Truth, Photography, and the Fight Against Slavery is organised by Darcy Grimaldo Grigsby, Richard and Rhoda Goldman Distinguished Professor in the Arts and Humanities at UC Berkeley, with the assistance of UC Berkeley undergraduate Ryan Serpa. The photographs included in the exhibition were a recent gift from Professor Grigsby to BAMPFA.
Press release from the Berkeley Art Museum and Pacific Film Archive
W. Arren (American, photographer/publisher?) Carte de visite of Frederick Douglass c. 1879 Albumen print mounted on cardboard 4 x 2 1/2 in. Courtesy Darcy Grimaldo Grigsby
Frederick Douglass (American, c. 1818 – 1895)
Frederick Douglass (born Frederick Augustus Washington Bailey, c. February 1818 – February 20, 1895) was an African-American social reformer, abolitionist, orator, writer, and statesman. After escaping from slavery in Maryland, he became a national leader of the abolitionist movement from Massachusetts and New York, gaining note for his dazzling oratoryand incisive antislavery writings. In his time he was described by abolitionists as a living counter-example to slaveholders’ arguments that slaves lacked the intellectual capacity to function as independent American citizens.Northerners at the time found it hard to believe that such a great orator had once been a slave.
Douglass wrote several autobiographies. He described his experiences as a slave in his 1845 autobiography, Narrative of the Life of Frederick Douglass, an American Slave, which became a bestseller, and was influential in promoting the cause of abolition, as was his second book, My Bondage and My Freedom (1855). After the Civil War, Douglass remained an active campaigner against slavery and wrote his last autobiography, Life and Times of Frederick Douglass. First published in 1881 and revised in 1892, three years before his death, it covered events during and after the Civil War. Douglass also actively supported women’s suffrage, and held several public offices. Without his approval, Douglass became the first African American nominated for Vice President of the United States as the running mate and Vice Presidential nominee of Victoria Woodhull, on the Equal Rights Party ticket.
Douglass was a firm believer in the equality of all peoples, whether black, female, Native American, or recent immigrant. He was also a believer in dialogue and in making alliances across racial and ideological divides, and in the liberal values of the American Constitution. When radical abolitionists under the motto “No Union With Slaveholders”, criticised Douglass’ willingness to dialogue with slave owners, he famously replied: “I would unite with anybody to do right and with nobody to do wrong.”
Frederick Douglass was also a runaway slave and eloquent abolitionist. Douglass and Truth both believed in the liberatory power of modernisation and both were confident that the new medium of photography would contribute to their society’s redefinition of the status of black men and women. Of all modern inventions, photography, Douglass argued, would have the most far-reaching impact. He devoted two public lectures to photography, in 1861 and 1865, arguing that self-possession requires recognition from others. Douglass had 160 portraits made between 1841 and 1895. Like most sitters and unlike Truth, Douglass allowed the photographer’s name to be printed at the bottom of this carte de visite instead of his own.
Text from the exhibition brochure
Unknown photographer (American) Carte de visite of John Sharper c. 1863 Albumen print mounted on cardboard 4 x 2 1/2 in. UC Berkeley Art Museum and Pacific Film Archive, gift of Darcy Grimaldo Grigsby
John N. Sharper, a printer by trade, enlisted in the 14th Rhode Island Heavy Artillery Regiment (Colored) at Providence, Rhode Island on October 30, 1863. He was listed as being 5-foot8, of “dark complexion,” with black hair and black eyes. He was born in New York State about 1841. He signed his own enlistment papers. The 14th Rhode Island was later re-designated the 11th U.S. Colored Artillery.
Sharper was born at Herkimer, New York (west of Albany) on May 24, 1841. In 1860, at age 18, he was still living in Herkimer with his parents, Samuel and Jane, and working as a printer’s apprentice. Sharper’s unit was assigned to the Department of the Gulf, where its elements were stationed in New Orleans, Port Hudson, Brashear City (now Morgan City), Louisiana and Fort Esperanza on Matagorda Island, Texas. In the winter of 1864-65 Sharper was detached from his unit to work at post headquarters as a printer. Sharper was discharged for disability at New Orleans on September 11, 1865 for phthisis pulmonalis, another term for consumption or tuberculosis. He died on April 5, 1866, and is buried at Oak Hill Cemetery in Herkimer.
His parents, Samuel and Jane, applied for a pension on as dependents of his. There is a page on Ancestry that shows Sharper married to an Esther Thomas (c. 1846 to c. 1929), but cites no documentation.
AndyHall. “Private John N. Sharper, 11th U.S. Colored Artillery,” on the Civil War Talk website May 31, 2014 [Online] Cited 01/10/2016
The Bureau of United States Colored Troops was established as a separate office within the War Department on May 22, 1863. Maj. Charles W. Foster was appointed the bureau chief, with the title assistant adjutant general. African-descent regiments organised before the new bureau was established were not the first regiments mustered into the Bureau of United States Colored Troops. Most would retain their state designation until 1864, when they would be designated United States Colored Troops. In June 1863, the first regiment was officially mustered into the Bureau of United States Colored Troops. Organised in Washington, D.C., the regiment was designated the 1st United States Colored Infantry.
Text from the Civil War Trust website
According to government archives, by the end of the Civil War some 179,000 black men had served in the US Army (constituting 10% of the Union Army) and 19,000 had served in the US Navy. 40,000 died during the war, often from infection and disease. When Sojourner Truth made the photograph in which she displays a framed portrait of her grandson, who had just joined the first all-black regiment, she offered an alternative to images, such as Nast’s, that mocked and emasculated the black men and boys who fought to end slavery. Photographic portraits made counter arguments, showing us alert and serious black men, even boys, who were determined to fix their likenesses as soldiers willing to lose their lives to win the war against slavery.
Portraits can socially elevate but painted portraits were not affordable for the majority of Americans. Nineteenth-century photography, especially cartes de visite and tintypes, brought portraiture within the reach of many more people. African Americans seized the opportunity to have their “likeness” made. Tintypes also made it possible to adorn sitters with precious gold jewellery applied as strokes of paint. Glistening paint ornamented sitters with sparkling accessories – gold rings, necklaces, buttons, military belt buckles – and fancy ornamental enclosures framed persons as worthy.
Text from the exhibition brochure
Unknown photographer (American) Carte de visite of amputee on chair late-19th century Albumen print mounted on cardboard 4 x 2 1/2 in. UC Berkeley Art Museum and Pacific Film Archive, gift of Darcy Grimaldo Grigsby
J. W. Black (American, photographer) Captioned carte de visite of Fannie Virginia Casseopia Lawrence 1863
Several extensive series of cartes de visite were made of rescued slave children, especially those who appeared to be white like this child, Fannie Virginia Casseopia Lawrence.
In the cartes de visite of the “redeemed slave child” Fannie Virginia Casseopia Lawrence, captions make claims to possession of the child and her portrait, claims problematically resembling slavery. If Sojourner Truth boldly filed a copyright in her own name, the 1863 copyright on these photographs is in the name of the child’s “redeemer,” Catherine S. Lawrence, who gave the fair-skinned little girl her surname (and also had her baptised by Harriet Beecher Stowe’s brother, Henry Ward Beecher). Catherine Lawrence had Fannie photographed at least a dozen times in a wide range of costumes and settings. Although most cartes show her lavishly dressed, one unusual example shows the little girl barefoot, as if in transition from her status as poor slave to affluent and “passing” adoptee. Like the word “redeem” itself, this carte de visite combines Christian, economic, and legal claims. Its extremely unusual copyright betrays the financial transaction that redefined the “redeemed” slave child as adoptee.
Text from the exhibition brochure
Unknown photographer (American) Captioned carte de visite of Frank, Frederick, and Alice 1865
On back: “The CHILDREN OF THE BATTLE FIELD. This is a copy of the Ferrotype found in the hands of Sergeant Humiston of the 154th N.Y. Volunteers as he lay dead on the Battle Field of Gettysburg. The copies are sold in furtherance of the National Sabbath School effort to found in Pennsylvania an Asylum for dependent Orphans of Soldiers; in memorial of our Perpetuated Union. Wenderoth, Taylor & Brown, 912-914 Chestnut Street, Philadelphia. This picture is private property, and can not be copied without wronging the Soldier’s Orphans for whom it is published. Philadelphia, Sept. 23, 1865. J. Frances Bourns.
As the text on the back of this card makes clear, this portrait of beloved offspring had initially been found without names on the body of an unidentified fallen soldier. The photograph was reproduced and circulated as a carte de visite in order to determine the soldier’s identity. This early form of mass communication ultimately worked and his family was found. Subsequently, new cartes de visite included the children’s names, Frank, Frederick, and Alice, and were circulated in order to raise money on behalf of a school for orphans.
Text from the exhibition brochure
Unknown photographer (American) Portrait of a Marshall Bachelder and Cornelia (Weatherby) Bachelder c. 1865 Tintype with hand-colouring 6 1/2 x 8 3/8 in. Courtesy Darcy Grimaldo Grigsby
“Marshall Bachelder was born in Holly, Orleans, NY state, August 31, 1835, and died July 30, 1921. He came to Michigan at the age of 17 with his parents and settled on a farm in Greenbush township, Clinton County. He enlisted in the 8th Michigan Infantry in 1861 and served until the end of the war. He was married to Cornelia Weatherby in 1864, who survives him.” (as of 1921).
Cartes de visite were multiples and allowed sitters to share their portraits with others, sometimes sending them by mail. By contrast, tintypes were unique images like daguerreotypes, but far less expensive. This haunting hand-coloured tintype portrait of a couple contrasts a remarkably vivid young woman with a pale ghost-like soldier whose body, hair, and eyes have been drawn in. Whether his image was radically retouched in order to dress him in uniform is unclear from the photograph itself. Tintypes were made by creating a direct positive on a thin sheet of metal covered with a dark lacquer or enamel – they were unique direct images (no negatives were used).
Text from the exhibition brochure
Unknown photographer (American) The Innocent Cause of the War (stereo view detail) c. 1865 Courtesy of Darcy Grimaldo Grigsby Stereo view
A Union soldier looks at a young black boy in tattered clothing leaning on a pole at left. The caption turns the boy into “the innocent cause” for which the Civil War was fought. Stereo views were two photographs made from slightly separated lenses, reproducing the two-and-one-half-inch distance between our eyes; when seen through a viewer, they suggest three-dimensional space. Fairly inexpensive, they were very popular from the Civil War era through the early twentieth century. Stereo views were collected by individuals, and they also served as educational tools in schools and libraries.
Text from the exhibition brochure
Unknown photographer (American) Carte de visite (Donation Cake) late-19th century Albumen print mounted on cardboard 4 x 2 1/2 in. Courtesy Darcy Grimaldo Grigsby
Little is known about this Civil War carte de visite except that it commemorates fundraising, a bake sale from one hundred and fifty years ago.
Sayre and Chase (Newark, Ohio) Pro-Union carte de visite commemorating the 76th Ohio Volunteer Infantry and Generals Charles Robert Woods and William Burnham Woods c. 1865 Albumen print mounted on cardboard 4 x 2 1/2 in. UC Berkeley Art Museum and Pacific Film Archive, gift of Darcy Grimaldo Grigsby
Most cartes de visite were portraits but some represented the war, depicting landscapes, battle sites, military prisons, and still lifes. This carte, made by Sayre and Chase of Newark, Ohio, displays the scarred battle flag of the 76th Ohio Volunteer Infantry as well as a sword, scabbard, and officer’s sash hanging from a line perfunctorily stretched across the studio. Leaning against the floorboards are two large, framed albumen photographs of Union generals, Charles Robert Woods (at right), who organised the 76th Ohio, and his brother William Burnham Woods. Both survived the war, and astonishingly both became Supreme Court justices. Within this scene, the framed photographic portraits are not cartes de visite but larger prints deemed worthy of frames, not merely inclusion in an album. Photography’s registration of “what has been” (its indexicality) serves as a form of evidence: here scarred inanimate objects testify to the violence of war and connote both courage and suffering.
Text from the exhibition brochure
The 76th Regiment, Ohio Volunteer Infantry (or 76th OVI) was an infantry regiment of the Union Army during the American Civil War. The regiment served in the Western Theater, primarily as part of the XV Corps in the Army of the Tennessee.
During its term of service, the 76th Regiment Ohio Volunteer Infantry participated in forty-four battles. While 270 men, including five officers, died from disease or accidents, an additional ninety-one men, including nine officers, received mortal wounds. Beyond these deaths, another 241 men suffered battlefield wounds but survived.
Charles Robert Woods (February 19, 1827 – February 26, 1885) was a career United States Army officer and a Union general during the American Civil War. He is noted for commanding the relief troops that first attempted to resupply Fort Sumter prior to the start of the conflict, and served with distinction during the war.
William Burnham Woods (August 3, 1824 – May 14, 1887) was a United States Circuit Judge and an Associate Justice of the United States Supreme Court as well as an Ohio politician and soldier in the Civil War.
J.P. Soule (American, photographer) John Sowle (publisher) Captioned carte de visite (Emancipation) c. 1863 Albumen print mounted on cardboard 4 x 2 1/2 in. UC Berkeley Art Museum and Pacific Film Archive, gift of Darcy Grimaldo Grigsby
The women abolitionists of Indiana who selected the costume Truth wears in the adjacent photograph (no. 5) may have been inspired by pictures of female personifications carrying flags. For example, this carte de visite, entitled Emancipation, personifies the nation as a white woman who wraps an immense flag around two kneeling slaves.
The printing press
During the Civil War, the printing press itself came to stand for the Republican cause. The printing of money was even represented in a number of cartes de visite. Rightly paranoid that his paper reproduction could be mistaken for a counterfeit bill despite its smaller size, the printer of the “Twenty-Dollar Bill” fills the card’s back with text establishing its credentials as an authorised – and copyrighted – “souvenir.”
In The Northern Star, four photographically reproduced, wrinkled one-dollar bills and one two-dollar bill rotate around the mirroring heads of Salmon Chase – Secretary of the Treasury, Republican, and abolitionist – and Abraham Lincoln. Between the two men’s heads at the centre of the card is a barely comprehensible poem that ends with the line: “And Chase the money makes you know.” In the spatial configuration of the image, Chase is the Northern Star, the moneymaker, yet the inverse is true as well: the money makes you know Chase. Each one-dollar bill spinning around the central axis features his profile portrait. By contrast The Southern Cross mocks the Confederacy for its lack of “change” to “meet their bills.”
Sojourner Truth was making a form of paper currency and her cheap paper notes, printed and reproduced in multiples, featured her portrait. This was no insignificant achievement. Like Chase she had put her face on paper that stood for economic value; like Chase she was publicising her self and her politics with her portrait. Truth had invented her own kind of paper money and for the same reasons as the Republican government: in order to produce wealth dependent on a consensus that representation produces material results, to make money where there was none, and to do so partly in order to abolish slavery.
Text from the exhibition brochure
Unknown photographer (American) Captioned carte de visite (Learning is Wealth. Wilson, Charley, Rebecca & Rosa, Slaves from New Orleans) c. 1864 Albumen print mounted on cardboard 4 x 2 1/2 in. Courtesy Darcy Grimaldo Grigsby
Part of the fundraising series devoted to the freed slaves of New Orleans, this carte de visite poses the formerly enslaved adult Wilson Chinn reading to Charley, Rebecca, and Rosa, freed children. Especially poignant is another paler, most likely later version, in which the caption is misspelled as ‘Lerning is Wealth’. Wealth, the caption proposes, derives from literacy, not slavery. Other cartes de visite of Wilson Chinn emphasize his abuse under slavery, displaying menacing chains at his feet and branded letters on his forehead, his former owner’s initials: “V. B. M.” The letters on Chinn’s forehead turn him into surface on which is inscribed the literacy of others. In this carte Wilson’s head is turned so we do not see that the man who reads from a book is likewise inscribed as a text; none of the children look to the alternative printing on his forehead.
Berkeley Art Museum and Pacific Film Archive
BAMPFA is located at 2155 Center Street between Oxford Street and Shattuck Avenue, in downtown Berkeley Phone: (510) 642-0808
Exhibition dates: 17th June – 25th September, 2016
Curator: Julian Cox
Danny Lyon (American, b. 1942) Self-portrait, Chicago 1965/1995 Gelatin silver print montage Image: 31.2 x 27.8cm (12 1/4 x 10 15/16 in.) Mount: 50.8 x 40.6cm (20 x 16 in.) Collection of the artist
This man is a living legend. What a strong body of socially conscious work he has produced over a long period of time. Each series proposes further insight into the human condition – and adds ‘value’ to series that have gone before. It is a though the artist possesses the intuition for a good story and the imagination to photograph it to best advantage, building the story over multiple encounters and contexts to form a thematic whole.
In a press release for a currently showing parallel exhibition titled Journey at Edwynn Houk Gallery the text states, “Continuing in the tradition of Walker Evans and Robert Frank, Lyon forged a new style of realistic photography, described as “New Journalism,” where the photographer immerses himself in his subject’s world.” This reference to immersion is reinforced by the second quotation below, where “the power of Lyon’s work has often derived from his willingness of immerse himself entirely in the cultures and communities he documents.”
While the observation is correct that the artist immerses himself in the cultures and communities he documents, this is different to the tradition of Robert Frank and to a lesser extent, Walker Evans. Frank was a Swiss man who imaged his impressions of America on a road trip across the country. His “photographs were notable for their distanced view of both high and low strata of American society” which pictured the culture as both alienating and strange, “skeptical of contemporary values and evocative of ubiquitous loneliness”. This is why The Americans had so much power and caused so much consternation when it was first released in 1959 in America, for it held up a mirror to an insular society, one not used to looking at itself especially from the position of an “outsider” – where the tone of the book was perceived as derogatory to national ideals – and it didn’t like what it saw. The American Walker Evans was also an outsider photographing outsiders, journeying through disparate towns and communities documenting his impressions how I can I say, subjectively with an objective focus, at one and the same time. He never immersed himself in the culture but was an active observer and documenter, never an insider.
Lyon was one of the first “embedded” social documentary photographers of the American street photography movement of the 1960s who had the free will and the social conscience to tell it like it is. His self-proclaimed “advocacy journalism” is much more than just advocacy / journalism. It is a vitality of being, of spirit, an inquiry of the mind that allows the artist to get close, both physically and emotionally, to the problems of others through becoming one with them – and then to picture that so that others can see their story, so that he can “change history and preserve humanity.” But, we must acknowledge, that humanity is mainly (good looking) males: outlaw motorcycle clubs, mainly male prisons, mainly male civil rights, tattoo shops, and male Uptown, Chicago. Women are seemingly reduced to bit-players at best, singular portraits or standing in the background at funerals. This is a man’s world and you better not forget it…
Having said that, can you imagine living the life, spending four years as a member of the Chicago Outlaw Motorcycle Club. How exhilarating, how enmeshed with the culture you would become – the people, the travel, the ups and downs, the life, the danger – and then when you get photographs like Funny Sonny Packing with Zipco, Milwaukee (1966, below) with the manic look in Funny Sonny’s eyes, how your heart would sing. If I had to nominate one image that is for me the epitome of America in the 1960s it would be this: Crossing the Ohio River, Louisville (1966, below): all Easy Rider (an 1969 American road movie) encapsulated in one image. The structure and modernism / of the two bridges frames / the speeding / wicked bike / helmet lodged over the headlight; the man / wearing a skull and crossbones emblazoned jacket / helmet-less / head turned / behind / hair flying in the wind / not looking where / he is going / as though his destiny: unknown.
