Archive for the 'exhibition' Category

17
Jul
19

Exhibition: ‘Every Past Is My Past’ (photographs from the Fortepan digital photo archives) at the Hungarian National Gallery (MNG), Budapest

Exhibition dates: 16th April – 25th August 2019

Curator of the exhibition: István Virágvölgyi
Co-curator: Miklós Tamási
Curatorial assistant: Mária Madár

The catalog is a richly illustrated catalog in Hungarian and English.

 

 

Unknown photographer. 'Untitled' 1948

 

Unknown photographer
Untitled
1948
Fortepan / Capital of Budapest Archives

 

 

In seeking to understand the past, present and future of a people and a country, the importance of analysing the pictures stored within a historical photographic archive cannot be underestimated. The photographs in an archive such as the Hungarian Fortepan digital photo archive are a form of cultural memory, a collective consciousness, in pictures, of the numerous lifelines of the people of that country, its history, it triumphs, its trials and tribulations. Jean-Paul Sartre observes, “Time … is everywhere a self-transcendence and a referring of the before to the after and of the after to the before…” Photographs do this very well, as the future beyond the click of the shutter, becomes past time; that very time is then transcended back into present time, the past into the present embracing the future, when someone looks at an “old” photograph. The old is young again.

The Fortepan digital photo archive usually de/pics anonymous people taken by unknown photographers in sometimes known, sometimes unknown settings. It represents “Hungary’s 20th century history, the images focusing on the lives of ordinary people and their experiences, as conveyed by private photographers.” These vernacular photographs act as a tabula rasa,1 a touchstone for hidden stories and histories. The prima materia, the base material of chaos, forms a clean slate (tabula rasa) on which is written the order of the image. Out of light emerges darkness, the inversion that is the negative, which is then made positive again during printing. The etching of light onto the negative builds up a story first seen in the mind’s eye – that knowledge then decoded (or not) through experience and perception: how do you interpret a photograph? What language does it speak? Do you understand what it is saying? The before to the after and the after to the before…

And then we see. Images of happy human beings hanging from a crossbar; a young boy with amputation looking quizzically at the camera while a doctor and nurses pose stiffly, sullenly; and the horrors of war and an uprising that failed. The bits and pieces of lives and people and places and things and events and wars and death and youth and happiness and fun. A palimpsest. The past presently emerging, the present being constantly overwritten, the future embedded in the past. We are but a speck, an infinitesimal speck in the cosmos, not even a micron of a grain of sand in the fluidity of space/time.

“Even our experience of time and space, argues Jameson, has been transformed under postmodernism. Time has collapsed into a perpetual present, in which everything from the past has been severed from its historical context in order to circulate anew in the present, devoid of its original meanings but contributing to the cluttered texture of our commodified surroundings. The result, he writes, is historical amnesia, a lack of knowledge about the past that, in its pathological form, resembles the schizophrenic’s inability to remember anything and consequent inability to sustain a coherent identity.”2

What the photographs of the Fortepan archive let us achieve is to compile an incomplete, an in/coherent but valid identity from a certain perspective (and that is very important). As with any system of classification, it all depends who is looking and from what point of view. They also let us meditate on our brief existence in order to say, we were/are/will be here. And it mattered.

I look forward to hopefully meeting my friends Tamás Németh and Miklós Tamási when I am in Budapest soon.

Dr Marcus Bunyan

 

  1. Tabula rasa is the theory that individuals are born without built-in mental content and that therefore all knowledge comes from experience or perception.
  2. Jameson, Frederic. Postmodernism, or, The Cultural Logic of Late Capitalism. Duke University Press, Durham, N.C., 1991, p. 419 quoted in Springer, Claudia. Electronic Eros: Bodies and Desire in the Postindustrial Age. Austin: University of Texas Press, 1996, p. 40

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Many thankx to the Hungarian National Gallery, Tamás Németh, Ákos Szepessy and the Fortepan digital photo archives for allowing me to publish the photographs in the posting. Please click on the photographs for a larger version of the image.

 

 

“Time … is everywhere a self-transcendence and a referring of the before to the after and of the after to the before … If time is considered by itself, it immediately dissolves into an absolute multiplicity of instants which considered separately lose all temporal nature and are reduced pure and simply to the total a-temporality of the this.”

.
Satre, Jean-Paul. Being and Nothingness. (trans. Hazel Barnes). London: Methuen, 1966, p. 215.

 

“Fortepan is a collective effort at “codebreaking” the assembled scanned negatives, to decipher what is there before us in the image. Fortepan has become a public resource of the Hungarian audio-visual culture.”

“In a word, Fortepan perhaps helps to make the 20th century, with all its turns and twists, a little more understandable, bearable and emotionally fathomable.”

.
Miklós Tamási, Founder of Fortepan

 

“The archive is one that is free, high resolution, and operates based on Creative Commons 3. This means that it can be used free of charge even for commercial purposes. Even in such cases, people don’t owe us anything.”

.
András Török, Cultural Manager of Fortepan

 

 

 

 

VIRTUAL TOUR OF THE EXHIBITION

 

 

Unknown photographer. 'Untitled (amputation)' 1916

 

Unknown photographer
Untitled (amputation)
1916
Fortepan / Capital of Budapest Archives

 

Unknown photographer. 'Hungary, Slovakia, Esztergom the Castle Hill and the Basilica from the Maria-Valeria Bridge' 1900

 

Unknown photographer
Hungary, Slovakia, Esztergom the Castle Hill and the Basilica from the Maria-Valeria Bridge
1900
Fortepan / Capital of Budapest Archives

 

 

Unknown photographer. 'Hungary, Balaton, Siofok' 1920

 

Unknown photographer
Hungary, Balaton, Siofok
1920
Fortepan / Capital of Budapest Archives

 

Unknown photographer. 'Hungary, Rácalmás opposite the Catholic Church (demolished in 1969)' 1920

 

Unknown photographer
Hungary, Rácalmás opposite the Catholic Church (demolished in 1969)
1920
Fortepan / Capital of Budapest Archives

 

Unknown photographer. 'Hungary, Budapest III., Óbuda Óbuda Shipyard, Danube branch next to Hajógyári Island, BL floating crane and two DDSG barge' 1920

 

Unknown photographer
Hungary, Budapest III., Óbuda Óbuda Shipyard, Danube branch next to Hajógyári Island, BL floating crane and two DDSG barge
1920
Fortepan / Capital of Budapest Archives

 

 

From the material of the popular Fortepan digital photo archive, a selection of more than three hundred pieces at the Hungarian National Gallery is presented. The exhibited pictures are closely related to Hungary’s 20th century history. The age in which they were made is manifested in many different ways in these images, but the emphasis is on the view and life events of the average person through the private photographs that provide the backbone of the collection.

Representing Hungary’s 20th century history, the images focus on the lives of ordinary people and their experiences, as conveyed by private photographers.

The founders of the collection, two high school classmates Miklós Tamási and Ákos Szepessy, began to collect the photographs in the digital Fortepan archives back in the 1980s. They launched an online site with 5,000 digitised images in 2010. Today the collection numbers 110,000 photos.

Each photograph in the exhibition tells a story. In some cases these stories can be reconstructed, but in most others the people in the pictures are no longer known, and neither are the circumstances in which the photo was taken, allowing visitors to use their imagination and invent their own stories linked to the images.

 

Unknown photographer. 'Untitled (woman and boy)' 1935

 

Unknown photographer
Untitled (woman and boy)
1935
Fortepan / Capital of Budapest Archives

 

Unknown photographer. 'Romania, Transylvania, Strait of Békés' 1935

 

Unknown photographer
Romania, Transylvania, Strait of Békés
1935
Fortepan / Capital of Budapest Archives

 

Unknown photographer. 'Slovakia, Three Revuca highway between Veľký Šturec pass and village, opposite Čierny Kameň' 1935

 

Unknown photographer
Slovakia, Three Revuca highway between Veľký Šturec pass and village, opposite Čierny Kameň
1935
Fortepan / Capital of Budapest Archives

 

Unknown photographer. 'Hungary, Szentes St. Imre street, opposite number 5' 1936

 

Unknown photographer
Hungary, Szentes St. Imre street, opposite number 5
1936
Fortepan / Capital of Budapest Archives

 

 

Unknown photographer. 'Hungary, Budapest VIII. Tavaszmező utca 1, Gartner Károly, writer of sipotei Golgotha' 1942

 

Unknown photographer
Hungary, Budapest VIII. Tavaszmező utca 1, Gartner Károly, writer of sipotei Golgotha
1942
Fortepan / Capital of Budapest Archives

 

 

Gartner Károly (author) Gyula Komjáti (graphics). A Sipotei Golgotha: Romániai Rabmagyarok Története (A Sipotei Golgotha: The history of the Romanian prisoners of Hungarians). G. Z. Hartrampf I, 1932

The name of Șipotele, even for those interested in history, is mostly unknown. One of the most inhumane prisoners of war prisons in the First World War was established near this Romanian settlement, and most of the prisoners were Hungarian. Șipotele was located near the Romanian-Russian border at the time, eight kilometres from the Prut River and 40 kilometers south of lași.

 

Gartner Károly. 'A Sipotei Golgotha: Romániai Rabmagyarok Története' 1932 book cover

 

Gartner Károly (1908-1972) (author)
Gyula Komjáti (1894-1958) (graphics)
G. Z. Hartrampf I (publisher)
A Sipotei Golgotha: Romániai Rabmagyarok Története
Golgotha ​​Sipotei: The history of the Romanian prisoners of Hungarians
1932
Book cover

 

 

Gartner Károly (1908-1972) was born in Transylvania and married Irén Weigand, an officer of the Waterworks in Székesfehérvár, in 1936. Károly Gartner was mentioned in his thirties and forties as a result of his reminiscences of Golgotha, which depicts the death of fourteen thousand Hungarian prisoners of war from the experiences of the First World War. Together with his wife he also wrote a Hungarian song titled Cherry Blossom, was former director of the Phoenix Chocolate Shop, was the national director of the Bethlen István National Unity Party, and from 1938 he was the head of the Municipal Food Plant in Budapest.

Gyula Komjáti (1894-1958) was a Hungarian graphic artist, painter and teacher. He studied at Olgyai Viktors at the College of Fine Arts in Budapest. He was captured in World War I; it has become known through the graphics and etchings of the Sipotei prison camp. In 1926 he won the Ernst Prize and the Zichy Prize. Between 1927 and 1929 he spent a longer time in London with a state scholarship. He also captured World War II in drawings. From 1953 he was a teacher at the Budapest School of Fine Arts and Applied Arts.

 

Gyula Komjáti (1894-1958) 'Csendélet Sipotén' 1917

 

Gyula Komjáti (1894-1958)
Csendélet Sipotén
1917
Drawing for the book Golgotha Sipotei

 

Unknown photographer. 'Untitled' 1942

 

Unknown photographer
Untitled
1942
Fortepan / Capital of Budapest Archives

 

Unknown photographer. 'Hungary, Budapest XIV., City Park, Budapest International Fair showing captured Soviet I-15 Csajka fighter wreck' 1942

 

Unknown photographer
Hungary, Budapest XIV., City Park, Budapest International Fair showing captured Soviet I-15 Csajka fighter wreck
1942
Fortepan / Capital of Budapest Archives

 

 

Polikarpov I-15

The Polikarpov I-15 (Russian: И-15) was a Soviet biplane fighter aircraft of the 1930s. Nicknamed Chaika (Russian: Чайка, “Seagull”) because of its gulled upper wings, it was operated in large numbers by the Soviet Air Force, and together with the Polikarpov I-16 monoplane, was one of the standard fighters of the Spanish Republicans during the Spanish Civil War, where it was called Chato (snub-nose).

More than 1,000 I-15bis fighters were still in Soviet use during the German invasion when the biplane was employed in the ground attack role. By late 1942, all I-15s and I-15bis’ were relegated to second line duties.

Text from the Wikipedia website

 

Kogo. 'Polikarpov I-15bis 'Bort 19' (Aviarestoration)' 2005

 

Kogo
Polikarpov I-15bis ‘Bort 19’ (Aviarestoration)
2005
CC 2.0

 

Unknown photographer. 'Untitled' 1943

 

Unknown photographer
Untitled
1943
Fortepan / Capital of Budapest Archives

 

 

More than 110,000 photographs of Fortepan’s digital collection were collected by two high school classmates, Miklós Tamási and Ákos Szepessy in the 1980s. After the regular, but possibly collecting, amateur photos and negatives appearing on the out of stock markets, they launched their Internet site in 2010 with the publication of 5,000 digitised photos. Soon, many private individuals and public institutions have joined the donating circle of 600 people, whose images are expanding monthly with the archive.

The two most important features of Fortepan’s archive (named after the most popular amateur film by amateur photographers of the former Vác Forte) are free and common. Shared because it is made up of our pictures and is about our world. Shared because it is based on volunteers. Shared because anyone can help identify individual locations and people. Free because it is freely available to anyone without any restrictions, and images can be used without royalty.

It belongs to all the photos in the exhibition, it was a story. In the fortunate case, this story can be recalled, but in most cases it is no longer known what the individuals in the photos are, the history of the individual images – so the visitor’s imagination is left to see the story behind the photo.  Today’s background stories provide an insight into the misery of the world champion, who is modelled on the figure on the back of the old twenty-pound banknote, or the rescue of a burnt photo archive. In addition to this, the exhibition is strongly summoned by the ruined Budapest destroyed during World War II; visitors can walk through an imaginary capital street with pictures taken over decades and in different places, placed in the position of Fortepan editors and picking pictures of a legacy; or read into the many readers’ letters written to Fortepan.

In the exhibition, as well as in a large, common family photo album, along the paths of human life, photographs taken before the 1990s are followed by a total of about 200 pieces. For the first time in this exhibition, the main characters are children, then young people, adults and finally the elderly. In addition, we present more than 150 photos, of which sixteen well-described stories are drawn. Including the 2 World War II fronts – as a war correspondent saw; the idyll of rural life with the eyes of a photographic painter; barely photographed history of the Hungarian Holocaust; life in Transylvania during the dictatorship of the 1980s or everyday life of a First World War Prisoner in Siberia. The pictures of Budapest, destroyed by war, or youth sports with the defence content of the Cold War years form a separate story. But there is more unity in the last years of the Austro-Hungarian Monarchy, pictures of the Stalin statue in 1956, photographs of the rebellious youth of the 1970s and 1980s, or banned photos of commuters from 1964. The sixteen stories, with their associated photos and their complementary items, appear in a separate installation at the exhibition.

In our centuries-old common history, the exhibition updates our memory of the memories that are directly and directly linked to us, just as Zsuzsa Rakovszky puts it in his poem Fortepan: “Every past is my past”.

Text from the Hungarian National Gallery website [Online] Cited 29/06/2019

 

Installation view of the exhibition 'Every Past Is My Past' at the Hungarian National Gallery (MNG), Budapest

Installation view of the exhibition 'Every Past Is My Past' at the Hungarian National Gallery (MNG), Budapest

Installation view of the exhibition 'Every Past Is My Past' at the Hungarian National Gallery (MNG), Budapest

Installation view of the exhibition 'Every Past Is My Past' at the Hungarian National Gallery (MNG), Budapest

Installation view of the exhibition 'Every Past Is My Past' at the Hungarian National Gallery (MNG), Budapest

Installation view of the exhibition 'Every Past Is My Past' at the Hungarian National Gallery (MNG), Budapest

Installation view of the exhibition 'Every Past Is My Past' at the Hungarian National Gallery (MNG), Budapest

Installation view of the exhibition 'Every Past Is My Past' at the Hungarian National Gallery (MNG), Budapest

Installation view of the exhibition 'Every Past Is My Past' at the Hungarian National Gallery (MNG), Budapest

Installation view of the exhibition 'Every Past Is My Past' at the Hungarian National Gallery (MNG), Budapest

Installation view of the exhibition 'Every Past Is My Past' at the Hungarian National Gallery (MNG), Budapest

Installation view of the exhibition 'Every Past Is My Past' at the Hungarian National Gallery (MNG), Budapest

Installation view of the exhibition 'Every Past Is My Past' at the Hungarian National Gallery (MNG), Budapest

Installation view of the exhibition 'Every Past Is My Past' at the Hungarian National Gallery (MNG), Budapest

Installation view of the exhibition 'Every Past Is My Past' at the Hungarian National Gallery (MNG), Budapest

Installation view of the exhibition 'Every Past Is My Past' at the Hungarian National Gallery (MNG), Budapest

Installation view of the exhibition 'Every Past Is My Past' at the Hungarian National Gallery (MNG), Budapest

Installation view of the exhibition 'Every Past Is My Past' at the Hungarian National Gallery (MNG), Budapest

Installation view of the exhibition 'Every Past Is My Past' at the Hungarian National Gallery (MNG), Budapest

Installation view of the exhibition 'Every Past Is My Past' at the Hungarian National Gallery (MNG), Budapest

Installation view of the exhibition 'Every Past Is My Past' at the Hungarian National Gallery (MNG), Budapest

Installation view of the exhibition 'Every Past Is My Past' at the Hungarian National Gallery (MNG), Budapest

Installation view of the exhibition 'Every Past Is My Past' at the Hungarian National Gallery (MNG), Budapest

Installation view of the exhibition 'Every Past Is My Past' at the Hungarian National Gallery (MNG), Budapest

 

Installation views of the exhibition Every Past Is My Past at the Hungarian National Gallery (MNG), Budapest

 

 

About Fortepan

Fortepan is a copyright-free and community-based photo archive with over 100,000 photographs available for anyone to browse and download in high-resolution, free of charge. The images are free to share with the appropriate credit given as FORTEPAN / NAME OF DONOR. Please do provide the full credit at all times as it is a tribute to the selfless contribution of the donor.

This website was launched in 2010 by Ákos Szepessy and Miklós Tamási and it initially contained photographs found randomly in the streets of Budapest. The archive has expanded since then through donations from families, amateur and professional photographers, along with public collections. The images on the website are selected by editors. The descriptions attached to the images are compiled and edited by volunteers, utilising information contributed at the Fortepan Forum. We gladly offer to process your photographs and negatives as well, you can contact us at fortepan@gmail.com.

Fortepan’s collaborators are: László Gál, Luca Jávor, László Lajtai, Pál Négyesi, Tamás Németh, András Pálfi, Zsolt Pálinkás, Gábor Péter, Dávid Sándor, Gyula Simon, Miklós Tamási, András Török, János Varga, János F. Varga. Fortepan’s work is supported by Arcanum, Blinken OSA Archivum, Archive of Modern Conflict and Forum Hungaricum Nonprofit Kft. Administrative management is provided by Summa Artium Nonprofit Kft.

Text from the Fortepan website

 

Unknown photographer. 'Hungary, Uzsa (at that time part of the Lesenceistvánd settlement), Liget utca' 1950

 

Unknown photographer
Hungary, Uzsa (at that time part of the Lesenceistvánd settlement), Liget utca
1950
Fortepan / Capital of Budapest Archives

 

Unknown photographer. 'Hungary on 8126 from Söréd and Csákberény towards Csákberény. To the right is the Bodajk-Gánt railway' 1950s

 

Unknown photographer
Hungary on 8126 from Söréd and Csákberény towards Csákberény. To the right is the Bodajk-Gánt railway
1950s
Fortepan / Capital of Budapest Archives

 

Unknown photographer. 'Hungary, Budapest VII. Elizabeth (Lenin) road from New York Palace to Blaha Lujza Square' 1956

 

Unknown photographer
Hungary, Budapest VII. Elizabeth (Lenin) road from New York Palace to Blaha Lujza Square
1956
Fortepan / Capital of Budapest Archives

 

Unknown photographer. 'Hungary, Budapest V. South of Kossuth Lajos Square, underground construction area' 1956

 

Unknown photographer
Hungary, Budapest V. South of Kossuth Lajos Square, underground construction area
1956
Fortepan / Capital of Budapest Archives

 

Unknown photographer. 'Hungary, Budapest VIII. II. Pope John Paul (Republic) Square, main entrance of the Erkel Theater' 1956

 

Unknown photographer
Hungary, Budapest VIII. II. Pope John Paul (Republic) Square, main entrance of the Erkel Theater
1956
Fortepan / Capital of Budapest Archives

 

 

Unknown photographer. 'Untitled' 1957

 

Unknown photographer
Untitled
1957
Fortepan / Capital of Budapest Archives

 

Unknown photographer. 'Untitled' 1957

 

Unknown photographer
Untitled
1957
Fortepan / Capital of Budapest Archives

 

Unknown photographer. 'Untitled' 1957

 

Unknown photographer
Untitled
1957
Fortepan / Capital of Budapest Archives

 

Unknown photographer. 'Untitled' 1969

 

Unknown photographer
Untitled
1969
Fortepan / Capital of Budapest Archives

 

Unknown photographer. 'Untitled' 1969

 

Unknown photographer
Untitled
1969
Fortepan / Capital of Budapest Archives

 

Installation view of the exhibition 'Every Past Is My Past' at the Hungarian National Gallery (MNG), Budapest

Installation view of the exhibition 'Every Past Is My Past' at the Hungarian National Gallery (MNG), Budapest

Installation view of the exhibition 'Every Past Is My Past' at the Hungarian National Gallery (MNG), Budapest

Installation view of the exhibition 'Every Past Is My Past' at the Hungarian National Gallery (MNG), Budapest

Installation view of the exhibition 'Every Past Is My Past' at the Hungarian National Gallery (MNG), Budapest

Installation view of the exhibition 'Every Past Is My Past' at the Hungarian National Gallery (MNG), Budapest

Installation view of the exhibition 'Every Past Is My Past' at the Hungarian National Gallery (MNG), Budapest

Installation view of the exhibition 'Every Past Is My Past' at the Hungarian National Gallery (MNG), Budapest

 

Installation views of the exhibition Every Past Is My Past at the Hungarian National Gallery (MNG), Budapest

 

 

Hungarian National Gallery
1014 Budapest, Szent György Square 2
Central Telephone: +361 201 9082

Opening hours
Tuesday to Sunday 10.00 to 18.00
Monday closed

Fortepan website

Hungarian National Gallery website

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05
Jul
19

Exhibition: ‘Magic Realism: Art in Weimar Germany 1919-33’ at the Tate Modern, London

Exhibition dates: 30 July 2018 – 14 July 2019

 

Conrad Felixmuller. 'The Beggar of Prachatice' 1924

 

Conrad Felixmüller (German, 1897-1977)
The Beggar of Prachatice
1924
Watercolour, gouache and graphite on paper
500 x 645 mm
The George Economou Collection
© DACS, 2018

 

 

Butchers, lion tamers, and Lustmord (sexualised murder) makers. War, rape, prostitution, violence, old age and death. Creativity, defeat, disfigurement, and revelry. Suicide and misery, poverty and widowhood, beauty and song. Magic in realism, realism and magic.

