Archive for the 'landscape' Category

20
Jul
17

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

Exhibition dates: 31st March – 30th July 2017

 

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

 

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

 

Part 1 of this bumper posting. More to follow.

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

Marcus

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

 

 

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

 

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

 

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

 

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

 

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

 

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

 

 

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

Text from the Leicester Galleries website

 

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

 

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

 

 

Surrogates and the Surreal

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

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

 

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

 

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

 

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

 

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

 

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

 

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

 

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

 

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

 

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

 

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

 

 

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

Text © National Gallery of Australia, Canberra

 

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

 

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

 

 

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

Text © National Gallery of Australia, Canberra

 

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

 

 

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

 

 

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

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

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

Dr Marcus Bunyan

 

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

 

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

 

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

 

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

 

Max Dupain (1911-1992) 'Bondi' 1939

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

 

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

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

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

Text from the Australian Dictionary of Biography website

 

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

 

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

 

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

 

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

 

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

 

 

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

 

 

The ‘tourist gaze’

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

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

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

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

 

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

 

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

 

 

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

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

 

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

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

 

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

 

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

 

 

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

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

 

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

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

 

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

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

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

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

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

 

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

 

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

 

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

 

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

 

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

 

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

 

 

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

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

 

Nomadism

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

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

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

 

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

 

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

 

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

 

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

 

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

 

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

 

 

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

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

 

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

 

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

 

 

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

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

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

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

 

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

 

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

 

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

 

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

 

 

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

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

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

Text from the Wikipedia website

 

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

 

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

 

 

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

Opening hours:
10am – 5pm
Closed Mondays

National Gallery of Victoria website

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07
Jul
17

Exhibition: ‘Georgia O’Keeffe: Living Modern’ at the Brooklyn Museum, New York

Exhibition dates: 3rd March – 23rd July 2017

 

Hilda Belcher (American 1881-1963) 'The Checkered Dress (Young Georgia O'Keeffe)' 1907

 

Hilda Belcher (American 1881-1963)
The Checkered Dress (Young Georgia O’Keeffe)
1907
Oil on canvas

 

Alfred Stieglitz (American, 1864-1946) 'Georgia O'Keeffe at 291' 1917

 

Alfred Stieglitz (American, 1864-1946)
Georgia O’Keeffe at 291
1917
Platinum print
9⅝ x 7⅝ in. (24.3 x 19.4 cm)
Georgia O’Keeffe Museum, Santa Fe, N.M.; Gift of The Georgia O’Keeffe Foundation
© Georgia O’Keeffe Museum

 

Georgia O'Keeffe (American, 1887-1986) 'Blue #2' 1916

 

Georgia O’Keeffe (American, 1887-1986)
Blue #2
1916
Watercolour on paper
15⅞ x 11 in. (40.3 x 27.8 cm)
Brooklyn Museum; Bequest of Mary T. Cockcroft, by exchange
Photo: Sarah DeSantis, Brooklyn Museum

 

 

“Even in photographs in which O’Keeffe gazes directly at the camera, she telegraphs an elegant aloofness – not a coldness, exactly, but a demand to be seen from a distance, like the vast Southwestern landscapes that she made her own. Looking into her face repeated on gallery walls, I was reminded of the way a horizon invites one’s eye to the farthest possible point. Our gaze shifts; the horizon stays the same.” ~ Haley Mlotek on The NewYorker website

 

Alfred Stieglitz (American, 1864-1946) 'Georgia O'Keeffe' 1918

 

Alfred Stieglitz (American, 1864-1946)
Georgia O’Keeffe
1918, printed 1920s
National Gallery of Art, Washington, Alfred Stieglitz Collection
© Board of Trustees, National Gallery of Art, Washington

 

Alfred Stieglitz (American, 1864-1946) 'Georgia O'Keeffe' c. 1920-22

 

Alfred Stieglitz (American, 1864-1946)
Georgia O’Keeffe
c. 1920-22
Gelatin silver print
4½ x 3½ in. (11.4 x 9 cm)
Georgia O’Keeffe Museum, Santa Fe, N.M.; Gift of The Georgia O’Keeffe Foundation
© Georgia O’Keeffe Museum

 

 

I love this woman. Such style, class and talent.

Fabulous art, clothes and photographs. An icon in every sense of the word.

Marcus

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

 

Georgia O’Keeffe: Living Modern takes a new look at how the renowned modernist artist proclaimed her progressive, independent lifestyle through a self-crafted public persona – including her clothing and the way she posed for the camera. The exhibition expands our understanding of O’Keeffe by focusing on her wardrobe, shown for the first time alongside key paintings and photographs. It confirms and explores her determination to be in charge of how the world understood her identity and artistic values.