Danny Lyon IS one of the great artists working in photography today. He is a rebel with his own cause. Through his vital and engaging images his message to the future is this: everyone has their own story, their own trials and tribulations, each deserving of empathy, compassion, and non-judgemental acceptance. Prejudice has no voice here, a lesson never more pertinent than for America today as it decides who to elect – a woman who has fought every inch of the way or a narcissistic megalomaniac who preaches hate to minorities.
Dr Marcus Bunyan
Many thankx to the Whitney Museum of American Art for allowing me to publish the photographs in the posting. Please click on the photographs for a larger version of the image.
“Closeness, both physical and emotional, is a recurring theme throughout the 175 works in “Message to the Future,” Lyon’s Whitney Museum retrospective, a quietly brilliant affair curated with panache by Julian Cox. (Later this year, the show will travel to the Fine Arts Museums in San Francisco, which organized it; Elisabeth Sussman oversaw the Whitney installation.) We see here a photographer who was witness to a changing America and, occasionally, other places in the world. Since the early ’60s, Lyon has been infiltrating outsider groups – talking to and photographing bikers, Texas prison inmates, and hippies, and learning from them by becoming close with them. It’s as if Lyon has no sense of personal space. That, as this revelatory show proves, is his greatest attribute…
Lyon is a deft stylist who cares deeply about his subjects, to the point of exchanging letters with them for years after taking their pictures. What results is something more intimate, more political, and, in some ways, better than traditional photojournalism – a fuller portrait of America since the ’60s.”
“Self-taught, and driven by his twin passions for social change and the medium of photography, the power of Lyon’s work has often derived from his willingness of immerse himself entirely in the cultures and communities he documents. This was evident early on in his series ‘Bikeriders’ (1968; reissued in 2003 by Chronicle Books), which evolved from four years spent as a member of the Chicago Outlaw Motorcycle Club. And ‘Conversations with the Dead’ derived from his close study of the Texas prison system; it also revealed Lyon’s novel and distinctive approach to the photobook, which often sees him splicing images with texts drawn from various sources, including interviews, letters, and even fiction.”
Text from the Edwynn Houk Gallery website [Online] Cited 21/09/2016. No longer available online
Danny Lyon (American, b. 1942) Self-Portrait, New Orleans, 1964 1964 Gelatin silver print 18.2 x 12.2cm (7 3/16 x 4 13/16 in.) Collection of the artist
In his 1981 book, “Danny Lyon: Pictures From the New World,” he wrote of starting out in the early ’60s. “Photography then seemed new and exciting, and all America, which I regarded with mystery and reverence, lay before me.”
That sense of newness and excitement fills the show. What we’re discovering now, Lyon was discovering then – not just seeing or observing, but discovering, with the sense of revelation that brings. Mystery and reverence are here, too, but complicatedly. Framing them – debating with them? – are the clarity of precision the camera affords and a skepticism born of a forthrightly ’60s sensibility. Several photographs of the Occupy movement attest to how vigorous that sensibility remains…
He was working as a documentarian but not a photojournalist. That’s an important distinction. These images are implicitly polemical – inevitably polemical, too. Rarely in our nation’s history has the distinction between what’s right and what’s wrong been as clear cut. Yet then as now, people matter more to Lyon than any ideological stance. Outsiders attract Lyon and populate the show: civil rights demonstrators, transgender people (in Galveston, Texas, of all places), lower Manhattan demolition crews, inmates, undocumented workers, Indians, Appalachian whites transplanted to Chicago, motorcycle gangs…
Enclosure and entrapment are not for Lyon – nor, for that matter, is the absence of people (a very rare condition in his work). A larger restlessness in Lyon’s career reflects the energy so often evident within the frame – within the frame being another form of enclosure and entrapment. The South, Chicago, lower Manhattan, Texas, New Mexico, China, Haiti, Latin America share space in the show. Even so, sense of place doesn’t signify as much for Lyon as a sense of a place’s inhabitants. More likely he’d say that the two are indistinguishable. Looking at his pictures, you can see why he’d think so.”
Danny Lyon (American, b. 1942) Arrest of Eddie Brown, Albany, Georgia 1962 Gelatin silver print Image: 22 x 31.7cm (8 5/8 x 12 1/2 in.) Sheet: 27.9 x 35.6cm (11 x 14 in.) Collection of the artist
Eddie Brown former gang leader and movement activist is arrested.
“The first sit-in arrests I see and photograph are those of Eddie Brown, a former Albany gang leader, and a visitor from the North. Both have volunteered to be arrested for the photographs. The picture of Eddie Brown, calmly being carried off by the Albany police, is widely distributed as the image of the classic non-violent arrest, Georgia.”
~ Danny Lyon
“Eddie Charles Brown, Jr., a great-souled human being committed to fighting the oppression of all people from Mississippi to South Africa, died at his home on November 23, 2011. In political circles, Ed was respected for his enduring commitment to our people. As a consequence of his tireless devotion to, and success in advancing the culture and economic progress of poor black folk, Ed Brown was widely recognised as among the most, incorruptible, responsible, resourceful and effective of the activist leaders of the Movement. As his SNCC colleagues said of him, “More than most, Ed’s life embodies and exemplifies to a remarkable degree, the principle of undying love for our people both here and in the Motherland.” …
A native of Louisiana, Ed was born on August 19, 1941, in New Orleans and raised in Baton Rouge to Thelma Warren and Eddie Charles Brown, Sr. Ed’s historical efforts to fight segregation and all forms of oppression as well as to empower Black people started in 1960 as a young student at Louisiana’s Southern University. He and 16 other classmates confronted the University and staged a sit-in protesting the racial segregation prevalent in Louisiana at the time. After he and the others were arrested, expelled and banned from enrolling in any university in Louisiana Ed began the ongoing struggle for justice, which would define his entire life. This expulsion led Ed to Howard University in Washington, D.C. in 1961, where he landed on the front line of the Civil Rights Movement. Ed was an active member of the Nonviolent Action Group, the SNCC affiliate at Howard.
As a leader and field secretary for the Student Nonviolent Coordinating Committee (SNCC) he fought to win constitutional rights for Blacks and all disenfranchised people. Ed always proclaimed that he was “fighting fire with a feather,” but he knew he would prevail because he often said, ironically, he was protected by “asbestos gloves.””
The most comprehensive retrospective of the work of American photographer, filmmaker, and writer Danny Lyon in twenty-five years debuts at the Whitney on June 17, 2016. The first major photography exhibition to be presented in the Museum’s downtown home, Danny Lyon: Message to the Future is organised by the Fine Arts Museums of San Francisco, where it will make its West Coast debut at the de Young Museum on November 5, 2016. The exhibition assembles approximately 175 photographs and is the first to assess the artist’s achievements as a filmmaker. The presentation also includes a rare look at works from Lyon’s archives, including vintage prints, unseen 16mm film footage made inside Texas prisons, and his personal photo albums. A leading figure in the American street photography movement of the 1960s, Lyon has distinguished himself by the personal intimacy he establishes with his subjects and the inventiveness of his practice.
Photographer, filmmaker, and writer Danny Lyon (b. 1942) has over the past five decades presented a charged alternative to the sanitised vision of American life presented in the mass media. Throughout, he has rejected the standard detached humanism of the traditional documentary approach in favour of a more immersive, complicated involvement with his subjects. “You put a camera in my hand,” he has explained, “I want to get close to people. Not just physically close, emotionally close, all of it.” In the process he has made several iconic bodies of work, which have not only pictured recent history but helped to shape it.
Lyon committed intensively to photography from the beginning. In 1962, while still a student at the University of Chicago, he hitchhiked to the segregated South to make a photographic record of the civil rights movement. He went on to photograph biker subcultures, explore the lives of the incarcerated, and document the architectural transformation of Lower Manhattan. He has travelled to Latin America and China, and has lived for years in New Mexico; the work he has made throughout these journeys demonstrates his respect for the people he photographs on the social and cultural margins.
Message to the Future, shaped in collaboration with the artist, incorporates seldom-exhibited materials from Lyon’s archive, including rare vintage prints, previously unseen 16mm film footage made inside the Texas prisons, his personal photo albums, and related documents and ephemera. In his roles as a photographer, filmmaker, and writer, Lyon has reinvented the expectations for how the still photographic image can be woven together with journalism, books, films, and collage to present a diverse record of social customs and human behaviour. His work, which he continues to make today, reveals a restless idealist, digging deep into his own life and those of his subjects to uncover the political in the personal and the personal in the political.
Text from the Whitney Museum of American Art
Civil rights
In the summer of 1962, Lyon hitchhiked to Cairo, Illinois, to witness demonstrations and a speech by John Lewis, chairman of the Student Nonviolent Coordinating Committee (SNCC), one of the most important organisations driving the civil rights movement of the early 1960s. Inspired to see the making of history firsthand, Lyon then headed to the South to participate in and photograph the civil rights movement. There, SNCC executive director James Forman recruited Lyon to be the organisation’s first official photographer, based out of its Atlanta headquarters. Traveling throughout the South with SNCC, Lyon documented sit-ins, marches, funerals, and violent clashes with the police, often developing his negatives quickly in makeshift darkrooms.
Lyon’s photographs were used in political posters, brochures, and leaflets produced by SNCC to raise money and recruit workers to the movement. Julian Bond, the communications director of SNCC, wrote of Lyon’s pictures, “They put faces on the movement, put courage in the fearful, shone light on darkness, and helped make the movement move.”
Danny Lyon (American, b. 1942) Student Nonviolent Coordinating Committee (SNCC) Sit-In, Atlanta 1963 Gelatin silver print Image: 16.1 x 24cm (6 3/8 x 9 1/2 in.) Sheet: 20.3 x 25.4cm (8 x 10 in.) Collection of the artist
Danny Lyon (American, b. 1942) The Leesburg Stockade, Leesburg, Georgia 1963 Gelatin silver print Image: 17.5 x 26cm (6 7/8 x 10 3/16 in.) Sheet: 27.9 x 35.6cm (11 x 14 in.) Collection of the artist
Danny Lyon (American, b. 1942) Abernathy, Shuttlesworth (SCLC), King and Wilkinson (NAACP) 1963 Gelatin silver print
Danny Lyon (American, b. 1942) Voting Rights Demonstration, Organized by the Student Nonviolent Coordinating Committee (SNCC), Selma, Alabama October 7, 1963 Gelatin silver print Image: 18.3 x 26.8cm (7 3/16 x 10 9/16 in.) Sheet: 27.8 x 35.4cm (10 15/16 x 13 15/16 in.) Whitney Museum of American Art, New York; purchase with funds from the Photography Committee
Danny Lyon (American, b. 1942) Sheriff Jim Clark Arresting Demonstrators, Selma, Alabama October 7, 1963 Gelatin silver print Image: 18.4 x 27cm (7 1/4 x 10 5/8 in.) Sheet: 27.8 x 35.4cm (10 15/16 x 13 15/16 in.) Whitney Museum of American Art, New York; purchased with funds from the Photography Committee
Danny Lyon (American, b. 1942) Stokely Carmichael, Confrontation with National Guard, Cambridge, Maryland 1964 Gelatin silver print Image: 16.5 x 22.2cm (6 1/2 x 8 3/4 in.) Sheet: 20.3 x 25.4cm (8 x 10 in.) Collection of the High Museum of Art, Atlanta; purchase with funds from Joan N. Whitcomb
Danny Lyon (American, b. 1942) Woman Holds Off a Mob, Atlanta 1963 Gelatin silver print
Danny Lyon (American, b. 1942) Bob Dylan behind the SNCC office, Greenwood, Mississippi 1963 Gelatin silver print
Danny Lyon (American, b. 1942) Arrest of Taylor Washington, Atlanta 1963 Gelatin silver print 24 x 16cm (9 7/16 x 6 1/4 in.) Collection of the artist
Atlanta, Georgia. High school student Taylor Washington is arrested at Lebs Delicatessen. His eighth arrest.
“One of Taylor Washington’s numerous arrests is immortalised as he yells while passing before me. The photograph became the cover of SNCC’s photo book, The Movement, and was reproduced in the former Soviet Union in Pravda, captioned “Police Brutality USA.””
~ Danny Lyon
The Civil Rights movement of the 1960’s was a widespread effort to end racial segregation and discrimination against African Americans. News coverage of sit-ins and freedom rides dominated the cultural and political landscape of the United States. At this time Danny Lyon was in his early 20s and an undergraduate student at the University of Chicago. After meeting John Lewis, the chairman of the Student Nonviolent Coordinating Committee’s (SNCC’s) in Cairo, Illinois, Lyon then traveled to Mississippi, to cover voter registrations, and soon he was present at almost all of the major SNCC events during the movement. Lyon served as SNCC’s photographer from 1962 to 1964 and later documented his experiences in his book Memories of the Southern Civil Rights Movement.
Text from the Minneapolis Institute of Art Collection website
Danny Lyon (American, b. 1942) The March on Washington August 28, 1963 Gelatin silver print 29.8 x 20.8cm (11 3/4 x 8 3/16 in.) Museum of Modern Art, New York; Gift of Anne Ehrenkranz
Galveston
Danny Lyon (American, b. 1942) Pumpkin and Roberta, Galveston, Texas 1967 Gelatin silver print Image: 23.8 x 16.1cm (6 3/8 x 9 3/8 in.) Sheet: 20.3 x 25.4cm (8 x 10 in.) Collection of the artist
Prisons
In 1967, Lyon applied to the Texas Department of Corrections for access to the state prisons. Dr. George Beto, then director of the prisons, granted Lyon the right to move freely among the various prison units, which he photographed and filmed extensively over a fourteen-month period. The result is a searing record of the Texas penal system and, symbolically, of incarceration everywhere.
Lyon’s aim was to “make a picture of imprisonment as distressing as I knew it to be in reality.” This meant riding out to the fields to follow prisoners toiling in the sun, as well as visiting the Wynne Treatment Centre, which housed primarily convicts with mental disabilities. He befriended many of the prisoners, listening to their stories and finding the humanity in their experiences, and still maintains contact with some of them.
Danny Lyon (American, b. 1942) Weight Lifters, Ramsey Unit, Texas 1968 Gelatin silver print Image: 22.4 x 33.2cm (8 7/8 x 13 1/16 in.) Sheet: 27.7 x 35.6cm (11 x 14 in.) Collection of the artist
Danny Lyon (American, b. 1942) New Arrivals from Corpus Christi, The Walls, Texas 1968 Gelatin silver print Image: 21.4 x 32cm (8 7/16 x 12 5/8 in.) Sheet: 27.9 x 35.6cm (11 x 14 in.) Collection of the artist
Danny Lyon (American, b. 1942) Contents of Arriving Prisoner’s Wallet, Diagnostic Unit, The Walls, Huntsville, Texas 1968 Gelatin silver print Image: 24.3 x 17.5cm (9 9/16 x 6 3/4 in.) Sheet: 25.4 x 20.3cm (10 x 8 in.) Collection of the artist
Danny Lyon (American, b. 1942) Six-Wing Cell Block, Ramsey Unit, Texas 1968 Gelatin silver print Image: 16 x 24cm (6 5/16 x 9 7/16 in.) Sheet: 20.3 x 25.4cm (8 x 10 in.) Collection of the artist
Danny Lyon (American, b. 1942) Charlie Lowe, Ellis Unit, Texas 1968 Gelatin silver print Image: 16.2 x 23.8cm (6 3/8 x 9 3/8 in.) Sheet: 20.3 x 25.4cm (8 x 10 in.) Collection of the artist
Danny Lyon (American, b. 1942) Shakedown, Ellis Unit, Texas 1968 Gelatin silver print 21.6 x 31.3cm (8 1/2 x 12 1/4 in.) Museum of Modern Art, New York; purchase
Danny Lyon (American, b. 1942) Shakedown, Ramsey Unit, Texas 1968 Gelatin silver print Image: 17 x 24.2cm (6 5/8 x 9 9/16 in.) Sheet: 20.3 x 25.4cm (8 x 10 in.) Collection of the artist
Danny Lyon (American, b. 1942) Convict With a Bag of Cotton, Texas 1968 Gelatin silver print
Danny Lyon (American, b. 1942) Two Inmates, Goree Unit, Texas 1968 Gelatin silver print Image: 16.8 x 24cm (6 5/8 x 9 91/6 in.) Sheet: 20.3 x 25.4cm (8 x 10 in.) Collection of the artist
The destruction of Lower Manhattan
In late 1966 and into the summer of 1967, starting from his loft at the corner of Beekman and William Streets near City Hall Park, Lyon documented the demolition of some sixty acres of predominantly nineteenth-century buildings below Canal Street in lower Manhattan. With funding from the New York State Council on the Arts, he photographed most of the buildings that would be torn down to make way for the World Trade Center. Lyon recalled later: “I wanted to inhabit [the buildings] with feelings and give them and their demise a meaning.”
Moving from the outside of the buildings to their deserted interiors, Lyon also took pictures of the workers involved in the demolition. The photographs, together with Lyon’s journal entries, became a book, published by Macmillan in 1969 and dedicated to his close friend, sculptor Mark di Suvero. The volume’s significance lies in part in its depiction of a city – and, more broadly, a culture – cannibalising its own architectural history for the sake of development.
Danny Lyon (American, b. 1942) View South from 100 Gold Street, New York 1967 Gelatin silver print 18.3 x 18.2cm (7 1/4 x 7 3/16 in.) Collection of Melissa Schiff Soros and Robert Soros
Danny Lyon (American, b. 1942) Self-Portrait in Susquehanna Hotel, Third-Floor Room with Grass, New York 1967 Gelatin silver print 18.2 x 18.2cm (7 3/16 x 7 3/16 in.) Collection of Melissa Schiff Soros and Robert Soros
Danny Lyon (American, b. 1942) Ruins of 100 Gold Street, New York 1967 Gelatin silver print 23.6 x 23.4cm (9 5/16 x 10 7/16 in.) Collection of Melissa Schiff Soros and Robert Soros
The Bikeriders
Lyon purchased his first motorcycle – a 1953 Triumph TR6 – in 1962, after spending weekends watching college friend and motorcycle racer Frank Jenner compete at informal dirt track races across the Midwest. When he returned to Chicago in 1965 after leaving SNCC, Lyon joined the hard-riding, hard-drinking Chicago Outlaws Motorcycle Club and began making photographs with a goal to “record and glorify the life of the American bike rider.” With clubs like the Hells Angels making headlines for their criminal and vigilante activities at the time, bike riders were simultaneously feared for their anarchism and romanticised for their independence.
Riding with the Outlaws, Lyon attempted to capture their way of life from the inside out. Their unapologetic pursuit of freedom and libertine pleasures compelled him to get close to them as people. Lyon’s images are intimate and familiar, whether taken during rides or at clubhouse meetings. He also used a tape recorder to document the bikers speaking for themselves, unobtrusively capturing their collective voice. The resulting photographs were gathered into the now classic book of the same name, published in 1968, combining his pictures with an edited transcription of the interviews.
Danny Lyon (American, b. 1942) Racer, Schererville, Indiana 1965 Gelatin silver print 13.9 x 20.3cm (5 1/2 x 8 in.) Silverman Museum Collection
Danny Lyon (American, b. 1942) Crossing the Ohio River, Louisville 1966 Gelatin silver print 20.3 x 31.8cm (8 x 12 1/2 in.) Silverman Museum Collection
Danny Lyon (American, b. 1942) Route 12, Wisconsin 1963 Gelatin silver print 15.6 x 23.8cm (6 1/8 x 9 1/8 in.) Silverman Museum Collection
Danny Lyon (American, b. 1942) Sparky and Cowboy, Schererville, Indiana 1965 Gelatin silver print Image: 16.1 x 23.9cm (6 3/8 x 9 3/8 in.) Sheet: 20.3 x 25.4cm (8 x 10 in.) Collection of the artist
Danny Lyon (American, b. 1942) Untitled (Close Up of Cal on the Road) 1966 Gelatin silver print
Danny Lyon (American, b. 1942) Renegade’s funeral, Detroit 1966 Gelatin silver print
Danny Lyon (American, b. 1942) Funny Sonny Packing with Zipco, Milwaukee 1966 Gelatin silver print
Danny Lyon (American, b. 1942) Kathy, Chicago 1965 (printed 1966) Gelatin silver print 25.8 x 25.5cm (10 1/8 x 10 1/16 in.) Collection of the artist
Danny Lyon (American, b. 1942) Cal on the Springfield Run, Illinois 1966 (printed 2003) Cibachrome print Image: 22.8 x 32.5cm (9 x 13 1/4 in.) Sheet: 27.9 x 35.6cm (11 x 14 in.) Collection of the artist
Danny Lyon (American, b. 1942) Cowboy, Rogue’s Picnic, Chicago 1966 Gelatin silver print Image: 23.5 x 15.9cm (9 1/4 x 6 1/4 in.) Mount: 50.8 x 40.6cm (20 x 16 in.) Collection of the artist
Danny Lyon (American, b. 1942) Benny, Grand and Division, Chicago 1965 Gelatin silver print 24.5 x 17.2cm (9 5/8 x 6 3/4 in.) Collection of the artist
New Mexico and the West
Lyon headed west from New York in 1969. Tired of the hectic pace of the big city and in search of new surroundings, he settled in Sandoval County, New Mexico. He developed a great admiration for the region’s close knit communities of Native Americans and Chicanos. Lyon’s photographs and, increasingly, his films reflected his growing understanding of the cross-cultural flow between these disparate groups and how they interacted with the geography of the Southwest.
With the help of his good friend, a migrant labourer named Eduardo Rivera Marquez, Lyon built a traditional adobe home for his family in Bernalillo, in the Rio Grande Valley just north of Albuquerque. As Lyon’s family grew, his children also became a frequent subject, often depicted against the dramatic Western landscape. Though Lyon moved back to New York in 1980, New Mexico would remain a centre of gravity for the artist, who returned every summer with his family to photograph and make films.
Danny Lyon (American, b. 1942) Eddie, New Mexico 1972 Gelatin silver print Image: 23 x 34.5cm (9 x 13 5/8 in.) Sheet: 27.9 x 35.6cm (11 x 14 in.) Collection of the artist
Danny Lyon (American, b. 1942) Navajo Boy, Gallup, New Mexico 1971 Gelatin silver print Image: 23.3 x 33.8cm (9 1/8 x 13 5/16 in.) Sheet: 27.9 x 35.6cm (11 x 14 in.) Collection of the artist
Danny Lyon (American, b. 1942) Maricopa County, Arizona 1977 Gelatin silver print Image: 22.8 x 33.5cm (9 x 13 3/16 in.) Sheet: 27.9 x 35.6cm (11 x 14 in.) Collection of the artist
Danny Lyon (American, b. 1942) Stephanie, Sandoval County, New Mexico 1969/1975 Gelatin silver print (decorated) Image: 16.7 x 25cm (6 9/16 x 9 3/4 in.) Sheet: 27.9 x 35.6cm (11 x 14 in.) Collection of the artist
Danny Lyon (American, b. 1942) El Paso, Texas 1975 (printed 2015) Pigmented inkjet print Image: 27.9 x 40.6cm (11 x 16 in.) Sheet: 33 x 45.7cm (13 x 18 in.) Collection of the artist
Danny Lyon (American, b. 1942) El Paso, Texas 1975
Films and montages
Lyon started making 16mm films in earnest in the 1970s, focusing on marginalised communities and injustice as he had in his photographs. His subjects included Colombian street kids in Los Niños Abandonados (1975) and undocumented workers from Mexico in El Mojado (1974) and El Otro Lado (1978). Lyon has explained that after leaving the Texas prisons he struggled to move forward, feeling that there were “no more worlds to conquer” in creating photography books. Filmmaking became the means by which he could continue to make sense of the beauty and inequality he saw in the world around him.
Lyon did not give up photography completely, however. He turned to assembling family albums and creating collaged works that he describes as montages, referencing the filmmaking practice of juxtaposing disparate images to form a continuous whole. Lyon’s montages combine multiple images and materials sourced from his archives. Initially meant as vehicles for reflection and, in the case of the albums, as family heirlooms, these deeply personal works bridge past generations of his family with his present.
Danny Lyon (American, b. 1942) Los Niños Abandonados 1975
Danny Lyon (American, b. 1942) El Mojado 1974 New Mexico, colour, 14 minutes [The Wetback] English and Spanish with subtitles A portrait of a hard-working undocumented labourer from Mexico produced by J.J. Meeker
Danny Lyon (American, b. 1942) El Otro Lado 1978 Mexico and Arizona, colour, 60 minutes [The Other Side] Spanish with English subtitles An honest film infused with poignant beauty, without political rhetoric
Danny Lyon (American, b. 1942) Dear Mark 1981, New York and France, colour and b&w, 15 minutes A comedy in which the artist’s voice has been replaced by Gene Autry’s Lyon’s homage to his friend, sculptor Mark di Suvero, from footage shot in 1965 and 1975.
Danny Lyon (American, b. 1942) Soc Sci 127 1969 Houston, color and b&w, 21 minutes A comedy – Danny Lyon’s first film with the late great Bill Sanders and his “painless” tattoo shop.
Danny Lyon (American, b. 1942) Willie 1985 New Mexico, color, b&w, 82 minutes Willie is a realistic film made in Bernalillo, home of Willie Jaramillo and filmmakers Danny and Nancy Weiss Lyon Defiantly individual and implacable in the face of authority, Willie is repeatedly thrown into jail for relatively minor offences. The filmmakers gain access to jail cells, day rooms, lunatic wards, and the worst cellblock in the penitentiary where Willie is locked up next to his childhood friend and convicted murderer, Michael Guzman.
Knoxville
Danny Lyon (American, b. 1942) Knoxville 1967 Gelatin silver print
Danny Lyon (American, b. 1942) Knoxville, Tennessee 1967 Gelatin silver print
Danny Lyon (American, b. 1942) Leslie, Downtown Knoxville 1967 Gelatin silver print Image: 28.7 x 19.1cm (11 1/4 x 7 1/2 in.) Mount: 56.2 x 45.7cm (22 1/8 x 18 in.) Art Institute of Chicago; gift of Mr. Danny Lyon
Tattoo
Danny Lyon (American, b. 1942) Bill Sanders, Tattoo Artist, Houston, Texas 1968 Gelatin silver print Image: 20.7 x 20.7cm (8 3/16 x 8 3/16 in.) Sheet: 35.6 x 27.9cm (14 x 11 in.) Collection of the artist
Chicago
Danny Lyon (American, b. 1942) Two youths in Uptown, Chicago, Illinois, a neighborhood of poor white southerners 1974
Danny Lyon (American, b. 1942) Children at an apartment entrance 1965 From series Uptown, Chicago Gelatin silver print
Danny Lyon (American, b. 1942) Kathy, Uptown, Chicago 1965 Gelatin silver print Image: 24.1 x 23.9cm (9 1/2 x 9 3/8 in.) Sheet: 35.6 x 27.9cm (14 x 11 in.) Collection of the artist
Danny Lyon (American, b. 1942) Uptown, Chicago 1965 Gelatin silver print Image: 16.4 x 16.4cm (6 1/2 x 6 1/2 in.) Mount: 50.8 x 40.6cm (20 x 16 in.) Collection of the artist
New York
Danny Lyon (American, b. 1942) Subway, New York 1966 (printed 2015) Pigmented inkjet print Image: 23.7 x 24.1cm (9 5/16 x 9 1/2 in.) Sheet: 28.8 x 29.2cm (11 5/16 x 11 1/2 in.) Collection of the artist
Danny Lyon (American, b. 1942) Self-Portrait in Mary Frank’s Bathroom, New York 1969 Gelatin silver print Image: 15.6 x 23.5cm (6 1/8 x 9 1/4 in.) Sheet: 20.3 x 25.2cm (8 x 9 15/16 in.) Whitney Museum of American Art, New York; purchase with funds from Joanna Leonhardt Casullo, Niko Elmaleh, Lauren DePalo, Julia Macklowe, and Fern Kaye Tessler
Danny Lyon (American, b. 1942) John Lennon and Danny Seymour, The Bowery, New York 1969 (printed c. 2005) Gelatin silver print, printed later Image: 22.3 x 33.3cm (8 13/16 x 13 1/8 in.) Sheet: 27.6 x 35.4cm (11 x 14 in.) Collection of the artist
Danny Lyon (American, b. 1942) Mark di Suvero and Danny Lyon, Hyde Park, Chicago 1965 Gelatin silver print Image: 23.9 x 16.2cm (9 3/8 x 6 3/8 in.) Sheet: 25.4 x 20.3cm (10 x 8 in.) Collection of the artist
Colombia
Danny Lyon (American, b. 1942) Mary, Santa Marta, Colombia 1972 Gelatin silver print Image: 17.1 x 25.3cm (6 3/4 x 10 in.) Sheet: 27.9 x 35.6cm (11 x 14 in.) Collection of the artist
Danny Lyon (American, b. 1942) Tesca, Cartagena, Colombia 1966 (printed 2008) Cibachrome print Image: 25.7 x 25.7cm (10 1/8 x 10 1/8 in.) Sheet: 35.6 x 27.9cm (14 x 11 in.) Collection of the artist
The most comprehensive retrospective of the work of American photographer, filmmaker, and writer Danny Lyon in twenty-five years debuted at the Whitney on June 17, 2016. The first major photography exhibition to be presented in the Museum’s downtown home, Danny Lyon: Message to the Future is organised by the Fine Arts Museums of San Francisco, where it will make its West Coast debut at the de Young Museum on November 5, 2016.
The exhibition assembles approximately 175 photographs and is the first to assess the artist’s achievements as a filmmaker as well as a photographer. The presentation also includes many objects that have seldom or never been exhibited before and offers a rare look at works from Lyon’s archives, including vintage prints, unseen 16mm film footage made inside Texas prisons, and his personal photo albums.
A leading figure in the American street photography movement of the 1960s, Lyon has distinguished himself by the personal intimacy he establishes with his subjects and the inventiveness of his practice. With his ability to find beauty in the starkest reality, Lyon has presented a charged alternative to the vision of American life presented in the mass media. Throughout, he has rejected the traditional documentary approach in favour of a more immersive, complicated involvement with his subjects. “You put a camera in my hand,” he has explained, “I want to get close to people. Not just physically close, emotionally close, all of it.” In the process he has made several iconic bodies of work, which have not only pictured recent history, but helped to shape it.
“We are delighted to partner with the Fine Arts Museums of San Francisco on Danny Lyon: Message to the Future,” stated Adam D. Weinberg, the Alice Pratt Brown Director of the Whitney Museum of American Art. “Since the early 1960s, Lyon’s photographs and films have upturned conventional notions of American life. The Whitney has long championed Lyon’s work and we are thrilled to present this retrospective, which encompasses more than half a century of important work.”
In 1962, while still a student at the University of Chicago, Lyon hitchhiked to the segregated South to make a photographic record of the Civil Rights movement. His other projects have included photographing biker subcultures, exploring the lives of individuals in prison, and documenting the architectural transformation of Lower Manhattan. Lyon has lived for years in New Mexico, and his commitment to personal adventure has taken him to Mexico and other countries in Latin America, China, and the less-traveled parts of the American West.
“Danny Lyon is one of the great artists working in photography today,” said Julian Cox, Founding Curator of Photography for the Fine Arts Museums of San Francisco and Chief Curator at the de Young Museum. “Lyon’s dedication to his art and his conviction to produce work underpinned by strong ethical and ideological motivations sets him apart from many of his peers.
Press release from the Whitney Museum of American Art
Ongoing activism
Lyon’s first encounter with Latin America was through a trip to Colombia in February 1966, during which he photographed extensively in and around Cartagena. In the 1970s and 1980s, Lyon’s self-described “advocacy journalism” took him to Bolivia, where he captured the hard lives of rural miners; Mexico, where he photographed undocumented workers moving back and forth across the U.S. – Mexico border; back to Colombia, where he made the film Los Niños Abandonados, chronicling the lives of street children; and to Haiti, where he witnessed firsthand the violent revolution overthrowing Jean-Claude Duvalier’s dictatorship.
More recently, Lyon made six trips between 2005 and 2009 to Shanxi province in northeast China. Aided by a guide, he photographed the people living in this highly polluted coal-producing region. As in his work in the civil rights movement and the Texas prisons, Lyon’s photographs from his travels are examples of his advocacy journalism, part of his effort to “change history and preserve humanity.”
Danny Lyon (American, b. 1942) Boulevard Jean-Jacques Dessalines, Port-au-Prince, Haiti February 7, 1986 Gelatin silver print Image: 21.3 x 32.1cm (8 3/8 x 12 5/8 in.) Sheet: 27.9 x 35.6cm (11 x 14 in.) Collection of the artist
Occupy
Danny Lyon (American, b. 1942) Occupy Demonstration on Broadway, Los Angeles 2011 Inkjet print Image: 24.5 x 32.9cm (9 5/8 x 12 15/16 in.) Sheet: 32.7 x 40cm (13 x 15 3/4 in.) Collection of the artist
Danny Lyon (American, b. 1942) Occupy Oakland, City Hall, Oakland 2011 Pigmented inkjet print Image: 24.6 x 33cm (9 3/4 x 13 in.) Sheet: 27.3 x 38cm (10 3/4 x 15 in.) Collection of the artist
Whitney Museum of American Art 99 Gansevoort Street New York, NY 10014 Phone: (212) 570-3600
Curators: Rossella Menegazzo, Professor of East Asian Art History at the University of Milan and Takeshi Fujimori, Japanese photographer and Artistic Director of the Ken Domon Museum of Photography
Ken Domon (Japanese, 1909-1990) Allenamento degli allievi del corpo della Marina [Students of the Navy training] 1936 Yokosuka 535 x 748mm Ken Domon Museum of Photography
Social Realism
I love most Japanese photography of the post-war period (1950s-1970s) and this artist’s work is no exception. What an absolute master of photography, not just of Japanese photography, he was.
Direct, focused, gritty, unflinching, the work of this initiator of social realist photography lays bare “the direct connection between the camera and the subject” in the most forthright way. While professing that the photographs are “an absolutely non-dramatic snapshot” (just like the Bechers professed that their gridded, ordered photographs were just about form and nothing else), this artist produced quality work that narrates a transcendent story of life in Japan. His images are music, and visions, from the heart of a nation. You only have to look at the photograph Gemella non vedente (1957, below) from the series Hiroshima to understand what I mean. There is just this feeling in your synapses about his pictures, as though you yourself were holding the camera …
In his portrait photographs there is quietness and contemplation; in his other work anger, sadness, joy, humour. A direct connection to reality is at the forefront of his understanding. This connection is miraculously (as in, something that apparently contravenes known laws governing the universe) transformed into other spaces and feelings – the twirling of umbrellas, the lizard on the head, the raised arms and white gloves of the traffic policeman (shot from a crouching position).
While he is not an artist who creates change he certainly documents the results of change in a magnificent way. I love them all.
Dr Marcus Bunyan
Many thankx to the Museo dell’Ara Pacis for allowing me to publish the photographs in the posting. Please click on the photographs for a larger version of the image.
Ken Domon (Japanese, 1909-1990) Esercitazioni delle crocerossine [Red Cross exercises] 1938 Azabu, Tokyo 535 x 748mm Ken Domon Museum of Photography
For the first time ever outside Japan, an exhibition of work by Ken Domon (1909-1990), recognised as a master of realism and one of the most important figures in the history of modern Japanese photography, is being held in Rome at the Museo dell’Ara Pacis. It features about 150 photographs taken in black and white as well as colour between the 1920s and the 1970s, which illustrate the author’s path towards social realism. From the first shots of the period before and during World War II, which display a vision linked to photojournalism and propaganda, through photography of the social sphere, the exhibit follows Ken Domon’s production up to the crucial work documenting the tragedy of Hiroshima, which the photographer undertook as though in response to a call and a humanitarian duty.
Regarded as an absolute master of Japanese photography and initiator of the realistic movement, Ken Domon marked a pivotal chapter in the history of post-war Japanese photography, laying the foundations for contemporary photographic production and remaining a constant point of reference for Japanese enthusiasts. According to Domon, “The fundamental gift of quality work lies in the direct connection between the camera and the subject.” The master’s aim was indeed always to capture a wholly realistic image devoid of drama. Against the background of the renewed spirit of the post-war period, he focused on society in general and everyday life: “I am immersed in the social reality of today but at the same time in the classical culture and traditions of Nara and Kyoto. This twofold involvement has the common denominator of a search for the point at which the two realities are linked to the destinies of people, the anger, sorrow and joy of the Japanese people.”
The realistic photograph, described as “an absolutely non-dramatic snapshot”, therefore plays the leading part in an exhibition thematically laid out to illustrate the master’s vast production, transversally encompassing the whole of Japanese culture. From the early work of a photojournalistic nature and at the service of pre-war propaganda and the cultural promotion of Japan overseas (Photojournalism and Pre-War Propaganda; The Post-War Period: Towards Social Realism) to a focus on recording everyday life and the city’s transformation and westernisation with ever-greater attention to social themes. His social realismis expressed in particular through two series emblematic of this period, namely Hiroshima (1958), regarded by the Nobel laureate Kenzaburō Ōe as the first great modern work of Japan, and The Children of Chikuhō, a series on poverty in the mining villages of southern Japan with a broad range of lively portraits of children encountered in the streets.
This is followed by Portraits, comprising photographs of famous figures in the worlds of art, literature, culture and science such as Yukio Mishima, Jun’ichirō Tanizaki, Tarō Okamoto and Yusaku Kamekura. The final section is devoted to his most important series, Pilgrimage to Ancient Temples, photographs of Buddhist sculptures, buildings and treasures as well as views of landscapes taken on journeys throughout Japan in search of the beauty of the sacred places of the past. Landscapes that conjure up the fascination of cultural diversity and the exotic.
Ken Domon’s work can be described as autobiographical, documentation that is private rather social, always selected on personal criteria that transform the shot into a moment of dialogue with the subject. His vision of the subject, be it a landscape, a sculpture, a person or an object, is a vehicle of the universal beauty seen through the lens, which does not omit the physical characteristics of the form captured. A multifaceted figure whose photography embraces the whole of Japanese culture before and after the war, Ken Domon is also the first photographer to have a personal museum devoted entirely to his vast work in his hometown of Sakata, inaugurated in 2003. Together with friends and other leading figures in the Japanese world of art, he initiated the cultural renewal that enabled Japan to emerge definitively from the defeat in war and led to the contemporary aesthetic that is still a point of reference for the entire world.
The show is part of a vast programme of eventsthat will represent the cultural and technological world of Japan in Italy all through 2016: major exhibitions of art, productions from the great tradition of Noh and puppet theatre (bunraku), concerts, performances of modern and traditional dance, film festivals, exhibits of architecture, design, comics, literature, sport and so much else. The occasion is the celebration of the 150th anniversary of the first treaty of friendship and trade between Italy and Japan, signed on 25 August 1866, which initiated diplomatic relations between the two countries.
Press release from the Museo dell’Ara Pacis
Ken Domon (Japanese, 1909-1990) Pesca all’ayu 1936 Izu, Prefettura di Shizuoka 457 x 560mm Ken Domon Museum of Photography
Ken Domon (Japanese, 1909-1990) Bambini che fanno roteare gli ombrelli [Kids twirling umbrellas] c. 1937 Dalla serie Bambini (Kodomotachi) From the series Children (Kodomotachi) Ogōchimura 535 x 748mm Ken Domon Museum of Photography
The pre-war period
From photojournalism to propaganda photography
Domon began to work in photography in 1933 at the age of 24, carrying out the humble duties of an apprentice at Miyauchi Kōtarō’s studio in Ueno. Right from the start he won prizes and began to write for photography magazines and journals, publishing his first photo in Asahi Camera in August 1935. The 10th of October of the same year marked an important turning point in his career. He replied to an advertisement published by the Nippon Kōbō studio in Ginza, which was looking for a photo technician. Founded by Natori Yōnosuke (1910-1962) when he returned from his experience in Berlin at the Berliner Illustrierte Zeitung, the studio spread in Japan for the first time concepts such as editing and reporting and a new system of production based on the collaboration between photographer and graphic designer under the supervision of an art director, which led to the large-scale diffusion of photojournalism.
Domon began his first reportage for the magazine Nippon, published in English in order to promote Japanese culture abroad with a mix of information and propaganda. The first photographic reportage was on the traditional Shichigosan Festival on the occasion of the presentation of children in the Meiji Jingu shrine, realised with his model C Leica. This was followed by services that presented handicrafts, traditions, industrial and military progress and the progressive aspects of Japan, which in the 1930s had become increasingly nationalistic.
The war years and the bunraku puppet theatre
During the years of maximum Japanese expansion in the Pacific, immediately prior to the Second World War, even photography had to comply with the strict rules of military policy. Only few selected professional photographers could obtain photographic materials for assignments deemed to be “essential”, and naturally the “essential” photographic services were subject to the requirements of government propaganda, the Ministry of Foreign Affairs, the International Tourism Agency and the International Cultural Relations Company.
Thus many photographic publications were discontinued, with economic repercussions for photographers. In fact, Domon had difficulty maintaining a family of seven. He also had the added anxiety of the probable arrival of a “red card” that would have called him to arms and probably to the front in a group of photo-reporters. In response to this critical situation, Domon decided to retire from the public scene, dedicating himself to culture, in particular to Buddhist temples and the bunraku puppet theatre.
On the 8th of December, 1941 he was in the backstage of the Yotsubashi Bunraku Theatre in Osaka when he read the special edition of a newspaper announcing the declaration of war to the United States. It was not easy to gain the respect and collaboration of the master puppeteers – national living treasures such as Yoshida Bungorō, Yoshida Eiza and Kiritake Monjūrō – in the key moment of taking the shot with a camera that did not go unnoticed due to its size and long exposure times. However, by 1943 he had shot about 7,000 negatives, which were collected in the book entitled Bunraku published in 1972.
Ken Domon (Japanese, 1909-1990) Esercitazioni delle crocerossine [Red Cross exercises] 1938 Azabu, Tokyo 535 x 748mm Ken Domon Museum of Photography
Ken Domon (Japanese, 1909-1990) Foto commemorativa della cerimonia di diploma del corpo della Marina [Commemorative photo of the Marine Corp graduation ceremony] 1944 Tsuchiura, Ibaragi 1047 x 747mm Ken Domon Museum of Photography
Ken Domon (Japanese, 1909-1990) Vigile urbano a Ginza 4-chōme [Traffic policeman in Ginza 4-chōme] 1946 Tokyo 457 x 560mm Ken Domon Museum of Photography
The postwar period
The affirmation of realism in photography
The tragic events related to the Second World War and to the defeat of Japan, marked by the atrocities of the atomic bomb, revealed the great deception of the war propaganda. Defeat led to the collapse of the imperial myth and state Shintoism, which had been the basis of military ideology.
If on the one hand, by the end of the 1940s there had been considerable intellectual rebirth leading to a rapid resumption of the diffusion of magazines, publications, exhibitions and artistic circles, on the other hand there was no language that seemed suitable for expressing such a tragic reality. There was a need to document a society undergoing profound change and in this sense Domon became the promoter of realistic photography, becoming a landmark for amateur photographers. He embraced the western trends that had taken over the city, but also the alleys and the poorest sectors of the population.
The high point of the realist tendency was reached around 1953, thanks to the exhibition, Photography Today: Japan and France, held in 1951 at the National Museum of Modern Art in Tokyo, provided the opportunity to make comparisons with names such as Cartier Bresson, Brassai, Doisneau. Domon’s last word on realism appeared in the magazine Photo Art in 1957 with an article that debated the two fundamental concepts of photography: jijitsu, reality, and shinjitsu, truth.
Ken Domon (Japanese, 1909-1990) Pescatrici di perle (ama san) [Pearl fisherwomen] 1948 457 x 559mm Ken Domon Museum of Photography
Ken Domon (Japanese, 1909-1990) Donne a passeggio [Women walking] 1950 Sendai 457 x 560mm Ken Domon Museum of Photography
Ken Domon (Japanese, 1909-1990) L’attrice Yamaguchi Yoshiko [The actress Yoshiko Yamaguchi] 1952 535 x 748mm Ken Domon Museum of Photography
Yoshiko Yamaguchi (Japanese, 1920-2014)
Yoshiko Yamaguchi (山口 淑子, Yamaguchi Yoshiko, February 12, 1920 – September 7, 2014) was a Japanese singer, actress, journalist, and politician. Born in China, she made an international career in film in China, Hong Kong, Japan and the United States.
Early in her career, the Manchukuo Film Association concealed her Japanese origin and she went by the Chinese name Li Hsiang-lan (李香蘭), rendered in Japanese as Ri Kōran. This allowed her to represent China in Japanese propaganda movies. After the war, she appeared in Japanese movies under her real name, as well as in several English language movies under the stage name, Shirley Yamaguchi.
After becoming a journalist in the 1950s under the name Yoshiko Ōtaka (大鷹 淑子, Ōtaka Yoshiko), she was elected as a member of the Japanese parliament in 1974, and served for 18 years. After retiring from politics, she served as vice president of the Asian Women’s Fund.
Ken Domon (Japanese, 1909-1990) Sit-in studentesco a Tachikawa contro l’ampliamento della base americana [Student sit-in in Tachikawa against the expansion of US base] 1955 Tokyo 457 x 560mm Ken Domon Museum of Photography
Ken Domon (Japanese, 1909-1990) Sorelline orfane, Rumie e Sayuri [Orphan sisters, Rumie and Sayuri] 1959 Dalla serie I bambini di Chikuhō (Chikuhō no kodomotachi) From the series Children of Chikuhō 457 x 560mm Ken Domon Museum of Photography
Children and miners’ villages
Domon adored children. His first services for Nippon were focused on the Shichigosan Festival and then on children fishing in Izu. But in 1952 he began to photographing children all over Japan, capturing the vitality of the streets and of the poorer neighbourhoods in Tokyo, Ginza, Shinbashi, Nagoya and Osaka and in particular in the Kōtō area where he lived. Probably due to the loss of his second child in 1946 in an accident, Domon moved increasingly toward a realist if not a socialist approach, which allowed him to deal with current themes in an indirect way through the innocent eyes of children.
Several books were dedicated to this theme: The Children of Kōtō (Kōtō no kodomotachi), whose publication was stopped by Domon himself, dissatisfied with his work in 1956; The Children of Chikuhō (Chikuhō no kodomotachi), published in January 1960, and its continuation which followed in November, The Father of Little Rumie is Dead (Rumie chan has otōsan ga shinda), which showed the miserable conditions of children in the villages of the mining area on the island of Kyūshū, and in particular the story of two orphan sisters, whose story moved Japan becoming a best seller. Lastly, the collection Children (Kodomotachi), published in 1976 by master of graphics and friend, Yūsaku Kamekura, and published by Nikkor Club, the amateur photographers’ association linked to Nikon and Domon.
Ken Domon (Japanese, 1909-1990) Rumie 1959 Dalla serie I bambini di Chikuhō (Chikuhō no kodomotachi) From the series Children of Chikuhō 457 x 560mm Ken Domon Museum of Photography
Ken Domon (Japanese, 1909-1990) Lucertola [Lizard] 1955 Dalla serie I bambini di Kōtō (Kōtō no kodomotachi) From the series Children of Chikuhō Tokyo 457 x 560mm Ken Domon Museum of Photography
Ken Domon (Japanese, 1909-1990) Pioggerella [Drizzle] 1952-1954 Dalla serie Bambini (Kodomotachi) From the series Children (Kodomotachi) Atami 457 x 560mm Ken Domon Museum of Photography
Ken Domon (Japanese, 1909-1990) Bagno presso il fiume davanti allo Hiroshima Dome [Bath at the river in front of the Hiroshima Dome] 1957 From the series Hiroshima 535 x 748mm Ken Domon Museum of Photography
Hiroshima
Published in March 1958, the year prior to the first brain haemorrhage to strike Domon Ken, the Hiroshima collection presents 180 photographs introduced by a short explanatory essay. The work, completed thirteen years after the dropping of an atomic bomb on Hiroshima and then on Nagasaki, focused the attention of the world once again on the still open but almost forgotten wounds of Hiroshima, with a strong social impact.
The importance of this event in the life of the photographer is also evidenced by Domon’s recording in his notebook in the day and time of his arrival: July 23rd, 1957, 2.40 pm. From then until November he went there six times, for thirty-six days, producing more than 7,800 negatives, of which Hiroshima is only the synthesis. Domon realised that until then he had ignored and been afraid of what Hiroshima had actually meant. With his 35mm camera he revealed the places and people directly and indirectly affected by the atomic bomb, coldly recording with tears in his eyes the material damage, physical injuries, scars, deformations, and the plastic surgery and transplants undergone by the victims of the bomb, dedicating 14 pages at the beginning of the book to the progress made in the field of plastic surgery, which became a real photographic dossier.
The public shock that followed the publication of the dossier made him the object of harsh criticism that, however, failed to undermine his determination to represent reality. In an article published in the magazine Shinchō in 1977 the Nobel Prize winner Ōe Kenzaburō defined Hiroshima as the first work of modern art that dealt with the theme of the atomic bomb, talking about the living instead of the dead.
Ken Domon (Japanese, 1909-1990) La morte di Keiji [The death of Keiji] 1957 From the series Hiroshima 457 x 560mm Ken Domon Museum of Photography
Ken Domon (Japanese, 1909-1990) Paziente in ospedale [Hospital patient] 1957 From the series Hiroshima 457 x 560mm Ken Domon Museum of Photography
Ken Domon (Japanese, 1909-1990) Donna in cura per le lesioni da bomba atomica [Women being treated for injuries from atomic bomb] 1957 From the series Hiroshima 457 x 560 mm Ken Domon Museum of Photography
Ken Domon (Japanese, 1909-1990) Gemella non vedente [Blind twin (female)] 1957 From the series Hiroshima 457 x 560mm Ken Domon Museum of Photography
Ken Domon (Japanese, 1909-1990) Autoritratto [Self-portrait] Published in the November issue of the magazine Sankei Camera 457 x 560mm Ken Domon Museum of Photography
Portraits (Fūbō)
In 1953 the publication of the Portraits (Fūbō) collection of photographs, which came out in paperback the following year, concluded fifteen years of work dedicated to the portrait that had begun with the first photograph in May 1936 portraying the writer Takeda Rintarō, continuing during the war and until the year in which the collection was published. Domon gathered in a single volume 83 portraits of friends and acquaintances, personalities from the world of entertainment, literature, theatre and politics, stressing in the introduction that they were ” […] people I respect and like and am close to […] The choice of people was surprisingly subjective and random and no claim to any strictly historical or cultural meaning can be made.”
It seems that the initial choice of the faces to be included in the collection was made by Domon with a list written in ink on a sliding door on the second floor of his house in 1948. This list was subjected to the comments and opinions of friends and publishers who went to his house and subsequently underwent substitutions and changes. Through familiar faces and less well-known personalities, Domon bears witness to a crucial era in Japan, one of great writers such as Mishima, Kawabata and Tanizaki, of actors and directors of the caliber of Mifune and Ozu, of great artists who were often his friends and gave rise to a new important artistic trends in the country, such as the sculptor Noguchi, the graph artist Kamekura, the founder of the Ikebana School, Sōgetsu Teshigahara, or painters like Fujita, Umehara, Okamoto. Each picture is accompanied by the name of the subject, their occupation and the date it was taken. There are also short texts describing the relationship between Domon and the person depicted, in addition to the atmosphere created during the shooting.
Sometimes subjects were exasperated by the professional stubbornness of Domon, as is clear in the portrait of Umehara that reveals an air of irritation close to intolerance. Outrightness and instantaneousness, which were always Domon’s objectives, became easier to achieve thanks to technological developments. He passed from a camera assembled for cabinet card portraits – with a dry plate and flash that worked with magnesium powder, used before the war – to a small Leica in the post-war period.
Ken Domon (Japanese, 1909-1990) Shiga Naoya (scrittore/writer) 1951 457 x 560mm Ken Domon Museum of Photography
Naoya Shiga (志賀直哉, Shiga Naoya, February 20, 1883 – October 21, 1971) was a Japanese writer active during the Taishō and Shōwa periods of Japan, whose work was distinguished by its lucid, straightforward style and strong autobiographical overtones.
Ken Domon (Japanese, 1909-1990) Shiga Kiyoshi (medico ricercatore/medical researcher) 1949 457 x 560mm Ken Domon Museum of Photography
Kiyoshi Shiga (志賀 潔, Shiga Kiyoshi, February 7, 1871 – January 25, 1957) was a Japanese physician and bacteriologist. He had a well-rounded education and career that led to many scientific discoveries. In 1897, Shiga was credited with the discovery and identification of the Shigella dysenteriae microorganism which causes dysentery, and the Shiga toxin which is produced by the bacteria. He conducted research on other diseases such as tuberculosis and trypanosomiasis, and made many advancements in bacteriology and immunology.
Ken Domon (Japanese, 1909-1990) Takami Jun (scrittore/writer) 1948 457 x 560mm Ken Domon Museum of Photography
Jun Takami (Japanese, 1907-1965)
Jun Takami (高見 順, Takami Jun, 30 January 1907 – 17 August 1965) was the pen-name of a Japanese novelist and poet active in Shōwa period Japan. His real name was Takami Yoshio.
Takami was interested in literature from youth, and was particularly attracted to the humanism expressed by the Shirakaba writers. On entering Tokyo Imperial University he joined a leftist student arts group, and contributed to their literary journal (Sayoku Geijutsu). After graduation, he went to work for Columbia Records, and continued his activities as a Marxist writer, as part of the proletarian literature movement.
In 1932, he was arrested with other communists and suspected members of the Japan Communist Party under the Peace Preservation Laws, and was released six months later after being coerced into recanting his leftist ideology. An auto-biographical account of his experience appeared in Kokyu Wasureubeki (“Should Auld Acquaintance Be Forgot”, 1935), which, although considered wordy, was nominated for the first Akutagawa Prize. The theme of ironic self-pity over the weakness that led to his “conversion” and his subsequent intellectual confusion were recurring themes in his future works.
He gained a popular following in the pre-war years with Ikanaru Hoshi no Moto ni (“Under Whatever Star”, 1939-1940)., a story set in the Asakusa entertainment district of Tokyo.
During and immediately after World War II, Takami served as Director of the Investigation Bureau of the Japanese Literature Patriotic Association. After the war, he suffered from poor health, but continued to write poetry from his sickbed.
In 1962, Takami helped establish the Museum of Modern Japanese Literature. In 1964, his poetry collection Shi no Fuchi yori (“From the Abyss of Death”, 1964) won the Noma Prize. The same year, he also published, Takami Jun Nikki, (“The Diaries of Takami Jun”), an extremely detailed account of over 3000 pages, in which he described his experiences during the war and immediately afterwards.
Takami Jun lived in Kamakura, Kanagawa prefecture from 1943 until his death of esophageal cancer. His grave is at the temple of Tōkei-ji in Kamakura.
Ken Domon (Japanese, 1909-1990) Kuga Yoshiko (attrice/actress) and Ozu Yasujirō (regista/director) 1958 457 x 560mm Ken Domon Museum of Photography
Yoshiko Kuga (Japanese, 1931-2024)
Yoshiko Kuga (久我 美子, Kuga Yoshiko, 1931-2024) is a Japanese actress. Kuga was born in Tokyo, Japan. Her father, Michiaki Koga (久我通顕), was a marquis and a member of the House of Peers.
In 1946, while still attending Gakushuin Junior High School, she became an actress for Toho studios. In June 1946, Toho had sponsored a search for “new faces”, choosing Kuga as one of 48 new actresses and actors from 4,000 applicants. In 1947, she made her debut as one of the lead actresses in the omnibus movie Four Love Stories (四つの恋の物語, Yottsu no Koi no Monogatari). She was one of the actors active in the 1948 union strike at Toho studios. In the 1950s, she started working independently and starred in many productions of the Shochiku studios under the direction of Keisuke Kinoshita. Other important directors include Kenji Mizoguchi (The Woman in the Rumor), Yasujirō Ozu (Equinox Flower), and Tadashi Imai (An Inlet of Muddy Water). In 1954, she co-founded the film production company Ninjin Club (Bungei purodakushon ninjin kurabu) with actresses Keiko Kishi and Ineko Arima to enable better working conditions for actors within the studio system. Since the 1970s, she appeared mainly on television and on stage.
Kuga was married to actor Akihiko Hirata from 1961 until his death in 1984.
Yasujirō Ozu (小津 安二郎, Ozu Yasujirō, 12 December 1903 – 12 December 1963) was a Japanese film director and screenwriter. He began his career during the era of silent films, and his last films were made in colour in the early 1960s. Ozu first made a number of short comedies, before turning to more serious themes in the 1930s. The most prominent themes of Ozu’s work are family and marriage, and especially the relationships between generations. His most widely beloved films include Late Spring (1949), Tokyo Story (1953), and An Autumn Afternoon (1962).
Widely regarded as one of the world’s greatest and most influential filmmakers, Ozu’s work has continued to receive acclaim since his death. In the 2012 Sight & Sound poll, Ozu’s Tokyo Story was voted the third-greatest film of all time by critics world-wide. In the same poll, Tokyo Story was voted the greatest film of all time by 358 directors and film-makers world-wide.
Ken Domon (Japanese, 1909-1990) Ushi (Bue), dai dodici guardiani (jūnishinshō) del Murōji [Ushi (Ox), one of the twelve guardians (jūnishinshō) of Muroji] 1941-1943 Murōji, Nara 535 x 748mm Ken Domon Museum of Photography
Pilgrimage to the ancient temples (Kojijunrei)
Murōji
The Murōji temple, small and immersed in the greenery of the Nara mountains, was for Domon the first stage of a “pilgrimage to the ancient temples”, a sort of journey of the soul that accompanied him throughout his life and from which came the encyclopaedic work Kojijunrei (Pilgrimage to the Ancient Temples). It all began in 1939 with a simple excursion, suggested by friend and art historian Mizusawa Sumio (1905-1975): an experience that changed his life. In the first year alone he returned more than forty times and on many more occasions over the course of the following years.
At first Domon focused his photographic work on buildings, from the five-story pagoda – the smallest in Japan – to the architectural details, focusing on the sculptures inside, but also on the imposing profile of the Miroku Buddha of Ōnodera, excavated on the rocky wall facing the river along the road that leads to Murōji. Later he concentrated on wooden statues (kōninbutsu) of the Heian era (794-1185) inside the temple and starting with wide, overall shots he then moved on to capture the most minute details of the wood, so as to emphasize the folds and hems of the vestments and the gestures of the hands and eyes. His favourite statue was of Buddha Shaka, enthroned Mirokudō, who with his “beautiful and compassionate face” was, he claimed, the “most beautiful man on earth.”
For this particular job he used a basic Konishiroku (now Konika) camera made of wood, especially suitable for cabinet card portraits that he had purchased in 1941, but also an Eyemo with a tripod, often carried by his assistants. Evidence of Domon’s numerous pilgrimages and countless photographs can be found in the 1954 Murōji collection. The expanded, definitive edition of this work, Nyonin Takano Murōji, was published in 1978 and includes photographs taken subsequently with the new post-war techniques.
Around the temples
The thousands of shots that Domon took in 39 temples from 1939 to the seventies made up the Pilgrimage to the Ancient Temples (Kojijunrei), the masterpiece of his career for which, even today, he is known worldwide. It consists of five volumes published over a number of years (the first in 1963, the second in 1965, the third in 1968, the fourth in 1971 and the fifth in 1975) which put together 462 colour pictures and 325 photogravures of temples and statues built between the seventh and the sixteenth century, following a subjective criterion and not expecting such large proportions. It is first and foremost a work that documents the beauty of architecture, sculpture, gardens and landscapes around the temples and shrines selected by Domon. And yet it is also a testimony of the progression of photographic technique in those years, such as the transition to colour film of 1958, and of Domon’s health problems that influenced his choices.
In December 1959 he suffered a brain haemorrhage that paralysed the right part of his body, thus making it impossible to hold the camera, even after a long period of rehabilitation. Therefore, he resolved to use a tripod. He suffered a second haemorrhage on the June 22nd, 1968, which this time confined him to a wheelchair. And even with this umpteenth misfortune he did not stop taking photographs. With the help of assistants and by moving his point of view further down, he continued to work. He had a third haemorrhage in 1979, followed by a long stay in hospital and his death on the September 15th, 1990.
Ken Domon (Japanese, 1909-1990) Hitsuji (Pecora), dai dodici guardiani (jūnishinshō) del Murōji [Hitsuji (Sheep), one of the twelve guardians (jūnishinshō) of Muroji] 1941-1943 Murōji, Nara 535 x 748mm Ken Domon Museum of Photography
Ken Domon (Japanese, 1909-1990) Buddha Shaka ligneo a figura intera presso il Mirokudō del Murōji [Buddha Shaka wooden full-length at the Mirokudō Muroji] c. 1943 Nara 457 x 560mm Ken Domon Museum of Photography
Ken Domon (Japanese, 1909-1990) Ōnodera, campana e ciliegi [Onodera, bell and cherry trees] 1977 Nara 535 x 748mm Ken Domon Museum of Photography
Ken Domon (Japanese, 1909-1990) Pagoda del Murōji con la neve [Pagoda Muroji with snow] 1978 Nara 535 x 748mm Ken Domon Museum of Photography
Marcus Bunyan (Australian, b. 1958) Self-portrait with gryphon and Joan Miró (Head of a Catalan Peasant) tattoo, both by Alex Binnie, London 1998
I have the five elements in tattoos. In the Head of a Catalan Peasant by Joan Miró featured in the posting, the red hat – in the form of a triangle – signifies ‘fire’ in Western occult mythology.
“Surrealism is not a movement. It is a latent state of mind perceivable through the powers of dream and nightmare.”
~ Salvador Dalí
“As beautiful as the chance encounter of a sewing machine and an umbrella on an operating table.”
~ Comte de Lautréamont
“A constant human error: to believe in an end to one’s fantasies. Our daydreams are the measure of our unreachable truth. The secret of all things lies in the emptiness of the formula that guard them.”
~ Floriano Martins
Many thankx to the Scottish National Gallery of Modern Art for allowing me to publish the art work in the posting. Please click on the photographs for a larger version of the image.
Joan Miró (Spanish, 1893-1983) Tête de Paysan Catalan [Head of a Catalan Peasant] 1925 Oil on canvas 92.4 x 73cm Collection: Scottish National Gallery of Modern Art Purchased jointly with Tate, with the assistance of the Art Fund 1999
Francis Picabia (French, 1879-1953) Fille née sans mère [Girl Born without a Mother] c. 1916-1917 Gouache and metallic paint on printed paper 50 x 65cm Collection: Scottish National Gallery of Modern Art, purchased 1990
René Magritte (Belgian, 1898-1967) Au seuil de la liberté (On the Threshold of Liberty) 1930 Oil on canvas 114 x 146cm Collection: Museum Boijmans Van Beuningen, Rotterdam (Formerly collection of E. James), purchased 1966
André Masson (French, 1896-1987) Massacre 1931 Oil on canvas Collection: Hamburger Kunsthalle, Hamburg/ Pietzsche Collection
Max Ernst (German, 1891-1976) La Joie de vivre [The Joy of Life] 1936 Oil on canvas 73.5 x 92.5cm Collection: National Galleries of Scotland Purchased with the assistance of the Heritage Lottery Fund and the Art Fund 1995
Max Ernst (German, 1891-1976) The Fireside Angel (The Triumph of Surrealism) L’ange du foyer (Le triomphe du surréalisme) 1937 Oil on canvas 114 cm x 146cm
Dorothea Tanning (American, 1910-2012) Eine Kleine Nachtmusik [A Little Night Music] 1943 Oil on canvas 40.7 x 61cm Collection: Tate (formerly collection of R. Penrose) Purchased with assistance from the Art Fund and the American Fund for the Tate Gallery 1997
Apart from three weeks she spent at the Chicago Academy of Fine Art in 1930, Tanning was a self-taught artist. The surreal imagery of her paintings from the 1940s and her close friendships with artists and writers of the Surrealist Movement have led many to regard Tanning as a Surrealist painter, yet she developed her own individual style over the course of an artistic career that spanned six decades.
Tanning’s early works – paintings such as Birthday and Eine kleine Nachtmusik (1943, Tate Modern, London) – were precise figurative renderings of dream-like situations. Like other Surrealist painters, she was meticulous in her attention to details and in building up surfaces with carefully muted brushstrokes. Through the late 1940s, she continued to paint depictions of unreal scenes, some of which combined erotic subjects with enigmatic symbols and desolate space. During this period she formed enduring friendships with, among others, Marcel Duchamp, Joseph Cornell, and John Cage; designed sets and costumes for several of George Balanchine’s ballets, including The Night Shadow (1945) at the Metropolitan Opera House; and appeared in two of Hans Richter’s avant-garde films.
Over the next decade, Tanning’s painting evolved, becoming less explicit and more suggestive. Now working in Paris and Huismes, France, she began to move away from Surrealism and develop her own style. During the mid-1950s, her work radically changed and her images became increasingly fragmented and prismatic, exemplified in works such as Insomnias (1957, Moderna Museet, Stockholm). As she explains, “Around 1955 my canvases literally splintered… I broke the mirror, you might say.”
Marcel Duchamp (French, 1887-1968) La Boîte-en-valise (Box in a Suitcase) 1935-1941 Sculpture, leather-covered case containing miniature replicas and photographs of Duchamp’s works 10 x 38 x 40.5cm Collection: Scottish National Gallery of Modern Art, presented anonymously 1989
Paul Delvaux (Belgian, 1897-1994) L’Appel de la Nuit (The Call of the Night) 1938 Oil on canvas 110 x 145cm Collection: Scottish National Gallery of Modern Art Purchased with the support of the Heritage Lottery Fund and the Art Fund 1995
Delvaux’s paintings of the late 1920s and early 1930s, which feature nudes in landscapes, are strongly influenced by such Flemish Expressionists as Constant Permeke and Gustave De Smet. A change of style around 1933 reflects the influence of the metaphysical art of Giorgio de Chirico, which he had first encountered in 1926 or 1927. In the early 1930s Delvaux found further inspiration in visits to the Brussels Fair, where the Spitzner Museum, a museum of medical curiosities, maintained a booth in which skeletons and a mechanical Venus figure were displayed in a window with red velvet curtains. This spectacle captivated Delvaux, supplying him with motifs that would appear throughout his subsequent work. In the mid-1930s he also began to adopt some of the motifs of his fellow Belgian René Magritte, as well as that painter’s deadpan style in rendering the most unexpected juxtapositions of otherwise ordinary objects.
Delvaux acknowledged his influences, saying of de Chirico, “with him I realised what was possible, the climate that had to be developed, the climate of silent streets with shadows of people who can’t be seen, I’ve never asked myself if it’s surrealist or not.” Although Delvaux associated for a period with the Belgian surrealist group, he did not consider himself “a Surrealist in the scholastic sense of the word.” As Marc Rombaut has written of the artist: “Delvaux … always maintained an intimate and privileged relationship to his childhood, which is the underlying motivation for his work and always manages to surface there. This ‘childhood,’ existing within him, led him to the poetic dimension in art.”
The paintings Delvaux became famous for usually feature numbers of nude women who stare as if hypnotised, gesturing mysteriously, sometimes reclining incongruously in a train station or wandering through classical buildings. Sometimes they are accompanied by skeletons, men in bowler hats, or puzzled scientists drawn from the stories of Jules Verne. Delvaux would repeat variations on these themes for the rest of his long life…
Photograph album: International Surrealist Exhibition, London 1936 Made 1936-1939 Images taken by Chancery. Images titled by Roland Penrose 32.00 x 26.00cm Collection: Scottish National Gallery of Modern Art Photo: Antonio Reeve
Leonora Carrington (Mexican born Britain, 1917-2011) The House Opposite 1945 Tempera on board 33 x 82cm West Dean College, part of the Edward James Foundation
“I painted for myself… I never believed anyone would exhibit or buy my work.”
Leonora Carrington was not interested in the writings of Sigmund Freud, as were other Surrealists in the movement. She instead focused on magical realism and alchemy and used autobiographical detail and symbolism as the subjects of her paintings. Carrington was interested in presenting female sexuality as she experienced it, rather than as that of male surrealists’ characterisation of female sexuality. Carrington’s work of the 1940s is focused on the underlying theme of women’s role in the creative process.
Masterpieces from four of the finest collections of Dada and Surrealist art ever assembled will be brought together in this summer’s major exhibition at the Scottish National Gallery of Modern Art (SNGMA). Surreal Encounters: Collecting the Marvellous will explore the passions and obsessions that led to the creation of four very different collections, which are bound together by a web of fascinating links and connections, and united by the extraordinary quality of the works they comprise.
Surrealism was one of the most radical movements of the twentieth century, which challenged conventions through the exploration of the subconscious mind, the world of dreams and the laws of chance. Emerging from the chaotic creativity of Dada (itself a powerful rejection of traditional values triggered by the horrors of the First World War) its influence on our wider culture remains potent almost a century after it first appeared in Paris in the 1920s. World-famous works by Salvador Dalí, Joan Miró, René Magritte, Leonora Carrington, Giorgio de Chirico, André Breton, Man Ray, Pablo Picasso, Max Ernst, Dorothea Tanning, Yves Tanguy, Leonor Fini, Marcel Duchamp and Paul Delvaux will be among the 400 paintings, sculptures, prints, drawings, artist books and archival materials, to feature in Surreal Encounters. The exhibition has been jointly organised by the SNGMA, the Museum Boijmans Van Beuningen, Rotterdam and the Hamburger Kunsthalle, where it will be shown following its only UK showing in Edinburgh.
Dalí’s The Great Paranoiac (1936), Lobster Telephone (1938) and Impressions of Africa (1938); de Chirico’s Two Sisters (1915); Ernst’s Pietà or Revolution by Night (1923) and Dark Forest and Bird (1927), and Magritte’s The Magician’s Accomplice (1926) and Not to be Reproduced (1937) will be among the highlights of this exceptional overview of Surrealist art. The exhibition will also tell the personal stories of the fascinating individuals who pursued these works with such dedication and discernment.
The first of these – the poet, publisher and patron of the arts, Edward James (1907-84) and the artist, biographer and exhibition organiser, Roland Penrose (1900-84) – acquired the majority of the works in their collections while the Surrealist movement was at its height in the interwar years, their choices informed by close associations and friendships with many of the artists. James was an important supporter of Salvador Dalí and René Magritte in particular, while Penrose was first introduced to Surrealism through a friendship with Max Ernst. The stories behind James’s commissioning of works such as Dalí’s famous Mae West Lips Sofa (1938) and Magritte’s The Red Model III (1937) and the role of Penrose in the production of Ernst’s seminal collage novel Une Semaine de Bonté (1934) will demonstrate how significant these relationships were for both the artists and the collectors. Other celebrated works on show that formed part of these two profoundly important collections include Tanning’s Eine Kleine Nachtmusik (1943); Magritte’s On the Threshold of Liberty (1937); Miró’s Head of a Catalan Peasant (1925); and The House Opposite (c. 1945) by Leonora Carrington.
While the Penrose and James collections are now largely dispersed, the extraordinary collection of Dada and Surrealist art put together by Gabrielle Keiller (1908-95), was bequeathed in its entirety to the SNGMA on her death in 1995, the largest benefaction in the institution’s history. Keiller devoted herself to this area following a visit to the Venice home of the celebrated American art lover Peggy Guggenheim in 1960, which proved to be a pivotal moment in her life. She went on to acquire outstanding works such as Marcel Duchamp’s La Boîte-en-Valise (1935-41), Alberto Giacometti’s Disagreeable Object, to be Thrown Away (1931) and Girl Born without a Mother (c. 1916-17) by Francis Picabia. Recognizing the fundamental significance of Surrealism’s literary aspect, Keiller also worked assiduously to create a magnificent library and archive, full of rare books, periodicals, manifestos and manuscripts, which makes the SNGMA one of the world’s foremost centres for the study of the movement.
The exhibition will be brought up to date by the inclusion of works from the collection of Ulla and Heiner Pietzsch, who have spent more than 40 years in their quest to build up an historically balanced collection of Surrealism, which they have recently presented to the city of Berlin, where they still live. The collection features many outstanding paintings by Francis Picabia, Pablo Picasso, André Masson, Leonor Fini, Ernst, Tanguy, Magritte and Miró; sculptures by Hans Arp and Hans Bellmer; and works by André Breton, the leader of the Surrealists. Highlights include Masson’s Massacre (1931), Ernst’s Head of ‘The Fireside Angel’ (c. 1937), Picasso’s Arabesques Woman (1931) and Arp’s sculpture Assis (Seated) (1937).
The exhibition’s curator in Edinburgh, Keith Hartley, who is Deputy Director of the SNGMA, has said, “Surrealist art has captured the public imagination like perhaps no other movement of modern art. The very word ‘surreal’ has become a by-word to describe anything that is wonderfully strange, akin to what André Breton, the chief theorist of Surrealism, called ‘the marvellous’. This exhibition offers an exceptional opportunity to enjoy art that is full of ‘the marvellous’. It brings together many important works which have rarely been seen in public, by a wide range of Surrealist artists, and creates some very exciting new juxtapositions.”
Max Ernst (German, 1891-1976) Pieta or Revolution by Night 1923 Oil on canvas
René Magritte (Belgian, 1898-1967) The Magician’s Accomplice 1926 Oil on canvas
René Magritte (Belgian, 1898-1967) L’Esprit comique (The Comic Spirit) 1928 Oil on canvas 75 x 60cm Collection: Hamburger Kunsthalle, Hamburg/ Pietzsche Collection
Pablo Picasso (Spanish, 1881-1973) Femme aux arabesques (Arabesque Woman) 1931 Oil on canvas, 100 x 81cm Hamburger Kunsthalle, Hamburg/ Pietzsche Collection
Max Ernst (German, 1891-1976) Jeune homme intrigué par le vol d’une mouche non-euclidienne [Young Man Intrigued by the Flight of a Non-Euclidean Fly] 1942-1947 Oil and paint on canvas 82 x 66cm Collection: Hamburger Kunsthalle, Hamburg/ Pietzsche Collection
Max Ernst (German, 1891-1976) Une semaine de bonté [A Week of Kindness] 1934 Collage graphic novel
Une semaine de bonté [A Week of Kindness] is a graphic novel and artist’s book by Max Ernst, first published in 1934. It comprises 182 images created by cutting up and re-organising illustrations from Victorian encyclopaedias and novels.
The 184 collages of Une semaine de bonté [A Week of Kindness] were created during the summer of 1933 while Max Ernst was staying at Vigoleno, in northern Italy. The artist took his inspiration from wood engravings, published in popular illustrated novels, natural science journals or 19th century sales catalogues. With infinite care, he cut out the images that interested him and assembled them with such precision as to bring his collage technique to a level of incomparable perfection. Without seeing the original illustrations, it is difficult to work out where Max Ernst intervened. In the end, each collage forms a series of interlinked images to produce extraordinary creatures which evolve in fascinating scenarios and create visionary worlds defying comprehension and any sense of reality.
After La Femme 100 têtes [The Woman with one Hundred Heads] (1929) and Rêve d’une petite fille qui voulut entrer au Carmel [A Little Girl dreams of taking the Veil] (1930), Une semaine de bonté was Max Ernst’s third collage-novel. Ernst had originally intended to publish it in seven volumes associating each book with a day of the week. Moreover, the title referred to the seven days in Genesis. Yet it was also an allusion to the mutual aid association ‘La semaine de la bonté’ [The Week of Kindness], founded in 1927 to promote social welfare. Paris was flooded with posters from the organisation seeking support from everyone. Like the elements making up the collages, the title was also “borrowed” by Max Ernst.
The first four publication deliveries did not, however, achieve the success that had been anticipated. The three remaining ‘days’ were therefore put together into a fifth and final book. The books came out between April and December 1934, each having been bound in a different colour: purple, green, red, blue and yellow. In the final version, two works were taken out. The edition therefore consists of only 182 collages.
Anonymous text from the Musée D’Orsay website [Online] Cited 07/09/2016. No longer available online
Yves Tanguy (French, 1900-1955) Sans titre, ou Composition surréaliste (Untitled, or Surrealist Composition) 1927 Oil on canvas 54.5 x 38cm Hamburger Kunsthalle, Hamburg/ Pietzsche Collection
Tanguy’s paintings have a unique, immediately recognisable style of nonrepresentational surrealism. They show vast, abstract landscapes, mostly in a tightly limited palette of colours, only occasionally showing flashes of contrasting colour accents. Typically, these alien landscapes are populated with various abstract shapes, sometimes angular and sharp as shards of glass, sometimes with an intriguingly organic look to them, like giant amoebae suddenly turned to stone.
Jean (Hans) Arp (French-German, 1886-1996) Assis (Seated) 1937 Limestone 29.5 x 44.5 x 16cm Collection: Hamburger Kunsthalle, Hamburg/ Pietzsche Collection
Joan Miró (Spanish, 1893-1983) Peinture (Painting) 1925 Oil on canvas 130 x 97cm Hamburger Kunsthalle, Hamburg/ Pietzsche Collection
Joan Miró (Spanish, 1893-1983) Peinture [Painting] 1927 Oil on canvas 33 x 24.1 cm Collection: National Galleries of Scotland Bequeathed by Gabrielle Keiller 1995
René Magritte (Belgian, 1898-1967) Le Modèle rouge III (The Red Model III) 1937 Oil on canvas 206 x 158 x 5cm Collection: Museum Boijmans Van Beuningen, Rotterdam (Formerly collection of E. James) Purchased with the support of The Rembrandt Association (Vereniging Rembrandt), Prins Bernhard Fonds, Erasmusstichting, Stichting Bevordering van Volkskracht Rotterdam Museum Boymans-van Beuningen Foundation 1979
Exhibition dates: 25th March – 4th September, 2016
Curator: Christine Macel
Artists include: Pawel Althamer/ Maja Bajević / Yto Barrada / Jean-Michel Basquiat / Taysir Batniji / Christian Boltanski / Erik Boulatov / Mohammed Bourouissa / Frédéric Bruly Bouabré / Sophie Calle and Greg Shephard / Mircea Cantor / Chen Zhen / Hassan Darsi / Destroy All Monsters / Atul Dodiya / Marlene Dumas / Ayşe Erkmen / Fang Lijun / Harun Farocki and Andrei Ujica / Samuel Fosso / Michel François / Coco Fusco und Paula Heredia / Regina José Galindo / Kendell Geers / Liam Gillick / Fernanda Gomes / Dominique Gonzalez-Foerster / Felix Gonzalez-Torres / Renée Green / Subodh Gupta / Andreas Gursky / Hans Haacke / Petrit Halilaj / Edi Hila / Gregor Hildebrandt / Thomas Hirschhorn / Nicholas Hlobo / Carsten Höller / Pierre Huyghe / Fabrice Hyber / Isaac Julien / Oleg Kulik / Glenn Ligon / Robert Longo / Sarah Lucas / Gonçalo Mabunda / David Maljković / Chris Marker / Ahmed Mater / Mike Kelley and Paul McCarthy / Annette Messager / Rabih Mroué / Zanele Muholi / Jun Nguyen-Hatsushiba / Roman Ondák / Gabriel Orozco / Damián Ortega / Philippe Parreno / Nira Pereg / Dan Perjovschi / Wilfredo Prieto / Tobias Putrih / Walid Raad / Sara Rahbar / Tobias Rehberger / Nick Relph und Oliver Payne / Pipilotti Rist / Chéri Samba / Anne-Marie Schneider / Santiago Sierra / Mladen Stilinović / Georges Tony Stoll / Wolfgang Tillmans / Rirkrit Tiravanija / Danh Vo / Marie Voignier / Akram Zaatari / Zhang Huan
Take your pick: some interesting, some not. My favourite: Annette Messager Mes voeux (1989, below) … such a strong, creative and inspiring artist.
I’m not writing so much as I have bad RSI in my left wrist at the moment.
Dr Marcus Bunyan
Many thankx to Haus der Kunst for allowing me to publish the art work in the posting. Please click on the photographs for a larger version of the image.
In 2016, two prominent exhibition projects explore the pressing question of which factors remain relevant to the writing of art history. While “Postwar – Art between the Pacific and Atlantic, 1945-1965” concentrates on the time immediately after World War II, “A History: Contemporary Art from the Centre Pompidou” provides an overview of contemporary art since the 1980s with 160 works by more than 100 artists.
The year 1989 marked a break with the past and the start of a new era. The fall of the Berlin Wall toppled divisions in the world of European art, while the events of Tiananmen Square focused attention on a new China. The ongoing globalisation allows for an unprecedented mobility. The static understanding of identity, once based on origin and nationality, has since given way to a more transnational and variable narrative. Contemporary artistic proposals, which arise from the new “decolonised subjectivity”, are also based on a new understanding of site-specificity. For example, in the 1960s and 1970s the protagonists of Land Art still understood landscapes primarily as post-industrial ruins. In contemporary artistic practice, however, space is defined above all socially and politically – by traumatic historical events, home country, exile, diaspora and hybrid identities, such as African-American, Latino, Turkish-German, African-Brazilian, and so forth. The new presentation of the Centre Pompidou contemporary collections at Haus der Kunst focuses particularly on this altered geography, notably the former Eastern Europe, China, Lebanon, and various Middle Eastern countries, India, Africa, and Latin America. This is the first time such a large-scale view of the Centre Pompidou collection has been presented outside France.
Lijun Fang (Chinese, b. 1963) Sans titre 2003 Woodcut on paper 400 x 854cm Each panel: 400 x 120cm Achat en 2004, Ankauf / Purchase Collection Centre Pompidou, Paris Musée national d’art moderne – Centre de création industrielle
Haus der Kunst is pleased to present A History: Contemporary Art from Centre Pompidou, an exhibition originally curated by Christine Macel at the Centre Pompidou, Paris. With approximately 160 works by more than 100 artists from across the world, “A History: Contemporary Art from the Centre Pompidou” provides an incisive overview of artistic positions since the 1980s in painting, sculpture, installation, video, photography, and performance.
The Centre Pompidou’s collection of contemporary art has rarely been presented so comprehensively outside France. The selected works on view date from the 1980s to the present raising two significant questions: What factors are relevant for ensuring that art history is written in a specific way, and what does an ever changing understanding of the term ‘contemporary’ mean for public museums and their collections? Still, the concentration on Euro- American domains, which many museums formerly pursued in the acquisition of works for their collections, can hardly be sustained today and is no longer the aspiration of most museums. Globalisation, with its expanded narratives, has recently become too determining for the position of contemporary art to ignore. Curator Christine Macel defines her intention accordingly: to present ‘one’ among many possible histories of contemporary art.
With the progression of globalisation – understood here as the consolidation of economic, technological and financial systems, but also the questioning of linear history, and hegemonic cultural narratives – our perception of identity has changed. Since the first globally-oriented biennial in Havana in 1986, exhibition organisers and larger museums in Europe and North America have strived to display art created beyond the Western artistic circuit. The static understanding of identity as something based in origins and a “home base” has largely given way to a transnational and variable one.
The turning point for Centre Pompidou was its 1989 exhibition “Les Magiciens de la Terre”, in which curator Jean-Hubert Martin aimed to confront the problematic phenomenon of “one hundred percent of exhibitions that ignore eighty percent of the world.” Half the participating artists came from non-Western countries, while the other half came from the West. In addition, all exhibiting artists were – without exception – still active, making the presentation truly contemporary. Since then, the Centre Pompidou, like many large museums, has had to confront the reality of the expanded circuits of contemporary art. Over the years the museum gradually changed its acquisition practices and has increasingly opened its focus toward Eastern Europe, China, Lebanon, the Middle East, India, Congo, Nigeria, South Africa, Cameroon, Mexico and Brazil.
Meanwhile, our understanding of the term “origins” has continued to evolve. Consequently, the definition of “site-specific” has also changed. In the 1960s and 70s, artists of the Land Art movement still essentially regarded landscapes as post-industrial ruins. By contrast, Okwui Enwezor, director of Haus der Kunst believes that, in today’s artistic practice, space is defined by impermanence, by the mutability of politically and socially grounded positions, by aesthetic pluralism, and by cultural differences. Furthermore, colonial and postcolonial experiences shaped by traumatic historical events, home, exile, diaspora produced hybrid identities – such as African-American, Euro- American, Latino, Turkish-German, French-Arabic, African-Brazilian, etc. Consequently new forms of cosmopolitanism and provincialism jostle next to one another. It is no coincidence that the exhibition practice of today can already look back on a number of shows that focused on borders and issues of migration.
Against this backdrop of dynamism and permanent transition the exhibition is divided into seven chapters:
The Artist as Historian
An interest in the historical document and a more general obsession with the past, have led to the nostalgic excavation and re-enactments of existing works of art. Artists from the Arab speaking world are increasingly present in the art world; having borne witness to the Gulf War in 1991, these artists have developed new practices around the examination of history.
The Artist as Archivist
A passion for the archive initially led to a demand for completeness and later to an acceptance of the fragmentary, resulting on the one hand in concurrence of taxonomic efforts and endless accumulation, and, on the other, in an insight into the accelerated loss of memory. On a higher level, both coincide: Archives are especially useful in helping to identify and address wounds in the collective memory.
Sonic Boom
Trying to capture the sensation of listening to music in an image has a long tradition. Yet, even for artists who take their works to the edge of physical dissolution, listening often moves to the fore. Further, changes in the music industry and music production have reinforced the permeability of art and composition.
The Artist as Producer: The “Traffic” Generation
The concept of artwork is transformed through its dematerialisation. An awareness of temporality, volatility, and process shifts to the foreground. Artists develop new forms of collaboration and collective creation, and make aesthetic use of clips, sampling, and film narrative (which is also regarded as an exhibition platform). As a result, copyright as an object of reflection has come into focus.
The Artist as Documentarist: As Close as Possible to the Real
The proliferation of the Internet in the context of a market economy and consumer society has led to a greater interest in the real, in the status quo of the observer and the reporter and generally in an engagement with all areas of human life. The artist takes on the role of a witness who accepts the subjectivity of his observations.
Artist and Object
Between 1980 and 1990, artists turned to an exploration of the everyday and the object; the 1990’s can be considered as the ultimate epoch of the aesthetic of the mundane. The now-famous video, “The Way Things Go” by Fischli and Weiss (1986-87) sings this song of songs to the everyday. No less iconic is Gabriel Orozco’s modified Citroën (La DS, 1993). The confrontation with consumer society is manifested in photography in detailed and richly coloured compositions like Gursky’s 99 Cent (1999), and in sculpture with the integration of found objects. The common denominator is the attention artists pay to excessive consumption – as an opportunity or as a fact.
The Artist and the Body
Video and photography seem to be particularly fitting mediums for artists whose works include a performative element. The theme of the human body – wounded or damaged by oppression – returns as a theme with a vengeance. Many works with erotic and sexual overtones emerge. New technical possibilities, either through plastic surgery or image manipulation, bring the grotesque into the fold.
Exhibition dates: 15th April – 4th September, 2016
Curator: Keith F. Davis, Senior Curator, Photography at The Nelson-Atkins Museum of Art
Unknown maker (American) Group at pond c. 1910s Gelatin silver print 3 × 4 inches The Nelson-Atkins Museum of Art, Kansas City, Missouri Gift of Peter J. Cohen
Dis/membering the snapshot
To say that I dislike the term “snapshot” is an understatement. The term snap/shot implies a lack of consideration in the physical act of taking the photograph. In a snap it was shot – like a snap of the fingers or a bolt out of the blue. But if we think about the photographs in this posting … and we then think about the photographs of Henri Lartigue, or Robert Frank and his travels across 1950s America, I would argue that the only difference between Lartigue, Frank and the former “Unknown makers” is that they were embarked upon a photographic project, and, latterly, were decreed artists.
I believe, and I have always believed, that the taking of photographs is a matter of intention on the part of the photographer.
If you look at these photographs from Unknown makers was it their intention to take this photograph, did they think about what they were doing before they pressed the shutter. And the answer is unequivocally, yes they did. Their aim, their purpose, was that they had the intention to take the photograph they did, they determined of their own free will how to frame these photos and at what split second to press the shutter so as to suit their aim, their thought about what they wanted to capture in the image. This is not a “snap” shot in contemporary parlance, but a considered action and intention.
To say, as Keith F. Davis, Senior Curator, Photography does in the press release, that “Snapshots represent a collective visual unconsciousness of 20th-century American culture,” could not be farther from the truth. They may represent a form of collective subconscious, where these images hover in collective memories and dreams waiting to be visualised, but a collective visual unconsciousness? I don’t think so.
Vernacular photography is about a conscious decision to take a photograph and, at its most poignant, it is about a collective movement that emerges from the subconscious of people all the way around the world – in order (a taxonomic state) to document the world around them.
The joy of the women on the bed, the man and women in the cornfield, the couple in love with the Christmas tree, the man riding the bucking horse bareback, even the close-up of child’s mouth – all of the photographs were taken with an inquiring mind, with an intention to look and see, to feel the memory of that event, that time and space – not as a snap/shot but as an expression of (everlasting) life.
“To see a world in a grain of sand and heaven in a wild flower Hold infinity in the palms of your hand and eternity in an hour.“
William Blake
Dr Marcus Bunyan
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.
Unknown maker (American) Man and woman in corn c. 1930s Gelatin silver print 3 × 4 1/8 inches The Nelson-Atkins Museum of Art, Kansas City, Missouri Gift of Peter J. Cohen
Unknown maker (American) Couple with Christmas tree c. 1940s Gelatin silver print 3 × 3 inches The Nelson-Atkins Museum of Art, Kansas City, Missouri Gift of Peter J. Cohen
Unknown maker (American) Woman with drink on bed 1950s Gelatin silver print 3 1/8 x 4 inches Gift of Peter J. Cohen
Unknown maker (American) Close-up of child’s mouth 1956 Gelatin silver print 3 × 3 inches The Nelson-Atkins Museum of Art, Kansas City, Missouri Gift of Peter J. Cohen
Unknown maker (American) Superman with dumbbell 1972 Ektacolor print 3 1/8 × 3 1/8 inches The Nelson-Atkins Museum of Art, Kansas City, Missouri Gift of Peter J. Cohen
When photography was introduced in 1839, the making of even a single picture was difficult and painstaking. The medium was transformed in the 1880s with the introduction of easier processes and the simple Kodak camera. Amateur photography was born: images became casual and spontaneous, and they were called “snapshots.”
Amateur snapshots are highlighted in An Anonymous Art: American Snapshots from the Peter J. Cohen Gift, which opens at The Nelson-Atkins Museum of Art in Kansas City April 15. The Chicago-born Cohen, an investment manager who now lives in New York, bought his first snapshots at a flea market in 1991. Within 20 years he had amassed more than 50,000 of them, and has given away as many as 12,000 snapshots. Cohen gifted the Nelson-Atkins with 350 photos.
“This incredible exhibition of amateur snapshots depicts broadly shared aspects of everyday life,” said Julián Zugazagoitia, Menefee D. and Mary Louise Blackwell CEO and Director of the Nelson-Atkins. “It highlights the deep cultural importance of photography, a visual tradition that flourishes today in images that are made and shared in a variety of ways.”
There are snapshots of pets, baseball games, Christmas trees, amateur plays, vacation fun – and even subjects snapping themselves in mirrors, which could be considered the original selfies.
“The large themes of this exhibition have tremendous continuity,” said Keith F. Davis, Senior Curator, Photography. “Snapshots represent a collective visual unconsciousness of 20th-century American culture – a connection to basic human concerns that is both direct and mysterious.”
Each of the 238 snapshots in An Anonymous Art was hand-selected by Davis himself from an extensive survey of the Cohen collection. The exhibition suggests the medium’s profound social importance as well as its quirky and surprising nature. It features groupings of works illustrating key visual traits and cultural motifs, ranging from accidental multiple exposures to comic and play-acting images. An Anonymous Art runs through Sept 4.
Press release from The Nelson-Atkins Museum of Art
Unknown maker (American) Flying bi-plane c. 1920s Gelatin silver print 5 3/8 × 3 3/16 inches The Nelson-Atkins Museum of Art, Kansas City, Missouri Gift of Peter J. Cohen
Unknown maker (American) Whoa! 1928 Gelatin silver print 3 3/16 × 2 1/8 inches The Nelson-Atkins Museum of Art, Kansas City, Missouri Gift of Peter J. Cohen
“Especially poignant are the images captioned “Me,” depicting both adults and children. We may imagine a grown woman writing “me” at the bottom of her childhood photograph as a reminder that she was once a small, vulnerable girl. In Camera Lucida: Reflections on Photography, French theoretician Roland Barthes writes, “In front of the photograph of my mother as a child, I tell myself: she is going to die: I shudder … over a catastrophe which has already occurred. Whether or not the subject is already dead, every photograph is this catastrophe.”
And yet, despite Barthes’ melancholy, or our own sadness over images of loved ones who have died, each photograph exclaims and reclaims existence – that we have been here. The snapshot embodies an emotion that existed at the time as an agreement between the photographer and the photographed, and that experience bridges time’s distance. And while that may sound simplistic, it is part of the deeper social meaning of the photographic image as a souvenir of experience – a small, visual (auto)biography.
Barthes goes on to discuss his mother’s photograph, writing, “… [the] photograph was indeed essential, it achieved for me, utopically, the impossible science of the unique being.” The image of his mother as a child evinced for Barthes his mother’s true nature – kindness. Similarly, these anonymous photos perhaps reveal the essence of the subjects depicted … daredevil brothers, goofy friends and sisters, sedate parents, and so on.”
Unknown maker (American) Allen and Gladys c. 1930s Gelatin silver print 3 1/8 × 2 1/8 inches The Nelson-Atkins Museum of Art, Kansas City, Missouri Gift of Peter J. Cohen
Unknown maker (American) Dog being held by neck c. 1940 Gelatin silver print 3 1/2 × 2 1/2 inches The Nelson-Atkins Museum of Art, Kansas City, Missouri Gift of Peter J. Cohen
Unknown maker (American) Doris 1949 Gelatin silver print 3 1/8 × 2 1/8 inches The Nelson-Atkins Museum of Art, Kansas City, Missouri Gift of Peter J. Cohen
Unknown maker (American) Boy with bat c. 1950s Gelatin silver print 3 × 3 1/16 inches The Nelson-Atkins Museum of Art, Kansas City, Missouri Gift of Peter J. Cohen
The Nelson-Atkins Museum of Art 4525 Oak Street Kansas City, MO 64111
Curator: Tatyana Franck, Director, Musée de l’Elysée, assisted by Lydia Dorner and Emilie Delcambre
Artists: Takashi Arai / Israel Ariño / Anna Atkins / Patrick Bailly-Maître-Grand Pierre Cordier / Bernd and Hilla Becher / Martin Becka / Binh Danh /Jayne Hinds Bidaut John Dugdale / Jean-Gabriel Eynard / Joan Fontcuberta / Dennis Gabor / Loris Gréaud / JR Idris Khan / Laure Ledoux / Gustave Le Gray / Gabriel Lippmann / Vera Lutter / Christian Marclay / Mathew Brady / Vik Muniz / Oscar Muñoz / Eadweard Muybridge / France Scully Osterman and Mark Osterman Andreas / Andreas Müller-Pohle / Florio Puenter Benjamin Recordon / Dino Simonett / Jerry Spagnoli / Joni Sternbach / James Turrell Martial Verdier / Paul Vionnet / Pierre Wetzel / Victoria Will / Nancy Wilson-Pajic
Gabriel Lippmann (colour photography) and Dennis Gabor (holograms). Eadweard Muybridge (movement) and Pierre Cordier (chemigrams). Daguerreotypes, calotypes, negatives on dry waxed paper, tintypes, ambrotypes, cyanotypes. Heliogravure, ferrotype, collage and carbon printing. 3D digitisations that “light up” the image from every angle.
What’s old is new again. Then and now, here and there. The memory of future past.
Dr Marcus Bunyan
Many thankx to the Musée de l’Elysée for allowing me to publish the photographs in the posting. Please click on the photographs for a larger version of the image.
Oscar Muñoz’s work combines photography, engraving, drawing, installation, video and sculpture, defying all attempts at categorisation. Using non-conventional techniques, his work is a reflection on social concerns and addresses the themes of memory and forgetting, appearance and disappearance, loss and the insecurity of human life. In his work El Coleccionista, the artist uses a triple video projection to show a figure that is sorting, organising and grouping what appears to be personal archives. Oscar Muñoz evokes here the ability of images to be part of multiple narratives, from one image to another, from one context to another. These images propose multiple narrations that overlap and intermingle between the past and present, memory and time.
For Ante la Imagen, Muñoz uses the portrait of the chemist Robert Cornelius (1809-1893), known for having reduced the exposure time of the photographic process of the daguerreotype and for producing one of the first self-portraits, to demonstrate the effectiveness of his method. Muñoz reproduces this portrait by engraving it on a reflecting metallic surface, like a daguerreotype. With each manipulation, the viewer sees the portrait of Cornelius superimposed on his own. The work is composed and decomposed and questions the interior multiplicity of one and the same image. Muñoz replaces this frozen image by a constantly-changing one, vulnerable to deterioration under the effect of air, like life itself.
Professor of physics at the Sorbonne, a member of the French Academy of Sciences and author of many scientific works, the international renown of Gabriel Lippmann Is mainly due to his invention of colour photography using the interferential method. He was awarded the Nobel Prize in physics in 1908.
In 1891, he presented his invention, which would revolutionise photography, to the public. Lippmann developed the “wave theory of light”, which held that light bodies vibrate (like sound) and that light is propagated by waves of different speeds. The variations in wavelengths lead to changes in colour. To prove the validity of his theory, Lippmann worked for five years to find a method that would fix these interferences. To do so, he developed a device that made it possible to place a special photographic plate (made of layers proportional to the wavelengths) in contact with a mercury mirror, a very complicated process. The sensitive layer of an average wavelength, green, for example, has 4,000 bright points per millimetre in its thickness, separated by dark intervals. The Musée de l’Elysée has the largest collection of Lippmann prisms in the world.
Engineer and physicist, Dennis Gabor is known for having invented the hologram in 1947, for which he was awarded the Holweck prize in 1970, and then the Nobel Prize in physics in 1971. Fascinated by Abbé’s theory of the microscope and Gabriel Lippmann’s method of colour photography, he studied electron optics, which led him to propose the concept of holography that he referred to as “wavefront reconstruction” at the time. The initial project consisted of an electron microscope capable of visualising atom networks and the atoms themselves, but that was not put into practice until 20 years later, whereas the hologram as a photographic process would have to wait for the invention of the laser in the 1960s, the light source necessary for the hologram. Subsequently, Emmett Leith and Juris Upatnieks in the United States and Yuri Denisyuk in Russia contributed to the improvement of Gabor’s invention and presented three-dimensional holograms. Since then, holograms are widely know to the general public through advertising, the production of packaging materials and jewellery items.
The life-size version of the portrait of Gabor can be seen at the offices of the McDonnell Douglas Corporation in the United States, one of the first companies to have attempted to market the holograph. The reduced-size copy presented here was made several years later by Spindler & Hoyer, a German optical company.
A well-known filmmaker and multimedia artist, Christian Marclay made his mark on the contemporary art scene by combining the visual arts, film and musical culture. In 2007, he began a project that explores the interactions between sound and vision, as well as the manipulation and the conservation of different forms of recordings. He initiated a series together with the Graphicstudio, University of South Florida involving the use of two archaic recording systems – the cyanotype photography process and the audiotape.
He adopted and adapted the subject of the audiotape, which has become just about obsolete as a result of technological developments, and placed it at the center of his visual abstraction to capture the old soundtracks of hundreds of cassette tapes unfurled like so many streamers, using the cyanotype process. “We assume, because we’re able to capture sounds or images, that they will exist forever – when, in fact, obsolescence makes you feel the limit of those assumptions.” By combining these two mediums, the artist brilliantly explores the resonances between the past and present.
JR has “the largest art gallery in the world”. Thanks to the technique of photo collage, he freely exhibits his work on walls worldwide, thus attracting the attention of those who rarely or never go to museums. His work is a mixture of art and action and deals with commitment, freedom, identity and limits. After finding a camera in the Paris Metro in 2001, he travelled throughout Europe to meet other people whose mode of artistic expression involved the use of the walls and façades that give form to our cities. After observing the people he met and listening to their message, JR pasted their portraits up in streets and basements and on the roof tops of Paris.
JR thus creates “pervasive art” that he puts up on buildings in the Paris suburbs, on walls in the Middle East, on broken bridges in Africa and in the favelas of Brazil. These artistic actions make no distinction between the actors and the spectators. JR’s approach presented here is a mixture of the reinterpretation and recontextualisation of the icons of the history of photography taken from the collections of the Musée de l’Elysée of Lausanne, which he applies to the façades of buildings in the city of Vevey. He thus crops and enlarges the photos of Robert Capa, Man Ray, Gilles Caron and Helen Levitt so that the city becomes a gigantic open-air museum.
“Landscape is what defines me. When I am somewhere new or unfamiliar, I am constantly in dialogue with the past, present and my future self. When I am thinking about landscape, I am thinking about those who have stood on this land before me. Whoever they are, hopefully history recorded their makings on the land for me to study and contemplate.”
Born in Viet Nam, Binh Danh addresses themes of collective and personal memories, history, heritage and mortality. Known for printing his works on unconventional supports such as leaves or grass, he experiments with the photographic process of the daguerreotype in his most recent creations in order to document the history of the city of San Francisco.
Reminiscent of the work of photographic pioneers such as Eadweard Muybridge (1830-1904), Charles Marville (1813-1879) and Eugène Atget (1857-1927), Binh Danh explores the complexities of a constantly evolving city, from the first major expansion in recent years of Silicon Valley. He places San Francisco, cliché of the culture of technology and success, in another time space in order to incite the viewer to reflect on the rapid pace of changes in a city. By choosing the daguerreotype, the artist works on the reflecting surface of the process to incorporate the spectator into his work and to thus transform it into a shared experience.
With the exhibition The Memory of the Future. Photographic Dialogues between Past, Present and Future, the Musée de l’Elysée encourages contemporary artists to take a close look at photography as a medium, innovates as it reveals a 3D digitisation technology developed by a spin-off from Lausanne’s Swiss Federal Institute of Technology (EPFL), and displays its unique visual heritage.
The Memory of the Future. Photographic Dialogues between Past, Present and Future is the first exhibition that Director Tatyana Franck has curated at the Musée de l’Elysée. It opens up a dialogue between the work of the pioneers of photographic techniques (the past), those of contemporary artists that breathe new life into these skills (the present), and avant-garde technologies that update these early processes (the future). Works from the museum’s collections, contemporary artists and new technologies come face to face and join forces to give a brand new vision of the history of photography. The Memory of the Future aims to configure the present by reconfiguring the past in order to prefigure the future.
Techniques over time
First of all, early photographic processes such as ambrotypes, daguerreotypes, ferrotypes, cyanotypes, etc. are displayed next to works by contemporary artists who breathe life into them. The technical innovations of the past are fertile ground for contemporary art and design. The exhibition includes a waxed paper negative by Gustave Le Gray in dialogue with those by Martin Becka, while cyanotypes by Anna Atkins and Paul Vionnet converse with those by Christian Marclay, Nancy Wilson-Pajic and John Dugdale. Jean-Gabriel Eynard’s daguerreotypes from the museum’s collections are exhibited next to portraits by Takashi Arai and Patrick Bailly-Maître-Grand and landscapes by Binh Danh and Jerry Spagnoli. And as for contemporary ferrotypes, The Memory of the Future shows the work of Joni Sternbach and Jayne Hinds Bidaut as well as portraits taken by Victoria Will at the Sundance Independent Film Festival in 2014.
Works of two scientists who won a Nobel Prize and invented a photographic technique also have pride of place – a self portrait by Gabriel Lippmann (Nobel Prize in Physics in 1908) who invented color photography using the interferential method and a portrait of Dennis Gabor (Nobel Prize in Physics in 1971), the inventor of the holographic process, a photographic technique in relief – echoing a holographic picture by James Turrell, a contemporary artist primarily concerned with light. Lastly, and as a point of convergence for all these photographic processes to fix an image on to a support, the camera obscura is presented through the works of Florio Puenter, Dino Simonett and Vera Lutter. Loris Gréaud – an artist invited to present an original installation capturing the spirit of the Musée de l’Elysée by recording its shadows and light – also explores this technique.
Homage and metamorphosis
The exhibition also presents the “mise en abyme” of iconic pictures from the history of photography reinterpreted by contemporary artists whose works examine the very notion of time or memory.
The earliest photograph in history – by Nicéphore Niépce and dating back to 1826 – is thus transformed by Joan Fontcuberta (Googlegramme Niépce, 2005) using PhotoMosaïque freeware connected online to the Google search engine, and by Andreas Müller-Pohle (Digital Scores VI). The first photographic self portrait in history – by Robert Cornelius in 1839 – is reproduced on a series of mirrors by Oscar Muñoz in 2009 to examine the paradox of the aging of the photographic support, which is, however, supposed to record an image for eternity. While Pierre Cordier pays homage to Eadweard Muybridge’s photographic breaking down of movement, Idris Khan (who took part in the reGeneration exhibition in 2005) pays homage to the iconic photographs of Bernd and Hilla Becher.
Innovating to preserve and showcase
Having launched a campaign in 2014 to digitise its photography books – 1500 books have been scanned so far – the Musée de l’Elysée is continuing to explore techniques to dematerialise its visual heritage for conservation and promotion purposes. Launched in 2015 thanks to the Engagement Migros development fund, an ambitious three dimensional digitisation project puts the Musée de l’Elysée at the forefront of museum innovation.
A venue for exhibitions, conservation and now an experimentation, as part of the exhibition La Mémoire du futur the Musée de l’Elysée is proposing for the first time a space dedicated to the presentation of digitised virtual objects from its collections. This innovative project aims to introduce new collaborative and interactive experiences using the Museum’s collections to a wide range of audiences – whether they be photography enthusiasts, curators or researchers.
Thanks to the Engagement Migros development fund, Innovation partner of the Musée de l’Elysée, the public is invited to experimentally test the first 3D digitisations carried out in partnership with the start-up Artmyn, created at EPFL’s Audiovisual Communications Laboratory (LCAV) led by Martin Vetterli. It will thus be possible to look at the works in 3D with unprecedented precision, but above all, to make the different textures of which they are composed appear on screen by lighting up the digital replicas from any angle.
This new technology comes in the form of a scanner made up of a dome on which are fixed several small lamps of precisely-adjusted intensity that switch on and off in turn depending on each picture scanned. “We are returning to an ancient theory of vision that imagined the eye’s projection towards the world, allowing the spectator once again to become an actor in the photographic experience,” explains Martin Vetterli in the exhibition catalogue.
Preliminary work was carried out with the Collections Department to select the processes that would most benefit from this scanning technology – heliogravure, ambrotype, ferrotype, collage and carbon printing. The first results will be presented in the exhibition. A tactile device supplemented by a video tour of the work presents a collage by René Burri from the René Burri Foundation housed at the Musée de l’Elysée. Rendered in real time and very high resolution, the images that have been cut out and superimposed by the artist can be freely explored so that the visitor can appreciate the visual richness of the work. Visitor experience appraisal is an integral part of the project to optimise presentation techniques and create a digital experimentation area in the museum.
The active participation of visitors to the Museum is an essential step for this first test phase: the interactions and different perceptions of the benefits of the prototype presented will be taken into account for the purpose of developing teaching and learning tools that will subsequently be used to refine and expand the user’s experience and to develop a digital, educational discovery space within the exhibition areas.
Paul Vionnet, a local photographic pioneer, is at the origin of the Iconographic Collection of the Canton of Vaud. This collection, devoted to the history of the Vaud, is at the very foundation of the creation of the Musée de l’Elysée in 1985 as a museum dedicated to the image. During his childhood, Paul Vionnet spent his vacations at his grandparents’ home in Aubonne and was a frequent visitor of Adrien Constant Delessert (1806-1876), a neighbour and renowned Vaud photographer. During his stays there in 1845, Delessert taught him photographic techniques and the calotype.
Fascinated by the sciences, nature and his canton, Paul Vionnet took it upon himself to collect the greatest number of iconographic documents possible concerning the history, landscapes and monuments of the region for the purpose of enriching the collection of the Historical Monuments Service in Lausanne. The documents that he was not able to acquire himself were reproduced using photography. Following in his father’s footsteps, he was ordained pastor in 1856, and assigned to Granges de Sainte-Croix, near Aubonne, and then to Pampigny in 1858. He nevertheless continued to take photographs, having since adopted the wet collodion technique, documenting landscapes and monuments during his free time.
He retired in 1896 and founded the Collection historiographique vaudoise that would house his documents. In 1903, Paul Vionnet bequeathed his private collection to the canton of Vaud, forming the fifth section of the Musée Cantonal des Antiquités. He was named assistant curator, and several years later, the municipality commissioned him to take the photographs for Lausanne à travers les âges.
A British photographer considered to be the first woman to create a photograph, Anna Atkins is also known to have published the first books on botany illustrated with cyanotypes. Passionately interested in science and art, she became a member of the Botanical Society of London in 1839 and realised that the photographic process could be used to obtain precise and detailed botanical images and to provide information at all levels of a society increasingly eager for knowledge.
Anna Atkins drew her inspiration from the inventor of photography, William Henry Fox Talbot (1800-1877), and from a close family friend, John Herschel (1792-1871), a scientist known for the invention and the improvement of the cyanotype. She subsequently developed the process on her own that would allow her to obtain authentic and inexpensive photographic reproductions and that would make her part of the great tradition of her teachers. In 1843, she published her work, British Algae: Cyanotype Impressions, the first volume of which preceded the famous work of Talbot, The Pencil of Nature, by several months. In 1853, she applied the same process to ferns and published Cyanotypes of British and Foreign Ferns,a page of which is presented here.
This exhibition is an odyssey into the history of photography where different eras are juxtaposed and where artists and their methods dialogue with each other. Through a selection of historic photographic processes and the works of contemporary artists, the spectator is encouraged to observe the influence of the past on today’s artistic creations. The exhibition The Memory of the Future proposes a three-pronged vision: that of the past with the works of the pioneers of photographic techniques, that of the present with contemporary works that revive this know-how, and that of the future with technologies that give a new perspective on the works of the past.
Through century-old processes such as daguerreotypes, calotypes, negatives on dry waxed paper, tintypes, ambrotypes, cyanotypes and including holograms, The Memory of the Future celebrates the founding fathers of photographic techniques by establishing a dialogue between them and contemporary artists. From Gabriel Lippmann to James Turrell, including Robert Cornelius and Oscar Muñoz, this exhibition brings together for the first time some one hundred works whose common thread is their ability to withstand time. The Memory of the Future also proposes a selection of works from the Musée de l’Elysée’s collections that have never before been presented to the public.
After having launched a campaign to digitise its photography books in 2014 – 1,500 books have been digitised as of this time – the Musée de l’Elysée continues to explore techniques to dematerialise its visual heritage in order to preserve and enhance it. Consistent with its ambition to not only preserve works of value but to prospect for new ones, the Musée de l’Elysée has undertaken a 3D digitisation project of its works using a prototype developed by the EPFL (Ecole Polytechnique Fédérale de Lausanne). This technology of the future is presented in this exhibition in the form of a touch screen monitor.
Press release from the Musée de l’Elysée, Lausanne
John Dugdale’s interest in photography goes back to his childhood when he received his first camera at the age of 12 and dreamed of becoming one of the major photographers of the 20th century. After a brilliant career as a fashion photographer, the year 1993 marked the turning point in the life of the artist who lost his sight following a stroke and CMV retinitis. Dugdale nevertheless refused to give up photography and began to take an interest in 19th century photographic techniques, using his family and friends as assistants. He discovered the large format and decided to use the cyanotype process, considering it to be the most direct and the easiest to use.
In his blue works, he portrays his everyday life by reversing the roles. Dugdale poses with a simplistic spirituality that could appear to be in contradiction with the 21st century. Generally posing in the nude, he considers that “life is transient. Once you leave this world, you fly into the universe without clothes. I want people to learn you cannot protect yourself by hiding behind clothes.”
Thanks to its low toxicity, the use of this process allows him to be involved in the printing of his photographs. His sensitivity to historic techniques emphasises the poetry of his work and the transitory nature of time and place. In the hopes of sharing his experience and his healing, Dugdale creates a new body of art by “showing the beauty of life and how one should act around illness.
When the photographer Jerry Spagnoli discovered a daguerreotype at a flea market, he described it as the most perfect photograph he had ever seen, a discovery that would influence the rest of his work. After familiarising himself with the process in his studio in San Francisco, the artist experimented with it using equipment from the 19th century and studying the effects obtained in order to understand the technical aspects as well as the visual and expressive potential.
By studying the body and the roots of photographic imagination in his series Anatomical Studies, the portrait, objects and contemporary street scenes, events and non-events in his series The Last Great Daguerreian Survey of the Twentieth Century, Spagnoli attempts to highlight the qualities of the daguerreotype – uniqueness, richness of detail – through the four series presented here, in order to allow a contemporary public to rediscover its virtues. It is also a way for him to approach the optical essence of photography. “With other processes the material substrate of the image can be intrusive, but when you look at a daguerreotype, there is a transparency to the depiction as if you were looking through the lens itself.”
Vik Muniz (Brazilian, b. 1961) The Steerage (After Alfred Stieglitz) 2000 from the Pictures of Chocolate series
When the photographer Jerry Spagnoli discovered a daguerreotype at a flea market, he described it as the most perfect photograph he had ever seen, a discovery that would influence the rest of his work. After familiarising himself with the process in his studio in San Francisco, the artist experimented with it using equipment from the 19th century and studying the effects obtained in order to understand the technical aspects as well as the visual and expressive potential.
By studying the body and the roots of photographic imagination in his series Anatomical Studies, the portrait, objects and contemporary street scenes, events and non-events in his series The Last Great Daguerreian Survey of the Twentieth Century, Spagnoli attempts to highlight the qualities of the daguerreotype – uniqueness, richness of detail – through the four series presented here, in order to allow a contemporary public to rediscover its virtues. It is also a way for him to approach the optical essence of photography. “With other processes the material substrate of the image can be intrusive, but when you look at a daguerreotype, there is a transparency to the depiction as if you were looking through the lens itself.”
Pierre Cordier is a Belgian artist known as the father of the chemigram and for its development as a means of artistic expression. In 1956, writing a dedication with nail polish on photographic paper to a young German woman, Pierre Cordier discovered what he later called the chemigram. This technique “combines the physics of painting (varnish, oil, wax) and the chemistry of photography (photosensitive emulsion, developer and fixer), without the use of a camera or enlarger, and in full light.”
He worked for 30 years as a lecturer on the history of photography at the École Nationale des Arts Visuels in Brussels. When he gave up photography in 1968 to devote himself exclusively to the chemigram, he wanted to pay tribute to the great photography pioneers – Muybridge in 1972 and Marey in 1975. The Homage to Muybridge presented here was inspired by Allan Porter, chief editor of the Swiss revue Camera, one of the most prominent revues in the history of photography. In the issue of Camera of October 1972, we can read: “Cordier used Muybridge’s famous sequence, The Horse in Motion, which he transformed in three different ways: 1. Still subject and mobile camera. 2. Mobile subject and still camera. 3. Subject and camera, both mobile. He then combined the three sequences into one and treated it according to the photochemigram process.”
Andreas Muller-Pohle (German, b. 1951) Digital scores V (after Nicephore Niepce) 2001 Inkjet print Image: 10 7/8 in x 11 in Mat: 16 1/8 in x 20 1/8 in Paper: 12 1/8 in x 12 1/8 in
Andreas Müller-Pohle is one of the key figures involved in the ontological as well as the representational nature of photography. Since the 1990s, he has reflected on the radical changes in the essence of technical images. His first artistic project focused on questions of photographic perception and on the recycled photograph.
In the mid-1990s, Müller-Pohle began to explore the use of digital, genetic and political codes. He is one of the first artists to have broken down and translated the analog and the digital codes of images. In his series Digital Scores (after Nicéphore Niépce), he takes us back to the origin of analog photography by translating the photograph of Niépce, View from the Window at Le Gras (taken from a window of his house in 1826), into alphanumeric code. The complete binary transcription of this photograph is then distributed over eight panels.
After studying photography, Martin Becka worked as a print developer for the Sepia Agency before becoming an independent news photographer. As of the beginning of the 1980s, he began doing research on the history of photography and the pre-industrial photographic processes that he incorporated into his personal creative work. By using traditional processes to photograph ultramodern cities like Dubai and business districts such as La Défense in Paris, the artist proposes a sort of “archeology of the present”, making the spectator reflect on the period in which he lives, the future, and the multiplication of images at a time when their reproducibility is unlimited. He sees photography as a means to “bend time in every possible direction.”