The interwar years are one of the most creative artistic periods in human history. But there is a magical dark undertone which emanates from the mind of this Neue Sachlichkeit or New Objectivity:

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“The art historian Dennis Crockett says there is no direct English translation, and breaks down the meaning in the original German:

Sachlichkeit should be understood by its root, Sache, meaning “thing”, “fact”, “subject”, or “object.” Sachlich could be best understood as “factual”, “matter-of-fact”, “impartial”, “practical”, or “precise”; Sachlichkeit is the noun form of the adjective/adverb and usually implies “matter-of-factness” …

The New Objectivity was composed of two tendencies which Hartlaub characterised in terms of a left and right wing: on the left were the verists, who “tear the objective form of the world of contemporary facts and represent current experience in its tempo and fevered temperature;” and on the right the classicists, who “search more for the object of timeless ability to embody the external laws of existence in the artistic sphere.”

The verists’ vehement form of realism emphasised the ugly and sordid. Their art was raw, provocative, and harshly satirical. George Grosz and Otto Dix are considered the most important of the verists. The verists developed Dada’s abandonment of any pictorial rules or artistic language into a “satirical hyperrealism”, as termed by Raoul Hausmann, and of which the best known examples are the graphical works and photo-montages of John Heartfield. Use of collage in these works became a compositional principle to blend reality and art, as if to suggest that to record the facts of reality was to go beyond the most simple appearances of things. This later developed into portraits and scenes by artists such as Grosz, Dix, and Rudolf Schlichter. Portraits would give emphasis to particular features or objects that were seen as distinctive aspects of the person depicted. Satirical scenes often depicted a madness behind what was happening, depicting the participants as cartoon-like.

Other verists, like Christian Schad, depicted reality with a clinical precision, which suggested both an empirical detachment and intimate knowledge of the subject. Schad’s paintings are characterised by “an artistic perception so sharp that it seems to cut beneath the skin”, according to the art critic Wieland Schmied. Often, psychological elements were introduced in his work, which suggested an underlying unconscious reality.

Compared to the verists, the classicists more clearly exemplify the “return to order” that arose in the arts throughout Europe. The classicists included Georg Schrimpf, Alexander Kanoldt, Carlo Mense, Heinrich Maria Davringhausen, and Wilhelm Heise. The sources of their inspiration included 19th-century art, the Italian metaphysical painters, the artists of Novecento Italiano, and Henri Rousseau.

The classicists are best understood by Franz Roh’s term Magic Realism, though Roh originally intended “magical realism” to be synonymous with the Neue Sachlichkeit as a whole. For Roh, as a reaction to expressionism, the idea was to declare “[that] the autonomy of the objective world around us was once more to be enjoyed; the wonder of matter that could crystallise into objects was to be seen anew.” With the term, he was emphasising the “magic” of the normal world as it presents itself to us – how, when we really look at everyday objects, they can appear strange and fantastic.” (Text from the Wikipedia website)

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It strikes me, with a slap of the hand across the face, that the one, realism, cannot live cannot breathe with/out the other, the Other, magic. One cannot coexist without the other, as in the body not living without oxygen to breathe: one occupies the other whilst itself being inhabited. The precondition to reality is in essence the unknown. As order relies on mutation to define itself, so reality calls forth that form of hyperrealism, a state of magic, that we can have knowledge of (the image of ourselves before birth, that last image, can we remember, before death) but cannot mediate.

Magic/realism is no duality but a fluid, observational, hybridity which exists on multiple planes of reality – from the downright mad and evil to the ecstatic and revelatory. The fiction of a stable reality is twisted; magic or the supernatural is supposedly presented in an otherwise real-world or mundane setting. Or is it the other way round? Or no way round at all?

It is the role of the artist to set up opposites, throwing one against the other, to throw… into the void.

Marcus

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

 

Tate Modern will explore German art from between the wars in a year-long, free exhibition, drawing upon the rich holdings of The George Economou Collection.

These loans offer a rare opportunity to view a range of artworks not ordinarily on public display, and to see a small selection of key Tate works returned to the context in which they were originally created and exhibited nearly one hundred years ago.

This presentation explores the diverse practices of a number of different artists, including Otto Dix, George Grosz, Albert Birkle and Jeanne Mammen. Although the term ‘magic realism’ is today commonly associated with the literature of Latin America, it was inherited from the artist and critic Franz Roh who invented it in 1925 to describe a shift from the art of the expressionist era, towards cold veracity and unsettling imagery. In the context of growing political extremism, the new realism reflected a fluid social experience as well as inner worlds of emotion and magic.

 

 

“Art is exorcism. I paint dreams and visions too; the dreams and visions of my time. Painting is the effort to produce order; order in yourself. There is much chaos in me, much chaos in our time.”

.
Otto Dix

 

 

Otto Dix (1891-1969) 'Assault Troops Advance under Gas (Sturmtruppe geht unter Gas vor) '1924

 

Otto Dix (1891-1969)
Assault Troops Advance under Gas (Sturmtruppe geht unter Gas vor)
1924
© DACS 2017
Image: Otto Dix Stiftung

 

 

Otto Dix World War I service

When the First World War erupted, Dix enthusiastically volunteered for the German Army. He was assigned to a field artillery regiment in Dresden. In the autumn of 1915 he was assigned as a non-commissioned officer of a machine-gun unit on the Western front and took part in the Battle of the Somme. In November 1917, his unit was transferred to the Eastern front until the end of hostilities with Russia, and in February 1918 he was stationed in Flanders. Back on the western front, he fought in the German Spring Offensive. He earned the Iron Cross (second class) and reached the rank of vizefeldwebel. In August of that year he was wounded in the neck, and shortly after he took pilot training lessons.

He took part in a Fliegerabwehr-Kurs (“Defense Pilot Course”) in Tongern, was promoted to Vizefeldwebel and after passing the medical tests transferred to Aviation Replacement Unit Schneidemühl in Posen. He was discharged from service in 22 December 1918 and was home for Christmas.

Dix was profoundly affected by the sights of the war, and later described a recurring nightmare in which he crawled through destroyed houses. He represented his traumatic experiences in many subsequent works, including a portfolio of fifty etchings called Der Krieg, published in 1924. Subsequently, he referred again to the war in The War Triptych, painted from 1929-1932.

Text from the Wikipedia website

 

Otto Dix (1891-1969) 'International Riding Act' (Internationaler Reitakt) 1922

 

Otto Dix (1891-1969)
International Riding Act (Internationaler Reitakt)
1922
Etching, drypoint on paper
496 x 431 mm
The George Economou Collection
On short term loan

 

Otto Dix (1891-1969) 'International Riding Scene' (Internationale Reiterszene) 1922

 

Otto Dix (1891-1969)
International Riding Scene (Internationale Reiterszene)
1922
Watercolour, pen and ink on paper
510 × 410 mm
The George Economou Collection
On short term loan

 

Otto Dix (1891-1969) 'Butcher Shop' (Fleischerladen) 1920

 

Otto Dix (1891-1969)
Butcher Shop (Fleischerladen)
1920
Etching, drypoint on paper
495 x 338 mm
The George Economou Collection
On short term loan

 

Otto Dix (1891-1969) 'Lion-Tamer' (Dompteuse) 1922

 

Otto Dix (1891-1969)
Lion-Tamer (Dompteuse)
1922
Etching, drypoint on paper
496 x 429 mm
The George Economou Collection
On short term loan

 

Otto Dix (German, 1891-1969) 'Lust Murder' (Lustmord) 1922

 

Otto Dix (German, 1891-1969)
Lust Murder (Lustmord)
1922
Watercolour, ink and graphite on paper
485 x 365 mm
The George Economou Collection
On short term loan

 

Otto Dix (German, 1891-1969) 'Lili, the Queen of the Air' (from 'Circus' portfolio) 1922

 

Otto Dix (German, 1891-1969)
Lili, the Queen of the Air (from Circus portfolio)
1922
Etching, drypoint on paper
The George Economou Collection
© The Estate of Otto Dix 2018

 

 

Otto Dix Post-war artwork

At the end of 1918 Dix returned to Gera, but the next year he moved to Dresden, where he studied at the Hochschule für Bildende Künste. He became a founder of the Dresden Secession group in 1919, during a period when his work was passing through an expressionist phase. In 1920, he met George Grosz and, influenced by Dada, began incorporating collage elements into his works, some of which he exhibited in the first Dada Fair in Berlin. He also participated in the German Expressionists exhibition in Darmstadt that year.

In 1924, he joined the Berlin Secession; by this time he was developing an increasingly realistic style of painting that used thin glazes of oil paint over a tempera underpainting, in the manner of the old masters. His 1923 painting The Trench, which depicted dismembered and decomposed bodies of soldiers after a battle, caused such a furore that the Wallraf-Richartz Museum hid the painting behind a curtain. In 1925 the then-mayor of Cologne, Konrad Adenauer, cancelled the purchase of the painting and forced the director of the museum to resign.

Dix was a contributor to the Neue Sachlichkeit exhibition in Mannheim in 1925, which featured works by George Grosz, Max Beckmann, Heinrich Maria Davringhausen, Karl Hubbuch, Rudolf Schlichter, Georg Scholz and many others. Dix’s work, like that of Grosz – his friend and fellow veteran – was extremely critical of contemporary German society and often dwelled on the act of Lustmord, or sexualized murder. He drew attention to the bleaker side of life, unsparingly depicting prostitution, violence, old age and death.

In one of his few statements, published in 1927, Dix declared, “The object is primary and the form is shaped by the object.”

Among his most famous paintings are Sailor and Girl (1925), used as the cover of Philip Roth’s 1995 novel Sabbath’s Theater, the triptych Metropolis (1928), a scornful portrayal of depraved actions of Germany’s Weimar Republic, where nonstop revelry was a way to deal with the wartime defeat and financial catastrophe, and the startling Portrait of the Journalist Sylvia von Harden (1926). His depictions of legless and disfigured veterans – a common sight on Berlin’s streets in the 1920s – unveil the ugly side of war and illustrate their forgotten status within contemporary German society, a concept also developed in Erich Maria Remarque’s All Quiet on the Western Front.

Text from the Wikipedia website

 

Otto Dix (German, 1891-1969) 'Technical Personnel' (Technisches Personal) 1922

 

Otto Dix (German, 1891-1969)
Technical Personnel (Technisches Personal)
1922
Etching, drypoint on paper
497 x 426 mm
The George Economou Collection
On short term loan

 

 

Magic Realism

The term magic realism was invented by German photographer, art historian and art critic Franz Roh in 1925 to describe modern realist paintings with fantasy or dream-like subjects.

The term was used by Franz Roh in his book Nach Expressionismus: Magischer Realismus (After Expressionism: Magic Realism).

In Central Europe magic realism was part of the reaction against modern or avant-garde art, known as the return to order, that took place generally after the First World War. Magic realist artists included Giorgio de Chirico, Alberto Savinio and others in Italy, and Alexander Kanoldt and Adolf Ziegler in Germany. Magic realism is closely related to the dreamlike depictions of surrealism and neo-romanticism in France. The term is also used of certain American painters in the 1940s and 1950s including Paul Cadmus, Philip Evergood and Ivan Albright.

In 1955 the critic Angel Flores used the term magic realism to describe the writing of Jorge Luis Borges and Gabriel García Márquez, and it has since become a significant if disputed literary term.

Text from the Tate website [Online] Cited 23/06/2019

 

George Grosz (German, 1893-1959) 'Suicide' (Selbstmörder) 1916

 

George Grosz (German, 1893-1959)
Suicide (Selbstmörder)
1916
Oil paint on canvas
1000 x 775 mm
Tate
Purchased with assistance from the Art Fund 1976

 

 

The horrific picture of Suicide by Groz astonishes by its savage imagery, harsh colours and restless composition. Highlighting the misery of the middle class who has no means to live on today and no future tomorrow, the artist gets one man strung up on a lamp post and the other shot on a stage just near a prompter guy in his cabin. Is his death a real thing or is it a part of some performance? It seems to be quite real because everybody promptly abandons the scene except for the hungry dogs roaming the desolate streets of Berlin. And these murders are no worse than dubious pleasures given by an ugly, man-like prostitute to an aged bald client visiting her in a cheap apartment block – the only source of solace from the cold and desolation for the bourgeois at the time. The pervasive moral corruption in Berlin during the war years is underlined by the forsaken Kirche at the back.

Text from the Arthive website [Online] Cited 23/06/2019

 

Grosz was drafted into the German army in 1914, after the outbreak of the First World War. His experiences in the trenches deepened his intense loathing for German society. Discharged from the army for medical reasons, he produced savagely satirical paintings and drawings that ‘expressed my despair, hate and disillusionment’. This work shows dogs roaming past the abandoned bodies of suicides in red nocturnal streets. The inclusion of an aged client visiting a prostitute reflects the pervasive moral corruption in Berlin during the war years.

Gallery label, September 2004

 

Rudolf Schlichter (German, 1890-1955) 'The Artist with Two Hanged Women' (Der Künstler mit zwei erhängten Frauen) 1924

 

Rudolf Schlichter (German, 1890-1955)
The Artist with Two Hanged Women (Der Künstler mit zwei erhängten Frauen)
1924
Watercolour and graphite on paper
453 x 340 mm
The George Economou Collection
On short term loan

 

 

Sexualised murder was a recurrent theme within this period: the exhibition holding a number of other works similar to the piece by Dix. An example is Rudolf Schlichter’s The Artist with Two Hanged Women watercolour. Schlichter was known to have sexual fantasies revolved around hanging, as well as an obsession with women’s buttoned boots. Acting as a self-portrait, the image represents Schlichter’s private fantasies, whilst also drawing upon the public issues of suicide, which saw an unsettling rise during this period.

Text by Georgia Massie-Taylor from the G’s Spots blog

 

Albert Birkle (German, 1900-1986) 'Crucifixion' (Kreuzigung) 1921

 

Albert Birkle (German, 1900-1986)
Crucifixion (Kreuzigung)
1921
Oil paint on board
920 x 607 mm
The George Economou Collection
On short term loan

 

Herbert Gurschner (Austrian, 1901-1975) 'Lazarus (The Workers)' (Lazarus (Die Arbeiter)) 1928

 

Herbert Gurschner (Austrian, 1901-1975)
Lazarus (The Workers) (Lazarus (Die Arbeiter))
1928
Oil paint on canvas
920 x 690 mm
The George Economou Collection
On short term loan

 

 

Herbert Gurschner

Herbert Gurschner was born on August 27, 1901 in Innsbruck. In 1917 he attended the art school in Innsbruck and had his first exhibition. Between 1918 and 1920 he studied at the Munich Art Academy . After that he had other exhibitions in Innsbruck.

In 1924 he married an English nobleman, through which he came to London artist and collector circles. In 1929 he had his first exhibition in the London Fine Art Society . Two years later, he showed another exhibition in the Fine Art Society and made the artistic breakthrough in England. Subsequently, he was able to open several exhibitions throughout the UK. Herbert Gurschner found access to aristocratic, diplomatic and business circles and was able to exhibit his works in New York City, among others .

At the time of World War II Gurschner obtained British citizenship and served in the British army. During this time, he met his future second wife, the actress Brenda Davidoff, with whom he lived in London. In the postwar years Gurschner exhibited only sporadically and instead focuses on the stage design (including for the Royal Opera House, Globe Theater and Hammersmith Apollo). On January 10, 1975 Gurschner died in London.

Text from the German Wikipedia website translated by Google Translate

 

Herbert Gurschner (Austrian, 1901-1975) 'The Annunciation' 1929-30 

 

Herbert Gurschner (Austrian, 1901-1975)
The Annunciation
1929-30
Oil on canvas
1617 x 1911 mm
Tate
Presented by Lord Duveen 1931

 

 

This summer, Tate Modern will explore the art of the Weimar Republic (1919-33) in a year-long, free display, drawing upon the rich holdings of The George Economou Collection. This presentation of around seventy paintings and works on paper will address the complex paradoxes of the Weimar era, in which liberalisation and anti-militarism flourished in tandem with political and economic uncertainty. These loans offer a rare opportunity to view a range of artworks not ordinarily on public display – some of which have never been seen in the United Kingdom before – and to see a selection of key Tate works returned to the context in which they were originally created and exhibited nearly one hundred years ago.

Although the term ‘magic realism’ is today commonly associated with the literature of Latin America, it was inherited from the artist and critic Franz Roh who invented it in 1925 to describe a shift from the anxious and emotional art of the expressionist era, towards the cold veracity and unsettling imagery of this inter-war period. In the context of growing political extremism, this new realism reflected a more liberal society as well as inner worlds of emotion and magic.

The profound social and political disarray after the First World War and the collapse of the Empire largely brought about this stylistic shift. Berlin in particular attracted a reputation for moral depravity and decadence in the context of the economic collapse. The reconfiguration of urban life was an important aspect of the Weimar moment. Alongside exploring how artists responded to social spaces and the studio, entertainment sites like the cabaret and the circus will be highlighted, including a display of Otto Dix’s enigmatic Zirkus (‘Circus’) print portfolio. Artists recognised the power in representing these realms of public fantasy and places where outsiders were welcomed.

Works by Otto Dix, George Grosz and Max Beckmann perhaps best known today for their unsettling depictions of Weimar life, will be presented alongside the works of under recognised artists such as Albert Birkle, Jeanne Mammen and Rudolf Schlichter, and many others whose careers were curtailed by the end of the Weimar period due to the rise of Nationalist Socialism and its agenda to promote art that celebrated its political ideologies.

The display comes at a pertinent time, in a year of commemoration of the anniversary of the end of the First World War, alongside Aftermath: Art in the Wake of World War One at Tate Britain and William Kentridge’s new performance for 14-18 Now at Tate Modern entitled The Head and the Load, running from 11-15 July 2018.

Magic Realism is curated by Matthew Gale, Head of Displays and Katy Wan, Assistant Curator, Tate Modern. The display is realised with thanks to loans from The George Economou Collection, with additional support from the Huo Family Foundation (UK) Limited.

Press release from the Tate website [Online] Cited 23/06/2019

 

Jeanne Mammen (German, 1890-1976) 'Boring Dolls' (Langweilige Puppen) 1929

 

Jeanne Mammen (German, 1890-1976)
Boring Dolls (Langweilige Puppen)
1929
Watercolour and graphite on paper mounted on cardboard
384 x 286 mm
The George Economou Collection
On short term loan

 

Jeanne Mammen (German, 1890-1976) 'Free room' (Brüderstrasse (Zimmer frei)) 1930

 

Jeanne Mammen (German, 1890-1976)
Free room (Brüderstrasse (Zimmer frei))
1930
Watercolour, ink and graphite on vellum
The George Economou Collection
On short term loan

 

Jeanne Mammen (German, 1890-1976) 'At the Shooting Gallery' 1929

 

Jeanne Mammen (German, 1890-1976)
At the Shooting Gallery
1929
Watercolour and graphite on vellum
445 x 360 mm
The George Economou Collection
© DACS, 2018

 

 

Jeanne Mammen

Jeanne Mammen (21 November 1890 – 22 April 1976) was a German painter and illustrator of the Weimar period. Her work is associated with the New Objectivity and Symbolism movements. She is best known for her depictions of strong, sensual women and Berlin city life.

In 1921, Mammen moved into an apartment with her sister in Berlin. This apartment was a former photographer’s studio which she lived in until her death. Aside from Art throughout her life Mammen also was interested in science. She was close friends with Max Delbrück who left Europe and took some of her artwork with him and exhibited them in California. In addition to bringing these art works to be exhibited he also sent Mammen care packages from the United States with art supplies.

In 1930 she had a major exhibition in the Fritz Gurlitt gallery. Over the next two years, at Gurlitt’s suggestion, she created one of her most important works: a series of eight lithographs illustrating Les Chansons de Bilitis, a collection of lesbian love poems by Pierre Louÿs.

In 1933, following her inclusion in an exhibition of female artists in Berlin, the Nazi authorities denounced her motifs and subjects as “Jewish”, and banned her lithographs for Les Chansons de Bilitis. The Nazis were also opposed to her blatant disregard to for apparent ‘appropriate’ female submissiveness in her expressions of her subjects. Much of her work also includes imagery of lesbians. The Nazis shut down most of the journals she had worked for, and she refused to work for those that complied with their cultural policies. Until the end of the war she practiced a kind of “inner emigration”. She stopped exhibiting her work and focused on advertising. For a time she also peddled second-hand books from a handcart.

Text from the Wikipedia website

 

Otto Rudolf Schatz (Austrian, 1900-1961) 'Moon Women' (Mondfrauen) 1930

 

Otto Rudolf Schatz (Austrian, 1900-1961)
Moon Women (Mondfrauen)
1930
Oil paint on canvas
1915 x 1110 mm
The George Economou Collection
On short term loan

 

 

Otto Rudolf Schatz

Otto Rudolf Schatz was born on January 18, 1900, the son of a post office family in Vienna. From 1915 to 1918 Schatz studied at the Viennese Art Academy under Oskar Strnad and Anton von Kenner. In 1918 his studies were interrupted by military service in the Second World War although he graduated in 1919. During this time the artist’s chosen medium was wood.  From 1920 he worked with the painter Max Hevesi who exhibited Schatz’s paintings and woodcuts. Otto Rudolf Schatz also published books with the art critic Arthur Roessler including The Gothic Mood.

In 1923 Schatz became friends with the Viennese gallery owner Otto Kallir who became one of his most important patrons. Kallir continuously presented Schatz’s works in the Neue Galerie. In the same year the Austrian collector Fritz Karpfen published Austrian Art featuring Schatz’s art. The artist’s book of twelve woodcuts was published with a foreword by the art historian Erica Tietze-Conrat. The painter also traveled to Venice in 1923.

In 1924 he had his first collective exhibition in the Neue Galerie. In 1925 Schatz exhibited in the Neue Galerie together with Anton Faistauer, Franz Probst, and Marianne Seeland. In the same year he became a member of the Austrian artists’ association Kunstschau and he provided eight original woodcuts for the publication of a fairytale book Im Satansbruch by Ernst Preczang.

In 1927 Schatz contributed woodcuts to the volume The New Town by the Berlin Büchergilde Gutenberg. From 1928 to 1938 he was a valued member in the Hagenbund in Vienna. In 1929 he produced several illustrations for The Stromverlag among others and for Stefan Zweig’s Fantastic Night and H. G. Wells The Invisible. In 1936 he participated in a collective exhibition with Georg Ehrlich in the Neue Galerie. In 1936 to 1937 Schatz traveled through the United States as well as visited the World Exhibition in Paris. His paintings were seen in exhibition of his New York, in the Neue Galerie, and in the Hagenbund. The artists provided illustrations for the Büchergilde Gutenberg edition of Upton Sinclair’s Co-op.

When the National Socialists gained power in 1938 Schatz was forbidden to work. In 1938 he lived with his Jewish wife Valerie Wittal in Brno and in 1944 in Prague where he painted landscape miniatures. In 1944 Schatz was imprisoned in the Klettendorf labor camp and then transferred to the Graditz and Bistritz concentration camps. In 1946 Schatz returned to Vienna where he was promoted by the cultural politician, city counsellor, and writer Viktor Matejka. In 1946 he became a member of the Vienna Secession. In 1947 Schatz received the prize of the city of Vienna for graphics. In the same year eighteen woodcuts were created for Peter Rosegger’s Jakob der Letzte. In 1949 Scatz’s watercolor series Das war der Prater was published in book form. In 1951 Schatz won the competition for the design of the Vienna Westbahnhof. On April 26, 1961 Otto Rudolf Schatz died of lung cancer in Vienna.

As a graphic artist and painter Otto Rudolf Schatz occupies a leading position in the Austrian inter-war period. His multi-faceted work which moves between Expressionism and New Objectivity, was characterised by a social-critical attitude that gives his work historical significance. The artist’s works are now found in numerous collections including the Belvedere in Vienna, the Vienna Museum, and the Hans Schmid Private Foundation.

Text from the Otto Rudolf Schatz website [Online] Cite 23/06/2019

 

Rudolf Schlichter (German, 1890-1955) 'Lady with Red Scarf (Speedy with the Moon)' (Frauenportrait (Speedy)) 1933

 

Rudolf Schlichter (German, 1890-1955)
Lady with Red Scarf (Speedy with the Moon) (Frauenportrait (Speedy))
1933
The George Economou Collection
On short term loan

 

 

Rudolf Schlichter (or Rudolph Schlichter) (December 6, 1890 – May 3, 1955) was a German artist and one of the most important representatives of the Neue Sachlichkeit (New Objectivity) movement.

Schlichter was born in Calw, Württemberg. After an apprenticeship as an enamel painter at a Pforzheim factory he attended the School of Arts and Crafts in Stuttgart. He subsequently studied under Hans Thoma and Wilhelm Trübner at the Academy in Karlsruhe. Called for military service in World War I, he carried out a hunger strike to secure early release, and in 1919 he moved to Berlin where he joined the Communist Party of Germany and the “November” group. He took part in a Dada fair in 1920 and also worked as an illustrator for several periodicals.

A major work from this period is his Dada Roof Studio, a watercolour showing an assortment of figures on an urban rooftop. Around a table sit a woman and two men in top hats. One of the men has a prosthetic hand and the other, also missing a hand, appears on closer scrutiny to be mannequin. Two other figures in gas masks may also be mannequins. A child holds a pail and a woman wearing high button shoes (for which Schlichter displayed a marked fetish) stands on a pedestal, gesturing inexplicably.

In 1925 Schlichter participated in the “Neue Sachlichkeit” exhibit at the Mannheim Kunsthalle. His work from this period is realistic, a good example being the Portrait of Margot (1924) now in the Berlin Märkisches Museum. It depicts a prostitute who often modelled for Schlichter, standing on a deserted street and holding a cigarette.

When Adolf Hitler took power, bringing to an end the Weimar period, his activities were greatly curtailed. In 1935 he returned to Stuttgart, and four years later to Munich. In 1937 his works were seized as degenerate art, and in 1939 the Nazi authorities banned him from exhibiting. His studio was destroyed by Allied bombs in 1942.

At the war’s end, Schlichter resumed exhibiting works. His works from this period were surrealistic in character. He died in Munich in 1955.

Text from the Wikipedia website

 

Sergius Pauser (Austrian, 1896-1970) 'Self-Portrait with Mask' 1926

 

Sergius Pauser (Austrian, 1896-1970)
Self-Portrait with Mask
1926
Oil paint on canvas
600 x 730 mm
The George Economou Collection
© Angela Pauser and Wolfgang Pauser

 

 

Sergius Pauser

Sergius Pauser, who was born in Vienna on 28 December 1896, represents the prototype of this generation of artists. As a painter, he enjoyed the recognition of his contemporaries and as a much sought-after artist who was able to earn his living with his paintings. He was never a revolutionary but rather a “gentleman of the Viennese order”, who sought to capture moods and atmosphere in his paintings. The writer Thomas Bernhard (1931-1989) wrote of Pauser: “Sergius Pauser uttered thoughts about people – Adalbert Stifter, for example – that I have never heard before or since; he succeeded in revealing the most concealed corners of poetic sensitivity; he was a tender and vigilant diviner on the landscape of world literature, a philosopher and an artist through and through.” And yet a painter like Sergius Pauser is barely known today; only a few of his works hang in Austrian galleries and many of his paintings cannot be traced due to the emigration of their owners.

Text from the Sergius Pauser website [Online] Cited 23/06/2019

 

Hans Grundig (German, 1901-1958) 'Girl with Pink Hat' 1925

 

Hans Grundig (German, 1901-1958)
Girl with Pink Hat
1925
Oil paint on cardboard
704 x 500 mm
The George Economou Collection
© DACS, 2018

 

 

Hans Grundig

Hans Grundig (February 19, 1901 – September 11, 1958) was a German painter and graphic artist associated with the New Objectivity movement.

He was born in Dresden and, after an apprenticeship as an interior decorator, studied in 1920–1921 at the Dresden School of Arts and Crafts. He then studied at the Dresden Academy from 1922 to 1923. During the 1920s his paintings, primarily portraits of working-class subjects, were influenced by the work of Otto Dix. Like his friend Gert Heinrich Wollheim, he often depicted himself in a theatrical manner, as in his Self-Portrait during the Carnival Season (1930).

He had his first solo exhibition in 1930 at the Dresden gallery of Józef Sandel. He made his first etchings in 1933.

Politically anti-fascist, he joined the German Communist Party in 1926, and was a founding member of the arts organisation Assoziation revolutionärer bildender Künstler in Dresden in 1929.

Following the fall of the Weimar Republic, Grundig was declared a degenerate artist by the Nazis, who included his works in the defamatory Degenerate Art exhibition in Munich in 1937. He expressed his antagonism toward the regime in paintings such as The Thousand Year Reich (1936). Forbidden to practice his profession, he was arrested twice – briefly in 1936, and again in 1938, after which he was interned in Sachsenhausen concentration camp from 1940 to 1944.

In 1945 he went to Moscow, where he attended an anti-fascist school. Returning to Berlin in 1946, he became a professor of painting at the Dresden Academy of Fine Arts. In 1957 he published his autobiography, Zwischen Karneval und Aschermittwoch (“Between Shrovetide carnival and Ash Wednesday”). He was awarded the Heinrich Mann Prize in Berlin in 1958, the year of his death.

Text from the Wikipedia website

 

Josef Eberz (1880-1942) 'Dancer (Beatrice Mariagraete)' 1923

 

Josef Eberz (1880-1942)
Dancer (Beatrice Mariagraete)
1923
Oil paint on canvas
1580 x 785 mm
The George Economou Collection

 

Josef Eberz died in utter loneliness on 27 August 1942, his apartment with the studio burned out in a bombing raid.

 

Conrad Felixmüller (German, 1897-1977) 'Portrait of Ernst Buchholz' 1921

 

Conrad Felixmüller (German, 1897-1977)
Portrait of Ernst Buchholz
1921
Oil paint on canvas
900 x 750 mm
The George Economou Collection
© DACS, 2018

 

 

Conrad Felixmüller

Conrad Felixmüller (21 May 1897 – 24 March 1977) was a German expressionist painter and printmaker. Born in Dresden as Conrad Felix Müller, he chose Felixmüller as his nom d’artiste.

He attended drawing classes at the Dresden School of Arts and Crafts in 1911-12 before studying under Carl Bantzer at the Dresden Academy of Art. In 1917 he performed military service as a medical orderly, and became a founding member of the Dresden Expressionist group Expressionistische Arbeitsgemeinschaft Dresden. He achieved his earliest success as a printmaker. Felixmüller was a member of the Communist Party of Germany from 1918 to 1922. He published many woodcuts and drawings in left-wing magazines, and remained a prolific printmaker throughout his career. He was a close friend of the composer Clemens Braun of whom he produced a number of portraits and a woodcut depicting him on his deathbed.

He was one of the youngest members of the New Objectivity movement. His paintings often deal with the social realities of Germany’s Weimar Republic. He was mentor to the German Expressionist Otto Dix.

Felixmüller’s work became more objective and restrained after the mid-1920s. He wrote in 1929:

“It has become increasingly clear to me that the only necessary goal is to depict the direct, simple life which one has lived oneself, also involving the design of colour as painting – in the manner in which it was cultivated by the Old Masters for centuries, until Impressionism and Expressionism, infected by the technical and industrial delusions of grandeur, rejected every affinity for tradition, ability and results, committing harakiri.”

In the 1930s, many of his works were seized as degenerate art by the Nazis, and destroyed. In 1944, his studio in Berlin was bombed, resulting in more losses of his works. From 1949 to 1962 Felixmüller taught at the University of Halle. He died in the Berlin suburb of Zehlendorf.

Text from the Wikipedia website

 

August Heitmüller (German, 1873-1935) 'Self-Portrait' 1926

 

August Heitmüller (German, 1873-1935)
Self-Portrait
1926
Oil paint on canvas
900 x 705 mm
The George Economou Collection

 

George Grosz (German, 1893-1959) 'A Married Couple' 1930

 

George Grosz (German, 1893-1959)
A Married Couple
1930
Watercolour, gouache, pen and ink on paper
505 x 440 mm
The George Economou Collection
© Estate of George Grosz, Princeton, N.J. 2018

 

George Grosz (German, 1893-1959) 'Self-Portrait with Model in the Studio' 1930-1937

 

George Grosz (German, 1893-1959)
Self-Portrait with Model in the Studio
1930-1937
Watercolour on paper
660 x 473 mm
Tate
© Estate of George Grosz, Princeton, N.J. 2018

 

Heinrich Maria Davringhausen (German, 1894-1970) 'The Poet Däubler' (Der Dichter Däubler) 1917

 

Heinrich Maria Davringhausen (German, 1894-1970)
The Poet Däubler (Der Dichter Däubler)
1917
Oil paint on canvas
1810 x 1603 mm
The George Economou Collection
On short term loan

 

 

Heinrich Maria Davringhausen

Heinrich Maria Davringhausen (21 October 1894 – 13 December 1970) was a German painter associated with the New Objectivity.

Davringhausen was born in Aachen. Mostly self-taught as a painter, he began as a sculptor, studying briefly at the Düsseldorf Academy of Arts before participating in a group exhibition at Alfred Flechtheim’s gallery in 1914. He also traveled to Ascona with his friend the painter Carlo Mense that year. At this early stage his paintings were influenced by the expressionists, especially August Macke.

Exempted from military service in World War I, he lived in Berlin from 1915 to 1918, forming friendships with George Grosz and John Heartfield. In 1919 he had a solo exhibition at Hans Goltz’ Galerie Neue Kunst in Munich, and exhibited in the first “Young Rhineland” exhibition in Düsseldorf. Davringhausen became a member of the “Novembergruppe” and gained some prominence among the artists representing a new tendency in German art of the postwar period. He was asked to take part in the Neue Sachlichkeit (New Objectivity) exhibition in Mannheim which brought together many leading “post-expressionist” artists, including Grosz, Otto Dix, Max Beckmann, Alexander Kanoldt and Georg Schrimpf.

Davringhausen went into exile with the fall of the Weimar republic in 1933, first going to Majorca, then to France. In Germany approximately 200 of his works were removed from public museums by the Nazis on the grounds that they were degenerate art. Prohibited from exhibiting, Davringhausen was interned in Cagnes-sur-Mer but fled to Côte D’ Azur. In 1945 however he returned to Cagnes-sur-Mer, a suburb of Nice, where he remained for the rest of his life. He worked as an abstract painter under the name Henri Davring until his death in Nice in 1970.

Perhaps the best-known work from Davringhausen’s New Objectivity period is Der Schieber (The Black-Marketeer), a Magic realist painting of 1920-21, which is in the Kunstmuseum Düsseldorf im Ehrenhof. Painted in acidulous colours, it depicts a glowering businessman seated at a desk in a modern office suite that foreshortens dramatically behind him. Although Davringhausen rarely presented social criticism in his work, in Der Schieber “the artist created the classic pictorial symbol of the period of inflation that was commencing”.

Much of Davringhausen’s work was deposited in 1989 in the Leopold Hoesch museum in Düren, which has subsequently organised several exhibitions of his pictures, above all those from the later period.

Text from the Wikipedia website

 

Albert Birkle (German, 1900-1986) 'The Acrobat Schulz V' 1921

 

Albert Birkle (German, 1900-1986)
The Acrobat Schulz V
1921
Oil paint on canvas
920 x 607 mm
The George Economou Collection
© DACS, London 2018

 

 

Albert Birkle

Albert Birkle was born in Charlottenburg, then an independent city and since 1920 part of Berlin. His grandfather on his mother’s side, Gustav Bregenzer, and his father, Carl Birkle, both were painters, originally from Swabia. Albert Birkle was trained as a decorative painter in his father’s firm. From 1918 to 1924, he studied at the Hochschule für die bildenden Künste / College of Fine Arts, a predecessor of today’s Universität der Künste Berlin. Birkle developed a unique style informed by expressionism and New Objectivity / Neue Sachlichkeit. His subjects were lonely, mystic landscapes, typical scenes of Berlin of the 20’s and 30’s, such as scenes from Tiergarten Park, bar scenes etc., character portraits, and religious scenes. In his style of portrait painting he was often compared to Otto Dix and George Grosz.

In 1927, Birkle had his first one man show in Berlin, which turned out to be very successful. He decided to turn down a professorship at the Koenigsberg Acadamy of Arts in order to continue to work independently as an artist and to dedicate himself to assignments in the field of church decoration, where he had become a specialist. As National Socialism was on its way to power, Birkle moved to Salzburg, Austria in 1932. Nevertheless, he represented Germany at the Venice Biennale as late as 1936. In 1937, his artwork was declared to be “entarted”, his works were removed from public collections, and a painting ban was imposed on him.

In 1946, Birkle received Austrian citizenship. In the post-war year, he made a living painting religious frescos for various churches and doing oil paintings. In his final year, he more and more returned back to his Berlin themes of the 20’s and 30’s.

Text from the Albert Birkle website [Online] Cited 23/06/2019

 

 

Tate Modern
Bankside
London SE1 9TG
United Kingdom

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Friday – Saturday 10.00 – 22.00

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14
Jun
19

Exhibition and auction, photographs and text: ‘The Gay Day Archive 1974-83’ – photographs by Hank O’Neal; text by Alan Ginsberg

Exhibition dates: 15th June – 20th June 2019

Auction: 20th June, 2019 at 1:30 pm

 

Hank O'Neal 'The Gay Day Archive' 1974-83

 

Hank O’Neal (American, b. 1940) (photographer)
Alan Ginsberg (American, 1926-1997) (writer)
Untitled [Gay Daddies]
1974-83
From The Gay Day Archive
Gelatin silver print

 

 

“Born gay and free”

I was born in 1958 and came out as a gay man in 1975, six short years after the Stonewall uprising, the nominal (the UK had decriminalised homosexuality in 1967) but official start of Gay Liberation around the world, especially in the United States of America. I survived the plague that hit in the early 1980s. A lot of my friend’s didn’t.

These fabulous photographs and lilting prose make wonderful bedfellows, shining a light on those very early years of outness, campness, empowerment and sexual and personal freedom pre HIV/AIDS. From Gay Daddies to Gay Teachers, from being nowhere (in sight) … to being everywhere. As Ginsberg eloquently proposes, “wearing their hearts on a banner for nothing but love.” Gay youth, dignity and equality, proud of my gay son whoever he may be.

There is such a sense of joy, happiness and love contained in these photographs. The two lads in “Untitled [summery mouths]” are redolent of the era. Cute as a button: platform shoes, tight flared jeans, keys hanging, hands clasped around, small waists, tight singlets, sultry curly hair. Disco love is in the air. I could have been one of these men, memories of those days, those halcyon 70s days.

There are heroes too. Marsha P. Johnson, performance artist, drag mother, transgender, gender nonconforming survival sex worker political activist human… probably murdered by thugs after the 1992 pride parade. And Harvey Milk, that assassinated visionary who became a martyr to the cause, marching in spirit with the crowd. The man carrying a wreath with his name – head down, black armband, gay rights t-shirt – is such a poignant image of the loss of a hero. And then Ginsberg’s text, “Harvey Milk died for your sins.” (He had initially written “our” but crossed it out).

That erasure is so important. I remember working at Channel 7 as a set painter in Melbourne in the late 1980s to pay for university. It was a typical male only workplace at the time, all “blokes”, and I was confronted one day by one of them about being openly gay. My response: I’m quite happy being how I am, it’s you that obviously has the problem. Why don’t you look at yourself first before you start attacking other people.

This is why it is so important that Ginsberg crossed out “our” and wrote “your” sins. LGBTQI people have not sinned. There just are. They have nothing to forgive themselves for. It is the prejudice of others that leads them to fight for dignity and equality. As one of the posters in the photographs says, “People should love one another regardless of race, religion, age or sex.” A men to that.

Dr Marcus Bunyan for Art Blart

 

PS. The exhibition of these photographs is only on for a few days. Please see them if you can.

The photographs and text are used under “fair use” for the purposes of freedom of speech, research, education and informed comment. Please click on the photographs for a larger version of the image.

 

A festive visual compilation by the NY-based photographer and author O’Neal of the parade signifying the Gay Liberation Movement. Pictured are an array of fun-loving and politically-motivated participants, several openly displaying affection. With photographs of the transgender activist Marsha P. Johnson. Silver prints, various sizes, with most of the sheets 6×7 1/2 inches, 15.2×19 cm., or the reverse; each captioned by Ginsberg, and signed and dated by O’Neal on verso. 1974-83. AND – An additional group of approximately 165 photographs by O’Neal of the NYC parades, comprising 95 silver prints, various sizes but most 11 x 14 inches, 28 x 35.6 cm., and the reverse, 5 are signed and dated by O’Neal and contain Ginsberg’s captions; and 70 smaller silver prints, various sizes to 8 x 10 inches, 20.3 x 25.4 cm., and the reverse, a few with O’Neal’s hand stamp and notations and many are dated, in pencil, on verso; with duplicates and triplicates. 1974-83.

Estimate $70,000 – 100,000

Text for the Swann Auction Galleries website [Online] Cited 30/05/2019

 

Hank O'Neal 'The Gay Day Archive' 1974-83

 

Hank O’Neal (American, b. 1940) (photographer)
Alan Ginsberg (American, 1926-1997) (writer)
Untitled [WE ARE EVERYWHERE]
1974-83
From The Gay Day Archive
Gelatin silver print

 

Hank O'Neal 'The Gay Day Archive' 1974-83

 

Hank O’Neal (American, b. 1940) (photographer)
Alan Ginsberg (American, 1926-1997) (writer)
Untitled [WE ARE EVERYWHERE] (verso)
1974-83
From The Gay Day Archive
Gelatin silver print

 

We all look pretty normal,
boy next door, handsome punk,
ad man’s delight, daughters of the
American Revolution.

 

Hank O'Neal 'The Gay Day Archive' 1974-83

 

Hank O’Neal (American, b. 1940) (photographer)
Alan Ginsberg (American, 1926-1997) (writer)
Untitled [Hikin’ Dykes]
1974-83
From The Gay Day Archive
Gelatin silver print

 

Hank O'Neal 'The Gay Day Archive' 1974-83

 

Hank O’Neal (American, b. 1940) (photographer)
Alan Ginsberg (American, 1926-1997) (writer)
Untitled [Hikin’ Dykes] (verso)
1974-83
From The Gay Day Archive
Gelatin silver print

 

Black white brown boy girl what idealism! –
wearing their
hearts on a banner for nothing but love

 

Hank O'Neal 'The Gay Day Archive' 1974-83

 

Hank O’Neal (American, b. 1940) (photographer)
Alan Ginsberg (American, 1926-1997) (writer)
Untitled [GAY YOUTH 1969-1979]
1974-83
From The Gay Day Archive
Gelatin silver print

 

Hank O'Neal 'The Gay Day Archive' 1974-83

 

Hank O’Neal (American, b. 1940) (photographer)
Alan Ginsberg (American, 1926-1997) (writer)
Untitled [GAY YOUTH 1969-1979] (verso)
1974-83
From The Gay Day Archive
Gelatin silver print

 

They Guy in the right looks like my daddy when
he was young (and alive).

 

Hank O'Neal 'The Gay Day Archive' 1974-83

 

Hank O’Neal (American, b. 1940) (photographer)
Alan Ginsberg (American, 1926-1997) (writer)
Untitled [Dominant/Submissive Love]
1974-83
From The Gay Day Archive
Gelatin silver print

 

 

Allen Ginsberg

Irwin Allen Ginsberg (June 3, 1926 – April 5, 1997) was an American poet, philosopher and writer. He is considered to be one of the leading figures of both the Beat Generation during the 1950s and the counterculture that soon followed. He vigorously opposed militarism, economic materialism, and sexual repression and was known as embodying various aspects of this counterculture, such as his views on drugs, hostility to bureaucracy and openness to Eastern religions. He was one of many influential American writers of his time who were associated with the Beat Generation, including Jack Kerouac and William S. Burroughs.

Ginsberg is best known for his poem “Howl”, in which he denounced what he saw as the destructive forces of capitalism and conformity in the United States. In 1956, “Howl” was seized by San Francisco police and US Customs. In 1957, it attracted widespread publicity when it became the subject of an obscenity trial, as it described heterosexual and homosexual sex at a time when sodomy laws made homosexual acts a crime in every U.S. state. “Howl” reflected Ginsberg’s own sexuality and his relationships with a number of men, including Peter Orlovsky, his lifelong partner. Judge Clayton W. Horn ruled that “Howl” was not obscene, adding, “Would there be any freedom of press or speech if one must reduce his vocabulary to vapid innocuous euphemisms?”

Ginsberg was a practicing Buddhist who studied Eastern religious disciplines extensively. He lived modestly, buying his clothing in second-hand stores and residing in downscale apartments in New York’s East Village. One of his most influential teachers was the Tibetan Buddhist Chögyam Trungpa, the founder of the Naropa Institute in Boulder, Colorado. At Trungpa’s urging, Ginsberg and poet Anne Waldman started The Jack Kerouac School of Disembodied Poetics there in 1974.

Ginsberg took part in decades of non-violent political protest against everything from the Vietnam War to the War on Drugs. His poem “September on Jessore Road”, calling attention to the plight of Bangladeshi refugees, exemplifies what the literary critic Helen Vendler described as Ginsberg’s tireless persistence in protesting against “imperial politics, and persecution of the powerless.”

His collection The Fall of America shared the annual U.S. National Book Award for Poetry in 1974. In 1979, he received the National Arts Club gold medal and was inducted into the American Academy and Institute of Arts and Letters. Ginsberg was a Pulitzer Prize finalist in 1995 for his book Cosmopolitan Greetings: Poems 1986-1992.

Full text “Alan Ginsberg,” on the Wikipedia website

 

Hank O'Neal 'The Gay Day Archive' 1974-83

 

Hank O’Neal (American, b. 1940) (photographer)
Alan Ginsberg (American, 1926-1997) (writer)
Untitled [Miss Rollerind]
1974-83
From The Gay Day Archive
Gelatin silver print

 

Hank O'Neal 'The Gay Day Archive' 1974-83

 

Hank O’Neal (American, b. 1940) (photographer)
Alan Ginsberg (American, 1926-1997) (writer)
Untitled [Miss Rollerind] (verso)
1974-83
From The Gay Day Archive
Gelatin silver print

 

Miss Rollerind, queen of late 70s
disco world universe drama, observed by
a (gay??) black man on the asphalt.

 

Hank O'Neal 'The Gay Day Archive' 1974-83

 

Hank O’Neal (American, b. 1940) (photographer)
Alan Ginsberg (American, 1926-1997) (writer)
Untitled [COME! DIGNITY + EQUALITY]
1974-83
From The Gay Day Archive
Gelatin silver print

 

Hank O'Neal 'The Gay Day Archive' 1974-83

 

Hank O’Neal (American, b. 1940) (photographer)
Alan Ginsberg (American, 1926-1997) (writer)
Untitled [COME! DIGNITY + EQUALITY] (verso)
1974-83
From The Gay Day Archive
Gelatin silver print

 

Come all over the sky, look up!

 

Hank O'Neal 'The Gay Day Archive' 1974-83

 

Hank O’Neal (American, b. 1940) (photographer)
Alan Ginsberg (American, 1926-1997) (writer)
Untitled [ADOLPH ANITA JOE – The REAL ThREAtS to HUMANITY!]
1974-83
From The Gay Day Archive
Gelatin silver print

 

Hank O'Neal 'The Gay Day Archive' 1974-83

 

Hank O’Neal (American, b. 1940) (photographer)
Alan Ginsberg (American, 1926-1997) (writer)
Untitled [ADOLPH ANITA JOE – The REAL ThREAtS to HUMANITY!] (verso)
1974-83
From The Gay Day Archive
Gelatin silver print

 

What a pleasant conversation they are having under Hitler’s head,
guy with handsome bicep chest, holding the banner aloft
lightly, and the eye passed smiling inquirer.

 

Hank O'Neal 'The Gay Day Archive' 1974-83

 

Hank O’Neal (American, b. 1940) (photographer)
Alan Ginsberg (American, 1926-1997) (writer)
Untitled [GAY MEN’S HEALTH PROJECT]
1974-83
From The Gay Day Archive
Gelatin silver print

 

Hank O'Neal 'The Gay Day Archive' 1974-83

 

Hank O’Neal (American, b. 1940) (photographer)
Alan Ginsberg (American, 1926-1997) (writer)
Untitled [GAY MEN’S HEALTH PROJECT] (verso)
1974-83
From The Gay Day Archive
Gelatin silver print

 

See anyone there you’d like to leave VD with?

 

Hank O'Neal 'The Gay Day Archive' 1974-83

 

Hank O’Neal (American, b. 1940) (photographer)
Alan Ginsberg (American, 1926-1997) (writer)
Untitled [Good tight dress]
1974-83
From The Gay Day Archive
Gelatin silver print

 

Hank O'Neal 'The Gay Day Archive' 1974-83

 

Hank O’Neal (American, b. 1940) (photographer)
Alan Ginsberg (American, 1926-1997) (writer)
Untitled [Good tight dress] (verso)
1974-83
From The Gay Day Archive
Gelatin silver print

 

Good tight dress, totally olive oil lady
from midtown, but the top’s a baseball
capped ruffian whistling at the whore

 

Hank O'Neal 'The Gay Day Archive' 1974-83

 

Hank O’Neal (American, b. 1940) (photographer)
Alan Ginsberg (American, 1926-1997) (writer)
Untitled [I’m PROUD of my Gay Son]
1974-83
From The Gay Day Archive
Gelatin silver print

 

Hank O'Neal 'The Gay Day Archive' 1974-83

 

Hank O’Neal (American, b. 1940) (photographer)
Alan Ginsberg (American, 1926-1997) (writer)
Untitled [I’m PROUD of my Gay Son] (verso)
1974-83
From The Gay Day Archive
Gelatin silver print

 

Resolute parents that have gone thru the mill
& seen the skeleton in the closet & come out of the
gruesome fun house into the light – now they’re on their own feet
older + dignified; with house dresses + majestic walrus mustaches.

 

Hank O'Neal 'The Gay Day Archive' 1974-83

 

Hank O’Neal (American, b. 1940) (photographer)
Alan Ginsberg (American, 1926-1997) (writer)
Untitled [Look at her! Mad but actually handsome]
1974-83
From The Gay Day Archive
Gelatin silver print

 

Hank O'Neal 'The Gay Day Archive' 1974-83

 

Hank O’Neal (American, b. 1940) (photographer)
Alan Ginsberg (American, 1926-1997) (writer)
Untitled [Look at her! Mad but actually handsome] (verso)
1974-83
From The Gay Day Archive
Gelatin silver print

 

Look at her! Mad but actually handsome

 

Hank O'Neal 'The Gay Day Archive' 1974-83

 

Hank O’Neal (American, b. 1940) (photographer)
Alan Ginsberg (American, 1926-1997) (writer)
Untitled [Cops with personal mustaches]
1974-83
From The Gay Day Archive
Gelatin silver print

 

Hank O'Neal 'The Gay Day Archive' 1974-83

 

Hank O’Neal (American, b. 1940) (photographer)
Alan Ginsberg (American, 1926-1997) (writer)
Untitled [Cops with personal mustaches] (verso)
1974-83
From The Gay Day Archive
Gelatin silver print

 

Cops with person mustaches, shun photogs, big tit guy in pancake suffering their own vision in the sun, and a thin socialist dyke

 

Hank O'Neal 'The Gay Day Archive' 1974-83

 

Hank O’Neal (American, b. 1940) (photographer)
Alan Ginsberg (American, 1926-1997) (writer)
Untitled [Gay Rights]
1974-83
From The Gay Day Archive
Gelatin silver print

 

Hank O'Neal 'The Gay Day Archive' 1974-83

 

Hank O’Neal (American, b. 1940) (photographer)
Alan Ginsberg (American, 1926-1997) (writer)
Untitled [Gay Rights] (verso)
1974-83
From The Gay Day Archive
Gelatin silver print

 

You mean all that hair + teeth is gay?

 

 

Hank O’Neal

Hank O’Neal (born June 5, 1940) is an American music producer, author and photographer.

Photography

He began taking photographs while a teenager, and began to pursue the field seriously in 1969, when he bought a professional camera and began documenting recording sessions and jazz concerts that he was producing. Long before Berenice Abbott admonished him to always have a project, he undertook his first, in rural East Texas during 1970-1973. These photographs led to his first exhibition in September 1973, at The Open Mind Gallery in New York City.

In the 1970s he associated with a diverse group of photographers, notably Walker Evans, André Kertész and most importantly, Berenice Abbott, with whom he worked for the last 19 years of her life.

From 1970 to 1999 (in addition to undertaking many photographic projects), O’Neal also published numerous books related to photography. In 1999, at the urging of gallery director Evelyn Daitz, he had a major retrospective of his work to that point at The Witkin Gallery. Since that time, he has focused his activities toward photography, and continues to mount exhibitions yearly throughout the U.S. and Canada. In 2003 his photographic career was summarised in a profile in The New York Times.

Books (text and illustrations)

  • The Eddie Condon Scrapbook of Jazz (St. Martin’s Press, 1973)
  • A Vision Shared (St. Martin’s Press, 1976)
  • Berenice Abbott – American Photographer (McGraw-Hill, 1982)
  • Life Is Painful, Nasty and Short … In My Case It Has Only Been Painful and Nasty – Djuna Barnes L 1978-81 (Paragon, 1990)
  • Charlie Parker (Filipacchi, 1995)
  • The Ghosts of Harlem (Filipacchi, 1997) French language edition
  • The Ghosts of Harlem (Vanderbilt University Press, 2009) English language edition
  • Hank O’Neal Portraits 1971-2000 (Sordoni Art Gallery, 2000)
  • Billie & Lester in Oslo (A Play with Music, 2005)
  • Gay Day – The Golden Age of the Christopher Street Parade (Abrams, 2006)
  • Berenice Abbott (Steidl, 2008)
  • The Unknown Berenice Abbott – Steidl (October 15, 2013)
  • A Vision Shared – 40th Anniversary Edition – Steidl (December 1, 2016)
  • Berenice Abbott – The Paris Portraits – Steidl (November 22, 2016)

Books (photographs only)

  • Allegra Kent’s Water Beauty Book (St Martin’s Press, 1976)
  • All the King’s Men (Limited Editions Club, 1990)
  • XCIA’s Street Art Project: The First Four Decades (Siman Media Works, 2012)

Portfolios

  • Berenice Abbott – Portraits In Palladium (Text Only, Commerce Graphics/ Lunn Limited, 1990)
  • Hank O’Neal – Photographs (Text and 12 gravure prints), Limited Editions Club, 1990)
  • The Ghosts of Harlem (Text and 12 photographs), Glenside Press, 2007)

Text from “Hank O’Neal,” on the Wikipedia website

 

Hank O'Neal 'The Gay Day Archive' 1974-83

 

Hank O’Neal (American, b. 1940) (photographer)
Alan Ginsberg (American, 1926-1997) (writer)
Untitled [MY SON IS GAY AND THAT’S OK]
1974-83
From The Gay Day Archive
Gelatin silver print

 

Hank O'Neal 'The Gay Day Archive' 1974-83

 

Hank O’Neal (American, b. 1940) (photographer)
Alan Ginsberg (American, 1926-1997) (writer)
Untitled [MY SON IS GAY AND THAT’S OK] (verso)
1974-83
From The Gay Day Archive
Gelatin silver print

 

She’s an old anarchist from the
30’s. She read Marcel Proust in the
slums of Barcelona. She used to be a movie
Star in Berlin in 1923. Now she lives
in Queens in disguise as a typical american
mother.

 

Hank O'Neal 'The Gay Day Archive' 1974-83

 

Hank O’Neal (American, b. 1940) (photographer)
Alan Ginsberg (American, 1926-1997) (writer)
Untitled [GOD is GAY]
1974-83
From The Gay Day Archive
Gelatin silver print

 

Hank O'Neal 'The Gay Day Archive' 1974-83

 

Hank O’Neal (American, b. 1940) (photographer)
Alan Ginsberg (American, 1926-1997) (writer)
Untitled [GOD is GAY] (verso)
1974-83
From The Gay Day Archive
Gelatin silver print

 

According to Barbelo Gnostic theory,
God reflected on himself (or herself) & thus shone Sophia,
the First Word-thought, who thereat made sex
with herself and birthed the first Aeon,
Laldabaoth

 

 

Barbēlō refers to the first emanation of God in several forms of Gnostic cosmogony. Barbēlō is often depicted as a supreme female principle, the single passive antecedent of creation in its manifoldness. This figure is also variously referred to as ‘Mother-Father’ (hinting at her apparent androgyny), ‘First Human Being’, ‘The Triple Androgynous Name’, or ‘Eternal Aeon’. So prominent was her place amongst some Gnostics that some schools were designated as Barbeliotae, Barbēlō worshippers or Barbēlōgnostics.

Gnosticism (from Ancient Greek: γνωστικός gnostikos, “having knowledge”, from γνῶσις gnōsis, knowledge) is a modern name for a variety of ancient religious ideas and systems, originating in Jewish Christian milieux in the first and second century AD. These systems believed that the material world is created by an emanation or ‘works’ of a lower god (demiurge), trapping the divine spark within the human body. This divine spark could be liberated by gnosis, spiritual knowledge acquired through direct experience. Some of the core teachings include the following:

  1. All matter is evil, and the non-material, spirit-realm is good.
  2. There is an unknowable God, who gave rise to many lesser spirit beings called Aeons.
  3. The creator of the (material) universe is not the supreme god, but an inferior spirit (the Demiurge).
  4. Gnosticism does not deal with “sin,” only ignorance.
  5. To achieve salvation, one needs gnosis (knowledge).

Laldabaoth is the demiurge (a heavenly being, subordinate to the Supreme Being, that is considered to be the controller of the material world and antagonistic to all that is purely spiritual) from Gnostic Christianity.

 

Hank O'Neal 'The Gay Day Archive' 1974-83

 

Hank O’Neal (American, b. 1940) (photographer)
Alan Ginsberg (American, 1926-1997) (writer)
Untitled [a big crowd]
1974-83
From The Gay Day Archive
Gelatin silver print

 

Hank O'Neal 'The Gay Day Archive' 1974-83

 

Hank O’Neal (American, b. 1940) (photographer)
Alan Ginsberg (American, 1926-1997) (writer)
Untitled [a big crowd] (verso)
1974-83
From The Gay Day Archive
Gelatin silver print

 

a big crowd of boys + girls + …? – but
that tall girl looks worried, doesn’t she have a baloon?

 

Hank O'Neal 'The Gay Day Archive' 1974-83

 

Hank O’Neal (American, b. 1940) (photographer)
Alan Ginsberg (American, 1926-1997) (writer)
Untitled [STONEWALL CHORALE]
1974-83
From The Gay Day Archive
Gelatin silver print

 

Hank O'Neal 'The Gay Day Archive' 1974-83

 

Hank O’Neal (American, b. 1940) (photographer)
Alan Ginsberg (American, 1926-1997) (writer)
Untitled [STONEWALL CHORALE] (verso)
1974-83
From The Gay Day Archive
Gelatin silver print

 

Masculine & Feminine Sopranos!
marching on the Stone
floor on Manhattan, & pl…? Life

 

Hank O'Neal 'The Gay Day Archive' 1974-83

 

Hank O’Neal (American, b. 1940) (photographer)
Alan Ginsberg (American, 1926-1997) (writer)
Untitled [WHERE IS your HUSBAND TONIGHT?]
1974-83
From The Gay Day Archive
Gelatin silver print

 

Hank O'Neal 'The Gay Day Archive' 1974-83

 

Hank O’Neal (American, b. 1940) (photographer)
Alan Ginsberg (American, 1926-1997) (writer)
Untitled [WHERE IS your HUSBAND TONIGHT?] (verso)
1974-83
From The Gay Day Archive
Gelatin silver print

 

What pretty wives!
are they photocopies of men?
do they smoke cigars in secret?

 

Hank O'Neal 'The Gay Day Archive' 1974-83

 

Hank O’Neal (American, b. 1940) (photographer)
Alan Ginsberg (American, 1926-1997) (writer)
Untitled [singing to skyscrapers]
1974-83
From The Gay Day Archive
Gelatin silver print

 

Hank O'Neal 'The Gay Day Archive' 1974-83

 

Hank O’Neal (American, b. 1940) (photographer)
Alan Ginsberg (American, 1926-1997) (writer)
Untitled [singing to skyscrapers] (verso)
1974-83
From The Gay Day Archive
Gelatin silver print

 

They’ve been meeting in secret + public
for years, & now sing to skyscrapers.

 

 

Today, at least a million spectators line the Pride parade route along Fifth Avenue. But, in its earliest days, the celebration was a much smaller event characterised by NY-style high energy, pithy signage, raucous crowd chants, extensive cruising and great music (remember disco?). Most of O’Neal’s photographs focused on NY’s West Village or Christopher Street, the epicenter of gaydom. A range of sub-cultures associated with the LGBTQ+ community are depicted: young and longhaired post-hippies, bare-chested muscle men, drag queens, fairies, leather-ites, Gay Daddies, protestors, pastors, parents of gays and the hikin’ dykes.

Some participants hold placards, including those protesting Anita Bryant, the once popular singer, who emerged as an strident anti-gay crusader in the late 1970s and teamed up with the divisive evangelical figure Jerry Falwell. A banner for the Gay Men’s Health Project is a harbinger of the tragic era to come.

Ginsberg first saw the photographs in 1982 and, according to O’Neal, was inspired to add his distinctive captions to the backs of the prints. His brief handwritten notes, which often reflect personal or historic observations, strike a wonderful tone. A caption that accompanies a picture of a group of men holding the banner WE ARE EVERYWHERE reads, “We all look pretty normal, boy next door, handsome punk, ad man’s delight, daughters of the American Revolution.” A shot depicting two men dressed in ancient Roman costume reads, “Clark Gable and Nero on a date, smiling for the 1920s Hollywood photogs.” His lengthy caption for the Johnson print (featured on the catalog cover) reads: “If I keep dressing up like this I’ll save the world from nuclear apocalypse. But will anyone love me for it? I’ll save the world anyway I know that looks good.” And still others honour the courageous and brave: one participant holds a wreath bearing the name Harvey Milk; Ginsberg wrote, “Harvey Milk died for your sins.” (He had initially written “our” but crossed it out).

O’Neal’s photographs were reproduced in the book, Gay Day: The Golden Age of the Christopher Street Parade, 1974-1983 (Abrams, 2006), with a Preface by William Burroughs. Interestingly during this same period Ginsberg had revisited his own Beat-era photographs, which were shot in the 1950s and processed at a local drugstore. He developed a unique hybrid picture-text style, adding detailed, handwritten mini-narratives to the lower margins of the prints, which captured his vivid, visual memories.

Text for the Swann Auction Galleries website [Online] Cited 30/05/2019

 

Hank O'Neal 'The Gay Day Archive' 1974-83

 

Hank O’Neal (American, b. 1940) (photographer)
Alan Ginsberg (American, 1926-1997) (writer)
Untitled [HARVEY MILK]
1974-83
From The Gay Day Archive
Gelatin silver print

 

Hank O'Neal 'The Gay Day Archive' 1974-83

 

Hank O’Neal (American, b. 1940) (photographer)
Alan Ginsberg (American, 1926-1997) (writer)
Untitled [HARVEY MILK] (verso)
1974-83
From The Gay Day Archive
Gelatin silver print

 

Harvey Milk died for your sins

 

 

Harvey Milk

Harvey Bernard Milk (May 22, 1930 – November 27, 1978) was an American politician and the first openly gay elected official in the history of California, where he was elected to the San Francisco Board of Supervisors. Although he was the most pro-LGBT politician in the United States at the time, politics and activism were not his early interests; he was neither open about his sexuality nor civically active until he was 40, after his experiences in the counterculture movement of the 1960s.

In 1972, Milk moved from New York City to the Castro District of San Francisco amid a migration of gay and bisexual men. He took advantage of the growing political and economic power of the neighbourhood to promote his interests and unsuccessfully ran three times for political office. Milk’s theatrical campaigns earned him increasing popularity, and in 1977 he won a seat as a city supervisor. His election was made possible by a key component of a shift in San Francisco politics.

Milk served almost eleven months in office, during which he sponsored a bill banning discrimination in public accommodations, housing, and employment on the basis of sexual orientation. The Supervisors passed the bill by a vote of 11-1 and was signed into law by Mayor Moscone. On November 27, 1978, Milk and Mayor George Moscone were assassinated by Dan White, who was another city supervisor. White had recently resigned to pursue a private business enterprise, but that endeavour eventually failed and he sought to get his old job back. White was sentenced to seven years in prison for manslaughter, which was later reduced to five years. He was released in 1983 and committed suicide by carbon monoxide inhalation two years later.

Despite his short career in politics, Milk became an icon in San Francisco and a martyr in the gay community. In 2002, Milk was called “the most famous and most significantly open LGBT official ever elected in the United States”. Anne Kronenberg, his final campaign manager, wrote of him: “What set Harvey apart from you or me was that he was a visionary. He imagined a righteous world inside his head and then he set about to create it for real, for all of us.” Milk was posthumously awarded the Presidential Medal of Freedom in 2009.

Extract from “Harvey Milk,” on the Wikipedia website

 

Hank O'Neal 'The Gay Day Archive' 1974-83

 

Hank O’Neal (American, b. 1940) (photographer)
Alan Ginsberg (American, 1926-1997) (writer)
Untitled [Blacks are most truthful]
1974-83
From The Gay Day Archive
Gelatin silver print

 

Hank O'Neal 'The Gay Day Archive' 1974-83

 

Hank O’Neal (American, b. 1940) (photographer)
Alan Ginsberg (American, 1926-1997) (writer)
Untitled [Blacks are most truthful] (verso)
1974-83
From The Gay Day Archive
Gelatin silver print

 

Blacks are most truthful,
it all goes back to
african religious ?

 

Hank O'Neal 'The Gay Day Archive' 1974-83

 

Hank O’Neal (American, b. 1940) (photographer)
Alan Ginsberg (American, 1926-1997) (writer)
Untitled [Judy Garland]
1974-83
From The Gay Day Archive
Gelatin silver print

 

Hank O'Neal 'The Gay Day Archive' 1974-83

 

Hank O’Neal (American, b. 1940) (photographer)
Alan Ginsberg (American, 1926-1997) (writer)
Untitled [Judy Garland] (verso)
1974-83
From The Gay Day Archive
Gelatin silver print

 

Judy Garland’s got big-veined
fists & activist boyfriends singing

 

Hank O'Neal 'The Gay Day Archive' 1974-83

 

Hank O’Neal (American, b. 1940) (photographer)
Alan Ginsberg (American, 1926-1997) (writer)
Untitled [PEOPLE SHOULD LOVE ONE ANOTHER]
1974-83
From The Gay Day Archive
Gelatin silver print

 

Hank O'Neal 'The Gay Day Archive' 1974-83

 

Hank O’Neal (American, b. 1940) (photographer)
Alan Ginsberg (American, 1926-1997) (writer)
Untitled [PEOPLE SHOULD LOVE ONE ANOTHER] (verso)
1974-83
From The Gay Day Archive
Gelatin silver print

 

Well I’ll take 2 of these + 3 of those.
How old did you say you were?
Does that mean I have to sleep with 90 year old girls?

 

Hank O'Neal 'The Gay Day Archive' 1974-83

 

Hank O’Neal (American, b. 1940) (photographer)
Alan Ginsberg (American, 1926-1997) (writer)
Untitled [summery mouths]
1974-83
From The Gay Day Archive
Gelatin silver print

 

Hank O'Neal 'The Gay Day Archive' 1974-83

 

Hank O’Neal (American, b. 1940) (photographer)
Alan Ginsberg (American, 1926-1997) (writer)
Untitled [summery mouths] (verso)
1974-83
From The Gay Day Archive
Gelatin silver print

 

Young meat Catholes (?)
appreciating each other’s
summery mouths

 

Hank O'Neal 'The Gay Day Archive' 1974-83

 

Hank O’Neal (American, b. 1940) (photographer)
Alan Ginsberg (American, 1926-1997) (writer)
Untitled [ANITA SLEEPS WITH BIG BUSINESS]
1974-83
From The Gay Day Archive
Gelatin silver print

 

Hank O'Neal 'The Gay Day Archive' 1974-83

 

Hank O’Neal (American, b. 1940) (photographer)
Alan Ginsberg (American, 1926-1997) (writer)
Untitled [ANITA SLEEPS WITH BIG BUSINESS] (verso)
1974-83
From The Gay Day Archive
Gelatin silver print

 

Anita O’Day is still singing.

 

Hank O'Neal 'The Gay Day Archive' 1974-83

 

Hank O’Neal (American, b. 1940) (photographer)
Alan Ginsberg (American, 1926-1997) (writer)
Untitled [ANITA DEAR SHOVE IT]
1974-83
From The Gay Day Archive
Gelatin silver print

 

Hank O'Neal 'The Gay Day Archive' 1974-83

 

Hank O’Neal (American, b. 1940) (photographer)
Alan Ginsberg (American, 1926-1997) (writer)
Untitled [ANITA DEAR SHOVE IT] (verso)
1974-83
From The Gay Day Archive
Gelatin silver print

 

I’ll bet Anita had affairs in
high school with her girlfriends.
Pretty Girl.

 

 

Anita Bryant

Anita Jane Bryant (born March 25, 1940) is an American singer and political activist. …

In the 1970s, Bryant became known as an outspoken opponent of gay rights in the US. In 1977, she ran the “Save Our Children” campaign to repeal a local ordinance in Dade County, Florida which prohibited discrimination on the basis of sexual orientation. Her involvement with the campaign was condemned by gay rights activists. They were assisted by many other prominent figures in music, film, and television, and retaliated by boycotting the orange juice which she had promoted. This, as well as her later divorce, damaged her financially.

Victory and defeat

On June 7, 1977, Bryant’s campaign led to a repeal of the anti-discrimination ordinance by a margin of 69 to 31 percent. However, the success of Bryant’s campaign galvanised her opponents, and the gay community retaliated against her by organising a boycott of orange juice. Gay bars all over North America stopped serving screwdrivers and replaced them with the “Anita Bryant Cocktail”, which was made with vodka and apple juice. Sales and proceeds went to gay rights activists to help fund their fight against Bryant and her campaign.

In 1977, Florida legislators approved a measure prohibiting gay adoption.The ban was overturned more than 30 years later when, on November 25, 2008, Miami-Dade Circuit Court Judge Cindy S. Lederman declared it unconstitutional.

Bryant led several more campaigns around the country to repeal local anti-discrimination ordinances, including campaigns in St. Paul, Minnesota; Wichita, Kansas; and Eugene, Oregon. In 1978, her success led to the Briggs Initiative in California, which would have made pro-gay statements regarding homosexual people or homosexuality by any public school employee cause for dismissal. Grassroots liberal organisations, chiefly in Los Angeles and the San Francisco Bay Area, organised to defeat the initiative. Days before the election, the California Democratic Party opposed the proposed legislation. President Jimmy Carter, governor Jerry Brown, former president Gerald Ford, and former governor Ronald Reagan – then planning a run for the presidency – all voiced opposition to the initiative, and it ultimately suffered a massive defeat at the polls.

In 1998, Dade County repudiated Bryant’s successful campaign of 20 years earlier and reauthorised an anti-discrimination ordinance protecting individuals from discrimination on the basis of sexual orientation by a seven-to-six vote. In 2002, a ballot initiative to repeal the 1998 law, called Amendment 14, was voted down by 56 percent of the voters. The Florida statute forbidding gay adoption was upheld in 2004 by a federal appellate court against a constitutional challenge but was overturned by a Miami-Dade circuit court in November 2008.

Bryant became one of the first persons to be publicly “pied” as a political act (in her case, on television), in Des Moines, Iowa, on October 14, 1977. Bryant quipped “At least it’s a fruit pie,” making a pun on the derogatory term of “fruit” for a gay man. While covered in pie, she began to pray to God to forgive the activist “for his deviant lifestyle” before bursting into tears as the cameras continued rolling. Bryant’s husband said that he would not retaliate, but followed the protesters outside and threw a pie at them. By this time, gay activists ensured that the boycott on Florida orange juice had become more prominent and it was supported by many celebrities, including Barbra Streisand, Bette Midler, Paul Williams, Dick Clark (Bryant had made several appearances on his shows, especially his namesake television show), Vincent Price (he joked in a television interview that Oscar Wilde’s A Woman of No Importance referred to her), John Waters, Carroll O’Connor, Linda Lavin, Mary Tyler Moore, Charles Schulz, Billie Jean King, and Jane Fonda. In 1978, Bryant and Bob Green told the story of their campaign in the book At Any Cost. The gay community continued to regard Bryant’s name as synonymous with bigotry and homophobia.

Extract from “Anita Bryant,” on the Wikipedia website

 

Hank O'Neal 'The Gay Day Archive' 1974-83

 

Hank O’Neal (American, b. 1940) (photographer)
Alan Ginsberg (American, 1926-1997) (writer)
Untitled [I deserve a cute boy’s kiss]
1974-83
From The Gay Day Archive
Gelatin silver print

 

Hank O'Neal 'The Gay Day Archive' 1974-83

 

Hank O’Neal (American, b. 1940) (photographer)
Alan Ginsberg (American, 1926-1997) (writer)
Untitled [I deserve a Cute boy’s kiss] (verso)
1974-83
From The Gay Day Archive
Gelatin silver print

 

I deserve a Cute
boy’s kiss for this truthful hat. And he’s
so sensitive, look at that
tiny white dog!

 

Hank O'Neal 'The Gay Day Archive' 1974-83

 

Hank O’Neal (American, b. 1940) (photographer)
Alan Ginsberg (American, 1926-1997) (writer)
Untitled [BORN GAY AND FREE]
1974-83
From The Gay Day Archive
Gelatin silver print

 

Hank O'Neal 'The Gay Day Archive' 1974-83

 

Hank O’Neal (American, b. 1940) (photographer)
Alan Ginsberg (American, 1926-1997) (writer)
Untitled [BORN GAY AND FREE] (verso)
1974-83
From The Gay Day Archive
Gelatin silver print

 

What a pretty mother! Brave
handsome courageous + true.

 

Hank O'Neal 'The Gay Day Archive' 1974-83

 

Hank O’Neal (American, b. 1940) (photographer)
Alan Ginsberg (American, 1926-1997) (writer)
Untitled [Marsha P. Johnson]
1974-83
From The Gay Day Archive
Gelatin silver print

 

Hank O'Neal 'The Gay Day Archive' 1974-83

 

Hank O’Neal (American, b. 1940) (photographer)
Alan Ginsberg (American, 1926-1997) (writer)
Untitled [Marsha P. Johnson] (verso)
1974-83
From The Gay Day Archive
Gelatin silver print

 

If I keep dressing up like this
I’ll save the world from
Nuclear Apocalypse. But will anyone
love me for it? I’ll save the world
anyway. I know what looks good.

 

 

Marsha P. Johnson

Marsha P. Johnson (August 24, 1945 – July 6, 1992) was an American gay liberation activist and self-identified drag queen. Known as an outspoken advocate for gay rights, Johnson was one of the prominent figures in the Stonewall uprising of 1969. A founding member of the Gay Liberation Front, Johnson co-founded the gay and transvestite advocacy organisation S.T.A.R. (Street Transvestite Action Revolutionaries), alongside close friend Sylvia Rivera. A popular figure in New York City’s gay and art scene, Johnson modelled for Andy Warhol, and performed onstage with the drag performance troupe, Hot Peaches. Known for decades as a welcoming presence in the streets of Greenwich Village, Johnson was known as the “mayor of Christopher Street”. From 1987 through 1992, Johnson was an AIDS activist with ACT UP.

 

Performance work and identity

Johnson initially called herself “Black Marsha” but later decided on “Marsha P. Johnson” as her drag queen name, getting Johnson from the restaurant Howard Johnson’s on 42nd Street. She said that the P stood for “pay it no mind” and used the phrase sarcastically when questioned about her gender, saying “it stands for pay it no mind”. She said the phrase once to a judge, who was humoured by it and released her. Johnson variably identified herself as gay, as a transvestite, and as a queen (referring to drag queen). According to Susan Stryker, a professor of human gender and sexuality studies at the University of Arizona, Johnson’s gender expression may be called gender non-conforming in absence of Johnson’s use of transgender, which was not used broadly during her lifetime.

Johnson said her style of drag was not serious (or “high drag”) because she could not afford to purchase clothing from expensive stores. She received leftover flowers after sleeping under tables used for sorting flowers in the Flower District of Manhattan, and was known for placing flowers in her hair. Johnson was tall, slender and often dressed in flowing robes and shiny dresses, red plastic high heels, and bright wigs, which tended to draw attention.

Johnson sang and performed as a member of J. Camicias’ international, NYC-based, drag performance troupe, Hot Peaches, from 1972 through to shows in the 1990s. When The Cockettes, a similar drag troupe from San Francisco, formed an East Coast troupe, The Angels of Light, Johnson was also asked to perform with them. In 1973, Johnson performed the role of “The Gypsy Queen” in the Angels’ production, “The Enchanted Miracle”, about the Comet Kohoutek. In 1975, Johnson was photographed by famed artist Andy Warhol, as part of a “Ladies and Gentlemen” series of Polaroids. In 1990, Johnson performed with The Hot Peaches in London. Now an AIDS activist, Johnson also appears in The Hot Peaches production The Heat in 1990, singing the song “Love” while wearing an ACT UP, “Silence = Death” button.

 

Stonewall uprising and other activism

Johnson said she was one of the first drag queens to go to the Stonewall Inn, after they began allowing women and drag queens inside; it was previously a bar for only gay men. On the early morning hours of June 28, 1969, the Stonewall uprising occurred. While the first two nights of rioting were the most intense, the clashes with police would result in a series of spontaneous demonstrations and marches through the gay neighbourhoods of Greenwich Village for roughly a week afterwards.

Johnson has been named, along with Zazu Nova and Jackie Hormona, by a number of the Stonewall veterans interviewed by David Carter in his book, Stonewall: The Riots That Sparked the Gay Revolution, as being “three individuals known to have been in the vanguard” of the pushback against the police at the uprising. Johnson denied she had started the uprising, stating in 1987 that she had arrived at around “2:00 [that morning]”, and that “the riots had already started” when she arrived and that the Stonewall building “was on fire” after cops set it on fire. The riots reportedly started at around 1:20 that morning after Stormé DeLarverie fought back against the police officer who attempted to arrest her that night.

Carter writes that Robin Souza had reported that fellow Stonewall veterans and gay activists such as Morty Manford and Marty Robinson had told Souza that on the first night, Johnson “threw a shot glass at a mirror in the torched bar screaming, ‘I got my civil rights'”. Souza told the Gay Activists Alliance shortly afterwards that it “was the shot glass that was heard around the world”. Carter, however, concluded that Robinson had given several different accounts of the night and in none of the accounts were Johnson’s name brought up, possibly in fear that if he publicly credited the uprising to Johnson due to her well-known mental state and gender nonconforming, then Stonewall, and indirectly the gay liberation movement, “could have been used effectively by the movement’s opponents”. The alleged “shot glass” incident has also been heavily disputed. Prior to Carter’s book, it was claimed Johnson had “thrown a brick” at a police officer, an account that was never verified. Johnson also claimed herself that she was not at the Stonewall Inn when the rioting broke out but instead had heard about it and went to get Sylvia Rivera who was at a park uptown sleeping on a bench to tell her about it. However, many have corroborated that on the second night, Johnson climbed up a lamppost and dropped a bag with a brick in it down on a cop car, shattering the windshield.

Following the Stonewall uprising, Johnson joined the Gay Liberation Front and participated in the first Christopher Street Liberation Pride rally on the first anniversary of the Stonewall rebellion in June 1970. One of Johnson’s most notable direct actions occurred in August 1970 when she and fellow GLF members staged a sit-in protest at Weinstein Hall at New York University after administrators canceled a dance when they found out was sponsored by gay organisations. Shortly after that, she and close friend Sylvia Rivera co-founded the Street Transvestite Action Revolutionaries (STAR) organisation (initially titled Street Transvestites Actual Revolutionaries). The two of them became a visible presence at gay liberation marches and other radical political actions. In 1973, Johnson and Rivera were banned from participating in the gay pride parade by the gay and lesbian committee who were administering the event stating they “weren’t gonna allow drag queens” at their marches claiming they were “giving them a bad name”. Their response was to march defiantly ahead of the parade. During a gay rights rally at New York City Hall in the early ’70s, photographed by Diana Davies, a reporter asked Johnson why the group was demonstrating, Johnson shouted into the microphone, “Darling, I want my gay rights now!”

During another incident around this time, which landed Johnson in court, she was confronted by police officers for hustling in New York, and when they went to apprehend her, she hit them with her handbag, which contained two bricks. When Johnson was asked by the judge why she was hustling, Johnson explained she was trying to secure enough money for her husband’s tombstone. During a time when same-sex marriage was illegal in the United States, the judge asked her what “happened to this alleged husband”, Johnson responded, “Pigs killed him”. Initially sentenced to 90 days in prison for the assault, Johnson’s lawyer eventually convinced the judge to send her to Bellevue instead.

With Rivera, Johnson established the STAR House, a shelter for gay and trans street kids in 1972, and paid the rent for it with money they made themselves as sex workers. While the House was not focused on performance, Marsha was a “drag mother” of STAR House, in the longstanding tradition of chosen family in the Black and Latino LGBT community. Johnson worked to provide food, clothing, emotional support and a sense of family for the young drag queens, trans women, gender nonconformists and other gay street kids living on the Christopher Street docks or in their house on the Lower East Side of New York.

In the 1980s Johnson continued her street activism as a respected organiser and marshal with ACT UP. In 1992, when George Segal’s Stonewall memorial was moved to Christopher Street from Ohio to recognise the gay liberation movement, Johnson commented, “How many people have died for these two little statues to be put in the park to recognise gay people? How many years does it take for people to see that we’re all brothers and sisters and human beings in the human race? I mean how many years does it take for people to see that we’re all in this rat race together.

Extract from “Marsha P. Johnson,” on the Wikipedia website

 

 

Swann Galleries
104 East 25th Street
New York, NY 10010
Phone: (212) 254-4710

Exhibition opening times:
Saturday, June 15 – 12 pm to 5 pm
Monday, June 17 – 10 am to 6 pm
Tuesday, June 18 – 10 am to 6 pm
Wednesday, June 19 – 10 am to 6 pm
Thursday, June 20 – 10 am to 12 pm

Swann Auction Galleries website

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07
Jun
19

Exhibition: ‘Oscar Rejlander: Artist Photographer’ at the J. Paul Getty Museum, Getty Center, Los Angeles

Exhibition dates: 12th March – 9th June 2019

 

Oscar Rejlander (1813-75) 'The Two Ways of Life' 1856-7

 

Oscar G. Rejlander (British, born Sweden, 1813-1875)
Two Ways of Life (Hope in Repentance)
1857
Albumen silver print
21.8 x 40.8 cm (8 9/16 x 16 1/16 in.)
Moderna Museet, Stockholm

 

 

Oscar Rejlander, the father of photography, sets in motion many of the later developments of photographic art.

I could wax lyrical about the light, staging and humour of the images; the allegorical, religious and emotional portraits; the influence of photography on painting; the spontaneous act caught on film (Eh!); the combination printing, precursor to digital manipulation (Two Ways of Life); the costume dramas (The Comb Seller); or the presaging of the work of August Sander (The Juggler). But I won’t.

Instead, I just want you to think about the period in which these photographs were made – that Dickensian era of archetypal humanity, intricate narrative. I want you to feel that these reality pictures are alive and how they transcend the time of their creation through the lyricism of the print.

From the mind of the artist to works of art that stare down that cosmic time shift, from cradle to grave.

Marcus

.
Many thanks to the J. Paul Getty Museum for allowing me to publish the photographs in the posting. Please click on the photographs for a larger version of the image.

 

 

“It is the mind of the artist, and not the nature of his materials which makes his production a work of art.”

.
Oscar G. Rejlander

 

 

 

 

Oscar Gustav Rejlander is best known for his work “Two Ways of Life,” a masterpiece for which he used over 32 different negatives. It took him around six weeks to create it and over 3 days to produce a final print.

 

Oscar G. Rejlander (British, born Sweden, 1813-1875) 'The Infant Photography Giving the Painter an Additional Brush' c. 1856

 

Oscar G. Rejlander (British, born Sweden, 1813-1875)
The Infant Photography Giving the Painter an Additional Brush
c. 1856
Albumen silver print
6 × 7.1 cm (2 3/8 × 2 13/16 in.)
Courtesy The J. Paul Getty Museum, Los Angeles

 

 

After emigrating from Sweden to England in 1839 and taking up photography in 1852, he became one of the first to recognise photography’s potential as a “handmaid of art” – exemplified by early photographs like “The Infant Photography Giving the Painter an Additional Brush.” This tiny print served to demonstrate how photography could preserve an allegorical scene for a painter’s extended study. It also functioned as a self-portrait and hinted at Rejlander’s hidden ambitions: reflected in the convex mirror, he presents himself as a modern-day Jan van Eyck.

Extract from Dana Ostrander. “The Overlooked Legacy of Oscar Rejlander, Who Elevated Photography to an Art,” on the Hyperallergic website April 2, 2019 [Online] Cited 06/06/2019

 

Oscar G. Rejlander (British, born Sweden, 1813-1875) 'Non Angeli sed Angli (Not Angels but Anglos), after Raphael’s Sistine Madonna' c. 1854-1856

 

Oscar G. Rejlander (British, born Sweden, 1813-1875)
Non Angeli sed Angli (Not Angels but Anglos), after Raphael’s Sistine Madonna
c. 1854-1856
Albumen silver print
20.5 x 26.3 cm (8 1/16 x 10 3/8 in.)
Princeton University Art Museum
Museum purchase, David H. McAlpin, Class of 1920, Fund

 

Oscar G. Rejlander (British, born Sweden, 1813-1875) 'Mary Constable and Her Brother' 1866

 

Oscar G. Rejlander (British, born Sweden, 1813-1875)
Mary Constable and Her Brother
1866
Albumen silver print
16.8 x 22.1 cm (6 5/8 x 8 11/16 in.)
The Metropolitan Museum of Art, Gilman Collection
Purchase, Harriette and Noel Levine Gift, 2005

 

Oscar G. Rejlander (British, born Sweden, 1813-1875) 'The Bachelor's Dream' c. 1860

 

Oscar G. Rejlander (British, born Sweden, 1813-1875)
The Bachelor’s Dream
c. 1860
Albumen silver print
13.9 x 19.6 cm (5 1/2 x 7 11/16 in.)
George Eastman Museum, purchase
Photo: Courtesy of the George Eastman Museum

 

Oscar G. Rejlander (British, born Sweden, 1813-1875) 'Hard Times (The Out of Work Workman's Lament)' 1860

 

Oscar G. Rejlander (British, born Sweden, 1813-1875)
Hard Times (The Out of Work Workman’s Lament)
1860
Albumen silver print
13.8 x 19.7 cm (5 7/16 x 7 3/4 in.)
George Eastman Museum, purchase
Photo: Courtesy of the George Eastman Museum

 

Oscar G. Rejlander (British, born Sweden, 1813-1875) 'Head of St. John the Baptist in a Charger' c. 1860

 

Oscar G. Rejlander (British, born Sweden, 1813-1875)
Head of St. John the Baptist in a Charger
c. 1860
Albumen silver print
14.1 x 17.8 cm (5 9/16 x 7 in.)
George Eastman Museum, purchase
Photo: Courtesy of the George Eastman Museum

Oscar G. Rejlander (British, born Sweden, 1813-1875) 'Study of Hands' 1856

 

Oscar G. Rejlander (British, born Sweden, 1813-1875)
Study of Hands
1856
Albumen silver print
14.8 x 17.6 cm (5 13/16 x 6 15/16 in.)
National Gallery of Canada, Ottawa
Purchased 2014

 

Oscar G. Rejlander (British, born Sweden, 1813-1875) 'A "Set To"' 1855

 

Oscar G. Rejlander (British, born Sweden, 1813-1875)
A “Set To”
1855
In “Prince Albert’s Calotype Album,” vol. 2, about 1860
Salted paper print
15 x 21 cm (5 7/8 x 8 1/4 in.)
Royal Collection Trust
© Her Majesty Queen Elizabeth II 2019

 

 

Oscar G. Rejlander (British, born Sweden, 1813-1875) was one of the 19th century’s greatest innovators in the medium of photography, counting Queen Victoria, Prince Albert, Charles Darwin, Lewis Carroll and Julia Margaret Cameron among his devotees. Nevertheless, the extent of Rejlander’s work and career has often been overlooked. Oscar Rejlander: Artist Photographer, on view March 12 – June 9, 2019 at the J. Paul Getty Museum, Getty Center, Los Angeles, is the first exhibition to explore the prolific career of the artist who became known as “the father of art photography,” and whose bold experimentation with photographic techniques early in the medium’s development and keen understanding of human emotion were ahead of their time.

The exhibition features 150 photographs that demonstrate Rejlander’s remarkable range, from landscapes and portraits to allegories and witty commentaries on contemporary society, alongside a selection of his early paintings, drawings, and prints.

“Rejlander tells us in his writings that ‘It is the mind of the artist, and not the nature of his materials, which makes his production a work of art’,” says Timothy Potts, director of the J. Paul Getty Museum. “While technologies have dramatically changed, some of the fundamental issues that Rejlander grappled with in his photographs still resonate with photographic practice today. His photographs, though made a century and a half ago, are both meticulously of their time and timeless, foreshadowing many later achievements of the medium through to the digital age.”

Oscar G. Rejlander was born in Sweden and moved to England in 1839, working first as a painter before turning to photography in 1852. He made a living as a portrait photographer while experimenting with photographic techniques, most notably combination printing, in which parts of multiple negatives were exposed separately and then printed to form a single picture. Rejlander moved to London in 1862, where his business continued to grow and where his wife, Mary Bull, worked alongside him in his photography studios.

 

Portraits and Images of Everyday Life

Portraiture, particularly of members of the higher ranks of London society, was Rejlander’s main professional activity and supported his livelihood. Art critics and clients alike admired his skill with lighting as well as the natural and seemingly spontaneous expressions he was able to capture. Rejlander photographed some of the most important figures of the day, including the English scientist Charles Darwin, known for his theory of evolution, and poets Alfred Lord Tennyson and Henry Taylor. He also guided the first photographic efforts of the writer and mathematician Charles Lutwidge Dodgson (known as Lewis Carroll), the creator of Alice’s Adventures in Wonderland, as well as photographer Julia Margaret Cameron.

From the beginning of his career as a photographer, Rejlander was keenly interested in depicting the activities of ordinary people, particularly the middle and lower classes of society. It was through his staged domestic images that he illustrated familial relationships with tenderness and humour, often using models and props to re-create in his studio the scenes he had witnessed in the streets, from young boys who swept up dirt and debris in exchange for tips, to street vendors such as “flower girls” who offered bouquets for sale to passersby. Like a modern street photographer, Rejlander chose his compositions and subjects based on what he saw and heard, realising the final images in the studio.

In 1863 Rejlander constructed a unique iron, wood, and glass “tunnel studio,” where the sitter, positioned in the open, light-filled part of the studio, would look into the darker part of the room where the camera and operator were situated, nearly invisible. The pupils of the sitters’ eyes expanded, allowing for “more depth and expression,” as a writer observed in Photographic News. In addition to this technique, Rejlander often exploited his own unique ability to enact exaggerated emotions to assist his subjects. Charles Darwin illustrated many of Rejlander’s expressive photographs in The Expression of the Emotions in Man and Animals, published in 1872.

 

Combination Printing and Two Ways of Life

Rejlander holds an important place in the history of photography primarily because of the groundbreaking way he applied the technique of combination printing. On view in the exhibition is the most ambitious example of the artist’s pioneering experimentation, the epic photograph, Two Ways of Life, or Hope in Repentance (1857). It attracted immediate attention upon its exhibition both for its large size and the ambition of its production, which included the combination printing of over 30 separate wet collodion on glass negatives, a process that took more than three days.

The work represents an intricate allegory of two opposing philosophies of life: Vice and Virtue. In the centre of the picture, a wise man guides a younger man to the right, toward a life of virtue – work, study, and religion. To the left, a second young man is tempted by the call of desire, gambling, idleness, and vice. Prince Albert may have worked with Rejlander on the overall conception of the picture, and he and Queen Victoria purchased three versions for their art collection.

Despite this support from the Royal Family, Two Ways of Life divided the photographic community, with professional photographers considering it a technical tour de force, and amateurs seeing it as not only artificial in production but also immoral in its subject. However, it remains one of finest examples of combination printing to come from this period.

 

Art and Photography

Today, the debate about photography’s status as an art may be obsolete, but the arts community in 19th-century Britain was passionately divided over Rejlander’s chosen medium. Rejlander strongly advocated the view that photography was an independent art, while he was also convinced that a photograph could help artists by providing an effective substitute for working from live models. He was possibly the first to provide artists with visual references for their work in photographs, creating figure studies in a range of poses and costumes, including close-ups of hands, feet, drapery, and even fleeting facial expressions. Although many painters were reluctant to disclose their reliance on photography, several collected Rejlander’s photographs, including George Frederic Watts (English, 1817-1904) and Henri Fantin-Latour (French, 1836-1904).

Paintings also strongly influenced Rejlander’s choice of subjects, leading him not only to imitate the styles of artists but also to re-create the figures found in their compositions. He frequently photographed actors or models posing as a “Madonna,” a “Devotee,” a “Disciple,” or specific Christian figures such as John the Baptist. He may have intended these studies, as well as others showing figures in classical robes, for artists to consult as well.

“What we hope comes through in the exhibition is Rejlander’s humanity and humour, as well as his humble nature, particularly evident in the fact that he often sent his work to exhibitions under the name ‘amateur’,” says Karen Hellman, assistant curator of photographs at the Getty Museum. “His explanation: ‘When I compare what I have done with what I think I ought to do, and some day hope I shall do, I think of myself as only an amateur, after all – that is to say, a beginner’.”

Oscar Rejlander: Artist Photographer, is on view March 12 – June 9, 2019 at J. Paul Getty Museum, Getty Center. The exhibition is curated by Lori Pauli, curator of photographs at the National Gallery of Canada, and Karen Hellman, assistant curator of photographs at the J. Paul Getty Museum.

 

Oscar G. Rejlander (British, born Sweden, 1813-1875) 'Mr. Collett's Return' 1841

 

Oscar G. Rejlander (British, born Sweden, 1813-1875)
Mr. Collett’s Return
1841
Black chalk, charcoal and white wash highlights on paper (backed)
92.8 × 74.4 cm
The Collection: Art and Archaeology in Lincolnshire (Usher Gallery, Lincoln)

 

Attributed to Oscar G. Rejlander (British, born Sweden, 1813-1875) '[Landscape]' c. 1855

 

Attributed to Oscar G. Rejlander (British, born Sweden, 1813-1875)
[Landscape]
c. 1855
Salted paper print
22.3 × 19.7 cm
National Gallery of Canada, Ottawa
Purchased 2014.

 

Oscar G. Rejlander (British, born Sweden, 1813-1875) 'The Sailor Boy' 1855, printed 1873

 

Oscar G. Rejlander (British, born Sweden, 1813-1875)
The Sailor Boy
1855, printed 1873
Carbon print
19 x 16 cm (7 1/2 x 6 5/16 in.)
Royal Collection Trust
© Her Majesty Queen Elizabeth II 2019

 

Oscar G. Rejlander (British, born Sweden, 1813-1875) 'Ariadne' 1857

 

Oscar G. Rejlander (British, born Sweden, 1813-1875)
Ariadne
1857
Albumen print from a wet collodion negative
Paul Mellon Fund
Courtesy National Gallery of Art, Washington

 

 

“I believe photography will make painters better artists and more careful draughtsmen. You may test their figures by photography. In Titian’s Venus and Adonis, Venus has her head turned in a manner that no female could turn it and at the same time shows so much of her back. Her right leg also is too long. I have proved the correctness of this opinion by photography with variously shaped female models.” ~ Oscar G. Rejlander 1863

“He was perhaps the first to market photographic nude studies to artists, and he even used them to test the anatomical accuracy of the Old Masters. His photograph “Ariadne” was created, in part, to expose the unnatural pose and elongated feminine proportions in Titian’s “Venus and Adonis.” Many of Rejlander’s contemporaries came to rely on these nude studies, and the exhibition contains at least three originally owned by the painter Henri Fantin-Latour.”

Extract from Dana Ostrander. “The Overlooked Legacy of Oscar Rejlander, Who Elevated Photography to an Art,” on the Hyperallergic website April 2, 2019 [Online] Cited 06/06/2019

 

Oscar G. Rejlander (British, born Sweden, 1813-1875) 'Madonna and Child with St. John the Baptist' c. 1860

 

Oscar G. Rejlander (British, born Sweden, 1813-1875)
Madonna and Child with St. John the Baptist
c. 1860
Albumen silver print
17.8 × 12.4 cm (7 × 4 7/8 in.)
Courtesy The J. Paul Getty Museum, Los Angeles

 

Oscar G. Rejlander (British, born Sweden, 1813-1875) 'Young Lady in a Costume' c. 1860

 

Oscar G. Rejlander (British, born Sweden, 1813-1875)
Young Lady in a Costume
c. 1860
Albumen silver print
Courtesy National Gallery of Canada, Ottawa

 

Oscar G. Rejlander (British, born Sweden, 1813-1875) 'Eh!' negative about 1854-1855; print about 1865

 

Oscar G. Rejlander (British, born Sweden, 1813-1875)
Eh!
negative about 1854-1855; print about 1865
Albumen silver print
8.9 x 5.9 cm (3 1/2 x 2 5/16 in.)
The J. Paul Getty Museum, Los Angeles

 

Oscar G. Rejlander (British, born Sweden, 1813-1875) 'The First Negative' 1857

 

Oscar G. Rejlander (British, born Sweden, 1813-1875)
The First Negative
1857
Albumen silver print
29 x 15 cm (11 7/16 x 5 7/8 in.)
Musée d’Orsay, Paris Photo
© RMN-Grand Palais / Art Resource, NY / Patrice Schmidt

 

In “The First Negative,” Rejlander restages Pliny’s account of the origins of painting, boldly suggesting that the act of tracing a shadow is more akin to creating a photographic negative than a painting.

 

Oscar G. Rejlander (British, born Sweden, 1813-1875) 'The Participles, or Grammar for Little Boys: Catching' 1857

 

Oscar G. Rejlander (British, born Sweden, 1813-1875)
The Participles, or Grammar for Little Boys: Catching
1857
Albumen silver print
18.7 x 12.7 cm (7 3/8 x 5 in.)
Moderna Museet, Stockholm

 

Oscar G. Rejlander (British, born Sweden, 1813-1875) 'The Participles, or Grammar for Little Boys: Caught' 1857

 

Oscar G. Rejlander (British, born Sweden, 1813-1875)
The Participles, or Grammar for Little Boys: Caught
1857
Albumen silver print
20.3 x 15.7 cm (8 x 6 3/16 in.)
The J. Paul Getty Museum, Los Angeles

 

Oscar G. Rejlander (British, born Sweden, 1813-1875) 'Mr. Coleman as Belphegor' c. 1857, printed later

 

Oscar G. Rejlander (British, born Sweden, 1813-1875)
Mr. Coleman as Belphegor
c. 1857, printed later
Platinum print
18.2 x 14.4 cm (7 3/16 x 5 11/16 in.)
The Royal Photographic Society Collection at the V&A, acquired with the generous assistance of the Heritage Lottery Fund and Art Fund Image
© Victoria & Albert Museum, London

 

Oscar G. Rejlander (British, born Sweden, 1813-1875) 'Please Give Us a Copper' c. 1866-1868

 

Oscar G. Rejlander (British, born Sweden, 1813-1875)
Please Give Us a Copper
c. 1866-1868
Albumen silver print
17.9 x 12.6 cm (7 1/16 x 4 15/16 in.)
Princeton University Art Museum. Museum purchase

 

A copper is a brown coin of low value made of copper or bronze.

 

Oscar G. Rejlander (British, born Sweden, 1813-1875) 'The Juggler' c. 1865, printed later

 

Oscar G. Rejlander (British, born Sweden, 1813-1875)
The Juggler
c. 1865, printed later
Platinum print
19.5 x 14.6 cm (7 11/16 x 5 3/4 in.)
The Royal Photographic Society Collection at the V&A, acquired with the generous assistance of the Heritage Lottery Fund and Art Fund Image
© Victoria and Albert Museum, London

 

Oscar G. Rejlander (British, born Sweden, 1813-1875) 'Enchanted by a Parrot (Mary Rejlander?)' c. 1860

 

Oscar G. Rejlander (British, born Sweden, 1813-1875)
Enchanted by a Parrot (Mary Rejlander?)
c. 1860
Albumen silver print
Image (approx.): 50 x 30 cm (19 11/16 x 11 13/16 in.)
William Talbott Hillman Collection
Photo: Hans P. Kraus, Jr., New York

 

Oscar G. Rejlander (British, born Sweden, 1813-1875) 'The Cup that Cheers' c. 1860

 

Oscar G. Rejlander (British, born Sweden, 1813-1875)
The Cup that Cheers
c. 1860
Albumen silver print
19.9 x 15 cm (7 13/16 x 5 7/8 in.)
Princeton University Art Museum
Museum purchase, gift of Mr. and Mrs. Max Adler

 

Oscar G. Rejlander (British, born Sweden, 1813-1875) 'Knuckle Bones' 1860

 

Oscar G. Rejlander (British, born Sweden, 1813-1875)
Knuckle Bones
1860
Albumen silver print
15.4 x 12.5 cm (6 1/16 x 4 15/16 in.)
George Eastman Museum, purchase
Photo: Courtesy of the George Eastman Museum

 

 

Knucklebones

Knucklebones, also known as TaliFivestones, or Jacks, is a game of ancient origin, usually played with five small objects, or ten in the case of jacks. Originally the “knucklebones” (actually the astragalus, a bone in the ankle, or hock) were those of a sheep, which were thrown up and caught in various manners. Modern knucklebones consist of six points, or knobs, projecting from a common base, and are usually made of metal or plastic. The winner is the first player to successfully complete a prescribed series of throws, which, though similar, differ widely in detail. The simplest throw consists in either tossing up one stone, the jack, or bouncing a ball, and picking up one or more stones or knucklebones from the table while it is in the air. This continues until all five stones or knucklebones have been picked up. Another throw consists in tossing up first one stone, then two, then three and so on, and catching them on the back of the hand. Different throws have received distinctive names, such as “riding the elephant”, “peas in the pod”, “horses in the stable”, and “frogs in the well”.

Text from the Wikipedia website

 

Oscar G. Rejlander (British, born Sweden, 1813-1875) '"Father Times" (Where's the Cat?)' c. 1860

 

Oscar G. Rejlander (British, born Sweden, 1813-1875)
“Father Times” (Where’s the Cat?)
c. 1860
Albumen paper print
16.5 x 14.2 cm (6 1/2 x 5 9/16 in.)
Wilson Centre for Photography

 

Oscar G. Rejlander (British, born Sweden, 1813-1875) 'Night in Town (Poor Jo, Homeless)' before 1862; print after 1879

 

Oscar G. Rejlander (British, born Sweden, 1813-1875)
Night in Town (Poor Jo, Homeless)
before 1862; print after 1879
Carbon print
20.3 x 15.7 cm (8 x 6 3/16 in.)
National Gallery of Canada, Ottawa
Purchased 1993

 

Oscar G. Rejlander (British, born Sweden, 1813-1875) 'Grief (Hidden Her Face, Yet Visible Her Anguish)' 1864

 

Oscar G. Rejlander (British, born Sweden, 1813-1875)
Grief (Hidden Her Face, Yet Visible Her Anguish)
1864
Albumen silver print
19.6 x 14 cm (7 11/16 x 5 1/2 in.)
Fine Arts Museums of San Francisco, M. H. de Young Memorial Museum. Gift of John H. Rubel

 

Oscar G. Rejlander (British, born Sweden, 1813-1875) 'The Comb Seller (Oscar and Mary Rejlander)' c. 1860

 

Oscar G. Rejlander (British, born Sweden, 1813-1875)
The Comb Seller (Oscar and Mary Rejlander)
c. 1860
Albumen silver print
20 x 14.9 cm (7 7/8 x 5 7/8 in.)
University of New Mexico Art Museum, Albuquerque. Gift of Eleanor and Van Deren Coke

 

Oscar G. Rejlander (British, born Sweden, 1813-1875) 'Lionel Tennyson' c. 1863

 

Oscar G. Rejlander (British, born Sweden, 1813-1875)
Lionel Tennyson
c. 1863
Albumen print from a wet collodion negative
Image (oval): 18.3 x 14.3 cm (7 3/16 x 5 5/8 in.)
National Gallery of Art, Washington, Paul Mellon Fund

 

Oscar G. Rejlander (British, born Sweden, 1813-1875) 'Mental Distress (Mother's Darling)' 1871

 

Oscar G. Rejlander (British, born Sweden, 1813-1875)
Mental Distress (Mother’s Darling)
1871
Carbon print of a polychrome drawing from a photograph
54 x 43.2 cm (21 1/4 x 17 in.)
The Royal Photographic Society Collection at the V&A, acquired with the generous assistance of the Heritage Lottery Fund and Art Fund Image
© Victoria & Albert Museum, London

 

Oscar G. Rejlander (British, born Sweden, 1813-1875) 'Lewis Carroll (Charles Lutwidge Dodgson)' 1863

 

Oscar G. Rejlander (British, born Sweden, 1813-1875)
Lewis Carroll (Charles Lutwidge Dodgson)
1863
Albumen silver print
8.9 x 5.9 cm (3 1/2 x 2 5/16 in.)
The Metropolitan Museum of Art, Gilman Collection
Purchase, Sam Salz Foundation Gift, 2005

 

Oscar G. Rejlander (British, born Sweden, 1813-1875) 'Allegorical Study (Sacred and Profane Love)' c. 1860

 

Oscar G. Rejlander (British, born Sweden, 1813-1875)
Allegorical Study (Sacred and Profane Love)
c. 1860
Albumen paper print
12 x 17.5 cm (4 3/4 x 6 7/8 in.)
Wilson Centre for Photography

 

Oscar G. Rejlander (British, born Sweden, 1813-1875) 'Bad Temper' Negative about 1865; print later

 

Oscar G. Rejlander (British, born Sweden, 1813-1875)
Bad Temper
Negative about 1865; print later
Albumen paper print
The Royal Photographic Society Collection at the V&A, acquired with the generous assistance of the Heritage Lottery Fund and Art Fund, Image
© Victoria & Albert Museum, London

 

Oscar G. Rejlander (British, born Sweden, 1813-1875) 'Henry Taylor' 1863

 

Oscar G. Rejlander (British, born Sweden, 1813-1875)
Henry Taylor
1863
Albumen silver print
20.2 x 15 cm (7 15/16 x 5 7/8 in.)
Spencer Museum of Art, University of Kansas
Gift of Dr. and Mrs. William D. Paden

 

Sir Henry Taylor KCMG (18 October 1800 – 27 March 1886) was an English dramatist and poet, Colonial Office official, and man of letters.

 

Oscar G. Rejlander (British, born Sweden, 1813-1875) 'Self-Portrait with Parrot' c. 1865

 

Oscar G. Rejlander (British, born Sweden, 1813-1875)
Self-Portrait with Parrot
c. 1865
In “Album of Photographs by Oscar G. Rejlander,” 1856-72
Albumen silver print
Closed: 37.4 x 27.6 x 0.3 cm (14 3/4 x 10 7/8 x 1/8 in.)
Sir Nicholas Mander Collection

 

 

The J. Paul Getty Museum
1200 Getty Center Drive
Los Angeles, California 90049

Opening hours:
Tues – Friday 10 am – 5.30 pm
Saturday 10 am – 9 pm
Sunday 10 am – 5.30 pm
Monday closed

The J. Paul Getty Museum website

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30
May
19

Exhibition: ‘Dave Heath: Dialogues with Solitudes’ at The Photographers’ Gallery, London

Exhibition dates: 8th March – 2nd June 2019

 

Dave Heath. 'California' 1964

 

Dave Heath (Canadian, born United States, 1931-2016)
California
1964
Gelatin silver print
© Dave Heath / Courtesy of Howard Greenberg Gallery, New York, and Stephen Bulger Gallery, Toronto

 

 

The master of what we see / visions of the self

In which the visions (ghosts?) in these haunting photographs live, breathe, and barely exist in a strange closed world. Where the subjects seem so vulnerable.

In which there is little sentimentality. The portraits emit a deep sense of melancholy in their re/pose, in the subjects temporal existence separated out from time. Heath photographs people as they are. He projects himself, not his ego, into this vision of vulnerable humanity.

In which this vision of truth illuminates the complex relationship between human nature and reality through emotional energy.

Dr Marcus Bunyan

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

 

 

“… the conundrum of the title is a reference about how to navigate the terrain of solitude one wishes to experience (to be alone), but also how to make that extend into a conversation with the subjects in front of you that will eventually become a single body of work for many to view (to be of more than one). This is of course conditional to your position within the world at large and how you view your presence within the greater universal ether. You must carry your solipsism like a rusty bucket of dirty brown well water. In Heath’s case, the solitary monologue and the ramble of the flaneur become something of a mantra – an incessant need to repeat, to be part of the cacophony of the worship of modern life in which the self and the crowd / city are forced to adjust to one another, but at safe distance with impassioned and yearning eyes.”

.
Extract from Brad Feuerhelm. “David Heath: “Dialogues With Solitudes”,” on the ASX website November 23, 2018 [Online] Cited 26/05/2019

 

“”A Dialogue with Solitude” is a self-portrait in which the artist himself never really appears, but is revealed and interpreted by every detail. Its revolt is alive with sympathy and acceptance of man’s modern placement in the world, mated with contradictory realization and resistance which deny and combat the absurdities of existence. This is expressed with a sincere poetry which is never shocked out of countenance by reality.”

.
Edwards, exh. label for A Dialogue of Solitude, 1963, on file in the Photography Department, Art Institute of Chicago quoted in Hugh Edwards. “Dave Heath,” on the Art Institute of Chicago website [Online] Cited 26/05/2019

 

 

The first major UK exhibition dedicated to the work of this hugely influential American photographer.

Heath’s psychologically charged images both reflect and respond to the alienation particularly prevalent in post war North American society. He was one of the first of a new generation of artists seeking new ways to try and make sense of the increasing sense of isolation and vulnerability that typified the age.

Predominantly self-taught, Heath was nonetheless extremely informed and versed in the craft, theory and history of photography and taught extensively throughout his life. Although greatly influenced by W. Eugene Smith and the photographers of the Chicago School, including Aaron Siskind and Harry Callahan, Heath cannot be neatly pigeonholed as either a documentary or experimental photographer. His work feels more at home within a narrative or poetic tradition, where an interior reality takes precedence.

Taking his masterwork and first publication, A Dialogue With Solitude, as a point of departure, this exhibition highlights Heath’s preoccupations with solitude and contemplation and further makes explicit the importance of sequencing in his practice. Heath was clear that “the central issue of my work is sequence” and held the belief that the relativity and rhythm of images offered a truer way of conveying a universal psychological state than a single image. He perfected a form of montage, often blending text and image to create visual poems, which captured the mood of the decade in a manner akin to a photographic protest song.

Heath’s photographs are shown in dialogue with cult American films from the 1960s similarly focused on themes of solitude and alienation. These include: Portrait of Jason by Shirley Clarke (1966); Salesman by Albert and David Maysles and Charlotte Mitchell Zwerin (1968); and The Savage Eye by Ben Maddow, Sidney Meyers and Joseph Strick (1960).

“The fact that I never had a family, a place or a story that defined me, inspired a need in me to join the community of mankind. I did so by inventing a poetic form linking this community, at least symbolically, in my imagination, through this form.” ~ Dave Heath

Curated by Diane Dufour, Director of LE BAL. Exhibition conceived by LE BAL with the support of Stephen Bulger Gallery (Toronto), Howard Greenberg Gallery (New York), Archive of Modern Conflict (London) and Les Films du Camélia (Paris).

Text from the Photographers’ Gallery website [Online] Cited 25/05/2019

 

Dave Heath. 'Sesco Corée' 1953-1954

 

Dave Heath (Canadian, born United States, 1931-2016)
Sesco, Corée
1953-1954
Gelatin silver print
© Dave Heath / Courtesy of Howard Greenberg Gallery, New York, and Stephen Bulger Gallery, Toronto

 

Dave Heath. 'Carl Dean Kipper, Korea' 1953-54

 

Dave Heath (Canadian, born United States, 1931-2016)
Carl Dean Kipper, Korea
1953-54
Gelatin silver print
© Dave Heath / Courtesy of Howard Greenberg Gallery, New York, and Stephen Bulger Gallery, Toronto

 

Dave Heath (Canadian, born United States, 1931) 'New York City, 1958-59'

 

Dave Heath (Canadian, born United States, 1931)
New York City
1958-59
Gelatin silver print
© Dave Heath / Courtesy of Howard Greenberg Gallery, New York, and Stephen Bulger Gallery, Toronto

 

Dave Heath (Canadian, born United States, 1931-2016) 'Janine Pommy Vega, Seven Arts Coffee Gallery, New York' 1959

 

Dave Heath (Canadian, born United States, 1931-2016)
Janine Pommy Vega, Seven Arts Coffee Gallery, New York
1959
Gelatin silver print
© Dave Heath / Courtesy of Howard Greenberg Gallery, New York, and Stephen Bulger Gallery, Toronto

 

Dave Heath. 'Washington Square, New York City' 1960

 

Dave Heath (Canadian, born United States, 1931-2016)
Washington Square, New York City
1960
Gelatin silver print
© Dave Heath / Courtesy of Howard Greenberg Gallery, New York, and Stephen Bulger Gallery, Toronto

 

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

 

Dave Heath (Canadian, born United States, 1931-2016)
Washington Square, New York City
1960
Gelatin silver print
© Dave Heath / Courtesy of Howard Greenberg Gallery, New York, and Stephen Bulger Gallery, Toronto

 

Dave Heath. 'Washington Square, New York City' 1960

 

Dave Heath (Canadian, born United States, 1931-2016)
Washington Square, New York City
1960
Gelatin silver print
© Dave Heath / Courtesy of Howard Greenberg Gallery, New York, and Stephen Bulger Gallery, Toronto

 

Dave Heath. 'Washington Square, New York City' 1960

 

Dave Heath (Canadian, born United States, 1931-2016)
Washington Square, New York City
1960
Gelatin silver print
© Dave Heath / Courtesy of Howard Greenberg Gallery, New York, and Stephen Bulger Gallery, Toronto

 

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

 

Dave Heath (Canadian, born United States, 1931-2016)
Erin Freed, New York City
1963
Gelatin silver print
© Dave Heath / Courtesy of Howard Greenberg Gallery, New York, and Stephen Bulger Gallery, Toronto

 

Dave Heath. 'New York City (Young Couple Kissing)' 1962

 

Dave Heath (Canadian, born United States, 1931-2016)
New York City (Young Couple Kissing)
1962
Gelatin silver print
© Dave Heath / Courtesy of Howard Greenberg Gallery, New York, and Stephen Bulger Gallery, Toronto

 

Dave Heath. 'New York City' 1960

 

Dave Heath (Canadian, born United States, 1931-2016)
New York City
1960
Gelatin silver print
© Dave Heath / Courtesy of Howard Greenberg Gallery, New York, and Stephen Bulger Gallery, Toronto

 

 

The Photographers’ Gallery, in collaboration with LE BAL Paris, presents Dave Heath: Dialogues with Solitudes; the first major UK exhibition dedicated to the work of this hugely influential American photographer (b. 1931 USA, d. 2016 Canada).

Heath’s psychologically charged images both reflect and respond to the alienation particularly prevalent in post war North American society. He was one of the first of a new generation of artists seeking new ways to try and make sense of the increasing sense of isolation and vulnerability that typified the age. Predominantly self-taught, Heath was nonetheless extremely informed and versed in the craft, theory and history of photography and taught extensively throughout his life. Although greatly influenced by W. Eugene Smith and the photographers of the Chicago School, including Aaron Siskind and Harry Callahan, Heath cannot be neatly pigeonholed as either a documentary or experimental photographer. His work feels more at home within a narrative or poetic tradition, where an interior reality takes precedence.

Heath was born in Philadelphia in 1931 and had a turbulent childhood, abandoned by his parents at the age of four and consigned to a series of foster homes before being placed in an orphanage. He first became interested in photography as a teenager, and joined an amateur camera club. He was fascinated by the photo essays in Life Magazine and cites one in particular as having a decisive impact on his future. Bad Boy’s Story by Ralph Crane, charted the emotional landscape of a young orphan. Not only did Heath identify with the protagonist, he immediately recognised the power of photography as a means of self expression and as a way of connecting to others. In the following years he trained himself in the craft, taking courses in commercial art, working in a photo processing lab, and studying paintings at the Philadelphia Museum of Art. While stationed in Korea with the US Army, he began to photograph his fellow soldiers, eschewing the drama of the battlefield for quiet and private moments of subdued reflection.

On his return, Heath dedicated himself to photography, continuing his interest with capturing an “inner landscape” and training his lens on anonymous strangers whom he identified as similarly lost or fragile. Although he photographed in mostly public spaces, on the streets of Chicago and New York (where he moved to in 1957), his subjects seem detached from their physical context, shot in close-up, articulated by their isolation. His frames possess an intensity of concentration, showing single figures or close-knit couples entirely wrapped up in their own world. An occasional sidelong glance conveys a momentary awareness of being photographed, but for the most part Heath is an unobserved, unobtrusive witness. By concentrating on the fragility of human connection, focusing on the personal over the political, Heath gave ‘voice’ to those largely unheard and joined a growing community of artists searching for alternative forms of expression. His work was pivotal in depicting the fractured feeling of societal unease just prior to the rise of the civil rights movement and opposition to the Vietnam War and his ground-breaking approaches to narrative and image sequence, his exquisite printing techniques, handmade book maquettes, multimedia slide presentations culminated in his poetic masterwork, A Dialogue with Solitude, 1965. This sensitive exploration of loss, pain, love and hope reveals Heath as one the most original photographers of those decades.

After 1970, Dave Heath devoted much of his time to teaching (in particular at Ryerson University, Toronto) in Canada, where he later became a citizen. He died in 2016.

Press release from The Photographers’ Gallery website [Online] Cited 25/05/2019

 

Dave Heath (Canadian, born United States, 1931) 'Philadelphia, 1952'

 

Dave Heath (Canadian, born United States, 1931-2016)
Philadelphia
1952
Gelatin silver print
© Dave Heath / Courtesy of Howard Greenberg Gallery, New York, and Stephen Bulger Gallery, Toronto

 

Dave Heath. 'Washington Square, New York City' 1960

 

Dave Heath (Canadian, born United States, 1931-2016)
Washington Square, New York City
1960
Gelatin silver print
© Dave Heath / Courtesy of Howard Greenberg Gallery, New York, and Stephen Bulger Gallery, Toronto

 

Dave Heath. 'Washington Square, New York City' 1960

 

Dave Heath (Canadian, born United States, 1931-2016)
Washington Square, New York City
1960
Gelatin silver print
© Dave Heath / Courtesy of Howard Greenberg Gallery, New York, and Stephen Bulger Gallery, Toronto

 

Dave Heath. 'Untitled' c. 1960

 

Dave Heath (Canadian, born United States, 1931-2016)
Untitled
c. 1960
Gelatin silver print
© Dave Heath / Courtesy of Howard Greenberg Gallery, New York, and Stephen Bulger Gallery, Toronto

 

Dave Heath (Canadian, born United States, 1931-2016) 'Elevated in Brooklyn, New York City' 1963

 

Dave Heath (Canadian, born United States, 1931-2016)
Elevated in Brooklyn, New York City
1963
Gelatin silver print
© Dave Heath / Courtesy of Howard Greenberg Gallery, New York, and Stephen Bulger Gallery, Toronto

 

 

The Photographers’ Gallery
16-18 Ramillies Street
London
W1F 7LW

Opening hours:
Mon – Sat: 10.00 – 18.00
Thursday: 10.00 – 20.00 during exhibitions
Sunday: 11.00 – 18.00

The Photographers’ Gallery website

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27
May
19

Exhibition: ‘Sanlé Sory: Peuple de la Nuit’ at David Hill Gallery, London

Exhibition dates: 5th April – 31st May 2019

 

Sanlé Sory (West African, b. 1943) 'Le plein chez Total, route de Banfora' 1974

 

Sanlé Sory (West African, b. 1943)
Le plein chez Total, route de Banfora (Full at Total, Banfora Road)
1974
Gelatin silver print
© Sanlé Sory

 

 

The Equilibrist

I love these photographs. They are so direct, so honest.

The use of flash is magnificent. The square format perfect.

The players, that is the subjects, are characters on the stage of life. They know exactly what they are doing, self directing, directed by the photographer (using his commercial studio experience) into – pow! – that pose. They show off, they goof for the camera, they wear their best clothes, they lean on their cars. Here there is an innate balance between the photographer and his subjects.

There are intimate moments and moments of pure fun (such as Les Trois Cowboys de la Brousse (The Three Cowboys of the Bush), 1971 below), kitsch even. There is an immense pride and joy that emanates from these images – of human stories, of friendship, of dance and music. People escaping their ordinary lives. The people and their world are beautiful.

Unlike the close intimacy (the camera up close and personal), unexpected moments, and in motion photographs of Studio 54 and the New York City nightclub scene by Larry Fink –  “where Fink’s subjects are caught off-guard by his camera, and their expressions provide windows into their weariness or giddy party euphoria” – here the photographer stands off at a mid-length distance allowing the surrounding context to add texture to the portraits. Doors, walls (with attached photographs), vegetation, cars and the night background his incisive “flash”, that recognition of just the right moment to take the photograph – even though, and perhaps because, the subjects are in on the act. To capture not just an image, but a feeling.

These people of the night are crystallised in these crystalline tableaux (“he writes a crystalline prose”), spectacular images that make you want to love them all the more. Oh, what it is to be human!

Dr Marcus Bunyan for Art Blart

.
Many thankx to David Hill Gallery for allowing me to publish the photographs in the posting. Please click on the photographs for a larger version of the image. There are more ecstatic photographs from this photographer from the book Sory Sanlé – Volta Photo 1965-1985 (2017) on the British Journal of Photography website.

 

 

“We fulfilled people’s fantasies. We gave them a chance to experiment, to escape their ordinary lives”

.
Sanlé Sory

 

 

Sanlé Sory (West African, b. 1943) 'Les jeunes danseurs de Sikasso Sira' 1972

 

Sanlé Sory (West African, b. 1943)
Les jeunes danseurs de Sikasso Sira (The young dancers of Sikasso Sira)
1972
Gelatin silver print
© Sanlé Sory

 

Sanlé Sory (West African, b. 1943) 'Valse a Bobo' 1968

 

Sanlé Sory (West African, b. 1943)
Valse a Bobo (Waltz a Bobo)
1968
Gelatin silver print
© Sanlé Sory

 

Sanlé Sory (West African, b. 1943) 'A la mode Bobolaise' 1983

 

Sanlé Sory (West African, b. 1943)
A la mode Bobolaise (Bobolaise fashion)
1983
Gelatin silver print
© Sanlé Sory

 

Sanlé Sory (West African, b. 1943) 'Ali et Sita en soiree' 1974

 

Sanlé Sory (West African, b. 1943)
Ali et Sita en soiree (Ali and Sita in the evening)
1974
Gelatin silver print
© Sanlé Sory

 

Sanlé Sory (West African, b. 1943) 'Bobo a gogo' 1975

 

Sanlé Sory (West African, b. 1943)
Bobo a gogo
1975
Gelatin silver print
© Sanlé Sory

 

Sanlé Sory (West African, b. 1943) 'D’Adamo aux Beatles' 1969

 

Sanlé Sory (West African, b. 1943)
D’Adamo aux Beatles (From Adamo to the Beatles)
1969
Gelatin silver print
© Sanlé Sory

 

Sanlé Sory (West African, b. 1943) 'Deux couples dansant le blues' 1979

 

Sanlé Sory (West African, b. 1943)
Deux couples dansant le blues (Two couples dancing the blues)
1979
Gelatin silver print
© Sanlé Sory

 

Sanlé Sory (West African, b. 1943) 'Fete au Volta dancing' 1982

 

Sanlé Sory (West African, b. 1943)
Fete au Volta dancing
1982
Gelatin silver print
© Sanlé Sory

 

Sanlé Sory (West African, b. 1943) 'Ford Fairlane decapotable' 1966

 

Sanlé Sory (West African, b. 1943)
Ford Fairlane decapotable (Ford Fairlane convertible)
1966
Gelatin silver print
© Sanlé Sory

 

Sanlé Sory (West African, b. 1943) 'La 4L et son maitre' 1970

 

Sanlé Sory (West African, b. 1943)
La 4L et son maitre (The 4L and his master)
1970
Gelatin silver print
© Sanlé Sory

 

Sanlé Sory (West African, b. 1943) 'La cliente de la Calebasse d'or' 1969

 

Sanlé Sory (West African, b. 1943)
La cliente de la Calebasse d’or (The client of the Golden Calabash)
1969
Gelatin silver print
© Sanlé Sory

 

Sanlé Sory (West African, b. 1943) 'Laissez-moi entrer' 1967

 

Sanlé Sory (West African, b. 1943)
Laissez-moi entrer (Let me in)
1967
Gelatin silver print
© Sanlé Sory

 

Sanlé Sory (West African, b. 1943) 'Le diable noir' 1975

 

Sanlé Sory (West African, b. 1943)
Le diable noir (The black devil)
1975
Gelatin silver print
© Sanlé Sory

 

Sanlé Sory (West African, b. 1943) 'Le Malien et ses chaussures a la mode' 1975

 

Sanlé Sory (West African, b. 1943)
Le Malien et ses chaussures a la mode (Malian and his fashionable shoes)
1975
Gelatin silver print
© Sanlé Sory

 

 

Sanlé Sory’s Peuple de la Nuit portraits capture the vibrant youth culture, dance parties and flourishing music scene of his home city, a Bobo Dioulasso, Burkina Faso, West Africa. This expansive collection of images, taken between the years 1960-1985 have been unveiled for the first time in a stunning exhibition and book.

Recently unearthed from Sanlé’s personal archive, Peuple de la Nuit is an evocative tribute to the nightlife of a distant era. This collection of black-and-white photographs the carefree spirit of Sanlé’s subjects, including the musicians, dancers and lovers that graced some of Bobo’s hippest venues – Volta Dancing, Calebasse d’Or, Normandie and Dafra Bar.

Eager to portray the region’s unique energy and passion, Sory would set off towards the remote villages along the Kou Valley, north West of Bobo. Driving in his Volta Photo Citroen 2CV van carrying a few lights and a home-made sound system, Sanlé would stage his own Bals Poussière (dustball parties) which often lasted until well after sunrise – at which point the farmers and herders would head straight back to tend their fields and cattle.

Born in 1943 in Burkina Faso, back when it was still a French colony known as Republique de HauteVolta, Sanlé Sory began to take photographs in 1960 – the year the country regained independence. After cutting his teeth working as an apprentice to a Ghanian photographer for several years, by 1960 Sanlé had established his own studio, Volta Photo, in his hometown, Bobo-Dioulasso, which instantly became a cultural hub for the city’s most stylish residents – young and old, rich and poor.

After working long days there, Sory would often go out and shoot the vibrant nightlife of his hometown and surrounding areas, amassing hundreds of photos spanning several decades which remained undiscovered until well into his 70s.

Now exhibited for the very first time at the David Hill Gallery in London and coinciding with a book of the same name published by Stanley / Barker, Peuple de Nuit is a fascinating portrait of youth culture and the enigmatic night-time scene during the first decades of African independence.

 

SANLÉ SORY was born in 1943 in Burkina Faso, West Africa. Sanlé began to take photographs in 1960 and learnt his trade working as an apprentice to a Ghanaian photographer, where he was taught how to process and print photographs and how to use a Rolleiflex twin lens camera. Whilst working as a freelance reporter and shooting record covers, Sanlé decided studio photography was his calling and in 1960 had opened the Volta Photo studio in his hometown, Bobo-Dioulasso, which became an instant hit with locals. It was only at the age of 74 while living in obscurity that his work was discovered by the French record producer and archivist Florent Mazzoleni, who came across him while researching a project on West African music. A fan of Sory’s album covers, Mazzoleni went to meet his at his studio – only to find the photographer burning his vintage negatives. In 2013 he was given a solo show at the Institut Français du Burkina Faso in both Ouagadougou and Bobo Dioulasso. 2017 saw the release of his first book Volta Photo 1960-1985 with an accompanying exhibition at David Hill Gallery. In 2018, his work was shown at the Art Institute of Chicago, when he became the first African photographer to have a solo exhibition at an American museum. The was also an exhibition at the Yossi Milo Gallery, New York, and his work was part of the Autophoto at the Fondation Cartier, Paris.

Text from the David Hill Gallery website [Online] Cited 21 April 2019

 

Sanlé Sory (West African, b. 1943) 'Le musicien' 1967

 

Sanlé Sory (West African, b. 1943)
Le musicien (The musician)
1967
Gelatin silver print
© Sanlé Sory

 

Sanlé Sory (West African, b. 1943) 'Le quart d’heure rumba a la soiree privee' 1977

 

Sanlé Sory (West African, b. 1943)
Le quart d’heure rumba à la soirée privée (The quarter of an hour rumba at the private party)
1977
Gelatin silver print
© Sanlé Sory

 

Sanlé Sory (West African, b. 1943) 'Le repos des danseurs' 1978

 

Sanlé Sory (West African, b. 1943)
Le repos des danseurs (The rest of the dancers)
1978
Gelatin silver print
© Sanlé Sory

 

Sanlé Sory (West African, b. 1943) 'L'equilibriste' 1972

 

Sanlé Sory (West African, b. 1943)
L’equilibriste (The Equilibrist)
1972
Gelatin silver print
© Sanlé Sory

 

Sanlé Sory (West African, b. 1943) 'Les deux AMI 8' 1975

 

Sanlé Sory (West African, b. 1943)
Les deux AMI 8
1975
Gelatin silver print
© Sanlé Sory

 

Sanlé Sory (West African, b. 1943) 'Les deux amourex de Dogona' 1972

 

Sanlé Sory (West African, b. 1943)
Les deux amourex de Dogona (The two lovers of Dogona)
1972
Gelatin silver print
© Sanlé Sory

 

Sanlé Sory (West African, b. 1943) 'Les noceurs de Banzon' 1972

 

Sanlé Sory (West African, b. 1943)
Les noceurs de Banzon (Banzon’s swingers)
1972
Gelatin silver print
© Sanlé Sory

 

Sanlé Sory (West African, b. 1943) 'Les sans soucis de Dogona' 1980

 

Sanlé Sory (West African, b. 1943)
Les sans soucis de Dogona (The carefree Dogona)
1980
Gelatin silver print
© Sanlé Sory

 

Sanlé Sory (West African, b. 1943) 'Les Trois Cowboys de la Brousse' 1971

 

Sanlé Sory (West African, b. 1943)
Les Trois Cowboys de la Brousse (The Three Cowboys of the Bush)
1971
Gelatin silver print
© Sanlé Sory

 

Sanlé Sory (West African, b. 1943) 'Posons maintenant!' 1976

 

Sanlé Sory (West African, b. 1943)
Posons maintenant! (Let’s pose now!)
1976
Gelatin silver print
© Sanlé Sory

 

Sanlé Sory (West African, b. 1943) 'Sapeurs mossi de nuit' 1975

 

Sanlé Sory (West African, b. 1943)
Sapeurs mossi de nuit (Mossi Sapeurs of the night)
1975
Gelatin silver print
© Sanlé Sory

 

Sanlé Sory (West African, b. 1943) 'Surprise party en ville' 1974

 

Sanlé Sory (West African, b. 1943)
Surprise party en ville (Surprise party in town)
1974
Gelatin silver print
© Sanlé Sory

 

Sanlé Sory (West African, b. 1943) 'Yacouba Zero' 1970

 

Sanlé Sory (West African, b. 1943)
Yacouba Zero
1970
Gelatin silver print
© Sanlé Sory

 

Sanlé Sory (West African, b. 1943) 'Yeye le dur' 1973

 

Sanlé Sory (West African, b. 1943)
Yeye le dur (Yeye the hard)
1973
Gelatin silver print
© Sanlé Sory

 

Sanlé Sory (West African, b. 1943) 'Soirée dansante à la maison' 1968

 

Sanlé Sory (West African, b. 1943)
Soirée dansante à la maison (Dancing party at home)
1968
Gelatin silver print
© Sanlé Sory

 

Sanlé Sory (West African, b. 1943) 'Une biere pour moi' 1980

 

Sanlé Sory (West African, b. 1943)
Une biere pour moi (A beer for me)
1980
Gelatin silver print
© Sanlé Sory

 

 

David Hill Gallery
345 Ladbroke Grove, North Kensington,
London W10 6HA, UK

Opening hours:
Friday 11 – 5pm
Saturday 11 – 5pm
Other times by appointment

David Hill Gallery website

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24
May
19

Exhibition: ‘Josef Albers in Mexico’ at the Heard Museum, Phoenix, Arizona

Exhibition dates: 1st February – 27th May 2019

Curator: Lauren Hinkson, Associate Curator of Collections at the Guggenheim Museum in New York

Organised by The Solomon R. Guggenheim Foundation, New York

 

 

Josef Albers (American, born Germany 1888-1976) 'Study for Homage to the Square, Closing' 1964

 

Josef Albers (American, born Germany 1888-1976)
Study for Homage to the Square, Closing
1964
Acrylic on Masonite
Solomon R. Guggenheim Museum, New York, Gift, The Josef Albers Foundation, Inc., 1996

 

 

It is fascinating to see “the influence and connectivity between the work of Josef Albers and the abstracted geometric vocabulary of pre-Columbian art, architecture and material culture” … and the press release might add, between Albers, architecture and the flattened, geometric vocabulary of his photographs.

The lesser-known photographs and collages are “a visual conversation Albers created in response to his frequent visits to Mexico to view archaeological sites as early as the 1930s, illustrating the nuanced relationship between the geometry and design elements of pre-Columbian monuments and the artist’s iconic abstract canvases and works on paper.”

But these photographic collages stand as works of art in their own right, for they are music not just notation. Just look at the elegance and tension between the lower images in Mitla (1956, below). You don’t group photographs together like this so that they sing, so that the ‘ice-fire’ as Minor White would say (that space between each image that acts as tension between two or more images), enacts powerful attractors of light, form and energy (or spirit, if you like) … without knowing what you are doing, without feeling the presence of what you are photographing.

While artists have used photographs as “models” for other forms of art for years (for example Atget’s “documents for artists”), and we acknowledge that purpose, these images stand on their own two feet as visually nuanced, cerebral and finished works of art.

Dr Marcus Bunyan

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

 

Josef Albers (American, born Germany 1888-1976) 'Study for Sanctuary' 1941-1942

 

Josef Albers (American, born Germany 1888-1976)
Study for Sanctuary
1941-1942
Ink on paper
The Josef and Anni Albers Foundation, Bethany, Connecticut, 1976

 

Josef Albers (American, born Germany 1888-1976) 'Ballcourt at Monte Alban, Mexico' c. 1936-37

 

Josef Albers (American, born Germany 1888-1976)
Ballcourt at Monte Alban, Mexico
c. 1936-37
Gelatin silver print
The Josef and Anni Albers Foundation, Bethany, Connecticut, 1976

 

Josef Albers (American, born Germany 1888-1976) 'Tenayuca' I1942

 

Josef Albers (American, born Germany 1888-1976)
Tenayuca I
1942
Oil on Masonite
The Josef and Anni Albers Foundation, Bethany, Connecticut, 1976

 

Josef Albers (American, born Germany 1888-1976) 'The Pyramid of the Magician, Uxmal' 1950

 

Josef Albers (American, born Germany 1888-1976)
The Pyramid of the Magician, Uxmal
1950
Gelatin silver print
Solomon R. Guggenheim Museum, New York, Gift, The Josef Albers Foundation, Inc., 1996

 

Josef Albers (American, born Germany 1888-1976) 'Governor’s Palace, Uxmal' 1952

 

Josef Albers (American, born Germany 1888-1976)
Governor’s Palace, Uxmal
1952
Gelatin silver print
Solomon R. Guggenheim Museum, New York, Gift, The Josef Albers Foundation, Inc., 1996

 

Josef Albers (American, born Germany 1888-1976) 'Luminous Day' 1947-1952

 

Josef Albers (American, born Germany 1888-1976)
Luminous Day
1947-1952
Oil on Masonite
The Josef and Anni Albers Foundation, Bethany, Connecticut, 1976

 

Josef Albers (American, born Germany 1888-1976) 'Platform of the Eagles, Chichen Itza' 1952

 

Josef Albers (American, born Germany 1888-1976)
Platform of the Eagles, Chichen Itza
1952
Gelatin silver print
The Josef and Anni Albers Foundation, Bethany, Connecticut, 1976

 

 

The Heard Museum is presenting Josef Albers in Mexico. The exhibition demonstrates the influence and connectivity between the work of Josef Albers (German, 1888-1976) and the abstracted geometric vocabulary of pre-Columbian art, architecture and material culture. The Heard Museum is the third and final stop of the exhibition which opened in New York in 2017 then traveled to the Peggy Guggenheim Collection in Venice in 2018.

Josef Albers in Mexico is organised by the Solomon R. Guggenheim Foundation, and curated by Lauren Hinkson, Associate Curator of Collections at the Guggenheim Museum in New York. Drawing from the collections of the Solomon R. Guggenheim Museum and the Josef and Anni Albers Foundation, Josef Albers in Mexico presents an opportunity to learn about a little-known aspect of the artist’s practice and the influences he absorbed in his travels.

“Through his close attention to ancient architecture, Josef Albers developed new modes of seeing the modern world,” says Lauren Hinkson. “This exhibition of his celebrated paintings, along with lesser-known photographs and collages, reveals the complex and often surprising roles of place, time, and spirituality in Albers’s body of work.”

Included in the exhibition are rarely seen early paintings by Albers, including Homage to the Square and Variant/Adobe series, works on paper, and a rich selection of photographs and photocollages, many of which have never before been on view. The photographic works reveal a visual conversation Albers created in response to his frequent visits to Mexico to view archaeological sites as early as the 1930s, illustrating the nuanced relationship between the geometry and design elements of pre-Columbian monuments and the artist’s iconic abstract canvases and works on paper. Accompanying the artworks are a series of letters, personal photographs, studies and other ephemera.

Josef Albers was born in Bottrop, Germany in 1888 and was a fixture at the pioneering school of art, architecture, and design, the Bauhaus, until its forced closure by the Nazis. Albers and his wife, Anni Albers (1899-1994), an accomplished artist and textile designer, relocated to the United States in 1933, where he first accepted a position as head of the department of art at Black Mountain College outside of Asheville, North Carolina, a position he held until 1949. He then went on to be the head of the design department at Yale University in New Haven, Connecticut. Josef and Anni Albers traveled often to Latin America with particular interest in Mexico – visiting the country more than a dozen times from the 1930s to the 1960s. Albers’ fascination with the visual culture of Mexico left an indelible mark on his own artistic production and methodology, with sites like Teotihuacán, Chichén Itza, Monte Albán, and Mitla resonating within his paintings and stimulating new experiments in his photography.

The Heard also produced a series of public programs co-curated by the Heard Museum’s Fine Arts Curator, Erin Joyce. Topics include explorations of colour theory with some of todays’ leading artists, designers, and architects; the influence of Indigenous art and aesthetics on broader visual art, the role it has on informing artistic production and investigations into formalism and politics. Josef Albers in Mexico runs through Monday, May 27, 2019 at the Heard Museum.

Press release from the Heard Museum [Online] Cited 25/02/2019

 

Josef Albers (American, born Germany 1888-1976) 'Mitla' 1956

 

Josef Albers (American, born Germany 1888-1976)
Mitla
1956
Gelatin silver prints and postcards, mounted to paperboard
The Josef and Anni Albers Foundation, Bethany, Connecticut, 1976

 

Josef Albers (American, born Germany 1888-1976) 'Mitla' 1956 (detail)

 

Josef Albers (American, born Germany 1888-1976)
Mitla (detail)
1956
Gelatin silver prints and postcards, mounted to paperboard
The Josef and Anni Albers Foundation, Bethany, Connecticut, 1976

 

Josef Albers (American, born Germany 1888-1976) 'Mitla' 1956 (detail)

 

Josef Albers (American, born Germany 1888-1976)
Mitla (detail)
1956
Gelatin silver prints and postcards, mounted to paperboard
The Josef and Anni Albers Foundation, Bethany, Connecticut, 1976

 

Josef Albers (American, born Germany 1888-1976) 'Mitla' 1956 (detail)

 

Josef Albers (American, born Germany 1888-1976)
Mitla (detail)
1956
Gelatin silver prints and postcards, mounted to paperboard
The Josef and Anni Albers Foundation, Bethany, Connecticut, 1976

 

Josef Albers (American, born Germany 1888-1976) 'Mitla' 1956 (detail)

 

Josef Albers (American, born Germany 1888-1976)
Mitla (detail)
1956
Gelatin silver prints and postcards, mounted to paperboard
The Josef and Anni Albers Foundation, Bethany, Connecticut, 1976

 

Anni Albers (American, born Germany 1899-1994) 'Josef Albers, Mitla' 1935-39

 

Anni Albers (American, born Germany 1899-1994)
Josef Albers, Mitla
1935-39
The Josef and Anni Albers Foundation, Bethany, Connecticut, 1976

 

 

Heard Museum
2301 N. Central Avenue
Phoenix, Arizona 85004

Opening hours:
Monday – Saturday 9.30am – 5 pm
Sunday 11am – 5pm

Heard Museum website

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Dr Marcus Bunyan

Dr Marcus Bunyan is an Australian artist and writer. His art work explores the boundaries of identity and place. He writes Art Blart, a photographic archive and form of cultural memory, which posts mainly photography exhibitions from around the world. He holds a Dr of Philosophy from RMIT University, Melbourne, a Master of Arts (Fine Art Photography) from RMIT University, and a Master of Art Curatorship from the University of Melbourne.

Marcus Bunyan black and white archive: ‘Mask’ 1994

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