In addition to selected paintings and items of clothing, the exhibition presents photographs of O’Keeffe and her homes by Alfred Stieglitz, Ansel Adams, Annie Leibovitz, Philippe Halsman, Yousuf Karsh, Cecil Beaton, Andy Warhol, Bruce Weber, and others. It also includes works that entered the Brooklyn collection following O’Keeffe’s first-ever museum exhibition – held at the Brooklyn Museum in 1927.

The exhibition is organised in sections that run from her early years, when O’Keeffe crafted a signature style of dress that dispensed with ornamentation; to her years in New York, in the 1920s and 1930s, when a black-and-white palette dominated much of her art and dress; and to her later years in New Mexico, where her art and clothing changed in response to the surrounding colours of the Southwestern landscape. The final section explores the enormous role photography played in the artist’s reinvention of herself in the Southwest, when a younger generation of photographers visited her, solidifying her status as a pioneer of modernism and as a contemporary style icon.

Georgia O’Keeffe: Living Modern is organised by guest curator Wanda M. Corn, Robert and Ruth Halperin Professor Emerita in Art History, Stanford University, and coordinated by Lisa Small, Curator of European Painting and Sculpture, Brooklyn Museum.

 

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Georgia O'Keeffe: Living Modern installation view

 

Georgia O’Keeffe: Living Modern installation view with Alfred Stieglitz’s Georgia O’Keeffe at 291 (1917) at left, and Gaston Lachaise’s sculpture Georgia O’Keeffe (1925-27) at centre

 

Georgia O'Keeffe: Living Modern installation view

 

Georgia O’Keeffe: Living Modern installation view with her painting Clam and Mussel (1926) second left

 

Georgia O'Keeffe: Living Modern installation view

Georgia O'Keeffe: Living Modern installation view

 

Georgia O’Keeffe: Living Modern installation view with her painting Manhattan (1932) left, and Brooklyn Bridge (1949) right

 

Georgia O'Keeffe: Living Modern installation view

 

Georgia O’Keeffe: Living Modern installation view with her painting Rams Head, White Hollyhock – Hills (Rams Head and White Hollyhock, New Mexico) (1935) at right

 

Georgia O'Keeffe: Living Modern installation view

Georgia O'Keeffe: Living Modern installation view

 

Georgia O’Keeffe: Living Modern installation view with her painting In the Patio IX (1950) at right, and an Emilio Pucci dress second right

 

Georgia O'Keeffe: Living Modern installation view

 

Georgia O’Keeffe: Living Modern installation view with her painting The Mountain, New Mexico (1931) at left

 

Georgia O'Keeffe: Living Modern installation view

Georgia O'Keeffe: Living Modern installation view

Georgia O'Keeffe: Living Modern installation view

 

Georgia O’Keeffe: Living Modern installation view with Georgia O’Keeffe by Irving Penn (1948) second left, and Georgia O’Keeffe by Laura Gilpin (1953) at right

Georgia O’Keeffe: Living Modern installation views
© Jonathan Dorado

 

 

Georgia O’Keeffe: Living Modern

 

Alfred Stieglitz (American, 1864-1946) 'Georgia O'Keeffe' 1922

 

Alfred Stieglitz (American, 1864-1946)
Georgia O’Keeffe
1922
Gelatin silver print
24.1 x 19.4 cm
Art Institute of Chicago, Alfred Stieglitz Collection

 

Georgia O'Keeffe (American, 1887-1986) 'Pool in the Woods, Lake George' 1922

 

Georgia O’Keeffe (American, 1887-1986)
Pool in the Woods, Lake George
1922
Pastel on paper
17 x 27½ in. (43.3 x 69.9 cm)
Reynolda House Museum of American Art, Winston-Salem, N.C.; Gift of Barbara B. Millhouse in memory of E. Carter, Nancy Susan Reynolds, and Winifred Babcock
Courtesy of Reynolda House Museum of American Art, affiliated with Wake Forest University
© Georgia O’Keeffe Museum/Artists Rights Society (ARS), New York

 

Georgia O'Keeffe (American, 1887-1986) 'Black Pansy & Forget-Me-Nots (Pansy)' 1926

 

Georgia O’Keeffe (American, 1887-1986)
Black Pansy & Forget-Me-Nots (Pansy)
1926
Oil on canvas
27⅛ x 12¼ in. (68.9 x 31.1 cm)
Brooklyn Museum; Gift of Mrs. Alfred S. Rossin
Photo: Christine Gant, Brooklyn Museum

 

Gaston Lachaise (American (born France) 1882-1935) 'Georgia O’Keeffe' 1925-27

 

Gaston Lachaise (American (born France) 1882-1935)
Georgia O’Keeffe
1925-27
Alabaster
H. 22-3/4 x W. 7-3/4 x D. 12-1/4 in. (57.8 x 19.7 x 31.1 cm); including 5-3/4 in. high base. