Robert Frank (American born Switzerland, 1924-2019) En route from New York to Washington, Club Car 1954 Gelatin silver print Cantor Arts Center Collection, Gift of Raymond B. Gary
Robert Frank (1924-2019) is one of the most important photographic artists of the twentieth century. He was born in Switzerland but he emigrated to American in 1947. He soon gained a job as a fashion photographer for Harper’s Bazaar. He honed his craft as a photographer in England where he took formal, classical images of British life during a trip to Europe and South America in 1947.
He became friends with Edward Steichen and Walker Evans, and it was Evans who supported him in his Guggenheim Fellowship application in 1955 which enabled him “to travel across the United States and photograph all strata of its society. Cities he visited included Detroit and Dearborn, Michigan; Savannah, Georgia; Miami Beach and St. Petersburg, Florida; New Orleans, Louisiana; Houston, Texas; Los Angeles, California; Reno, Nevada; Salt Lake City, Utah; Butte, Montana; and Chicago, Illinois.Ā He took his family along with him for part of his series ofĀ road tripsĀ over the next two years, during which time he took 28,000 shots. 83 of these were selected by him for publication inĀ The Americans.“1
In The Americans, Frank documents, “the tensions between the optimism of the 1950s and the realities of class and racial differences. The irony that Frank found in the gloss of American culture and wealth over this tension gave his photographs a clear contrast to those of most contemporary American photojournalists, as did his use of unusual focus, low lighting and cropping that deviated from accepted photographic techniques.2
One cannot forget the era in which Frank took these photographs ā that of McCarthyism and “the Second Red Scare, lasting roughly from 1950 to 1956 and characterised by heightened political repression against communists, as well as a campaign spreading fear of their influence on American institutions and of espionage by Soviet agents.”3 Americans were suspicious of foreigners, especially ones with cameras, and this was still the era of racial segregation pre the civil rights movement of the 1960s.
With regard to the structure of the photographs, their origin is based in classicism. This was Frank’s training. It was his skill as an artist, his intuitive and prescient vision of America ā how he saw America like no one else before him had ā that enabled him to ramp up the intensity, shoot from weird angles, low lighting, cropping, depth of field, unusual focus ā and focus on the iconography of America as never seen before: jukeboxes, American flags, cars, highways, death, racial segregation ā that was so revolutionary. But he could not have done that without his formal training. You only have to look at the comparison between the photographs of Robert Frank and Walker Evans. Formal and elegant in Evans Church Organ and Pews (1936) andĀ Downtown street, New Orleans (December 1935) with lines vertical and clean… and then Frank, with hardly a straight line or neat angle to be seen. But the one does inform the other, otherwise Frank’s photographs would just become snapshots, vernacular photographs with very little meaning. Which they are not.
This is one of the most powerful, lyrical, humanist photo essays of a country that has ever been taken.Ā CriticĀ Sean O’Hagan, writing inĀ The Guardian in 2014, said The Americans “changed the nature of photography, what it could say and how it could say it. […] it remains perhaps the most influential photography book of the 20th century.”4 As an artist, Frank became the great connector for he is the critical link in the chain that stretches from Lewis Hine through Walker Evans… and on to Lee Friedlander, Garry Winogrand and Joel Meyerowitz.
As an artist you marvel at his intuitionĀ and inspiration, to look at the world as no one else had done before, to push the boundaries of medium and message. To photographĀ people, alone and in groups; politics;Ā religion; race; automobiles and the road; and the media and thrust them into the white, bright, happy world of 1950s consumerist America saying: this is what this country is really like, this is my “impression” of you in all your fleeting madness, “America as an often bleak and lonely place.” You only have to look at the “eye” inĀ U.S. 91, leaving Blackfoot, Idaho (1956, below) or look at the photograph of the grave by the side of the road to know that you are inĀ Blue VelvetĀ territory (David Lynch, director 1986, the title is taken from The Clovers’ 1955 song of the same name).
I am not sure yet how one world pierces the other but believe me they surely do.
Many thankx to the Cantor Arts Center for allowing me to publish the photographs in the posting. Please click on the photographs for a larger version of the image.
“It was the vision that emanated from the book that lead not only me, but my whole generation of photographers out into the American landscape, in a sense, the lunatic sublime of America.”
Joel Meyerowitz
“Like a boxer trains for a fight, a photographer by walking the streets, and watching and taking pictures, and coming home and going out the next day, the same thing again, taking pictures. It doesn’t matter how many he takes, or if he takes any at all, it gets you prepared to know what you should take pictures of, or what is the right thing to do and when.”
Robert Frank
Walker EvansĀ (American, 1903-1975) Main St., Ossining, New York 1932 Gelatin silver print
Robert Frank (American born Switzerland, 1924-2019) Detroit 1955 Gelatin silver print Cantor Arts Center Collection, Gift of Raymond B. Gary
In 1955 and 1956, Swiss-born photographer Robert Frank (b. 1924) traveled throughout the United States on a Guggenheim Fellowship, photographing ordinary people in their everyday lives. His book The Americans ā 83 photographs, mostly from those travels, published in 1959 ā repudiated the bland good cheer of the magazines with an image of the country that was starkly at odds with the official optimism of postwar prosperity. The book became a landmark of photographic history; but Frank soon turned to filmmaking, and the rest of his early photographic career was largely forgotten. An important group of unknown or unfamiliar photographs in the Cantor Arts Center’s collection provides the core of the exhibition Robert Frank in America, which sheds new light on the making of The Americans andĀ presents, for the first time, Frank’s American photographs from the 1950s as a coherent bodyĀ of work.
“We are delighted that the Cantor’s collection has provided the basis for a fresh look at one of the great achievements of 20-century photography,” said Connie Wolf, John and Jill Freidenrich Director of the Cantor Arts Center. “We are also deeply grateful to Robert Frank, who has generously contributed to the project.”
The exhibition Robert Frank in America, on view September 10, 2014 through January 5, 2015, features 130 photographs drawn primarily from the Cantor’s collection as well as from other public and private collections and from Frank himself. Peter Galassi, former chief curator of photography at the Museum of Modern Art, New York, is the exhibitionās guest curator and author of the accompanying publication.
The Exhibition’s Development from the Cantor’s Collection
In the summer of 2012, Wolf invited Galassi to offer his thoughts on one of the museum’s hidden treasures: more than 150 photographs by Robert Frank given to the Cantor in the mid-1980s by Stanford alumnus Bowen H. McCoy and his colleague Raymond B. Gary. This remarkable collection spans the full range of Frank’s photographic career before he turned to filmmaking in the early 1960s. It is especially rich in Frank’s American work of the 1950s, including scores of photographs that are unknown or unfamiliar even to scholars. Wolf and Galassi saw an opportunity to share this work with Stanford students, faculty, scholars at large and the general public.
Research began at the National Gallery of Art, Washington, where more than two decades agoĀ the artist established the archive of his photographic career prior to 1970. Studying more thanĀ 1,000 contact sheets enabled Galassi to determine the locations and dates of dozens ofĀ previously unidentified photographs in the Cantor collection. He then selected works for theĀ exhibition so as to identify Frank’s major themes and artistic strategies. The compellingĀ sequence of The Americans poetically weaves diverse images into a seamless whole, but RobertĀ Frank in America groups related pictures to explore the pictorial strategies that Frank developed as he worked, and also to highlight important subjects ā people, alone and in groups; politics; religion; race; automobiles and the road; and the media.
Frank repeatedly photographed isolated figures so that they seemed trapped by pictorial forces,Ā for example. This powerful metaphor for Frank’s vision of lonely individuals imprisoned byĀ social circumstances is announced in the first picture, The Americans, where the flag obliteratesĀ a spectator’s face (Parade ā Hoboken, New Jersey, 1955). In Robert Frank in America, thatĀ photograph is juxtaposed with another that uses the identical pictorial scheme but a differentĀ subject; the interior of a bar (New York City, 1955).
“Although The Americans is famous – partly because it is famous ā Robert Frank’s American work of the 1950s has never been considered as a whole,” said Galassi. “The full range of the work shows just how Frank turned the vocabulary of magazine photojournalism on its head and used it to speak in a personal, poetic voice.”
Inviting Galassi to organise the exhibition was part of the museum’s renewed commitment to collecting, studying and presenting photography, Wolf says. The Cantor has been adding to its already strong holdings, presenting innovative exhibitions of work by distinguished artists and providing a valuable opportunity for Stanford students and faculty to work directly with photographs. Leland Stanford’s commission more than a century ago for Eadweard Muybridge’s pioneering work on animal locomotion serves as a foundation for the museum’s extensive collection today.
Exhibition catalogue
The major catalogue accompanying this exhibition is published by the Cantor Arts Center in association with international publisher Steidl, with whom Frank has worked closely on most of his books. All 130 photographs in the exhibition are reproduced as full-page tritone plates. Galassi’s extensive essay traces the evolution of Frank’s work from his arrival in the United States in 1947 until he abandoned his first photographic career in the early 1960s. The text provides a thorough outline of the photographic context in which Frank at first sought success as a magazine photojournalist as well as a detailed analysis of the methods and strategies that lie behind The Americans. The essay features 24 illustrations, including an unprecedented map ofĀ Frank’s 1955-56 Guggenheim travels, which locates the sites of nearly all of the photographs inĀ The Americans and in Robert Frank in America. The 200-page book, with a foreword by ConnieĀ Wolf, is designed by Katy Homans, New York.
Film and video have formed a central aspect of Frank’s work since 1959, when he collaboratedĀ with Allen Ginsberg, Jack Kerouac and Alfred Leslie on Pull My Daisy. In 1972, however, heĀ resumed making photographs, often using Polaroid positive-negative materials and incorporatingĀ text and multiple images. That same year he published the first of several editions of The Lines ofĀ My Hand, a book that surveyed his career in all mediums and initiated reconsiderations of his early photographic career. The first full-scale retrospective of his photographs was organised at the Museum of Fine Arts, Houston, in 1986. In 1990, a major gift by Frank established the Robert Frank Collection at the National Gallery of Art, Washington, which has since presented two major exhibitions, each accompanied by an important book: Robert Frank: Moving OutĀ (1994) and Looking In: Robert Frank’s “The Americans”Ā (2009).
Press release from theĀ Cantor Arts Center
Robert Frank (American born Switzerland, 1924-2019) Beaufort, South Carolina 1955 Gelatin silver print Cantor Arts Center Collection, Gift of Raymond B. Gary
Guggenheim proposal summary
“To photograph freely throughout the United States, using the miniature camera exclusively. The making of a broad, voluminous picture record of things American, past and present. This project is essentially the visual study of a civilization and will include caption notes; but it is only partly documentary in nature: one of its aims is more artistic than the word documentary implies.”
The full statement
“I am applying for a Fellowship with a very simple intention: I wish to continue, develop and widen the kind of work I already do, and have been doing for some ten years, and apply it to the American nation in general. I am submitting work that will be seen to be documentationā-āmost broadly speaking. Work of this kind is, I believe, to be found carrying its own visual impact without much work explanation. The project I have in mind is one that will shape itself as it proceeds, and is essentially elastic. The material is there: the practice will be in the photographer’s hand, the vision in his mind. One says this with some embarrassment but one cannot do less than claim vision if one is to ask for consideration.
“The photographing of America” is a large orderā-āread at all literally, the phrase would be an absurdity. What I have in mind, then, is observation and record of what one naturalized American finds to see in the United States that signifies the kind of civilization born here and spreading elsewhere. Incidentally, it is fair to assume that when an observant American travels abroad his eye will see freshly; and that the reverse may be true when a European eye looks at the United States. I speak of the things that are there, anywhere and everywhereā-āeasily found, not easily selected and interpreted. A small catalog comes to the mind’s eye: a town at night, a parking lot, a supermarket, a highway, the man who owns three cars and the man who owns none, the farmer and his children, a new house and a warped clapboard house, the dictation of taste, the dream of grandeur, advertising, neon lights, the faces of the leaders and the faces of the followers, gas tanks and post offices and backyards.
The uses of my project would be sociological, historical and aesthetic. My total production will be voluminous, as is usually the case when the photographer works with miniature film. I intend to classify and annotate my work on the spot, as I proceed. Ultimately the file I shall make should be deposited in a collection such as the one in the Library of Congress. A more immediate use I have in mind is both book and magazine publication.”
Robert Frank (American born Switzerland, 1924-2019) Florida 1958 Gelatin silver print Cantor Arts Center Collection, Gift of Raymond B. Gary
“I am grateful to the Guggenheim Foundation for their confidence and the provisions they made for me to work freely in my medium over a protracted period. When I applied for the Guggenheim Fellowship, I wrote: “To produce an authentic contemporary document, the visual impact should be such as will nullify explanation.”
With these photographs, I have attempted to show a cross-section of the American population. My effort was to express it simply and without confusion. The view is personal and, therefore, various facets of American life and society have been ignored. The photographs were taken during 1955 and 1956; for the most part in large cities such as Detroit, Chicago, Los Angeles, New York and in many other places during my Journey across the country. My book, containing these photographs, will be published in Paris by Robert Delpire, 1958.
I have been frequently accused of deliberately twisting subject matter to my point of view. Above all, I know that life for a photographer cannot be a matter of indifference. Opinion often consists of a kind of criticism. But criticism can come out of love. It is important to see what is invisible to others ā perhaps the look of hope or the look of sadness. Also, it is always the instantaneous reaction to oneself that produces a photograph.
My photographs are not planned or composed in advance and I do not anticipate that the on-looker will share my viewpoint. However, I feel that if my photograph leaves an image on his mind ā something has been accomplished.
It is a different state of affairs for me to be working on assignment for a magazine. It suggests to me the feeling of a hack writer or a commercial illustrator. Since I sense that my ideas, my mind and my eye are not creating the picture but that the editors’ minds and eyes will finally determine which of my pictures will be reproduced to suit the magazines’ purposes.
I have a genuine distrust and “mefiance” toward all group activities. Mass production of uninspired photojournalism and photography without thought becomes anonymous merchandise. The air becomes infected with the “smell” of photography. If the photographer wants to be an artist, his thoughts cannot be developed overnight at the corner drugstore.
I am not a pessimist, but looking at a contemporary picture magazine makes it difficult for me to speak about the advancement of photography, since photography today is accepted without question, and is also presumed to be understood by all ā even children. I feel that only the integrity of the individual photographer can raise its level.
The work of two contemporary photographers, Bill Brandt of England and the American, Walker Evans, have influenced me. When I first looked at Walker Evans’ photographs, I thought of something Malraux wrote: “To transform destiny into awareness.” One is embarrassed to want so much for oneself. But, how else are you going to justify your failure and your effort?”
Robert Frank, U.S. Camera Annual, 1958, p. 115
Robert Frank (American born Switzerland, 1924-2019) Lusk, Wyoming 1956 Gelatin silver print Cantor Arts Center Collection, Gift of Raymond B. Gary
Robert Frank (American born Switzerland, 1924-2019) Main Street ā Savannah, Georgia 1955 Gelatin silver print Cantor Arts Center Collection, Gift of Raymond B. Gary
Walker EvansĀ (American, 1903-1975) Downtown street, New Orleans December 1935 Gelatin silver print
Robert Frank (American born Switzerland, 1924-2019) New York City 1949 Gelatin silver print Lent by Peter Steil
Robert Frank (American born Switzerland, 1924-2019) New York City early 1950s Gelatin silver print Cantor Arts Center Collection, Gift of Bowen H. McCoy
Cantor Arts Center at Stanford University 328 Lomita Drive at Museum Way Stanford, CA 94305-5060 Phone:Ā 650-723-4177
Steichen, Penn, Avedon, Newman ā and then there is Horst, master of them all. Style, elegance, lighting, framing, colour but above all panache ā the guts and talent to push it just that little bit further.
Dr Marcus Bunyan
Many thankx to theĀ Victoria & Albert Museum for allowing me to publish the photographs in the posting. Please click on the photographs for a larger version of the image.
“Fashion is an expression of the times. Elegance is something else again.”
This autumn, the V&A will present the definitive retrospective exhibition of the work of master photographer Horst P. Horst (1906-1999) ā one of the leading photographers of the 20th century. In his illustrious 60-year career, German-born Horst worked predominantly in Paris and New York and creatively traversed the worlds of photography, art, fashion, design, theatre and high society.
Horst: Photographer of Style will display 250 photographs, alongside haute couture garments, magazines, film footage and ephemera. The exhibition explores Horst’s collaborations and friendships with leading couturiers such as Coco Chanel and Elsa Schiaparelli in Paris; stars including Marlene Dietrich and NoĆ«l Coward; and artists and designers such as Salvador DalĆ and Jean-Michel Frank. Highlights of the exhibition include photographs recently donated to the V&A by Gert Elfering, art collector and owner of the Horst Estate, previously unpublished vintage prints, and more than 90 Vogue covers by Horst.
The exhibition will also reveal lesser-known aspects of Horst’s work: nude studies, travel photographs from the Middle East and patterns created from natural forms. The creative process behind some of his most famous photographs, such as the Mainbocher Corset, will be revealed through the inclusion of original contact sheets, sketches and cameras. The many sources that influenced Horst ā from ancient Classical art to Bauhaus ideals of modern design and Surrealism in 1930s Paris ā will be explored.
Martin Roth, Director of the V&A said: “Horst was one of the greatest photographers of fashion and society and produced some of the most famous and evocative images of the 20th century. This exhibition will shine a light on all aspects of his long and distinguished career. Horst’s legacy and influence, which has been seen in work by artists, designers and performers including Herb Ritts, Robert Mapplethorpe, Bruce Weber and Madonna, continues today.”
Horst’s career straddled the opulence of pre-war Parisian haute couture and the rise of ready-to-wear in post-war New York and his style developed from lavish studio set-ups to a more austere approach in the latter half of the 20th century. The exhibition will begin in the 1930s with Horst’s move to Paris and his early experiments in the Vogue studio. Among his first models and muses were Lisa Fonssagrives, Helen Bennett and Lyla Zelensky. Vintage black and white photographs from the archive of Paris Vogue will be displayed alongside garments in shades of black, white, silver and gold by Parisian couturiers such as Chanel, Lanvin, Molyneux and Vionnet.
The exhibition will then focus on Horst’s Surreal-inspired studies and collaborations with Salvador DalĆ and Elsa Schiaparelli. Fashion photographs will be shown with trompe l’oeil portraits and haunting still life. Horst excelled at portraiture and in the 1930s he captured some of Hollywood’s brightest stars: Rita Hayworth, Bette Davis, Vivien Leigh, NoĆ«l Coward, Ginger Rogers, Marlene Dietrich and Joan Crawford, to name a few.
Horst travelled widely throughout the 1940s and 1950s to Israel, Iran, Syria, Italy and Morocco. An escape from the world of fashion and city environs, his little-known travel photographs reveal a fascination for ancient cultures, landscapes and architecture. On display will be works taken in Iran such as the Persepolis Bull, Horst’s powerful image of a vast sculpture head amidst the ruins of a once magnificent palace, and images documenting the annual migration of the nomadic Qashqai clan.
Detailed studies of natural forms such as flowers, minerals, shells and butterfly wings from the project Patterns From Nature, will be shown alongside a series of kaleidoscopic collages made by arranging photographs in simple repeat; his intention was that these dynamic patterns could be used as designs for textiles, wallpaper, carpets, plastics and glass.
In the early 1950s, Horst created a series of male nudes for an exhibition in Paris for which the models were carefully posed and dramatically lit to accentuate their musculature. The series evokes the classical sculpture that Horst so admired throughout his career. During the 1960s and 1970s, Horst photographed some of the world’s most beautiful and luxurious homes for House and Garden and Vogue under the editorship of his friend Diana Vreeland. A three-sided projection and interactive screens will present these colourful studies. Among the most memorable are the Art Deco apartment of Karl Lagerfeld, the three lavish dwellings of Yves Saint Laurent and the Roman palazzo of artist Cy Twombly.
In the latter years of Horst’s life, his early aesthetic experienced a renaissance. The period also witnessed a flurry of new books, exhibitions, and television documentaries celebrating his work. Horst produced new, lavish prints in platinum-palladium for museums and the collector’s market, selecting emblematic works from every decade of his career, which will be showcased as the finale to the exhibition.
A fore-runner of the timeless look of Chanel, here in brown and white check rayon with collar, cuffs and lapels in white piquĆØ that matches the buttoned top.
The creation of a Horst photograph was a collaborative process, involving the talents of the photographer and model, the art director, fashion editor, studio assistants and set technicians. The modelling profession was still in its infancy in the 1930s and many of those who posed under the hot studio lights were stylish friends of the magazineās staff, often actresses or aristocrats.
By the mid 1930s, Horst had superseded his mentor George Hoyningen-Huene as Paris Vogue‘s primary photographer. His images frequently appeared in the French, British and American editions of the magazine. Many of the photographs on display in the exhibition are vintage prints from the company’s archive.
This film reveals the process of creating new colour prints for the exhibition Horst: Photographer of Style. Horst was quick to master new colour processes, introduced in the late 1930s, and he created hundreds of vibrant fashion photographs for Vogue.
The 1930s ushered in huge technical advancements in colour photography. Horst adapted quickly to a new visual vocabulary, creating some of Vogue‘s most dazzling colour images. In 1935 he photographed the Russian Princess Nadejda Sherbatow in a red velveteen jacket for the first of his many Vogue cover pictures.
The occupation of Paris transformed the world of fashion. The majority of French ateliers closed and many couturiers and buyers left the country. Remaining businesses struggled with extreme shortages of cloth and other supplies. The scarcity of French fashions in America, however, enabled American designers to come into their own.
At 17, in Beverly Hills wearing a tabletop dress by Howard Greer. Tabletop dresses looked good from the waist up when stars were photographed sitting in restaurants and nightclub.
Stage and Screen
Horst’s portraits spanned a wide cross-section of subjects, from artists and writers to presidents and royalty. In the 1930s, he became aware of a new focus for his work. As he later noted in his book Salute to the Thirties (1971), glamorous Hollywood movie stars were imperceptibly assuming the place left vacant by Europe’s vanishing royal families. With the approach of the Second World War, the escapism offered by theatre and cinema gained in popularity. Horst began to photograph these new, classless celebrities, both in costume and as themselves.
The first well-known star Horst photographed was the English performer Gertrude Lawrence, then appearing in Ronald Jeans’ play Can the Leopard…? at the Theatre Royal, Haymarket. Horst’s first portrait of a Hollywood actress, Bette Davis, appeared in Vogue‘s sister magazine Vanity Fair in 1932.
The 1980s witnessed a flurry of new books, exhibitions and television documentaries about Horst. He produced new prints for museums and the collector’s market, selecting emblematic works from every decade of his career to be reprinted in platinum-palladium, sometimes with new titles. This was a complex and expensive technique, employing metals more expensive than gold. Failing eyesight finally forced him to stop working in 1992.
Horst’s platinum-palladium prints are treasured for their nuanced tones, surface quality and permanence. His style had experienced a renaissance in 1978 when Francine Crescent, French Vogue‘s editor in chief, had invited him to photograph the Paris collections. Horst’s work for her echoed his atmospheric, spot-lit studies of the 1930s. His use of the platinum process for creating new and reproducing early works ensured his mastery of light, mood and composition would be enjoyed by a new audience.
In the early 1950s Horst produced a set of distinctive photographs unlike much of his previous output. These male figure studies were exhibited for the first time in Paris in 1953 and reprinted using the platinum-palladium process in the 1980s. The studies exemplify Horst’s sense of form. All emphasis is on the idealised human body, expressive light and shadow. Monumental and anonymous nudes resemble classical sculptures. As Mehemed Agha (1929-78), art director of American Vogue, commented:
“Horst takes the inert clay of human flesh and models it into the decorative shapes of his own devising. Every gesture of his models is planned, every line controlled and coordinated to the whole of the picture. Some gestures look natural and careless, because carefully rehearsed; the others, like Voltaire’s god, were invented by the artist because they did not exist.”
The Surrealist art movement explored unique ways of interpreting the world, turning to dreams and the unconscious for inspiration. During the 1930s Surrealism escaped its radical avant-garde roots and transformed design, fashion, advertising, theatre and film. Horst’s photographs of this period feature mysterious, whimsical and surreal elements combined with his classical aesthetic. He created trompe l’oeil still life, photographed the surreal-infused dress designs of his friend Elsa Schiaparelli and collaborated with the artist Salvador DalĆ. He shared with the Surrealists a fascination with the representation of the female body, often fragmenting and eroticising the human form in his images.
His most celebrated photograph of the era is Mainbocher Corset (1939). Decades after the photograph was made, Main Bocher himself expressed his admiration for Horst’s virtuosity, writing,
“Your photographs are sheer genius and delight my soul … each one is perfect by itself.”
Horst’s second book, Patterns from Nature (1946), and the photographs from which it originated, are a surprising diversion from the high glamour of his fashion and celebrity photographs. These close-up, black and white images of plants, shells and minerals were taken in New York’s Botanical Gardens, in the forests of New England, in Mexico, and along the Atlantic and Pacific coasts.
This personal project was partly inspired by photographs of plants by Karl Blossfeldt (1865-1932). Horst was struck by “their revelation of the similarity of vegetable forms to art forms like wrought iron and Gothic architecture.” Horst’s interest was also linked to the technical purity of ‘photographic seeing’, a philosophy associated with the New Objectivity movement of the 1920s and ’30s. Practitioners took natural forms out of their contexts and examined them with such close attention that they became unfamiliar and revelatory.
In the summer of 1949, Horst journeyed to the Middle East with his partner Valentine Lawford, then political counsellor at the British Embassy in Tehran. They travelled by road from Beirut to Persepolis, where Horst was able to photograph parts of the ancient Persian city that had only recently been uncovered. Afterwards, Horst visited the newly established State of Israel on a photographic assignment for Vogue.
The trip left a strong impression on Horst and he returned in the spring of 1950. He spent a week with Lawford at the relatively remote south-eastern shore of the Caspian Sea, before documenting the annual migration of the Qashqa’i clan. Horst and Lawford were invited by Malik Mansur Khan Qashqa’i to spend ten days with his tribe as they travelled by camel and horse, in search of vegetation for their flocks.
In 1947 Horst acquired five acres of land in Oyster Bay Cove, Long Island, part of the estate once owned by the designer Louis Comfort Tiffany. On the land he described as ‘everything I had ever dreamed of’, Horst built a unique house and landscaped garden. British diplomat Valentine Lawford visited for the first time in 1947, with NoĆ«l Coward, Christopher Isherwood, and Greta Garbo. It was the beginning of a relationship with Horst that would last until Lawford’s death in 1991.
They welcomed many friends and visitors to Long Island, including the dynamic editor Diana Vreeland. She left Harper’s Bazaar for Vogue in 1962 and soon put the couple to work on Vogue‘s ‘Fashions in Living’ pages. The homes and tastes of everyone from Jackie Onassis to the Duke and Duchess of Windsor, Andy Warhol and Karl Lagerfeld featured in their articles. Horst’s creative chemistry with Vreeland brought him a new lease of life.
By 1946 dressing the American woman had become one of the country’s largest industries, grossing over six billion dollars a year. The staff of Vogue expanded accordingly. In 1951 Horst found a studio of his own, the former penthouse apartment of artist Pavel Tchelitchew, with high ceilings and a spectacular view over the river. Horst developed a new approach to photography in response to the abundance of daylight and for a time his famous atmospheric shadows disappeared.
Victoria and Albert Museum Cromwell Road, London SW7 2RL
Opening hours: The V&A is open daily from 10.00 to 17.45 and until 22.00 on Fridays
Curator:Ā Andrea Nelson,Ā Assistant Curator, Department of Photographs, National Gallery of Art
Alfred StieglitzĀ (American, 1864-1946) The Last Joke ā Bellagio 1887 Platinum print Sheet (trimmed to image): 11.7 x 14.7cm (4 5/8 x 5 13/16 in.) National Gallery of Art, Washington, Alfred Stieglitz Collection
I am too sick at the moment to really say anything constructive about platinum prints except one word: wow.
You only have to look at the tonality and the sensuality of the prints to understand their appeal.
Driftwood, Maine,Ā 1928 by Paul Strand is my favourite in this posting.
Dr Marcus Bunyan
Many thankx to theĀ National Gallery of Art for allowing me to publish the photographs in the posting. Please click on the photographs for a larger version of the image.
Laura GilpinĀ (American, 1891-1979) Ghost Rock, Colorado Springs 1919 Platinum print 24.2 x 19.1cm (9 1/2 x 7 1/2 in.) National Gallery of Art, Washington, The Marvin Breckinridge Patterson Fund
Renowned for her landscape photographs of the American Southwest, Gilpin was mentored by Gertrude KƤsebier and trained at the Clarence H. White School of Photography in New York. This luminous photograph exemplifies Gilpin’s skill in producing expressive works with a wide spectrum of tonal values.
Frederick H. EvansĀ (British, 1853-1943) York Minster, North Transept: “In Sure and Certain Hope” 1902 Platinum print 27.46 x 19.69cm (10 13/16 x 7 3/4 in.) National Gallery of Art, Washington, Carolyn Brody Fund and Pepita Milmore Memorial
Evans was known as the master of the unmanipulated platinum print. For him, a perfect photograph was one that “gives its beholder the same order of joy that the original would.” In this work, light, more than architecture, is his subject. As light fills the space of York Minster Cathedral it dissolves the weight of the massive stone, creating a reverential, timeless mood. Evans also took great care in the presentation of his photographs, often embellishing his mounts with hand-ruled borders and watercolour washes.
Text from the National Gallery of Art website
Evans was described by Alfred Stieglitz as ‘the greatest exponent of architectural photography’. Evans aimed to create a mood with his photography; he recommended that the amateur ‘try for a record of emotion rather than a piece of topography’. He would spend weeks in a cathedral before exposing any film, exploring different camera angles for effects of light and means of emotional expression. He always tried to keep the camera as far as possible from the subject and to fill the frame with the image completely, and he used a small aperture and very long exposure for maximum definition. Equally important to the effect of his photographs were his printing methods; he rejected the fashion for painterly effects achieved by smudging, blowing or brushing over the surface of the gum paper print. His doctrine of pure photography, ‘plain prints from plain negatives’, prohibited retouching.
Text from the MoMA website
Karl StrussĀ (American, 1886-1981) Columbia University, Night 1910 Gum dichromate over platinum print processed with mercury 24 x 19.4cm (9 7/16 x 7 5/8 in.) National Gallery of Art, Washington, Horace W. Goldsmith Foundation through Robert and JoyceĀ Menschel
Alfred StieglitzĀ (American, 1864-1946) From the Back-Window ā 291 1915 Platinum print 24.1 x 19.1cm (9 1/2 x 7 1/2 in.) National Gallery of Art, Washington, Alfred Stieglitz Collection
Influenced by Peter Henry Emerson’s understanding of photography as an independent art form, Stieglitz became the driving force behind the development of art photography at the turn of the century. He founded the Photo-Secession group in 1902 with the aim to “advance photography as applied to pictorial expression.” This view of the buildings in New York behind Stieglitz’s famed Little Galleries of the Photo-Secession at 291 Fifth Avenue is an exceptional example of a platinum print with rich, neutral grey and black tones. The diffuse glow of the lights is enhanced by Stieglitz’s choice of a smooth printing paper with a subtle surface sheen. (NGA)
Around 1915, Stieglitz began photographing the view out of the window of his gallery, a practice he continued through two relocations of his business. In this photograph made from the window of Stieglitz’s first gallery (known as “291” for its address on Fifth Avenue), the legacy of Pictorialism hovers in the rich, evocative atmosphere he coaxes from the nighttime scene, even as the play of angular forms declares the modernist impulse for the exposure. (Text from Metropolitan Museum of Art)
Paul StrandĀ (American, 1890-1976) Driftwood, Maine 1928 Platinum print 24.3 x 19.2cm (9 9/16 x 7 9/16 in.) National Gallery of Art, Washington, Southwestern Bell Corporation Paul Strand Collection
Strand was a committed advocate of the platinum process and made platinum photographs well into the 1920s and early 1930s. Driftwood, Maine is printed on Japine paper, a photographic paper with a chemically altered surface, which resembles parchment. First introduced by William Willis’ Platinotype Company in 1906, Japine platinum paper provided deep blacks and a lustrous surface sheen that Strand found ideal for his modernist abstractions.
Rare platinum photographs that played a pivotal role in establishing photography as a fine art will be presented at the National Gallery of Art. On view in the West Building from October 5, 2014 through January 4, 2015, A Subtle Beauty: Platinum Photographs from the Collection will include two dozen works from the Gallery’s renowned collection of photographs. Presented in conjunction with a symposium organised by the National Gallery of Art and sponsored by the Foundation of the American Institute for Conservation of Historic and Artistic Works, this exhibition features compelling prints by Alfred Stieglitz (1864-1946), Edward Steichen (1879-1973), Gertrude KƤsebier (1852-1934), and other prominent Pictorialist photographers.
“Photographers in the late 19th and early 20th centuries were captivated by the lush appearance and rich atmospheric effects they were able to create through the platinum print process,” said Earl A. Powell III, director, National Gallery of Art. “With their extraordinary tonal range ā capable of capturing the deepest blacks, warmest sepias, and creamiest of whites ā platinum prints quickly became the preferred process of the era.”
Exhibition highlights
Featuring 24 outstanding photographs from the 1880s to the 1920s, this exhibition reveals the artistic qualities and subtle nuances of the platinum process. Major artists such as Peter Henry Emerson (1856-1936), Frederick H. Evans (1853-1943), Alvin Langdon Coburn (1882-1966), and Clarence H. White (1871-1925), revered platinum prints for their permanence, delicate image quality, and surface textures that could range from a velvety matte to a lustrous sheen.
Focused on the aesthetic and technical aspects of platinum photographs, highlights include Stieglitz’s From the Back-Window ā 291 (1915), an exceptional print with neutral grey and black tones capturing the diffuse glow of lights in the buildings behind the artist’s galleries at 291 Fifth Avenue; Evans’ superb York Minster, North Transept: “In Sure and Certain Hope” (1902), an affective work whose subject is light more than architecture; and Steichen’s evocative Rodin (1907),Ā combining platinum with gum dichromate to create a painterly, multilayered portrait.
Press release from the National Gallery of Art website
Clarence H. White (American, 1871-1925) Mrs. White ā In the Studio 1907 Palladium print, printed later 24.4 x 19.3cm (9 5/8 x 7 5/8 in.) National Gallery of Art, Washington, Horace W. Goldsmith Foundation through Robert and JoyceĀ Menschel and R. K. Mellon Family Foundation
Alvin Langdon CoburnĀ (American, 1882-1966) Clarence H. White c. 1905 Platinum print 24.2 x 19.4cm (9 1/2 x 7 5/8 in.) National Gallery of Art, Washington, Patrons’ Permanent Fund
Coburn presents fellow photographer Clarence H. White holding a tube of platinum paper in much the same manner as a painter would hold a palette. Because the paper support contributed greatly to the overall appearance of the platinum print, photographers experimented with a range of handmade and mass-produced papers that varied in texture and colour.
Clarence H. White (American, 1871-1925) George Borup 1909 Platinum print 25 x 20cm (9 13/16 x 7 7/8 in.) National Gallery of Art, Washington, Patrons’ Permanent Fund
A self-taught photographer from Ohio, White became an important leader of the Pictorialist movement. A member of the Photo-Secession, he exhibited widely and later founded the Clarence H. White School of Photography in New York in 1914, a school that helped define and establish Pictorialist ideals. White took this portrait of geologist and explorer George Borup the year he returned from an expedition to the North Pole.
Frederick H. EvansĀ (British, 1853-1943) Aubrey Beardsley 1894 Platinum print 13 x 90.2cm (5 1/8 x 35 1/2 in.) National Gallery of Art, Washington, Paul Mellon Fund
A major figure in British Pictorialism and a driving force of its influential society The Linked Ring, Frederick Evans is best known for his moving interpretations of medieval cathedrals rendered with unmatched subtlety in platinum prints. Until 1898, Evans owned a bookshop in London where, according to George Bernard Shaw, he was the ideal bookseller, chatting his customers into buying what he thought was right for them. In 1889, Evans befriended the seventeen-year-old Aubrey Beardsley, a clerk in an insurance company who, too poor to make purchases, browsed in the bookshop during lunch hours. Eventually, Evans recommended Beardsley to the publisher John M. Dent as the illustrator for a new edition of Thomas Malory’s “Le Morte d’Arthur.” It was to be Beardsley’s first commission and the beginning of his meteoric rise to fame.
Gertrude KƤsebierĀ (American, 1852-1934) Alfred Stieglitz 1902 Platinum print 30.5 x 21.2cm (12 x 8 3/8 in.) National Gallery of Art, Washington, R. K. Mellon Family Foundation, Diana and Mallory WalkerĀ Fund, and Horace W. Goldsmith Foundation through Robert and Joyce Menschel
Featured in the 1903 inaugural issue of Alfred Stieglitz’s seminal journal Camera Work, Gertrude KƤsebier was hailed by him as “the leading portrait photographer in the country.” To manipulate the tones of this print, KƤsebier masked sections of the negative and then used a brush to selectively apply the developing solution to the printing paper. The final result resembles a beautifully hand-worked watercolour.
Heinrich KĆ¼hnĀ (American, 1866-1944) Walther KĆ¼hn 1911 Gum dichromate over platinum print 29.7 x 23.7cm (11 11/16 x 9 5/16 in.) National Gallery of Art, Washington, Horace W. Goldsmith Foundation through Robert and JoyceĀ Menschel
A photographer, writer, and scientist, Heinrich KĆ¼hn was a central figure in the international development of Pictorialist photography. Known for his intimate portraits, scenes of rural life, and still-life photographs, he was actively involved in groups ā both in Great Britain and Austria ā that espoused an alternative to a purely technical view of photography.
Edward SteichenĀ (American, 1879-1973) Rodin 1907 Gum dichromate over platinum print 37.94 x 26.67cm (14 15/16 x 10 1/2 in.) National Gallery of Art, Washington, Pepita Milmore Memorial Fund
Steichen positioned Auguste Rodin in a contemplative pose reminiscent of the sculptor’s most recognised work, The Thinker. By adding gum dichromate (a mixture of light-sensitive salts, pigment and a gum arabic binder) over a platinum print, Steichen enhanced the soft-focus appearance and tonality of his portrait.
Steichen was an important link between European and American artistic circles during the first decade of the twentieth century. A member of the Photo-Secession, Steichen encouraged the group’s founder, Alfred Stieglitz, to open a gallery in New York to promote the club’s work. The Little Galleries of the Photo-Secession (later known as “291” from its address at 291 Fifth Avenue) opened in 1905. Soon, the gallery’s scope extended beyond photography to include other currents in modern art, such as the exhibition of Rodin’s watercolours and drawings that Steichen organised in 1908.
Alfred Stieglitz (American, 1864-1946) Hodge Kirnon 1917 Satista print Alfred Stieglitz Collection
One of the least well known and most beautiful of Stieglitz’s portraits, this photograph depicts Hodge Kirnon, a man Stieglitz saw in passing every day. When preparing to close his historic gallery “291” in 1917 as a result of World War I, Stieglitz assessed his work and life and saw that Kirnon ā who operated the elevator that transported the gallery’s visitors, its critics, and its provocative modern art ā had been a true fellow passenger on the momentous trip.
Satista prints refer to a print that is a composed of a mixture of silver and platinum. This is a very old process, invented by William Willis published in Sensitive Photographic Paper and Process of Making. The process was intended to be more economical then platinum printing, but being able to produce results that looked like pure platinum prints and being as permanent.
Edith R. Wilson (American, 1864-1924) Portrait of a Family 1922 Palladium print R.K. Mellon Family Foundation
With the onset of World War I, platinum metal was needed for military purposes, raising its price and severely limiting its use in commercial applications. This led to the advancement of new photographic products that relied on the more readily available and less expensive precious metals of silver and palladium. Wilson made this portrait on palladium paper during a summer course offered by the Clarence H. White School of Photography. Intended to replicate the look of platinum prints, palladium papers came in various surface textures and tonal values; however, they were never fully embraced by photographers, who questioned both their quality and permanence.
Harry C. Rubincam (American, 1871-1940) The Circus 1905 Platinum print The Sarah and William L Walton Fund
After years of working for insurance and wholesale grocery companies in New York City, Rubincam moved to Denver, Colorado, where he learned photography from a retired professional. His participation in several exhibitions brought his work to the attention of Alfred Stieglitz, who invited Rubincam in 1903 to be a member of the Photo-Secession, an elite group of photographers whose aim was to advance photography as a fine art. This photograph of a circus performance is unusual among art photographs from this time for its spontaneity.
National Gallery of Art National Mall between 3rd and 7th Streets Constitution Avenue NW, Washington
Installation photograph of the exhibition photobooks. Spain 1905-1977 at the Museo Nacional Centro de Art Renia Sofia
This is one of those eclectic exhibitions that this archive likes to promote. What a fascinating subject, something that I knew nothing about.
The posting is especially for my colleague Professor Martinez Alfredo-Exposito, Head of the School of Languages and Linguistics at the University of Melbourne.
Dr Marcus Bunyan
Many thankx to the Museo Nacional Centro de Art Renia Sofia for allowing me to publish the photographs in the posting. Please click on the photographs for a larger version of the image.
Installation photographs of the exhibition photobooks. Spain 1905-1977 at the Museo Nacional Centro de Art Renia Sofia
JoaquĆn del Palacio (Kindel) was a Spanish photographer who was born in Madrid in 1905 and died in Madrid in 1989. He changed his name to Kindel to adapt to the foreign names that were starting to work in Spain and so look modern too: KIN came from JoaquĆn and DEL was for the beginning of his last name.
He did most of his work between 1940 and 1970. He started in 1939, taking pictures of devastated regions of Spain after the Spanish Civil War had finished. Those pictures were social and dramatic scenes according to that period of time.
Later, he began to travel around Spain working for the “DirecciĆ³n General de Turismo” (General Tourism Office). He took pictures of people and landscapes of Spain in the 1950s. This was a kinder image of the reality.
He was a master of photography that was able to capture the correct natural light for each image.
Enrique Palazuelo Sans Titre. Nuevas escenas matritenses c. 1957 / posthumous print, 2013 Copia de exposiciĆ³n
Francesc CatalĆ -Roca (Valls, Tarragona, Spain, 1922 – Barcelona, Spain, 1998) Llegada a Barcelona (Arriving at Barcelona) 1950 (circa) / posthumous print, 2003 Selenium-toned gelatin silver print on paper 34.8 x 47.5cm
Francesc CatalĆ Roca (Spain, 1922-1998)
Son of Pere CatalĆ i Pic, a pioneer of avant-garde photography in Catalonia, Francesc CatalĆ Roca is considered the master of Catalan documentary photography. Learning his trade within the family, he opened his own studio in 1947 and began making street photography for editorial assignments. Thereafter, he worked continuously producing photographs for publications such as Destino, Gaceta Ilustrada and La Vanguardia. This was to be accompanied by studio work, illustrating artists’ books in collaboration with renowned architects, sculptors and painters such as Josep M. Sert, Eduardo Chillida and Joan MirĆ³, books about the history of Catalan art and documentary photography on the real Spain. As a neo-realist photographer, CatalĆ Roca’s took risks, looking for unusual and unconventional viewpoints, playing with the plastic strength of shadows and contrasts, and always focusing on the human element. His technical skill was matched by a great ability to relate to the people he portrayed. His photography acts as a witness to a time when the country had one foot in the hardest era of the Franco regime and the other in what is known as the period of ‘developmentalism’. Following his first solo exhibition in 1953 at Sala Caralt, Barcelona, CatalĆ Roca exhibited extensively in parallel with his activity as a book illustrator, publishing numerous titles. Retrospective exhibitions of his work include those held at the FundaciĆ³ Joan MirĆ³ (2000), La Pedrera, Barcelona (2012) and the CĆrculo de Bellas Artes, Madrid (2013).
Anonymous. “Francesc CatalĆ Roca,” on the MACBA Museu d’Art Contemporani de Barcelona website Nd [Online] Cited 23/12/2014. Used under fair use conditions for the purposes of education and research
Francesc CatalĆ -RocaĀ (Valls, Tarragona, Spain, 1922 – Barcelona, Spain, 1998) La VĆa Layetana entre las calles Junqueras y Condal (The VĆa Layetana between Junqueras and Condal streets) 1950 / posthumous print, 2003 Selenium-toned gelatin silver print on paper 36.9 x 45.3cm
Francesc CatalĆ -RocaĀ (Valls, Tarragona, Spain, 1922 – Barcelona, Spain, 1998) La VĆa Layetana, Barcelona (The Via Layetana, Barcelona) 1950 (circa) / posthumous print, 2003 Selenium-toned gelatin silver print on paper
Francesc CatalĆ -RocaĀ (Valls, Tarragona, Spain, 1922 – Barcelona, Spain, 1998) Monumento a ColĆ³n (Columbus Monument) 1949 / posthumous print, 2003 Selenium-toned gelatin silver print on paper With frame: 114 x 88cm
Francesc CatalĆ -RocaĀ (Valls, Tarragona, Spain, 1922 – Barcelona, Spain, 1998) Calle Muntaner (Muntaner Street) 1950 (circa) / Posthumous print, 2003 Selenium-toned gelatin silver print on paper 47.5 x 32.8cm
Francesc CatalĆ -RocaĀ (Valls, Tarragona, Spain, 1922 – Barcelona, Spain, 1998) Las Ramblas con lluvia (The Ramblas in the Rain) 1950 (circa) / posthumous print, 2003 Selenium-toned gelatin silver print on paper 47.7 x 37.5cm
Francesc CatalĆ -RocaĀ (Valls, Tarragona, Spain, 1922 – Barcelona, Spain, 1998) VestĆbulo de la tienda, Barcelona (Shop Vestibule, Barcelona) 1950 (circa) / posthumous print, 2003
Francesc CatalĆ -RocaĀ (Valls, Tarragona, Spain, 1922 – Barcelona, Spain, 1998) El hombre del saco (The Bogeyman) 1950 (circa) / posthumous print, 2003 Selenium-toned gelatin silver print on paper 47.8 x 35.7cm
The exhibition photobooks. Spain 1905-1977 presents a journey through the history of the photobook in Spain, setting off at the beginning of the 20th century and ending in the mid seventies, via a selection from the Museo Reina SofĆa Collection, contextualised and accompanied by an assortment of complementary material.
For a long time the aesthetic consideration of photography has been limited to individual images that are able to work in a similar way to paintings or etchings, a blueprint developed by historians and museum curators alike to assemble a canon of ‘masterpieces’ for studios or exhibitions. Yet this model is not the only one, and many photographers cannot synthesise their work in a single image, devising it instead in a series. Both models give rise to two coherent histories of photography: one comprised of photos to hang on walls, with a limited number of copies and on sale at art galleries; the other in book form, possibly with a reissue, available in bookstores. By and large, photographers prefer the last option: “pictures on walls and photos in books” (Cartier-Bresson).
A photobook is a publication made up of photographs ordered as a set of images, with plots and complex meanings, and the medium used by some of the most pre-eminent photographers to produce their greatest work; a tried-and-tested model to present, communicate and read photos. Photobooks are becoming more widely recognised as the best medium for presenting series of photographs.
As far as Spain is concerned, the history of photo books is determined by the avatars of its own national history, for instance the Civil War and the transition to democracy, the focus of some of the finest work produced. In addition to propaganda, changes to the image and social role of peasants and, above all, women, are also prominent issues that are explored. The relationship between literature and photography is another characteristic of Spanish photobooks, which also include works in closer proximity to the international history of the format, such as publications on urban matters.
Isabel Steva i HernĆ”ndez (24 August 1940 – 31 December 2023), whose pseudonym was Colita, was a Spanish photographer. She trained with Xavier Miserachs i Ribalta, and began her professional career in 1961 as a laboratory technician and stylist for Miserachs.
Initially, she demonstrated great interest in dance photography ā almost always flamenco music ā and later she also specialised in portraits and journalistic photography. She had numerous exhibitions with photographs of Catalan artists and singers from the Nova CanĆ§Ć³ era to the present. She published many books. …
Colita’s work in the press was published in magazines such as Siglo XX, Destino, Fotogramas, InterviĆŗ, Boccaccio, Primera Plana and Mundo Diario.
Throughout her career, Colita put on more than forty exhibitions and published some fifty books of photographs. Stylistically, she was closer to the ideas of the Barcelona School, although she was considered an all-purpose photographer. Her work is part of the collections of the Museu Nacional d’Art de Catalunya.
Colita (Isabel Steva HernƔndez) (Spanish, 1940-2023) Novios gitanos. Barcelona (Gypsy Couple. Barcelona) 1962 / later print, 2011 Gold-toned chlorobromide print on paper 17.9 x 18cm
Joan Colom (Spanish, 1921-2017) Raval 1958 (circa) / vintage print Gelatin silver print on paper 23.5 x 11cm
Joan ColĆ³m was born in Barcelona in 1921. Following his military service, he became accountant in a firm where he stayed until his retirement in 1986. At the age of 36 he developed a passion for photography, joined the Photographic Association of Catalonia where he learnt very fast the technical skills that helped him in his atypical career: “I discovered the Barrio Chino in 1958, I understood that it was my world. I was fascinated by its diversity and its social richnessā¦ I literally got sucked in by the human quality of these charactersā¦”
Every week end, for more than two years, Joan ColĆ³m explored the “Raval”* neighbourhood, the ābas-fondsā of Barcelona; by photographing without aiming the camera, he was concerned about staying discreet and breaking with the aesthetised tradition of his elders. He was very aware of what he was doing “images that touch me,” he was an impassioned witness of a social theatre. It is whilst printing that he exactly framed the image, with a constant search for truth.
Today, the “imaginaire” of urban life of the Barrio Chino is rooted in ColĆ³m’s imagesā¦ His work was praised early on by personalities such as Ramon Massats and Josep Maria Casademont who wrote in 1961: “with Joan ColĆ³m, we are entering a new phase of our history of photography.” In these images the modernist avant garde of the fifties is interwined with the “dark” and pessimist tradition of Spain during the Franco era.
His work has been compared to Walker Evans’s New York Subway project: the strait crude vision, the rejection of the Pictorialist aesthetic. This work for sure is close to a search for pure realist photography, comparable to Brassai in its content.
Joan ColĆ³m returned to photography when he retired in 1986: every day he roamed the streets in pursuit of his motto: “Yo hago la calle”ā “Je fais le trottoir”ā a play on words that Henri Cartier-Bresson liked to use often also. Some memorable images by HCB of the Barrio Chino in the 30’s are present in everyone’s memory. Joan ColĆ³m didn’t know these photographs when he began his project, different but animated with this same desire to show life as it is.
*The “Raval” is the real name for this district of Barcelona which is known today as the “Barrio Chino”.
Anonymous. “Joan ColĆ³m: Les Gens du Raval,” on the Fondation Henri-Cartier Bresson website April 2006 [Online] Cited 01/06/2024. Used under fair use conditions for the purposes of education and research
Joan Colom (Spanish, 1921-2017) No Title 1958 / vintage print From the seriesĀ El carrer (The Street) Gelatin silver print on paper 27 x 21cm
Joan Colom (Spanish, 1921-2017) No Title 1958 / vintage print From the seriesĀ El carrer (The Street) Gelatin silver print on paper 23.2 x 16.2cm
Joan ColomĀ (Barcelona, Spain, 1921) No Title 1958 / vintage print From the seriesĀ El carrer (The Street) Gelatin silver print on paper 23.2 x 16.2cm
photobooks. Spain 1905-1977 is a history of Spanish photography through a selection of its best photobooks, many of them little known. The exhibition, organised by the Museo Nacional Centro de Arte Reina SofĆa and AcciĆ³n Cultural EspaƱola (AC/E), is the result of a line of acquisitions and research undertaken by the Museum’s Department of Collections with the collaboration of Horacio FernĆ”ndez, curator of the exhibition.
photobooks. Spain 1905-1977 shows works published in Spain between 1905 and 1977 ā in different styles, in limited or mass editions, printed using refined techniques or on inexpensive paper, for all audiences or for minorities. They are about people, things, behaviours, and ideas. Photobooks were few and far between at the start of the twentieth century, increased in number during the war, and reached their height of development in the sixties. They subsequently grew scarce, only to make a triumphal comeback in the new century, represented in the Museum’s Library in the show Books that are Photos,Ā Photos that are Books. Together they make up a specialised collection that is unique in its kind and embodies the Museo Reina Sofiaās commitment to all aspects of photographic images.
The works on display, most of which are little known, provide a fresh insight into Spanish photography. photobooks probes the broad and suggestive relationships between photography, publishing, design and literature, popular art and culture, history and politics, and public and private life. In the pages of these works is a plural history of the profound transformation of Spanish society. Thanks to the collective work of photographers, publishers, designers and writers, the themes presented in photobooks include the image of woman, seen from perspectives as different as the submission to patriarchal culture in the works of CĆ”novas and Compte and the militant feminism of Colita. Another major topic is the representation of the Spanish Civil War from both sides, with books like Madrid, which deals with the victims of the bombings during the siege of the capital, contrasting with JalĆ³n Ćngel’s portraits of soldiers on the side of the uprising. The war is followed by the sadness and harshness of the dictatorship, shown in photobooks by JoaquĆn del Palacio and Alfonso.
The relationship between photography and literature emerges throughout the exhibition, starting with the book by CƔnovas mentioned above. From the period of the Civil War, special attention is merited by the photobooks of Antonio Machado, Miguel HernƔndez and Arturo Barea. In the sixties, the Lumen publishing house brought out the Palabra e Imagen (Word and Image) collection, designed by Oscar Tusquets, with extraordinary contributions by writers like Aldecoa, Cela, Delibes, Vargas Llosa and Caballero Bonald, and photographers like Masats, Maspons, Miserachs and Colita. One outstanding work in this section is Nuevas escenas matritenses (New Scenes of Madrid), with photos by Enrique Palazuelo.
Urban culture is also present in the photobooks of Alfonso, CatalĆ -Roca, Miserachs and OntaĆ±Ć³n. Mention should be made too of the books on the end of the dictatorship by NuƱo and the Diorama and Foto FAD teams, which show the gradual disappearance of the old identifying features of Spanish society under the influence of tourism and the global economy.
Apart from displaying some photographs autonomously, the show also features systems that allow visitors to view the plural content of each work exhibited, since it is in the work as a whole, as a coherent sequence of images, that the true entity of the photobook resides.
The Spanish Civil War was photogenic. Dozens of photographers engaged in documenting it. Media all over the world published images of the war, which were used by the both sides to convey their own virtues and the atrocities committed by their opponents.
The collective photobook Madrid is a visual account of the consequences of a siege: destruction, homeless people, the exodus of refugees. The effects of the bombings on the civilian population are captured in montages and photographs by Luis LladĆ³, Robert Capa, Hans Namuth, Chim, and Margaret Michaelis, among others. The faces of the child victims should be stressed ā some appalling forensic photographs that were widely used in Republican propaganda and have been mentioned by Arturo Barea, Virginia Woolf, and Susan Sontag, among other writers.
A type of cultural propaganda characteristic of the Republican side was the publication ofĀ books combining words and pictures. Several came out during the war, among themĀ Madrid baluarte de nuestra guerra de independencia (Madrid Bulwark of Our War ofĀ Independence), with texts by Antonio Machado; Miguel HernĆ”ndez’s book of poemsĀ Viento del pueblo (Winds of the People); and Arturo Barea’s collection of stories titledĀ Valor y miedo (Courage and Fear). All three feature photographs whose authorship isĀ not credited, though we now know that they were taken by photographers such asĀ Walter Reuter or designers such as Mauricio Amster.
The cult of personality was a salient feature of the Nationalist side’s propaganda. In 1939Ā the rebel military were presented as serious and efficient technicians in JalĆ³n Ćngel’sĀ Forjadores de imperio (Empire Builders), a triumphal parade by no means epicallyĀ portrayed and much less generous with the defeated. This collection of portraits of theĀ men who had won a war was published in a luxury version designed to hang in publicĀ offices and in a popular version in postcard form for mass distribution.
The hardship of the postwar years is conveyed in a few photobooks that managed to slipĀ past the censors. Literature with photos continued to be published in books such asĀ Momentos (Moments), whose poems would be less sad without the ruins, desertedĀ villages, and bare trees found in the photographs of JoaquĆn del Palacio (Kindel).Ā Rincones del Viejo Madrid (Corners of Old Madrid), a collection of night shots by Alfonso, is an expressionist photobook printed in the opaque tones of the finest photogravure work. Alfonso portrays the capital as yet another victim ā a frozen and sinister backdrop as dead as its missing inhabitants.
The 60’s: the golden decade of Spanish photography
Palabra e Imagen (Word and Image) was the creation of publisher Esther Tusquets and designer Oscar Tusquets. It was advertised by the Lumen publishing house as “a collection that is different from everything that has been done so far.” Its books “are not art books, they are not photography books, they are not literary works,” but “a new concept.” They all have a theme “and the writers, the photographer and those who plan and produce the book work on it as a team.” The aim was to present āan ideaā using different means: “not just words but also the photography, the composition, the type of lettering, and the colour of the paper can be used to express it.”
Palabra e Imagen was Spain’s main contribution to the history of photobooks. For fifteen years it was a laboratory for experimenting with different ways of publishing a collective work produced by writers, designers, photographers, and editors that attached equal importance to visual and textual readings ā word and image.
Important photo-essays were published in the sixties, such as Los Sanfermines (TheĀ San FermĆn Festivities) by RamĆ³n Masats and Barcelona blanc i negre (BarcelonaĀ Black and White) by Xavier Miserachs, both of them masters of documentaryĀ photography. The first book was hailed as “the most personal photographic work thatĀ has been produced in Spain.” It is a “story told in pictures” that shows the expressiveĀ possibilities of the photobook and to what extent “a still photograph is not sufficient for aĀ photographer who pursues a narration.” The second is a stroll through the streets of Barcelona in search of its inhabitants, and is more interested in life than in history. It is aĀ “book to look at” that attempts a difficult combination of the subjective humanistĀ photography of the previous decade and the new international urban photography basedĀ on the model established by William Klein, a “highly original way of hinting at cities”Ā without succumbing to commonplaces or picturesqueness.
Also by Miserachs is Costa Brava Show, a photobook based on the mass phenomenonĀ of tourism and featuring black-and-white photos on subjects such as young peopleĀ enjoying themselves, sexual liberation, and the consequences of economic progress:Ā chaotic town planning, corruption, and loss of authenticity. An equally critical intentionĀ underlies the photobook Vivir en Madrid (Living in Madrid), which is documentary inĀ content and experimental in form – both the text and the pictures. Francisco OntaĆ±Ć³n’sĀ distant, stark photographs are kind to the common folk and critical of the privilegedĀ classes, but always humorous.
Luis Acosta Moro believed that the book of the future would be “a poem of short words and great pictures” of the kind embodied by his photobook Cabeza de muƱeca (Doll’sĀ Head), a symbolic work that alludes, among other themes, to the Civil War and the image of women. The publisher regarded it as a new type of book, a “film-novel-artistic essay.” The main subject is the model featured in all the pictures, sometimes dancing (or wrestling) with the photobook’s absolute author, who was responsible for everything: photographs, design, and text.
The 70’s: the last auteur photobooks
Los Ćŗltimos dĆas de Franco (The Last Days of Franco) is a photobook that is unique inĀ both form and content: the funeral rites of the dictator. Live history is fleeting and theĀ propaganda chiefs needed an official history capable of preserving “the living warmth ofĀ memories.” To achieve this, Fernando NuƱo photographed videos. The result was aĀ photobook consisting of television images that were second-hand but equally or moreĀ documentary than the original reports. “As they have been reproduced from video, [theĀ photos] have the quality of a living document,” explains the book, a visual account that isĀ completed with a second volume titled Los primeros dĆas del Rey (The First Days ofĀ the King).
The second half of the seventies witnessed the transition to democracy, a highly politicised period in Spain. Two photobooks, Pintadas del referendum (Graffiti on theĀ Referendum) and Pintades Pintadas (Graffiti), compile the propaganda of the day, in this case in the form of street graffiti ā a subject also dealt with in French and Portuguese publications. The aim is to preserve the graffiti “as a necessary testament to and document of the vicissitudes of a people in pursuit of their future.” The authors are two short-lived groups of photographers, Equipo Diorama of Madrid and the Barcelona based Foto Fad.
The photobook Punk is pioneering in its portrayal of an international popular cultureĀ phenomenon. In Salvador Costa’s photographs taken from “close up and above theĀ subject,” the scene is less important than the audience featured in the shots of ultramodernĀ people, clothing, and rituals captured by the photographer, who was luckyĀ enough to find a publisher capable of discovering more than just another short-lived fadĀ in his photos.
Ortiz-EchagĆ¼e believed strongly on the one hand that Spain must modernise itself in accordance with the spirit of the times ā inter alia by founding industrial companies ā but on the other hand was well aware that a broad modernisation could lead to disappearance of traditional clothing, a change in the villages and even a transformation of the landscape. He wanted at least to capture with his camera and hold this cultural heritage, before the change occurred.
Aesthetics
In the field of artistic photography, he is perhaps the most popular photographer in Spain and one of the most well known abroad. In 1935 the magazine ‘American Photography’ named him one of the top three photographers in the world, while some critics have also considered him to be one of the best Spanish photographers to date. This recognition becomes even more meritorious when it is considered that photography was a hobby to which he only devoted his spare time, especially during weekends and his various trips.
From an artistic point of view one might consider him as a representative of the generation of ’98 in photography, but he is also often included within the photographic movement of Pictorialism, being in fact the best known representative of the Spanish photographic Pictorialism, even though this late definition was never liked by Ortiz-EchagĆ¼e. His photographic work focuses on portraying the most defining characteristics of a people, their customs and their traditional costumes as well as locations. He managed to project through his pictures a personal expression which is closer to painting, often using effects during photo processing. EchagĆ¼e remained faithful throughout his life to the aesthetics and techniques of Pictorialism, including using gum bichromate and coal.
Working technique
Since 1898 when he got his first camera, he took thousands of photographs entirely in black-and-white. He exposed his negatives using a special technique similar to the carbon printing one (‘carbĆ³n fresson’) which was the mainstream practice during his youth. Soon its use would become outdated, however he followed that technique throughout his art, giving a special hue and a greater contrast result to his positives, which now makes his work easily recognisable.
Both paper-making as well as the procedure of obtaining photographs required a lot of patience, an extraordinary ability and a perfect management of that particular technique. Therefore, over the years and as photographic processes would become more simplified and automated, the few photographers still using this technique would tend to abandon it.
The sheet had a thin layer of gelatin onto which was added a black pigment and it was sensitised to light. The photographer obtained his copies under a process based on the principle that in the parts of the image receiving less light the gelatin would remain soft whereas in the parts of the image receiving more light the gelatin would become hardened. The treatment of the copy ā bathing in water and sawdust ā dissolved the unhardened gelatin together with the pigment onto it revealing a white zone underneath, while the hardened gelatin resisted the bathing process, trapping the pigment inside and subsequently producing black areas. In this way the image on paper was exposed. But furthermore this printed image with the paper still wet, could be retouched using brushes and cotton swabs or scrapers, giving a lot of freedom for creativity.
The ability to intervene in the outcome of a photograph, the greater richness of tones given from the pigment and its stability were the main reasons that Jose Ortiz-EchagĆ¼e used this technique. Nevertheless, this archaic method is not considered to be the strongest component in his images. Without an intriguing subject, a good composition, well directed lights on models and the correct layout of the scene, the procedure of coal placed directly to Fresson paper would give a vulgar result.
Xavier MiserachsĀ (Barcelona, Spain, 1937 – Badalona, Barcelona, Spain, 1998) No Title 1964 (circa) / vintage print From the seriesĀ Costa Brava Show Gelatin silver print on paper 21.4 x 30.3cm
Xavier MiserachsĀ (Barcelona, Spain, 1937 – Badalona, Barcelona, Spain, 1998) No Title 1965 (circa) / vintage print From the seriesĀ Costa Brava Show Gelatin silver print on paper
Xavier Miserachs i Ribalta (Spain, 1937-1998)
Xavier Miserachs i Ribalta (July 12, 1937 – August 14, 1998) was a Spanish photographer. He studied medicine at the University of Barcelona, but left school to be a photographer. He exhibited his work in Barcelona from 1956. His work is reminiscent of neorealism and is representative of the years of Spanish economic recovery, 1950-1960. His photographs show him as a creator of a new image of the city and its people.
Miserachs was born in Barcelona on July 12, 1937, in the middle of the Spanish Civil War. He was the son of a hematologist and a librarian, Manuel Miserachs and Montserrat Ribalta. He discovered photography at the Technical Institute of Santa EulĆ lia, in Barcelona, where he met Ramon Fabregat and his brother Antonio. He studied four courses of a career in medicine, but left shortly before the end to embark on a career as a professional photographer.
In 1961, after returning from military service, Miserachs wanted independence, and set up his first studio in Casa David at Carrer Tuset in Barcelona. He began photographing on request and for book authors with his work appearing in books such as Barcelona Blanc i Negre (with 400 photographs recounting the war in Barcelona) and Costa Brava Show.
During the 1960s he also served as a news reporter for Spanish magazines. In 1968 he signed an exclusive contract with the Revista Triunfo. He also published several articles in La Vanguardia, Gaceta Ilustrada, InterviĆŗ, Bazaar and Magazin. He was thus able to witness such historic events as May 68, Swinging London and Prague Spring. Miserachs engaged mainly in editorial photography but also did work doing reports.
In January 1967 he co-founded the Escola Eina, where he was one of the first professors of photography. He occasionally frequented Boccaccio’s, then the meeting place par excellence of the gauche divine [a movement of left-wing intellectuals, professionals and artists that emerged in Barcelona during the sixties and early seventies]. In 1997 he published his memoir, contact sheets, which won a Gaziel prize.
Xavier MiserachsĀ (Barcelona, Spain, 1937 – Badalona, Barcelona, Spain, 1998) No Title 1964 (circa) / vintage print From the seriesĀ Costa Brava Show Gelatin silver print on paper 17.9 x 21.4cm
Francisco OntaĆ±Ć³nĀ (Barcelona, Spain, 1930 – Madrid, Spain, 2008) La actual M-30 (Madrid) (The M-30 Ring Road Today [Madrid]) 1963 (May) / posthumous print, 2013 From the seriesĀ Vivir en Madrid (Living in Madrid) Selenium-toned chlorobromide print on fibre-based paper 24.7 x 37.1cm
“It has been several years since I discovered photography; Today it is a physiological necessity for me. It was what I intended; It took me a lot to prove to myself that it was an open path, with an indefinite horizon; and without these conditions I would surely have abandoned [ā¦] with my work I have discovered everything that I imagined existed in the world; and little by little I have been penetrating into life and its things […] I think I am a little in the middle of it all as a simple spectator; As a photographer I am in a privileged place. [ā¦] In addition to all this, I am also one of those who think, with modesty, that I am contributing something to life and history. Having reached this conclusion, it should be added that it is also necessary to say something; that this testimony alone as such is not enough [ā¦] photography is also a utilitarian art.”
~ Francisco OntaĆ±Ć³n, translated from the Spanish by Google Translate
Francisco OntaĆ±Ć³nĀ (Barcelona, Spain, 1930 – Madrid, Spain, 2008) Sans TitreĀ (Madrid) (No Title [Madrid]) 1963 (May) / posthumous print, 2013 Selenium-toned chlorobromide print on fibre-based paper 25.6 x 38.4cm
Francisco OntaĆ±Ć³nĀ (Barcelona, Spain, 1930 – Madrid, Spain, 2008) Sans TitreĀ (Madrid) (No Title [Madrid]) 1964-65 / posthumous print, 2013 From the seriesĀ Vivir en Madrid (Living in Madrid) Selenium-toned chlorobromide print on fibre-based paper 25.4 x 38.2cm
Francisco OntaĆ±Ć³nĀ (Barcelona, Spain, 1930 – Madrid, Spain, 2008) Sans TitreĀ (Madrid) (No Title [Madrid]) 1964-65 / posthumous print, 2013 From the seriesĀ Vivir en Madrid (Living in Madrid) Selenium-toned chlorobromide print on fibre-based paper 25.7 x 38.4cm
Francisco OntaĆ±Ć³nĀ (Barcelona, Spain, 1930 – Madrid, Spain, 2008) Sans TitreĀ (Madrid) (No Title [Madrid]) 1964 / posthumous print, 2013 From the seriesĀ Vivir en Madrid (Living in Madrid) Selenium-toned chlorobromide print on fibre-based paper 25.6 x 38.5cm
Francisco OntaĆ±Ć³nĀ (Barcelona, Spain, 1930 – Madrid, Spain, 2008) 600 en Casa de Campo con familia (Madrid) (Outing to Casa de Campo in the 600, with Family [Madrid]) 1964-65 / posthumous print, 2013 From the seriesĀ Vivir en Madrid (Living in Madrid) Selenium-toned chlorobromide print on fibre-based paper 25.5 x 37.7cm
Francisco OntaĆ±Ć³nĀ (Barcelona, Spain, 1930 – Madrid, Spain, 2008) Parque Sindical (Madrid) (Parque Sindical Sports Area [Madrid]) 1964 / posthumous print, 2013 From the seriesĀ Vivir en Madrid (Living in Madrid) Selenium-toned chlorobromide print on fibre-based paper 25.5 x 38.1cm
Francisco OntaĆ±Ć³nĀ (Barcelona, Spain, 1930 – Madrid, Spain, 2008) Entierro (Madrid) (Burial [Madrid]) 1967 / posthumous print, 2013 From the seriesĀ Vivir en Madrid (Living in Madrid) Selenium-toned chlorobromide print on fibre-based paper 25.5 x 38.1cm
VV.AA. Madrid Barcelona, Industries Graphiques Seix i Barral 1937
“RamĆ³n Masats’ work dovetails with the end of the autarchy of the Franco regime and new policy of openness, which the photographer captured with a dynamic, unflinching language.”
“Masats, a man of few words, phlegmatic and stubborn in his convictions, coherent in his eye-heart connection, created a photographic legacy that is essential to understanding the development of graphic reporting in Spain.”
~ Chema Conesa
Mario Vargas Llosa (Peruvian, b. 1936) (text),Xavier Miserachs (Spanish, 1937-1988) (photographs) Los cachorros 1967 Barcelona: Lumen, colecciĆ³n Palabra e Imagen
Anonymous. “Xavier Miserachs,” on the MACBA Museu d’Art Contemporani de Barcelona website Nd [Online] Cited 23/12/2014. Used under fair use conditions for the purposes of education and research
Salvador Costa (Spanish, 1948-2008) and Jordi Valls (Spanish) Sans Titre 1977 From the seriesĀ Punk
Salvador Costa (Spain, 1948-2008)
Salvador Costa (Barcelona, 1948-2008), photographer and author of one of the seminal photo-books on the international punk phenomenon. In the spring of 1977, called by his cousin Jordi Valls, he was a direct witness to its emergence in London, attending in the span of just a few days numerous concerts held in the British capital in venues such as the Roxy, where he documented with his camera not only the performances of Cherry Vanilla, The Cortinas, Generation X, The Jam, Johnny Mopped, The Lurkers, Models, The Polices, XTC, and The Strangles, but also the audience who became the undisputed protagonists of his shots, including Johnny Rotten of the Sex Pistols as well just hanging out.
Anonymous. “Salvador Costa,” on the Archivo Lafuente website Nd [Online] Cited 23/12/2014. Used under fair use conditions for the purposes of education and research
Salvador Costa (Spanish, 1948-2008) and Jordi Valls (Spanish) Punk Barcelona: Producciones Editoriales, colecciĆ³n Especial Star Book 1977
Museo Nacional Centro de Art Renia Sofia Calle Santa Isabel, 52 28012 Madrid
Artists: Andrew Blythe, Kellie Greaves, Julian Martin, Jack Napthine, Lisa Reid, Martin Thompson and Terry Williams
Curator: Joanna Bosse
Martin Thompson (New Zealand, b. 1956) Untitled 2014 Ink on paper 52.5 x 105cm Courtesy the artist and Brett McDowell Gallery, Dunedin
This is a gorgeous exhibition at The Ian Potter Museum of Art. Walking through the show you can’t help but have a smile on your face, because the work is so inventive, so fresh, with no pretension to be anything other than, well, art.
There are big preconceptions about ‘Outsider art’, originally art that was made by institutionalised mentally ill people, but now more generally understood as art that is made by anyone outside the mainstream of art production – “artworks made by folk artists and those who are self-taught, disabled, or on the edges of society” who are disenfranchised in some way or other, either by their own choice or through circumstance or context.
Outsider art promotes contemporary art while still ‘tagging’ the artists as “Outsider” ā just as you ‘tag’ a blog posting so that a search engine can find a specific item if it is searched for online. It is a classification I have never liked (in fact I abhor it!) for it defines what you are without ever understanding who you are and who you can become ā as an artist and as a human being. One of the good things about this exhibition is that it challenges the presumptions of this label (unfortunately, while still using it).
As Joanna Bosse notes in her catalogue essay, “Most attempts to define the category of Outsider art include caveats about the elasticity of borders and the impact of evolving societal and cultural attitudes… The oppositional dialectic of inside/outside is increasingly acknowledged as redundant and, in a world marked by cultural pluralism, many question the validity of the category.”1 Bosse goes on to suggest that, with its origins in the term art brut (the raw and unmediated nature of art made by the mentally ill), Outsider art reinforces the link between creativity, marginality and mental illness, proffering “the notion of a pure form of creativity that expresses an artist’s psychological state [which] is a prevailing view that traverses the divergent range of creative practice that falls under the label.”2
The ambiguities of art are alwaysĀ threatened by a label, never more so than in the case of “Outsider art”. For example, how many readers who visited theĀ Melbourne NowĀ exhibition at NGV International and saw the magnificent ceramic cameras by Alan Constable would know that the artist is intellectually disabled, deaf and nearly blind. Alan holds photographs of cameras three inches away from his eyes and scans the images, then constructs his cameras by feel with his hands, fires them and glazes them. The casual viewer would know nothing of this backstory and just accepts the work on merit. Good art is good art no matter where it comes from. It is only when you enquire about the history of the artist ā whether mainstream or outsider ā that their condition of becoming (an artist) might affect how you contextualise a work or body of work.
Bosse makes comment about the rationale for the exhibition: “The decision to focus on artists’ engagement with the exterior, everyday world was to counter one of the common assumptions about artists in this category ā that they are disconnected from society and that their work is solely expressionistic, in that it relates almost exclusively to the self and the expression of the artist’s emotional inner life.”3 Bosse agrees with the position that to simply eliminate the designation would be a different kind of marginalisation ā “one where the unique world view and specific challenges the individual faces would become lost in a misguided attempt at egalitarianism.”4
As chair of a panel session at the international conference Contemporary Outsider Art: The Global Context, 23-26th October at The University of Melbourne, curator Lynne Cooke also sees the classification “Outsider” as valuable, for “Outsider art is the condition that contemporary art wants to be” ā that is imaginative, free, intuitive, visceral and living on the edge. She sees contemporary art as having run up the white flag leaving Outsider art ā however you define that (not the white, middle class male establishment, and belonging to the right galleries) ā to be the vanguard, the new avant-garde.5 The exhibition catalogue concludes with her observation that, while current curatorial strategies breakdown the distinctions between ‘inside’ and ‘outside’ ā making significant headway concerning stigmatisation – these might have the effect of loosing what she describes as the “‘unique and crucial agency’ that this art has to challenge the ‘monocultural frame’.”6 These artists positions as ‘circuit breakers’, holding counter culture positions, may be threatened as their work is made ready for market, especially if they have little knowledge of it themselves.
And there’s the rub, right there. On the one hand Outsider art wants to be taken seriously, the people promoting it (seldom the artists) want it to be shown in mainstream galleries like the National Gallery of Victoria, and so it should be. Good art is good art not matter what. But they also want to have their cake and eat it too; they want to stand both inside and outside the frame of reference.7 In other words, they promote Outsider art within a mainstream context while still claiming “marginal” status, leveraging funding, philanthropy, international conferences and standing in the community as evidence of their good work. And they do it very successfully. Where would we be without fantastic organisations such as Arts Project Australia and Arts Access Victoria to help people with a disability make art? Can you imagine the Melbourne Art Fair without one of the best stands of the entire proceedings, the Arts Project Australia stand? While I support them 100% I am playing devil’s advocate here, for I believe it’s time that the label “Outsider art” was permanently retired. Surely, if we live in a postmodern, post-human society where there is no centre and no periphery, then ‘other’ can occupy both the centre and the margins at one and the same time WITHOUT BEING NAMED AS SUCH!
[Of course, naming “Outsider art” is also a way of controlling it, to have agency and power over it ā the power to delineate, classify and ring fence such art, power to promote such artists as the organisations own and bring that work to market.]
Getting rid of the term Outsider art is not a misguided attempt at egalitarianism as Joanna Bosse proposes, for there will always be a narrative to the work, a narrative to the artist. The viewer just has to read and enquire to find out. Personally, what I find most inspiring when looking at this art is that you are made aware of your interaction with the artist. The work is so immediate and fresh and you can feel the flowering of creativity within these souls jumping off the page.
For any artist, for any work, what we must do is talk about the specific in relation to each individual artist, in relation to the world, in relation to reality and resist the temptation to apply any label, resist the fetishisation of the object (and artist) through that label, absolutely. This is the way forward for any art. May the nomenclature “outsider” and its discrimination be gone forever.
Dr Marcus Bunyan
Footnotes
1/ Bosse, Joanna. Everyday imagining: new perspectives on Outsider art. Catalogue essay. The Ian Potter Museum of Modern Art.
2/ Ibid.,
3/ Ibid.,
4/ Ibid.,
5/ Cooke, Lynne. Senior Curator, Special Projects in Modern Art, National Gallery of Art, Washington, DC.Ā My notesĀ from the panel session “Outsider Art in the Centre: Museums and Contemporary Art,”Ā atĀ Contemporary Outsider Art: The Global Context,Ā 23-26th October at The University of Melbourne.
6/ Cooke, Lynne. “Orthodoxies undermined,” in Great and mighty things: Outsider art from the Jill and Sheldon Bonovitz collection. Philadelphia Museum of Art, 2013, p. 213 quote in Bosse, Joanna, op. cit.,
7/ An example of this can be seen in the launch of the new magazine artsider ā “Arts Access Victoria in Partnership with Writers Victoria invites you to the Launch of artsider, a magazine devoted to outsider art and writing.” What a clumsy title that seeks to have a foot in both camps. Email received from Arts Access Victoria 19/11/2014.
Many thankx to The Ian Potter Museum of Art for allowing me to publish the photographs in the posting. Please click on the photographs for a larger version of the image.
Andrew Blythe (New Zealand, b. 1962) Untitled 2012 Synthetic polymer paint on paper 88 x 116cm Courtesy the artist and Tim Melville Gallery, Auckland
Terry Williams (Australian, b. 1952) Stereo 2011 Vinyl fabric, cotton, stuffing and fibre-tipped pen 21 x 43 x 14cm Private collection, Melbourne. Courtesy the artist and Arts Project Australia, Melbourne
Terry Williams (Australian, b. 1952) Telephone 2011 Fabric, cotton, stuffing and fibre-tipped pen 18 x 13 x 20cm Private collection, Melbourne. Courtesy the artist and Arts Project Australia, Melbourne
An exhibition of Australian and New Zealand ‘Outsider’ artists which challenges a key existing interpretation of the genre will be presented at the Potter Museum of Art at The University of Melbourne, from 1 October 2014 to 15 January 2015. Everyday imagining: new perspectives on Outsider art, features the work of artists Andrew Blythe, Kellie Greaves, Julian Martin, Jack Napthine, Lisa Reid, Martin Thompson and Terry Williams.
The term ‘Outsider art’ was coined by British art historian Roger Cardinal in 1972 expanding on the 1940s French concept of art brut –Ā predominantly artworks made by the institutionalised mentally ill – to include artworks made by folk artists and those who are self-taught, disabled, or on the edges of society.Ā The work of Outsider artists is often interpreted as expressing a unique inner vision unsullied by social or cultural influences. Everyday imagining: new perspectives on Outsider art counters this view by presenting contemporary Outsider artists whose works reveal their proactive engagement with the everyday world through artworks that focus on day-to-day experiences.
Curator Joanna Bosse says the exhibition questions a key interpretive bias of Outsider art that is a legacy of its origins in art brut.
“The association with an interior psychological reality that is unsullied by social or cultural influences remains deeply embedded within the interpretations of Outsider art today, and can lead audiences to misinterpret the agency and intention of the artist. Everyday imagining: new perspectives on Outsider art questions this key interpretive bias, and presents the work of Australian and New Zealander outsider artists that demonstrate a clear and proactive engagement with the world.Ā The work of artists Andrew Blythe, Kellie Greaves, Julian Martin, Jack Napthine, Lisa Reid, Martin Thompson and Terry Williams reveals their blatant interest in the here and now,” Ms Bosse said.
Terry Williams’ soft fabric sculptures of everyday items such as fridges, cameras and clocks convey his keen observation of the world and urgent impulse to replicate what is meaningful through familiarity or fascination. Kellie Greaves’ paintings are based on book cover illustrations with the addition of her own compositional elements and complementary tonal colour combinations. The traditional discipline of life-drawing provides Lisa Reid with a structure to pursue her interest in recording the human figure. Her pen and ink drawings are carefully observed yet intuitive renderings.
Jack Napthine produces drawn recollections of his past and present daily life in the form of visual diaries. Light fittings from remembered environments feature prominently as do doors with multiple and varied locks. Napthine’s work has a bold economy of means; he uses thick texta pen to depict simplified designs accompanied by text detail that often records the names of friends and family.
The work of Martin Thompson and Andrew Blythe also displays a similarly indexical approach. Both artists produce detailed repetitive patterns that are borne out of a desire for order and control. Thompson uses large-scale grid paper to create meticulous and intricate geometric designs whereas Blythe uses select motifs – the word ‘no’ and the symbol ‘x’ ā to fill the pictorial plane with dense yet orderly markings that result in graphic and rhythmic patterns.
“In the last decade in particular there has been much debate about the term ‘outsider art’: who does it define? What are the prerequisite conditions for its production? What is it outside of, and who decides? This exhibition doesnāt seek to resolve these ambiguities or establish boundaries, but looks beyond definitions to challenge a key assumption underlying contemporary interpretations of outsider art,” Ms Bosse said.
Everyday imagining: new perspectives on Outsider art is held in conjunction with the international conference Contemporary Outsider art: the global context, presented Art Projects Australia and The University of Melbourne and held 23-26 October at TheĀ University of Melbourne. The conference proposes an inter-disciplinary exploration of the field, drawing on the experience and knowledge of Australian and international artists, collectors, curators and scholars.
Press release from The Ian Potter Museum of Art
Julian Martin (Australian, b. 1969) Untitled 2011 Pastel on paper 38 x 28cm Courtesy the artist and Arts Project Australia, Melbourne
Kelly Greaves My little Japan 2010 Synthetic polymer paint on paper 59.4 x 42cm Courtesy the artist and Art Unlimited, Geelong
Jack Napthine (Australian, b. 1975) Untitled 2013 Fibre-tipped pen on paper 59.4 x 42cm Courtesy the artist and Art Unlimited, Geelong
Jack Napthine (Australian, b. 1975) Untitled 2013 Fibre-tipped pen on paper 42 x 59.4cm Courtesy the artist and Art Unlimited, Geelong
Lisa Reid (Australian, b. 1975) Queen of hearts 2010 Pencil on paper 35 x 25cm Courtesy the artist and Arts Project Australia, Melbourne
The Ian Potter Museum of Art The University of Melbourne, Corner Swanston Street and Masson Road Parkville, Victoria 3010
Exhibition dates:Ā 17th October – 7th December, 2014
Artists: Micky Allan, Pat Brassington, Virginia Coventry, Sandy Edwards, Anne Ferran, Sue Ford, Christine Godden, Helen Grace, Janina Green, Fiona Hall, Ponch Hawkes, Carol Jerrems, Merryle Johnson, Ruth Maddison, Julie Rrap, Robyn Stacey.
Curator: Shaune Lakin
Christine GoddenĀ (Australian, b. 1947) Joanie pregnant 1972 From the series Family Gelatin silver print 15.3 x 22.6cm Courtesy of the artist
With the National Gallery of Victoria’s photography exhibition program sliding into oblivion ā the apparent demise of its only dedicated photography exhibition space on the 3rd floor of NGV International; the lack of exhibitions showcasing ANY Australian artists from any era; and the exhibition of perfunctory overseas exhibitions of mediocre quality (such as the high gloss, centimetre deep Alex Prager exhibition on show at the moment at NGV International) ā it is encouraging that Monash Gallery of Art consistently puts on some of the best photography exhibitions in this city. This cracker of an exhibition, the last show curated by Shaune Lakin before his move to the National Gallery of Australia (and his passionate curatorial concept), is no exception. It is one of the best photography exhibitions I have seen all year in Melbourne.
Most of the welcome, usual suspects are here… but seeing them all together is a feast for the eyes and the intellect. While most are social documentary based photographers what I like about this exhibition is that there is little pretension here. The artists use photography as both a means and an end, to tell their story ā of mothers, of workers, of dancers, of lovers ā and to depict a revolution in social consciousness. What we must remember is the period in which this early work appeared. In the 1970s in Australia there were no formal photography programs at university and photography programs in techs and colleges were only just beginning: Photography Studies College (1973) in South Melbourne, Prahran College of Advanced Education (Paul Cox, John Cato, 1974) and Preston Tech (c. 1973, later Phillip Institute) were all set up in the early 1970s. The National Gallery of Victoria photography department was only set up in 1969 (the third ever in the world) with Jenny Boddington, Assistant Curator of Photography, was appointed in 1972 (later to become the first full time photography curator). There were three commercial photography galleries showing Australian and international work in Melbourne: Brummels (Rennie Ellis), Church Street Photographic Centre (Joyce Evans) and The Photographers Gallery (Paul Cox, John Williams, William Heimerman and Ian Lobb). While some of the artists attended these schools and others were self taught, few had their own darkroom. It was not uncommon for people to develop their negatives and print in bathrooms, toilets, backyard sheds and alike ā and the advise was to switch on the shower before printing to clear the dust out of the air, advise in workshops that people did no bat an eyelid at.
What these women did, as Julie Millowick (another photographer who should have been in this exhibition, along with Elizabeth Gertsakis and Ingeborg Tyssen for example) observes of the teaching of John Cato, was “bring to the work knowledge that extended far beyond picking up a camera or going into a darkroom. He [Cato] believed that you must bring to every image you create a wide depth of insight across social, cultural and historical concerns. John was passionate in his belief that an understanding of humanity and society was crucial to our growth as individuals, and ultimately our success as photographers.”1 And so it is with these artists. Never has there been a time in Australian photography when so much social change has been documented by so few for such great advantage. In all its earthiness and connection, the work of these artists is ground breaking. It speaks from the heart for the abused, for the disenfranchised and downtrodden. The work is not only for women by women, as Ponch Hawkes states, but also points the way towards a more enlightened society by opening the eyes of the viewer to multiple points of view, multiple perspectives.
There are few “iconic” images among the exhibition and, as Robert Nelson notes in his review inĀ The Age, little pretension to greatness. One of the surprising elements of the exhibition is howĀ the four photographs byĀ Carol Jerrems (including the famous Vale Street, 1975), seem to loose a lot of their power in this company. They are out muscled in terms of their presence by some of the more essential and earthy series ā such as Women at work by Helen Grace andĀ Our mums and us by Ponch Hawkes ā and out done in terms of their sensuality by the work of Christine Godden. These were my two favourite bodies of work: Our mums and usĀ and Christine Godden’s sequence of 44 images and the series Family.
The work of Christine Godden was a revelation to me. These small, intense images have a powerful magnetism and I kept returning to look at them again and again. There is sensitivity to subject matter, but more importantly a sensuality in the print that is quite overwhelming. Couple this with the feeling of light, space, form and texture and these sometimes fragmentary photographs are a knockout. Just look at the sensitivity of the hands in Untitled,c. 1976. To see that, to capture it, to reveal it to the world ā I was almost in tears looking at this photograph. The humanity of that gesture is something that I will treasure.
The only criticism of the exhibition is the lack of a book that addresses one of the most challenging times in Australian photographic history. This important work deserves a fully researched, scholarly publication that includes ALL the players in the story, not just those represented here. It’s about time. As a good friend of mine recently said, “Circles must expand as history moves away from a generation and cohort and, hopefully, the future will ask its own questions” … and I would add, without putting the blinkers on and creating more ideology.
Dr Marcus Bunyan
Footnotes
1/ Julie Millowick and Christopher Atkins. “Dr John Cato – Educator,” in Paul Cox and Bryan Gracey (eds.,). John Cato Retrospective. Melbourne: Wilkinson Publishing, 2013.
“As feminism took off among intellectuals of both sexes, art history would sometimes be interrogated to account for the reasons why there were relatively few great female artists.
While art historians would create reasonable apologies and impute the deficit to centuries of disadvantage to women, it was left to women artists to construct a view of art that redefined the stakes.
They sought a vision that didn’t see art as line-honours in transcendent inventions but a conversation that furthered the sympathy and consciousness of the community”
Robert Nelson The AgeĀ Wednesday November 5, 2014
Pat BrassingtonĀ (Australian, b. 1942) Untitled 1984 (1) From the series 1 + 1 = 3 Gelatin silver print 18 x 28cm Monash Gallery of Art, City of Monash Collection Courtesy of the artist, ARC ONE Gallery (Melbourne), Stills Gallery (Sydney) and Bett Gallery (Hobart)
Helen Grace Women at work, Newcastle 1976 From the series Series 1 Gelatin silver prints 17.5 x 11.6cm (each) Courtesy of the artist
Helen Grace Women at work, Newcastle 1976 From the seriesĀ SeriesĀ 2 Gelatin silver prints 11.6 x 17.5cm (each) Courtesy of the artist
Helen Grace Women at work, NewcastleĀ (detail) 1976 From the seriesĀ SeriesĀ 2 Gelatin silver prints 11.6 x 17.5cm (each) Courtesy of the artist
Helen Grace was a member of the Sydney-based feminist collective Blatant Image (which also included Sandy Edwards), which formed around the Tin Sheds at Sydney University. The collective was interested in examining and reconfiguring the representation of women in popular culture, and also in developing alternative venues for socially conscious art and film. The photographs displayed here point to the two interconnected preoccupations of Grace’s work at this time: the social and cultural construction of motherhood and femininity (and the way that each of these categories are produced by and through consumerism and popular culture), and the documentation of women’s labour. An active member of Sydney’s labour movement, Grace photographed women working in a range of workplaces (including factories and hospitals) for both the historical record and as promotional aids for activist organisations.
Grace’s Women seem to adapt to repetitive-type tasks was widely shown in Sydney and Melbourne, including the exhibition The lovely motherhood show (1981). This work of seven panoramas depicting a string of nappies on a washing line at once points towards the inexorable tediousness of motherhood, and at the same time attempts to demystify the romantic myths of motherhood found in contemporary advertising and popular culture. Grace’s photographs were also widely used in posters produced by trade union and women’s groups. During the 1970s and 1980s screen printing was a cheap and effective way to incorporate photographic imagery into posters. Community groups also embraced screen printing because its aesthetic stood in opposition to commercial advertising, and the process lent itself to a do-it-yourself work ethic.
Merryle JohnsonĀ (Australian, b. 1949) Outside the big top 1979-1980 From the seriesĀ Circus Hand coloured gelatin silver prints Monash Gallery of Art, City of Monash Collection Donated by Merryle Johnson, 2014
Merryle Johnson‘s photographic feminism sits alongside her contemporaries Micky Allan and Ruth Maddison. In the first instance, it is expressed in the autobiographical nature of her images, which often refer to her family history. And like Allan and Maddison, Johnson also used hand-colouring to reinvigorate documentary photography and to bring a decidedly female perspective to the medium. Johnson’s contribution to feminist photography in Australia is also reflected in her use of photographic sequences ā multiple images printed on the same sheet. In these works, the single, perfectly realised photographic image of Modernist photography was replaced with a series of images that draw attention to the fragmentary, contingent and inconclusive nature of photography. The serialisation of photographs also engages a more embodied, spatialised and assertive experience than single pictures alone.
Christine GoddenĀ (Australian, b. 1947) Joanie and baby Jade, Larkspur 1973 From the series Family Gelatin silver print 8.4 x 13.8cm Courtesy of the artist
Christine GoddenĀ (Australian, b. 1947) Untitled c. 1976 Gelatin silver print 15.3 x 22.8cm Courtesy of the artist
Christine GoddenĀ (Australian, b. 1947) Untitled c. 1976 Gelatin silver print 15.2 x 22.7cm Courtesy of the artist
Christine GoddenĀ (Australian, b. 1947) Untitled c. 1976 Gelatin silver print 15.2 x 22.8cm Courtesy of the artist
Christine Godden‘s Untitled c. 1976 is part of a sequence of 44 images that represented fragments and textures that combine tenderness and formal rigour in a way that evokes a sense of poetry. The series Family c. 1973 details the domestic environment and experience of young families in the American West.
As well as presenting subjects that engaged a ‘feminine’ subject, Godden’s photographs critically interrogate many of the claims for a distinctly ‘feminine sensibility’ being made by and for women artists at this time. The ‘Untitled’ prints on display here were originally exhibited in 1976 at George Paton Gallery, Melbourne and the Australian Centre for Photography in Sydney. These pictures were originally shown as part of a tightly organised sequence of 44 photographs intended to show ‘how women see [and] how women think’. The tightly cropped glimpses of bodies and textures combine tenderness and formal rigour in a way that evokes a sense of visual poetry.
Christine Godden’s Family series comprises a large number of images detailing the domestic environment and experience of young families living in the American west. Godden was at this time a student at the San Francisco Art Institute and was very active in feminist networks, including the Advocates for Women organisation, for whom she photographed events and actions. Godden’s Family series documents her experience of the counter-cultural families of America’s west coast, who provided and celebrated a new model of family life and women’s work.
Installation view of Photography Meets Feminism at the Monash Gallery of Art with, at right,Ā Anne Ferran’sĀ Scenes on the death of nature, scene I and IIĀ (1980-1986) Photo: Marcus Bunyan
Anne FerranĀ (Australian, b. 1949) Scenes on the death of nature, scene I 1980-1986 Gelatin silver print 122 x 162cm Monash Gallery of Art, City of Monash Collection Courtesy the artist and Sutton Gallery (Melbourne)
Anne Ferran‘s series Scenes on the death of nature presents five tableau-like scenes showing the artist’s daughter and her friends in classical dress. When they were first exhibited, commentators noted the enigmatic quality of the images, and how they resisted clear meaning, narrative and any attribute of personal style. To many, they represented a significant shift away from documentary photography. This might well be the ‘death’ to which the titles refer. For the critic Adrian Martin, the pictures appeared to evoke myth, while also being ambivalent about a photograph’s capacity to point to or allude to anything outside of itself; in this way, they can be seen to exemplify a certain post-modern approach to photography.
All the same, it is possible to see these important pictures as signposts for another kind of death. The photographs allude to some of the ways that the subject of girl/woman has been produced through visual culture, whether the monumental friezes of classical or Victorian architecture, or Pre-Raphaelite tableaux. In this way, they evoke the idea of ‘femininity’ as a source of meaning. Rather than rejoicing in, resisting or critiquing ‘femininity’ as earlier feminist photographers might have done, Ferran’s pictures remain steadfastly, even ‘passively’ ambivalent. As the artist wrote at the time, the works reveal ‘very little of a personal vision or private sensibility’.
Wall text
Installation view of four Carol Jerrems photographs with Vale Street (1975) at left andĀ Lynn (1976) at right in the exhibition Photography Meets Feminism at the Monash Gallery of Art Photo: Marcus Bunyan
Carol Jerrems was one of a number of Australian women whose work during the 1970s challenged the dominant ideas of what a photographer was and how they worked. She adopted a collaborative approach to making photographs, which often featured friends and associates, and sought a photographic practice that would bring about social change. For Jerrems, as for many of her contemporaries, the photograph was an agent of social change, a means of both bringing people together and creating active and engaged social relationships. As she stated:
“I really like people … I try to reveal something about people, because they are so separate, so isolated; maybe it’s a way of bringing people together … I care about [people], I’d like to help them if I could, through my photographs…”
The iconic Vale Street shows Jerrems’s friend Catriona Brown standing in front of Mark Lean and Jon Bourke, teenage boys from Heidelberg Technical School where Jerrems was teaching at the time. The photograph was taken at a house in Vale Street, St Kilda. Although it is unclear if Jerrems conceived of this image as a feminist gesture, the subject’s assertive, bare-chested pose and Venus symbol led to this photograph being interpreted as a statement of feminist power.
Installation views of Photography Meets Feminism at the Monash Gallery of Art Photos: Marcus Bunyan
Installation view of Ponch Hawkes series Our mums and us at the exhibition Photography Meets Feminism. Her photographs were made by women, of women, for women Photo: Marcus Bunyan
Ponch HawkesĀ (Australian, b. 1946) Ponch and Ida 1976 From the series Our mums and us Gelatin silver print 17.7 x 12.7cm Monash Gallery of Art, City of Monash Collection Donated through the Australian Government’s Cultural Gifts Program by Ian Bracegirdle 2012 Courtesy of the artist
Ponch HawkesĀ (Australian, b. 1946) Lorna and Mary 1976 From the seriesĀ Our mums and us Gelatin silver print 17.7 x 12.7cm Monash Gallery of Art, City of Monash Collection Donated through the Australian Government’s Cultural Gifts Program by Ian Bracegirdle 2012 Courtesy of the artist
Ponch HawkesĀ (Australian, b. 1946) Mimi and Dany 1976 From the seriesĀ Our mums and us Gelatin silver print 17.7 x 12.7cm Monash Gallery of Art, City of Monash Collection Donated through the Australian Government’s Cultural Gifts Program by Ian Bracegirdle 2012 Courtesy of the artist
Ponch Hawkes‘s best-known series Our mums and us documents a selection of the photographer’s contemporaries standing with their mothers. The photographs were taken at each subject’s family home and record generational shifts in personal style and domestic decor. Originally shown at Brummels Gallery of Photography in 1976, which was Hawkes’s first solo exhibition, Our mums and us has become one of the most celebrated examples of feminist photography in Australia.
The use of pronouns in the title suggests the series was made by women, of women and for women; it is a defiant and celebratory feminist gesture, which foregrounds women as at once independent and connected to each other. Reflecting on the series, Hawkes explains that ‘feminism helped me to understand that my mother was actually a woman too, and not just a mother, and Our mums and us came out of that realisation.’
Ephemera and books from Ponch Hawkes personal collection, including the cover of the seminal book A Book About Australian Women by Carol Jerrems and Virginia FraserĀ (Melbourne, 1974) Photos: Marcus Bunyan
Ruth MaddisonĀ (Australian, b. 1945) Vehicle Builders Union Ball, Collingwood Town Hall, Melbourne 1979 From the series Let’s dance Gelatin silver print 27.0 x 18.0cm Collection of the artist Courtesy of the artist
Ruth MaddisonĀ (Australian, b. 1945) Women’s dance, St Kilda Town Hall, Melbourne 1985 Gelatin silver print 36.5 x 24.5cm Courtesy of the artist
Ruth Maddison photographed the social spaces that had been important to activist communities but which were in the process of passing away. These were mainly commissioned projects for labour and social movements, otherwise these histories would have been lost.
Dancing and entertainment were features of Ruth Maddison’s work throughout the 1980s. These photographs reflected Maddison’s own social life, which often revolved around Melbourne’s pubs and nightclubs. But there was also a classical documentary function to her photographs of trade union dances and the annual women’s dance at St Kilda Town Hall. These pictures reflected social spaces that had been important to activist communities, but which by the mid-1980s were in the process of passing away; as women’s groups began to fragment, and as the membership of labour organisations changed. The photographs shown here of the Vehicle Builders’ Union Ball at Collingwood Town Hall were part of a commission. Like many photographers in this exhibition (including Helen Grace, Sandy Edwards and Ponch Hawkes), political affiliation and professional practice often came together in commissioned projects for labour and social movements.
Virginia CoventryĀ (Australian, b. 1942) Miss World televised 1974 Gelatin silver print 15.5 x 13.5cm (each) Courtesy of the artist
Miss World televised is typical of Virginia Coventry‘s photographic work from this period, which tended to revolve around tightly organised sequences of pictures of the same subject (swimming pools in a Queensland town; the spaces between houses) or an event (a car moving through a carwash; a receding flood).
At the time, Coventry shared a house with Micky Allan. One night, while watching Allan’s black-and-white television, she saw footage of the 1974 Miss World pageant on the news. Immediately taken by the way the poor reception distorted the bodies of the contestants, Coventry began to photograph the footage. Once she developed the film, she realised the visual ‘disruption’ caused by the incongruity of the telecast process and the camera’s shutter speed obscured the figures and the beauty of the contestants, without necessarily deriding or critiquing the women themselves. As Coventry has written of the pictures: “I remember discussions with other women at the time about the way that the distortions offered a protection to the integrity of the actual person in the photo-images. Because of the radical slippage between reportage and reception, the individual is no longer the subject. The title operates to focus attention on Miss World telecast as a quite abstract construction ā as do the black-and-white, grainy, prints.”
PHOTOGRAPHY MEETS FEMINISM: Australian women photographers 1970s-80s looks at the vital relationship of photography and feminism in Australia during the 1970s and ’80s.
Given the vitality of both feminist politics and art photography during the 1970s, it is not surprising that they entered into a lively exchange that extended into the 1980s. On the one hand, feminists used the highly informative and accessible medium of photography to raise awareness of critical social issues.
On the other hand, photographic artists embraced feminist themes as a way of making their practice less esoteric and more engaged with contemporary life. This productive intersection of feminism and photography fostered a range of technical innovations and critical frameworks that made a significant contribution to the direction of visual culture in Australia.
PHOTOGRAPHY MEETS FEMINISM: Australian women photographers 1970s-80s will feature vintage prints of important photographs, many of which have not been seen for decades.
MGA Interim Director, Stephen Zagala states, “We are proud to present this exhibition, which provides an as-yet untold account of Australian photography and draws heavily on MGA’s nationally significant collection of Australian photography.”
Press release from the Monash Gallery of Art
This exhibition explores the encounter between photography and feminist politics during the 1970s and into the 1980s.
Both photography and feminism thrived during this period. Feminist politics of the 1970s expanded on its earlier fight for equal rights by illuminating discrimination against women in various contexts. This included addressing domestic violence, inequality in the workplace, sexism in the media, and the economics of parenting. Alongside this expanded critique of patriarchy, feminist politics also celebrated ‘sisterhood’ by drawing attention to the undervalued achievements of women and by taking pride in distinctly female perspectives on the world.
Photographic practice also expanded its parameters during the 1970s. Together with other art forms such as painting and sculpture, photography became more experimental and irreverent. Most photographic artists rejected the tradition of highbrow fine art photography and invested the medium with personal sentiment and everyday content. The camera also became a useful tool for a generation of artists more interested in social engagement than aesthetic finesse.
Given the vitality of both feminist politics and art photography during the 1970s, it is not surprising that they entered into a lively exchange that extended into the 1980s. On the one hand, feminists used the highly informative and accessible medium of photography to raise awareness of critical social issues. On the other hand, photographic artists embraced feminist themes as a way of making their practice less esoteric and more engaged with contemporary life. This productive intersection of feminism and photography fostered a range of technical innovations and critical frameworks that made a significant contribution to the direction of visual culture in Australia.
Text from the Monash Gallery of Art website
Sue FordĀ (Australian, 1943-2009) Untitled 1969-1971 From the seriesĀ The Tide Recedes Selenium toned gelatin silver print
Sue FordĀ (Australian, 1943-2009) Untitled 1969-1971 From the seriesĀ The Tide Recedes Selenium toned gelatin silver print
Sue Ford‘s series The Tide Recedes 1969-1971 was made for her first solo exhibition at the Hawthorn City Art Gallery in 1971. People were becoming more removed from nature but Ford felt that woman share a particular biological and cultural affinity with nature. The contrasty black and white photographs of bodies melding with rocks in montage prints that are as rough as guts work magnificently.
These prints were made as preparation for Sue Ford’s ambitious series The tide recedes, shown as part of Ford’s first solo exhibition at the Hawthorn City Art Gallery in 1971. Throughout this body of work, images of naked women and of men and women embracing merge with a marine landscape. The series expresses Ford’s concern that people were becoming too removed from nature, and allude to the idea that women share a particular biological and cultural affinity with nature. It also draws on a technique that was central to feminist photographic practice ā montage, where two disparate fragments are brought together to produce new and often unexpected meanings. While this reflects Ford’s work as a film maker, where montage is often used in storytelling, this strategy also embeds her pictures in the field of activist art. With montage, it is the viewer who ultimately makes sense of a work, as they find and see connections between disparate fragments.
While the prints presented in the 1971 exhibition were ambitious in scale and resolution, Ford preferred prints that were ā in her terms ā ‘rough as guts’. Prints such as those shown here represented an explicit rejection of the maleness of both the camera as a technological instrument and the arcane knowledge of the darkroom.
Robyn StaceyĀ (Australian, b. 1952) Queensland out west 1982 Hand-coloured gelatin silver prints 9.2 x 15.2cm (each) Courtesy of the artist and Stills Gallery (Sydney)
Robyn StaceyĀ (Australian, b. 1952) Queensland out westĀ (details) 1982 Hand-coloured gelatin silver prints 9.2 x 15.2cm (each) Courtesy of the artist and Stills Gallery (Sydney)
Robyn StaceyĀ (Australian, b. 1952) Untitled (Geoff in Bondi) 1981 From the series Modified myths 1938-1988 Hand-coloured gelatin silver print 39.0 x 38.3cm Courtesy of the artist and Stills Gallery (Sydney)
Robyn StaceyĀ (Australian, b. 1952) Untitled (Picnic) 1981 From the series Modified myths 1938-1988 Hand-coloured gelatin silver print 39.0 x 38.3cm Courtesy of the artist and Stills Gallery (Sydney)
Robyn Stacey established a reputation for her hand- coloured prints in the late 1970s and early ’80s. Introduced to the process by Micky Allan, Stacey’s early hand-coloured prints examined the life and culture of Australia, especially her native Queensland. Stacey hand-coloured her photographs so as to invest them with personal attributes: “At the time I was interested in hand colouring [because it was] a technique associated with women’s work and craft. This approach seemed a good way to visually re-enforce the personal and intimate quality of the prints.”
Among Stacey’s most important contributions to the feminist tradition of hand colouring photographs are her pictures of Queensland architecture, taken during a road trip to western Queensland made with her mother. These images refer to an heroic subject in Australian culture ā the stoicism of the outback and the people who populate it. But Stacey revises these myths, by presenting the images as intimate and personal.
Robyn StaceyĀ (Australian, b. 1952) Ice 1989 From the series Redline 7000 Silver dye bleach print 104.0 x 175.3cm Monash Gallery of Art, City of Monash Collection Donated through the Australian Government’s Cultural Gifts Program 2012 Courtesy of the artist and Stills Gallery (Sydney)
Robyn StaceyĀ (Australian, b. 1952) Jet 1989 From the seriesĀ Redline 7000 Silver dye bleach print 164 x 103cm Monash Gallery of Art, City of Monash Collection Donated through the Australian Government’s Cultural Gifts Program 2012 Courtesy of the artist and Stills Gallery (Sydney)
In the late 80s, Stacey began to hand colour her transparencies rather than the print, thereby incorporating an aspect of reproducibility to the images. In this way the work shifted from the unique print, with its references to nostalgia and the careful rendering of places and times, to something resembling the glossy images found in 1980s’ mass media, especially Hollywood cinema.
Julie RrapĀ (Australian, b. 1950) Persona and shadow: Madonna 1984 Silver dye bleach print 203.0 x 126.5cm Monash Gallery of Art, City of Monash CollectionĀ acquired 1997 Courtesy of the artist and Arc One Gallery (Melbourne) and Roslyn Oxley9 Gallery (Sydney)
This photograph is from the series of nine works titled Persona and shadow. Julie Rrap produced this series after visiting a major survey of contemporary art in Berlin (Zeitgeist, 1982) which only included one woman among the 45 artists participating in the exhibition. Rrap responded to this curatorial sexism with a series of self-portraits in which she mimics stereotypical images of women painted by the Norwegian artist Edvard Munch (1863-1944). Each pose refers to a female stereotype employed by Munch: the innocent girl, the mother, the whore, the Madonna, the sister, and so on.
Micky Allan’s two series Babies and Old age were shown in Melbourne and Sydney around 1976-1977; their reception revealed much about the anxieties that informed photographic criticism and practice at the time, with critics dismissing the works as ‘slight’ and ‘feminine photographs par excellence’. Across a series of exhibitions between 1976 and 1980, Allan challenged many of the established conventions of fine art photography, in both technique and subject. Allan overpainted the black-and-white print with watercolour, gouache and pencil to the extent of both acknowledging the under recognised history of women’s photographic work ā historically, women were employed by studios to hand-paint or tone photographic prints ā and transgressing the smooth surface of photographic prints that was prized by traditional art photographers.
For Allan, overpainting rejected the technical sameness of modern photography and introduced an emotional warmth. Allan’s hand-colouring also interrupted the myth of photographic transparency ā the notion of the photograph as a ‘disinterested’ window onto the world. Overpainted, the photograph became subjective, contingent and fallible. The lightness of many of Allan’s interventions enhances this sense of fallibility.
Wall text
With a body of work ranging across painting, photography and performance, investigations of subjectivity have been central to Micky Allan’s practice. Allan has consistently drawn on feminist strategies which emphasise the personal and autobiographical. In the early 1970s she became involved with the experimental performance and collective activities based at The Pram Factory in Melbourne, working there as both a set designer and a photographer, documenting early feminist work. Of this time Allan has said that she saw “photography as a form of social encounter … that in comparison with painting it [was] much more integrated to what was going on.”1
Allan has acknowledged social documentary as the basis of her photographic work. For a short period she recorded political figures and the surrounding social changes in which she was both a participant and an observer. Old age, the second of three series whose focus is lifecycles (the other two being Babies 1976 and The prime of life 1979-1980), comprises 40 hand-coloured individual portraits. Allan introduced the technique of hand-colouring in her work in 1976, a technique taken up by many women photographers at that time to counter the then dominant modes of masculine production. While there is stylistic variation across the series, each portrait, close-up in viewpoint, is meticulously rendered in pastel colours. The images do not capture a simple moment but rather work together to poignantly symbolise a rich regard for age. Of this Allan has said: “Altogether they are an attempt to familiarise and personalise “age”, in a society which tends to ignore or stereotype the old.”2
1/ ‘On paper ā survey 12’, National Gallery of Victoria, Melbourne, 21 Jun ‘ 20 Jul 1980, as quoted in 1987, Micky Allan: perspective 1975-1987, Monash University Gallery, Clayton p. 4
2/ Ibid p. 19
Micky Allan (b. Australia 1944) studied Fine Art at the University of Melbourne, and painting at the National Gallery School in the 1960s. Allan began taking photographs in 1974 after joining the loosely formed feminist collective at Melbourne’s experimental arts and theatre space the Pram Factory. During this time Allan was part of a vibrant community of feminist artists that included Virginia Coventry, who taught her how to take and print photographs. Allan returned to painting as her primary medium in the early 1980s.
Pat Brassington (b. Australia 1942) is a Hobart-based artist who studied printmaking and photography at the Tasmanian School of Art, graduating with a Master of Fine Arts in 1985. Brassington draws on a personal archive of visual material to compose her images. This archive includes both photographic and non-photographic material, which has either been found or produced by Brassington. Her work takes inspiration from surrealist photography, with its recurring interest in fetish objects and uncanny domestic scenes. Brassington typically employs digital collage to manufacture disjointed compositions, and she exhibits her work in elliptical series that suggest dream-like narratives.
Virginia Coventry (b. Australia 1942) studied painting at the Royal Melbourne Institute of Technology during the early 1960s, before undertaking postgraduate studies at the Slade School of Fine Art, University College, London. While painting and drawing have been constant features of Coventry’s practice, she started taking photographs during the mid-1960s and developed a significant reputation for her photo-based work during the 1970s. Her photographic work typically engages with socio-political issues and often incorporates textual elements that give it a discursive form.
Sandy Edwards (b. New Zealand 1948 arr. Australia 1961) has been an important figure in Australian photography as both a maker and advocate since the 1970s. Edwards’s practice has paid particular attention to women and their relationship with the media of photography and film. Most of her work is documentary in nature but her photographic prints are often presented in sequences that elaborate conceptual points. Edwards has also been a prolific curator of exhibitions promoting the work of contemporary photographers, especially in Sydney.
Anne Ferran (b. Australia 1949) is a Sydney-based photographer and academic. She studied humanities and teaching before training in photography at Sydney College of the Arts. She began exhibiting her work in the mid-1980s and has become one of Australia’s most critically acclaimed photographers. Ferran’s practice is largely concerned with using photography to reclaim forgotten pasts, with a specific interest in the histories of women and children in colonial Australia. In pursuing this interest, Ferran often develops her projects through archival research and fieldwork.
Sue Ford (Australia 1943-2009) studied photography at RMIT and was the first Australian photographer to be given a solo exhibition at the National Gallery of Victoria in 1974. Over the course of her artistic career Ford worked with still photography and moving images, beginning with traditional analogue film and then embracing the possibilities offered by photomedia and digital technologies. In this respect, Ford is a key figure in the history of avant-garde photographic experimentation. Fordās artworks are also remarkable for their critical engagement with contemporary social issues, while also expressing deeply personal perspectives on the world.
Christine Godden (b. Australia 1947) has played a significant role in Australian photography as a maker, curator and advocate. After studying in Melbourne, Godden completed a Bachelor of Fine Arts at the San Francisco Art Institute in 1975 and a Master of Fine Arts at the Visual Studies Workshop in Rochester, New York in 1980. On her return to Australia, she became director of the Australian Centre for Photography, Sydney, and was consequently a prominent spokesperson for Australian photography during the 1980s. Her own photography is couched in a highly personal and poetic form of documentary practice.
Helen Grace (b. Australia 1949) is a self-taught artist who began making work as an active member of feminist and labour organisations in Sydney during the mid-1970s. Often straight-forwardly documentary in style, Grace’s approach to photography is closely aligned with political consciousness raising. Her work for the labour and women’s movements was widely circulated around the time of its production, both in the pages of publications and in posters produced by trade unions and women’s groups. Graceās writing on photography and film, history and politics have also made a significant contribution to the critical discussion that surrounds feminist practice in Australia.
Janina Green (b. Germany 1944 arr. Australia 1949) studied Fine Arts at Melbourne University and Victoria College before training as a printmaker at RMIT. In the 1980s she taught herself photography and subsequently specialised in this medium. Green held her first solo exhibition of photography in 1986 and has exhibited regularly since then, participating in over 30 group exhibitions and producing over 20 solo shows. Green’s photographs are distinguished by their sophisticated and often sensuous surfaces, which testify to her early training in printmaking. In her role as a teacher in the photography department at the Victorian College of the Arts, Green has also played a significant role as a mentor for younger photographers.
Fiona Hall (b. Australia 1953) initially trained as a painter, and has ultimately become a celebrated sculptor, but photography was her primary medium in the late 1970s and early 1980s. Hall developed an interest in photography at art school and worked as an assistant to the well-known landscape photographer Fay Godwin while she lived in London between 1977-78. Hall subsequently studied photography at the Visual Studies Workshop in New York during 1982. Hall’s photographic practice demonstrates a fascination with decoration and style, which is informed by a critical interest in the premise of a ‘feminine’ sensibility.
Ponch Hawkes (b. Australia 1946) took up photography in 1972 while working as a journalist for the counter-cultural magazines Digger and Rolling Stone. Her early photography was informed by her role as a commentator on alternative social issues, and she has often used her images to engage with contemporary critical debates. During the 1970s Hawkes was part of a loosely formed feminist collective based at Melbourne’s experimental arts and theatre space the Pram Factory. Since that time she has continued to work closely with community groups around Australia and remains a key figure in contemporary photographic practice.
Carol Jerrems (Australia 1949-80) was born in Melbourne and studied photography at Prahran Technical College under Paul Cox and Athol Shmith between 1967 and 1970. Although she practised as an artist for only a decade, Jerrems has acquired a celebrated place in the annals of Australian photography. Her reputation is based on her compassionate, formally striking pictures, her intimate connection with the people involved in social movements of the day, and her role in the promotion of ‘art photography’ in this country.
Merryle Johnson (b. Australia 1949) graduated from Bendigo College of Advanced Education in 1969 with a major in painting. She took up photography in 1970 and it subsequently became central to her professional life, both as an arts educator and an exhibiting artist. Johnson’s approach to photography is informed by her broader training as an artist. This is particularly evident in her use of hand-colouring and sequencing. While the subject matter of her images is largely drawn from everyday life, she employs artistic devices to bring a sense of drama and fantasy to documentary photography.
Ruth Maddison (b. Australia 1945) is a self-taught photographer and artist. Maddison began working as a professional photographer in 1976, and she has been regularly exhibiting her work since 1979. Photography has been her primary medium, but in later years her artistic practice has expanded to include moving-image, textiles and sculpture. An interest in personal biography and the celebration of everyday existence informs her artistic practice. She is most well-known for her hand-coloured photographs of domestic life. In 1996 Maddison relocated from Melbourne to Eden, on the south coast of NSW.
Julie Rrap (b. Australia 1950) studied humanities at the University of Queensland (1969-71) before establishing her career as an exhibiting artist in Sydney during the 1980s. Rrap’s involvement with performance art and avant-garde politics during the 1970s laid the foundations for her later work in photography, painting, sculpture and video, which is largely concerned with the representation and experience of women’s bodies. The photographic objectification of female bodies is a persistent theme in Rrap’s work, but her highly expressive self-portraits invest the medium with a subjective intensity that affronts the clinical quality of voyeurism.
Robyn Stacey (b. Australia 1952) is a Sydney-based photographer who has been exhibiting since the mid-1980s. During the 1980s Stacey produced staged or ‘directorial’ photographs that drew on the visual language of cinema and television. Through the 1990s Stacey engaged in further training and study, and experimented extensively with new media including digital photography and lenticular prints. In 2000 Stacey began working with natural history collections in Australia and overseas, using photography to bring the contents of these archives to life. Throughout her career, Stacey has been interested in photography as an expressive medium that can be used to reiterate, remix and reanimate visual information.
Monash Gallery of Art 860 Ferntree Gully Road, Wheelers Hill Victoria 3150 Australia Phone:Ā + 61 3 8544 0500
War from the Victims’ Perspective, Photographs by Jean Mohr
Early on, Jean Mohr sought to understand and explain the drama of civilians trapped in belligerent situations. His reportages are the result of decades of experience, which saw a ICRC and UNRWA (United Nations Relief and Works Agency for Palestine Refugees in the Near East) delegate transform himself into a full-time photographer, after a spell at an academy of painting.
The exhibition addresses the issues of victims of conflicts, refugees and communities suffering from war and still under potential threat. It focuses on the emblematic cases of Palestine, Cyprus, and Africa. Other examples illustrate the universal problems of populations directly or indirectly enduring repercussions of war (in Iran, Pakistan, Nicaragua…).
Palestine, its refugee camps, precarious sanitary conditions, and the Gaza stalemate, whilst being the subject of major media attention, is a case worthy of reconsideration. It needs to be regularly re-explained and repositioned in the context of the Israeli-Arab conflict. The case of Cyprus serves as a reminder that the refugee problem still remains an issue for certain members of the European Union. Several hundreds of thousands of people were forced into exile. Africa too needed to be addressed, as the post-colonial conflicts forced millions into displacement. The fragility of these States, outlined as they are by inherited colonial borders, regularly fuels turmoil which leads to humanitarian crises. The refugee problem is present throughout the continent.
Focussing upon these three geographical regions presents the problem of war victims in an historical setting classified by theme: “Portraits of Exile”, “The Children’s Diaspora”, “Temporary Landscapes”, and “Life Goes On”. These photographs render a face to the casualties and retrace the steps of their displacement, from their settlement in the precariousness of the camps and reception centres to their attempts to adapt to an enduring situation.
Portraits of Exile
Featuring portraits of refugees from different countries and cultures, the first section gives a human face to the impact of conflict.
Temporary Landscapes
The second section deals with the impact that war has on people’sĀ homes. The photos document the displacement process andĀ the precarious settlement of victims in camps, reception centres,Ā mosques and shanty towns.
The Children’s Diaspora
Featuring images that capture the day-to-day lives of war’s youngest victims, this section reveals the gamut of situations faced by child refugees, as well as the many and diverse activities they engage in. Some photos show children attending a medical centre or clinic, while others show them playing, dancing or in class at a temporary school.
Life Goes On
The final section documents how people adapt to temporary situations that stretch out indefinitely. The images illustrate how important the distribution of food and clothing is, as well as documenting efforts to ensure that refugees can continue their schooling and education. This section includes the iconic image of a young Mozambican refugee and her newborn baby in a clinic in Lundo, Tanzania.
Anonymous photographer (Japanese) Untitled From a Japanese family photography album c. 1920-1930s
I bought an anonymous Japanese family photographic album from Daylesford in country Victoria recently for $25 (US$20). There were many images missing, but the thirty that were present are just stunning. I have been scanning them and gently digitally cleaning them since, and this is the first of three postings on the images. I love their immediacy, their vernacular language and intimate feel and the irregular shape and cut of the prints. Some of the photographs are very small in size.
The serenity, the beauty and the attention to the form of the hair is quite captivating. They have me entranced. Just delightful…
Dr Marcus Bunyan
Please click on the photographs for a larger version of the image.
Anonymous photographer (Japanese) Untitled [City scene] From a Japanese family photography album c. 1920-1930s
Anonymous photographer (Japanese) Untitled [City scene]Ā (detail) From a Japanese family photography album c. 1920-1930s
Anonymous photographer (Japanese) Untitled From a Japanese family photography album c. 1920-1930s
Anonymous photographer (Japanese) Untitled [Father with his daughter] From a Japanese family photography album c. 1920-1930s
Anonymous photographer (Japanese) Untitled [Father with his daughter]Ā (detail) From a Japanese family photography album c. 1920-1930s
Anonymous photographer (Japanese) Untitled From a Japanese family photography album c. 1920-1930s
Anonymous photographer (Japanese) Untitled From a Japanese family photography album c. 1920-1930s
Anonymous photographer (Japanese) Untitled From a Japanese family photography album c. 1920-1930s
Anonymous photographer (Japanese) Untitled From a Japanese family photography album c. 1920-1930s
Anonymous photographer Untitled [Three women and an umbrella] (restored) From a Japanese family photography album c. 1920-1930s
Anonymous photographer Untitled [Three women and an umbrella]Ā (unrestored) From a Japanese family photography album c. 1920-130s
Anonymous photographer (Japanese) Untitled From a Japanese family photography album c. 1920-1930s
This is a great project. The photographs are wonderful. At one time they could have almost been made here in Victoria, Australia.
Archie Foley who found the 500 or so railway related negatives taken by, at this stage, an anonymous British Railways engine driver was quite taken aback to get an email from half way around the world asking for some press images – but this is what this blog does, promote eclectic exhibitions of interesting photography from around the world, no matter how small they are.
I have always loved trains and the photographs of them (including the ones by Winston O. Link). Once I saw the images I think I shed a tear at the beauty of them. Archie informs me that the negatives are a mixture of 127; 6cm square and a larger 6cm x 8cm. There are notes of the cameras the photographer used and his favourite appears to have been an Isolette 11 (see below). However he also used Ikonta; Suprima; Isola and Super Isolette. These cameras have reasonable optical quality (not as good as a Rollei twin lens for example) with the advantage that they have a large negative and can be folded up and put in a jacket pocket, to be taken out when needed.
As a good friend of mine Ian Lobb observed,
“I nearly said 6×8 cm last night ā I know its difficult to believe after the event, and the Isolette has the same basic shape as the Voigtlander I suspected. The Voigtlander was like some of the Rolleis and you could put in a metal mask that would allow 6 x 8, 6 x 6, 6 x 4.5 as well the full 6 x 9. I suspect the Voigtlander was a bit upmarket from the Isolette: the Agfa cameras at the time of these pictures were good cameras and (obviously) with German lenses. I don’t know if they had those masks but I am guessing you could do the same with the Isolette. One claim I have seen is that the lenses were more matched to emulsions of the 50’s and were contrasty with later emulsions. I would have to know a lot more to verify that. The pictures look optically good to me. There were some extraordinary European films in 120 stock ā I caught the end of them ā 12 ISO and wooden spools ā and SENSATIONAL tonal scales.
Of all cameras (even 35mm), the drop front cameras like the Isolette had the best connection to the people you were photographing. I don’t mean through the viewfinder ā I mean that the viewfinder was just for checking the composition ā you really had to do a lot of looking over the camera. Probably the old Stieglitz Graflex was just as communicative. With the bellows extension there would be a scale on the focussing track that would tell you the distance the camera was focussed to ā no other way to check!
As a kid I played with Marklin toy trains and they published a book that I still have called “The Marklin Miniature Railway and its Prototype”. It is old and faded now, but there were sections on how to do signalling etc. on yourĀ train set so that it matched the real thing etc…” (IL)
What interests me mostĀ about these stunningĀ images is the use of space by the photographer. These railway photographs with theirĀ beautiful but naive space have an almost mythic quality to them. I know a little about photography and from my knowledge I cannot think of anyone else that handles space like this in a photograph (save for perhaps Thomas Struth and the space around the people in his museum photographs or his group portraits of people in Japan, and even then he blocks the exit for the eye behind his tableaux vivant).
I have been racking my brains but these are really unique, especially the square format portrait shots. Look at the first photograph Four men with loco 55210 (below) and notice the expanse of platform and line of the train that leads the eye into the depiction of the four men. The light that falls on them is superlative but notice how the photographer keeps a respectful distance for this is not portrait photography which attempts to capture a fleeting, revealing moment or expression. The photographer places them as though to “encourage contemplation and investigation, inviting the viewer to reflect upon the limits of his or her knowledge of other people.” The eye scans the image for clues, giving the viewer pause to take in the scene: and low and behold what opens up behind the four men is this most magnificent space with the curve of the platform, the girders and the silence of the dark train in the distance.
As in Thomas Struth’s photographs of architectural East Berlin these photographs bring aboutĀ ‘a move to investigative viewing’ which is also a ‘call to interact’. But these photographs don’t possess the base objectivity of Struth for they are a little too engaging of their space (their antithesis being the photographs by Alec Soth fromĀ his series Niagara).
Further evidence of the sophistication of the composition of these images can be found in the two photographs Shotts Iron Work’s Signalbox and Man on platform in front of signal array (below). In the first photograph the man is embedded in the landscape, his weight shifting slightly to his right foot as his shadow falls on the fence beside him, the fence line and train tracks lead the eye into the image and off into an amorphous, infinite distance. Again, in the second photograph the figure is not front and centre but part of an ensemble as the eye is led this time by a massive horizontal plane into the image. He stands on the platform as if on the deck of an aircraft carrier. And then there are the two close up portraits, Jackie Collett at Beattock and A smiling fireman (below) where the photographer has climbed up into the intimate space of the drivers cab and got them to be comfortable enough to reveal themselves to the camera ā in that light! ā with those backgrounds!
The use of lenses today is proof of how difficult it is to think and feel space while taking a picture. These days everyone has a zoom lens but it is nearly always used by people to fill the frame with the main subject. But with a zoom there are infinite relationships between foreground and background if the photographer is free to move in relation to the main subject… and sometimes we are. Or to put it another way, we are able to control the degree of flattening of space with a zoom lens infinitely. If we have 2 fixed lenses we have 2 controls of space. This anonymous photographer and the German photographer Thomas Struth in particular seem to have the ability to think about this space control, and resolve it in different ways. Sometimes for Struth the quality of the space in the city streets or in a museum announces these places as pictures.
Struth is someone who has an affinity with the railway group photographs for his photographs, like these, resist immediate consumption. They make the viewer pause and think. “Discussing Struth’s work, the critic Richard Sennett has written: ‘We relate to these images as we might appreciate strangers in a crowd; we feel their presence without the need to transgress boundaries by demanding intimacy or revelation ā¦ people guard their separateness even as they present themselves directly to us.’ (Sennett p. 94.) Struth’s portraits encourage contemplation and investigation, inviting the viewer to reflect upon the limits of his or her knowledge of other people.”1 And, sotto voce, so do these photographs… The speaker gives the impression of uttering a truth which may surprise and delight.
As Archie has noted in his correspondence with me, the exhibition has been done on a shoestring budget but from small beginnings ā and acorns ā mighty oaks grow. All power to both Archie Foley and Peter Ross for arranging it. A book and larger exhibition would be a wonderful representation of this work. All I can say is this: that I hope this posting helps that process along for these photographs have a magnificent soul. Simply put, they are great.
Dr Marcus Bunyan
Footnotes
1/ Richard Sennett, Thomas Struth: Strangers and Friends, exhibition catalogue, Institute of Contemporary Art, London 1994 quoted in “Thomas Struth: The Shimada Family, Yamaguchi, Japan 1986” Text summary on the Tate website [Online] Cited 04/11/2014
This exhibition has been compiled from a collection of photo negatives found by Archie Foley in a collector’s fair in Portobello. As he went through the collection he was able to extract 100s of railway related negatives dating from the mid-1950s to the early 1960s that showed that the photographer must have been a British Railways engine driver. A chance meeting and conversation with local photographer and video producer, Peter E. Ross, on a bus going into Edinburgh led to the decision to mount an exhibition of photographs made from selected negatives.
As a colleague the driver/photographer was able to snap drivers, shunters, platelayers, signalmen, cleaners and others at work in locations in and around Edinburgh and, occasionally, a bit further afield. The photographs are a unique behind the scenes record of the men and women who worked on the railway and how it looked before diesel power finally replaced steam in 1968.
This is the first time that the photographs have been on public show and Archie and Peter feel privileged to be able to display, and pay tribute to, the dedication and skill of the, as yet unidentified, photographer. Neither Archie nor Peter is an expert on railways and invite visitors to use the Visitors’ Book to suggest possible locations for photographs where these are not given. Please also suggest amendments if you believe any of the captions are incorrect.
The exhibition is at Portobello Library, Rosefield Avenue from Monday, 20th October to Friday, 7th November.
The two photographs above were obviously taken at the same time as each other (look at the tall trees in the background). I love how the photographer has moved across the tracks from the distance shot onto an oblique angle with the twin arches of the bridge in the background for the closer photograph. You can seen some unevenness in the development of the film in the foreground of both images but no matter, these images give real insight into how this artist was operating, what his thinking was when photographing their behemoths.
Agfa Isolette II (1950-60), showing the characteristic wide raised centre of its top housing. The thick knurled disc on the right (of the picture) is a film-type reminder dial.
Isolette II
The Isolette II (1950-1960) was sold alongside the ‘I’; it is an alternative model offering higher specification than the ‘I’, not a successor to it. The camera was available (for at least some time) with coated 85 mm f/4.5 Agnar or Apotar or 75 mm f/3.5 Solinar lenses; however, most examples seen have the Apotar. McKeown gives a very wide range of shutters (Vario, Pronto, Prontor-S and SV, Compur Rapid and Synchro-Compur). This reflects changes in the specification over the period the camera was made (i.e. not all of these shutters were available at the same time): for example, a user’s manual (of unknown date) only lists the Pronto and Prontor SVS. The range of shutter speeds is therefore variable between examples. Some of the shutters have a delayed action. Most are synchronised (some have switchable M and X-synchronisation). On some examples of the camera, there is a shutter locking lever on the back of the top housing, to provide ‘T’ shutter by locking the release button down, where the shutter itself does not have a ‘T’ setting.
Unlike the Isolette I and all the preceding models, the film advance knob is on the right. The camera still has a swing-out spool-holder on the supply side of the film chamber. There is a double-exposure prevention interlock; this engages after releasing the shutter, and is disengaged by advancing the film. It has a red (locked) or silver (unlocked) indicator in a hole in the top-plate, next to the advance knob. Like the ‘T’ lock, this interlock acts on the body release button, so if the lock engages accidentally, or a double exposure is desired, it is still possible to release the shutter by pressing the linkage on the shutter itself (or with a cable release, on versions of the camera on which the cable attaches directly to the shutter, not the body release; they vary in this respect).
Like the Isolette I, early versions of the II have a disc-type depth-of-field indicator on the left of the top plate. On later cameras this is replaced with a film-type reminder, and the DOF scale, if any, is on the shutter face-plate.
Installation photograph of one half of the exhibition From Steam to Diesel at the Portobello Library, Edinburgh. The other half of the exhibition is off camera to the right.
This is an exhibition in two galleries. In the first you are not allowed to take photographs but in the second you can take as many as you want. You are told this as you enter the exhibition but the import of this incantation only becomes apparent much later in your visit.
“It has often been said that Pictorial photographs resemble works in other media. The analogy with etchings is especially striking and the comparison is more than physical. Between 1890 and the late 1920s, etching and Pictorial photography had a shared history and many similar aims. Parallels between the two disciplines in Australia had their antecedents in England. In the late nineteenth century many photographers in that country were consciously promoting artistic, as opposed to documentary work. At the same time, printmakers were reviving the art of original etching as an expressive rather than a reproductive medium.”2
But the Charles Marville photographs are not the star of the show, oh no. That is left to five things:
a) An album of which you can see only one leaf in the exhibition, Les Proscrits (‘The Exiles’) (1856, below), but that one leaf is enough. The enigma, light and intimacy of this one page is just magnificent.
b) Equally impressive are the very small intense portraits of Victor Hugo such as the silver gelatin photograph attributed to ArsĆØne Garnier (1820-1909) ā dark, atmospheric with Neo-classical sculptures and chandeliers reflected in expansive mirrors, VH propped up by a favourite chair; or Charles Hugo’s salted paper print from a collodion negative of his father in Jersey leaning on the back of a chair (1853-1855). The intensity of these portraits is remarkable.
In this case it quite ruined what was up till then an incredible experience. So visit the exhibition for the main course (and don’t take any photos), but if I were you I would turn around after the first gallery and walk out the way I came in, thinking to myself ‘less is more!
Dr Marcus Bunyan
1/ See Ebury, Frances. “Engravers and Etchers, Pictorialists and Photographers,” Part 2, Chapter 2 in Making Pictures: Australian Pictorial Photography as Art 1897 – 1957 Volume 1. Phd thesis, The University of Melbourne, 2001, p. 73.
2/ Ibid.,
Many thankx to the State Library of Victoria for allowing me to publish the photographs in the posting. Please click on the photographs for a larger version of the image.
“As long as social damnation exists, through laws and customs, artificially creating hell at the heart of civilization and muddying a destiny that is divine with human calamity; as long as the three problems of the century ā man’s debasement through the proletariat, woman’s demoralisation through hunger, the wasting of the child through darkness ā are not resolved … as long as ignorance and misery exist in this world, books like the one you are about to read are, perhaps, not entirely useless.”
Victor Hugo’s hand From the albumLes ProscritsĀ (‘The Exiles’) (detail of page) 1856 Album of photographs BibliothĆØque nationale de France
Victor Hugo posing at his desk in his study at Hauterville House, Guernsey From the albumLes ProscritsĀ (‘The Exiles’) (detail of page) 1856 Album of photographs BibliothĆØque nationale de France
Rodin states that Hugo would not pose. “I worked out on the veranda. I observed him swiftly, but carefully as he refused to pose. He accepted to be looked at, from all angles, but he would not pose. And so I looked at his conscience. And this is how I was able to capture the real Hugo.”
The possibility that the condemned can rise above poverty and degradation to become good and honourable, and perhaps above all to fight for freedom of body and soul.
![Francisco OntaĆ±Ć³n (Barcelona, Spain, 1930 - Madrid, Spain, 2008) 'La actual M-30 (Madrid)' (The M-30 Ring Road Today [Madrid]) 1963 (May) / posthumous print, 2013](https://artblart.com/wp-content/uploads/2014/12/francisco-ontac3b1c3b3n-la-actual-m-30-madrid-web.jpg "Francisco OntaĆ±Ć³n (Barcelona, Spain, 1930 - Madrid, Spain, 2008) 'La actual M-30 (Madrid)' (The M-30 Ring Road Today [Madrid]) 1963 (May) / posthumous print, 2013")
![Francisco OntaĆ±Ć³n (Barcelona, Spain, 1930 - Madrid, Spain, 2008) 'Sans Titre (Madrid)' (No Title [Madrid]) 1963 (May) / posthumous print, 2013](https://artblart.com/wp-content/uploads/2014/12/francisco-ontac3b1c3b3n-s_t-madrid-web.jpg "Francisco OntaĆ±Ć³n (Barcelona, Spain, 1930 - Madrid, Spain, 2008) 'Sans Titre (Madrid)' (No Title [Madrid]) 1963 (May) / posthumous print, 2013")
![Francisco OntaĆ±Ć³n (Barcelona, Spain, 1930 - Madrid, Spain, 2008) 'Sans Titre (Madrid)' (No Title [Madrid]) 1964-65 / posthumous print, 2013](https://artblart.com/wp-content/uploads/2014/12/francisco-ontac3b1c3b3n-s_t-madrid-b-web.jpg "Francisco OntaĆ±Ć³n (Barcelona, Spain, 1930 - Madrid, Spain, 2008) 'Sans Titre (Madrid)' (No Title [Madrid]) 1964-65 / posthumous print, 2013")
![Francisco OntaĆ±Ć³n (Barcelona, Spain, 1930 - Madrid, Spain, 2008) 'Sans Titre (Madrid)' (No Title [Madrid]) 1964-65 / posthumous print, 2013](https://artblart.com/wp-content/uploads/2014/12/francisco-ontac3b1c3b3n-s_t-madrid-c-web.jpg "Francisco OntaĆ±Ć³n (Barcelona, Spain, 1930 - Madrid, Spain, 2008) 'Sans Titre (Madrid)' (No Title [Madrid]) 1964-65 / posthumous print, 2013")
![Francisco OntaĆ±Ć³n (Barcelona, Spain, 1930 - Madrid, Spain, 2008) 'Sans Titre (Madrid)' (No Title [Madrid]) 1964 / posthumous print, 2013](https://artblart.com/wp-content/uploads/2014/12/francisco-ontac3b1c3b3n-s_t-madrid-d-web.jpg "Francisco OntaĆ±Ć³n (Barcelona, Spain, 1930 - Madrid, Spain, 2008) 'Sans Titre (Madrid)' (No Title [Madrid]) 1964 / posthumous print, 2013")
![Francisco OntaĆ±Ć³n (Barcelona, Spain, 1930 - Madrid, Spain, 2008) '600 en Casa de Campo con familia (Madrid)' (Outing to Casa de Campo in the 600, with Family [Madrid]) 1963 (May) / posthumous print, 2013](https://artblart.com/wp-content/uploads/2014/12/francisco-ontac3b1c3b3n-600-en-casa-de-campo-web.jpg "Francisco OntaĆ±Ć³n (Barcelona, Spain, 1930 - Madrid, Spain, 2008) '600 en Casa de Campo con familia (Madrid)' (Outing to Casa de Campo in the 600, with Family [Madrid]) 1963 (May) / posthumous print, 2013")
![Francisco OntaĆ±Ć³n (Barcelona, Spain, 1930 - Madrid, Spain, 2008) 'Parque Sindical (Madrid)' (Parque Sindical Sports Area [Madrid]) 1964 / posthumous print, 2013](https://artblart.com/wp-content/uploads/2014/12/francisco-ontac3b1c3b3n-parque-sindical-madrid-web.jpg "Francisco OntaĆ±Ć³n (Barcelona, Spain, 1930 - Madrid, Spain, 2008) 'Parque Sindical (Madrid)' (Parque Sindical Sports Area [Madrid]) 1964 / posthumous print, 2013")
![Francisco OntaĆ±Ć³n (Barcelona, Spain, 1930 - Madrid, Spain, 2008) 'Entierro (Madrid)' (Burial [Madrid]) 1967 / posthumous print, 2013](https://artblart.com/wp-content/uploads/2014/12/francisco-ontac3b1c3b3n-entierro-madrid-web.jpg "Francisco OntaĆ±Ć³n (Barcelona, Spain, 1930 - Madrid, Spain, 2008) 'Entierro (Madrid)' (Burial [Madrid]) 1967 / posthumous print, 2013")
![Anonymous photographer (Japanese). 'Untitled [City scene]' from a Japanese family photography album c. 1920-1930s](https://artblart.com/wp-content/uploads/2014/11/japanese-b.jpg "Anonymous photographer (Japanese). 'Untitled [City scene]' from a Japanese family photography album c. 1920-1930s")
![Anonymous photographer (Japanese). 'Untitled [Father with his daughter]' from a Japanese family photography album c. 1920-1930s](https://artblart.com/wp-content/uploads/2014/11/japanese-d.jpg "Anonymous photographer (Japanese). 'Untitled [Father with his daughter]' from a Japanese family photography album c. 1920-1930s")
![Anonymous photographer (Japanese). 'Untitled [Father with his daughter]' from a Japanese family photography album c. 1920-1930s (detail)](https://artblart.com/wp-content/uploads/2014/11/japanese-d-detail.jpg "Anonymous photographer (Japanese). 'Untitled [Father with his daughter]' from a Japanese family photography album c. 1920-1930s (detail)")
![Anonymous photographer (Japanese). 'Untitled [Three women and an umbrella]' (restored) from a Japanese family photography album c. 1920-1930s](https://artblart.com/wp-content/uploads/2014/11/japanese-i-restored.jpg "Anonymous photographer (Japanese). 'Untitled [Three women and an umbrella]' (restored) from a Japanese family photography album c. 1920-1930s")
![Anonymous photographer (Japanese). 'Untitled [Three women and an umbrella]' (umrestored) from a Japanese family photography album c. 1920-1930s](https://artblart.com/wp-content/uploads/2014/11/japanese-i-unrestored.jpg "Anonymous photographer (Japanese). 'Untitled [Three women and an umbrella]' (umrestored) from a Japanese family photography album c. 1920-1930s")
![Charles MarvilleĀ (French, 1813-1879) 'Rue Soufflot (pendant la dĆ©molition)' (Rue Soufflot [during demolition]) c. 1876-1877](https://artblart.com/wp-content/uploads/2014/10/210_slv_marville_rue-soufflot-web.jpg "Charles MarvilleĀ (French, 1813-1879) 'Rue Soufflot (pendant la dĆ©molition)' (Rue Soufflot [during demolition]) c. 1876-1877")
Art Blart _ art and cultural memory archive 
You must be logged in to post a comment.