In his installation Le Parc (the André Citroën Public Park in Paris), Becka establishes a dialogue between the past and the present by paying homage to the photographic work of Alfred-Nicolas Normand (1822-1909) and the dry waxed paper negative process developed in 1851 by Gustave Le Gray (1820-1884). By choosing this century-old technique that requires an approach to work that is radically different from those currently in vogue, he is able to obtain negatives with a density adapted to a presentation by transparency and to create and control movement and unique atmospheres. Becka thus encourages the spectator to reflect on the notion of the photographic object.
Bernd and Hilla Becher (German, 1931-2007/1934-2015) Gas Tank: Essen-Karnap D 1973 Gelatin silver print
Bernd and Hilla Becher (German, 1931-2007/1934-2015) Gasbehälter bei Wuppertal (Gas tank near Wuppertal) 1966 Gelatin silver print
Born during the period of industrial archeology, the Bechers’ work consists, in the words of Pierre Restany, “of an optical pilgrimage at the roots of the industrial world”. The couple proposes a way do see industrial architecture by taking an approach based on inventory methodology. Their work is a reflection on the creation of heritage and raises the question of the heritage value of industrial objects, which is inseparable from their artistic value.
With a focus on archiving and industrial memory, Bernd and Hilla Becher’s approach consists of establishing a detailed inventory and keeping track of industrial structures by photographing sites threatened by obsolescence and often abandoned. The series Gas Tanks includes nine photographs from the period between 1965 and 1973, taken according to the extremely stringent protocol that is characteristic of their work (frontal view, centring of the subject, mid-height, absence of light, etc.). The composition of each portrait is standardised and identical, with emphasis on the frontal aspect and the monumentality of industrial constructions classified according to their functionality and form.
Taking advantage of the extremely reproducible nature of the photograph, the Bechers reveal the massive diffusion and production of images that contribute to erasing our memories of their origins and their authors. In doing so, they observe a civilisation on the decline and highlight the production of an era, vestiges of the human imagination and life.
Idris Khan (British, b. 1978) Every … Bernd and Hilla Becher Spherical Type Gasholder One panel triptych, 2003 Lambda Digital C print mounted on aluminium 20 1/2 x 26 1/2 inches
Idris Khan (British, b. 1978) Every … Bernd and Hilla Becher Prison Type Gasholder 2004 Lambda Digital C print mounted on aluminium 80 × 65 inches
“I try to capture the essence of the building – something that’s been permanently imprinted in someone’s mind, like a memory.”
Idris Khan is fascinated by the photographic medium. Fuelled by images and influential theoretical essays on the history of photography, he re-appropriates the works that had an impact on him and subjects them to a series of transformations in order to see them from a different perspective. His work is a reflection on the passage of time, the accumulation of experiences and, as such, the decrease of unique moments. In his series Homage…, he presents rephotographed works, enlarged and superimposed in multiple layers. He uses digital tools to play with the opacity of the layers so as to strengthen the mystery of the original objects whose layering reveals new details. The work Homage to Bernd Becher shown here reproduces and compiles the photographs that correspond to the Bechers’ typology in order to celebrate the vestiges of these vanished industrial infrastructures.
Fascinated by the ability of the photographic medium to capture the soul as well as the body image, Idris Khan, in his series Rising Series… After Eadweard Muybridge “Human and Animal Locomotion”, pays homage to Muybridge’s early scientific experiments using the camera to sequentially record human and animal movement. Beyond the tribute paid to photography that is defined here as a compilation of knowledge, Idris Khan positions himself with respect to a medium laden with history and with a bright future ahead of it.
Kristen Stewart poses for a tintype (wet collodion) portrait at The Collective and Gibson Lounge, during the 2014 Sundance Film Festival in Park City, Utah. (Photo by Victoria Will/Invision/AP)
Victoria Will began her career as a staff photographer for the New York Post.Specialized at the time in portraits and fashion, her photographs were disseminated worldwide by the magazines W, the New York Times and Vogue. When she was invited for the fourth time to the Sundance Film Festival, an American independent film festival, she decided to try something new and to replace her digital reflex camera with the century-old tintype process to make portraits of movie stars. Following her success, she renewed the experience in the following years and gradually improved this complex technique.
Overcoming the difficulties of the process, its sensitivity to time and the danger of the chemical products involved, the photographer successively made portraits in 7 to 8 minutes of actors such as Vincent Cassel, Robert Redford, Jennifer Connelly, Spike Lee and Ethan Hawke. “What I love about the process is how raw it is,” says Victoria. “We live in an age of glossy magazines and overly retouched skin. But there is no lying with tintypes. You can’t get rid of a few wrinkles like in Photoshop.”
Both the photographer and her public “appreciate the honesty of these photographs. Development leaves a lot of room for the unexpected: we discover a face that we thought was familiar while being the contrary of digital portraits. The stages in the darkroom contribute to the idea of creating something unique and refreshing.”
The Musée de l’Elysée 18, avenue de l’Elysée CH - 1014 Lausanne Phone: + 41 21 316 99 11
Opening hours: Tuesday – Sunday, 11am – 6pm Closed Monday, except for bank holidays
![Ken Domon (Japanese, 1909-1990) 'Allenamento degli allievi del corpo della Marina [Students of the Navy training]' 1936 from the exhibition 'Ken Domon: Master of Japanese Realism' at the Museo dell'Ara Pacis, Rome, May - Sept, 2016](https://artblart.com/wp-content/uploads/2016/08/2-domon-ken-web.jpg "Ken Domon (Japanese, 1909-1990) 'Allenamento degli allievi del corpo della Marina [Students of the Navy training]' 1936 from the exhibition 'Ken Domon: Master of Japanese Realism' at the Museo dell'Ara Pacis, Rome, May - Sept, 2016")
![Ken Domon (Japanese, 1909-1990) 'Esercitazioni delle crocerossine' [Red Cross exercises] 1938 from the exhibition 'Ken Domon: Master of Japanese Realism' at the Museo dell'Ara Pacis, Rome, May - Sept, 2016](https://artblart.com/wp-content/uploads/2016/08/3-domon-ken-web.jpg "Ken Domon (Japanese, 1909-1990) 'Esercitazioni delle crocerossine' [Red Cross exercises] 1938 from the exhibition 'Ken Domon: Master of Japanese Realism' at the Museo dell'Ara Pacis, Rome, May - Sept, 2016")
![Ken Domon. 'Bambini che fanno roteare gli ombrelli [Kids twirling umbrellas]' c. 1937](https://artblart.com/wp-content/uploads/2016/08/15-domon-ken-web.jpg "Ken Domon. 'Bambini che fanno roteare gli ombrelli [Kids twirling umbrellas]' c. 1937")
![Ken Domon (Japanese, 1909-1990) 'Esercitazioni delle crocerossine [Red Cross exercises]' 1938](https://artblart.com/wp-content/uploads/2016/08/4-domon-ken-web.jpg "Ken Domon (Japanese, 1909-1990) 'Esercitazioni delle crocerossine [Red Cross exercises]' 1938")
![Ken Domon (Japanese, 1909-199 'Foto commemorativa della cerimonia di diploma del corpo della Marina' [Commemorative photo of the Marine Corp graduation ceremony] 1944](https://artblart.com/wp-content/uploads/2016/08/5-domon-ken-web.jpg "Ken Domon (Japanese, 1909-199 'Foto commemorativa della cerimonia di diploma del corpo della Marina' [Commemorative photo of the Marine Corp graduation ceremony] 1944")
![Ken Domon (Japanese, 1909-1990) 'Vigile urbano a Ginza 4-chōme' [Traffic policeman in Ginza 4-chōme] 1946](https://artblart.com/wp-content/uploads/2016/08/6-domon-ken-web.jpg "Ken Domon (Japanese, 1909-1990) 'Vigile urbano a Ginza 4-chōme' [Traffic policeman in Ginza 4-chōme] 1946")
![Ken Domon (Japanese, 1909-1990) 'Pescatrici di perle (ama san)' [Pearl fisherwomen] 1948](https://artblart.com/wp-content/uploads/2016/08/9-domon-ken-web.jpg "Ken Domon (Japanese, 1909-1990) 'Pescatrici di perle (ama san)' [Pearl fisherwomen] 1948")
![Ken Domon (Japanese, 1909-1990) 'Donne a passeggio' [Women walking] 1950](https://artblart.com/wp-content/uploads/2016/08/7-domon-ken-web.jpg "Ken Domon (Japanese, 1909-1990) 'Donne a passeggio' [Women walking] 1950")
![Ken Domon (Japanese, 1909-1990) 'L'attrice Yamaguchi Yoshiko' [The actress Yoshiko Yamaguchi] 1952](https://artblart.com/wp-content/uploads/2016/08/8-domon-ken-web.jpg "Ken Domon (Japanese, 1909-1990) 'L'attrice Yamaguchi Yoshiko' [The actress Yoshiko Yamaguchi] 1952")
![Ken Domon (Japanese, 1909-1990) 'Sit-in studentesco a Tachikawa contro l'ampliamento della base americana' [Student sit-in in Tachikawa against the expansion of US base] 1955](https://artblart.com/wp-content/uploads/2016/08/10-domon-ken-web.jpg "Ken Domon (Japanese, 1909-1990) 'Sit-in studentesco a Tachikawa contro l'ampliamento della base americana' [Student sit-in in Tachikawa against the expansion of US base] 1955")
![Ken Domon (Japanese, 1909-1990) 'Sorelline orfane, Rumie e Sayuri' [Orphan sisters, Rumie and Sayuri] 1959](https://artblart.com/wp-content/uploads/2016/08/12-domon-ken-web.jpg "Ken Domon (Japanese, 1909-1990) 'Sorelline orfane, Rumie e Sayuri' [Orphan sisters, Rumie and Sayuri] 1959")
![Ken Domon (Japanese, 1909-1990) 'Lucertola [Lizard]' 1955](https://artblart.com/wp-content/uploads/2016/08/13-domon-ken-web.jpg "Ken Domon (Japanese, 1909-1990) 'Lucertola [Lizard]' 1955")
![Ken Domon (Japanese, 1909-1990) 'Pioggerella' [Drizzle] 1952-1954](https://artblart.com/wp-content/uploads/2016/08/14-domon-ken-web.jpg "Ken Domon (Japanese, 1909-1990) 'Pioggerella' [Drizzle] 1952-1954")
![Ken Domon (Japanese, 1909-1990) 'Bagno presso il fiume davanti allo Hiroshima Dome' [Bath at the river in front of the Hiroshima Dome] 1957](https://artblart.com/wp-content/uploads/2016/08/16-domon-ken-web.jpg "Ken Domon (Japanese, 1909-1990) 'Bagno presso il fiume davanti allo Hiroshima Dome' [Bath at the river in front of the Hiroshima Dome] 1957")
![Ken Domon (Japanese, 1909-1990) 'La morte di Keiji' [The death of Keiji] 1957](https://artblart.com/wp-content/uploads/2016/08/20-domon-ken-web.jpg "Ken Domon (Japanese, 1909-1990) 'La morte di Keiji' [The death of Keiji] 1957")
![Ken Domon (Japanese, 1909-1990) 'Paziente in ospedale' [Hospital patient] 1957](https://artblart.com/wp-content/uploads/2016/08/17-domon-ken-web.jpg "Ken Domon (Japanese, 1909-1990) 'Paziente in ospedale' [Hospital patient] 1957")
![Ken Domon (Japanese, 1909-1990) 'Donna in cura per le lesioni da bomba atomica' [Women being treated for injuries from atomic bomb] 1957](https://artblart.com/wp-content/uploads/2016/08/18-domon-ken-web.jpg "Ken Domon (Japanese, 1909-1990) 'Donna in cura per le lesioni da bomba atomica' [Women being treated for injuries from atomic bomb] 1957")
![Ken Domon (Japanese, 1909-1990) 'Gemella non vedente' [Blind twin (female)] 1957](https://artblart.com/wp-content/uploads/2016/08/19-domon-ken-web.jpg "Ken Domon (Japanese, 1909-1990) 'Gemella non vedente' [Blind twin (female)] 1957")
![Ken Domon (Japanese, 1909-1990) 'Autoritratto' [Self-portrait] 1958](https://artblart.com/wp-content/uploads/2016/08/21-domon-ken-web.jpg "Ken Domon (Japanese, 1909-1990) 'Autoritratto' [Self-portrait] 1958")
![Ken Domon (Japanese, 1909-1990) 'Ushi (Bue), dai dodici guardiani (jūnishinshō) del Murōji' [Ushi (Ox), one of the twelve guardians (jūnishinshō) of Muroji] 1941-1943](https://artblart.com/wp-content/uploads/2016/08/26-domon-ken-web.jpg "Ken Domon (Japanese, 1909-1990) 'Ushi (Bue), dai dodici guardiani (jūnishinshō) del Murōji' [Ushi (Ox), one of the twelve guardians (jūnishinshō) of Muroji] 1941-1943")
![Ken Domon (Japanese, 1909-1990) 'Hitsuji (Pecora), dai dodici guardiani (jūnishinshō) del Murōji' [Hitsuji (Sheep), one of the twelve guardians (jūnishinshō) of Muroji] 1941-1943](https://artblart.com/wp-content/uploads/2016/08/27-domon-ken-web.jpg "Ken Domon (Japanese, 1909-1990) 'Hitsuji (Pecora), dai dodici guardiani (jūnishinshō) del Murōji' [Hitsuji (Sheep), one of the twelve guardians (jūnishinshō) of Muroji] 1941-1943")
![Ken Domon (Japanese, 1909-1990) 'Buddha Shaka ligneo a figura intera presso il Mirokudō del Murōji [Buddha Shaka wooden full-length at the Mirokudō Muroji]' c. 1943](https://artblart.com/wp-content/uploads/2016/08/30-domon-ken-web.jpg "Ken Domon (Japanese, 1909-1990) 'Buddha Shaka ligneo a figura intera presso il Mirokudō del Murōji [Buddha Shaka wooden full-length at the Mirokudō Muroji]' c. 1943")
![Ken Domon (Japanese, 1909-1990) 'Ōnodera, campana e ciliegi [Onodera, bell and cherry trees]' 1977](https://artblart.com/wp-content/uploads/2016/08/28-domon-ken-web.jpg "Ken Domon (Japanese, 1909-1990) 'Ōnodera, campana e ciliegi [Onodera, bell and cherry trees]' 1977")
![Ken Domon (Japanese, 1909-1990) 'Pagoda del Murōji con la neve [Pagoda Muroji with snow]' 1978](https://artblart.com/wp-content/uploads/2016/08/29-domon-ken-web.jpg "Ken Domon (Japanese, 1909-1990) 'Pagoda del Murōji con la neve [Pagoda Muroji with snow]' 1978")
![Joan Miró (Spanish, 1893-1983) 'Tête de Paysan Catalan' [Head of a Catalan Peasant] 1925 from the exhibition 'Surreal Encounters: Collecting the Marvellous: Works from the Collections of Roland Penrose, Edward James, Gabrielle Keiller and Ulla and Heiner Pietzsch' at the Scottish National Gallery of Modern Art, Edinburgh, June- Sept, 2016](https://artblart.com/wp-content/uploads/2016/08/joan-mirc3b3-tc3aate-de-paysan-catalan-web.jpg "Joan Miró (Spanish, 1893-1983) 'Tête de Paysan Catalan' [Head of a Catalan Peasant] 1925 from the Collections of Roland Penrose, Edward James, Gabrielle Keiller and Ulla and Heiner Pietzsch' at the Scottish National Gallery of Modern Art, Edinburgh, June- Sept, 2016")
![Francis Picabia (French, 1879-1953) 'Fille née sans mère' [Girl Born without a Mother] c. 1916-1917 from the Collections of Roland Penrose, Edward James, Gabrielle Keiller and Ulla and Heiner Pietzsch' at the Scottish National Gallery of Modern Art, Edinburgh, June- Sept, 2016](https://artblart.com/wp-content/uploads/2016/08/francis-picabia-fille-nc3a9e-sans-mc3a8re-web.jpg "Francis Picabia (French, 1879-1953) 'Fille née sans mère' [Girl Born without a Mother] c. 1916-1917 from the Collections of Roland Penrose, Edward James, Gabrielle Keiller and Ulla and Heiner Pietzsch' at the Scottish National Gallery of Modern Art, Edinburgh, June- Sept, 2016")
![Max Ernst (German, 1891-1976) 'La Joie de vivre' [The Joy of Life] 1936](https://artblart.com/wp-content/uploads/2016/08/max-ernst-la-joie-de-vivre-1936-web.jpg "Max Ernst (German, 1891-1976) 'La Joie de vivre' [The Joy of Life] 1936")
![Dorothea Tanning (American, 1910-2012) 'Eine Kleine Nachtmusik' [A Little Night Music] 1943](https://artblart.com/wp-content/uploads/2016/08/dorothea-tanning-eine-kleine-nachtmusik-1943-web.jpg "Dorothea Tanning (American, 1910-2012) 'Eine Kleine Nachtmusik' [A Little Night Music] 1943")
![Salvador Dalí (Spanish, 1904-1989) 'Couple aux têtes pleines de nuages' [Couple with their Heads Full of Clouds] 1936](https://artblart.com/wp-content/uploads/2016/08/salvador-dalc3ad-couple-aux-tc3aates-pleines-de-nuages-web.jpg "Salvador Dalí (Spanish, 1904-1989) 'Couple aux têtes pleines de nuages' [Couple with their Heads Full of Clouds] 1936")
![Pablo Picasso (Spanish, 1881-1973) 'Tête' [Head] 1913](https://artblart.com/wp-content/uploads/2016/08/tc3aate-head-1913-by-pablo-picasso-web.jpg "Pablo Picasso (Spanish, 1881-1973) 'Tête' [Head] 1913")
![Max Ernst (German, 1891-1976) 'Jeune homme intrigué par le vol d’une mouche non-euclidienne' [Young Man Intrigued by the Flight of a Non-Euclidean Fly] 1942–1947](https://artblart.com/wp-content/uploads/2016/08/32_ernst-max_jeune-homme-intriguc3a9-1942-47-web.jpg "Max Ernst (German, 1891-1976) 'Jeune homme intrigué par le vol d’une mouche non-euclidienne' [Young Man Intrigued by the Flight of a Non-Euclidean Fly] 1942–1947")
![Max Ernst (German, 1891-1976) 'Une semaine de bonté' [A Week of Kindness] 1934](https://artblart.com/wp-content/uploads/2016/08/ernst-une-semaine-de-bontc3a9-web.jpg "Max Ernst (German, 1891-1976) 'Une semaine de bonté' [A Week of Kindness] 1934")
![Max Ernst (German, 1891-1976) 'Une semaine de bonté' [A Week of Kindness] 1934](https://artblart.com/wp-content/uploads/2016/08/ernst-une-semaine-de-bontc3a9-web2.jpg "Max Ernst (German, 1891-1976) 'Une semaine de bonté' [A Week of Kindness] 1934")
![Alberto Giacometti (Italian, 1901-1966) 'Objet désagréable, à jeter' [Disagreeable Object, to be Thrown away] 1931](https://artblart.com/wp-content/uploads/2016/08/alberto-giacometti-objet-dc3a9sagrc3a9able-web.jpg "Alberto Giacometti (Italian, 1901-1966) 'Objet désagréable, à jeter' [Disagreeable Object, to be Thrown away] 1931")
Art Blart _ art and cultural memory archive 
You must be logged in to post a comment.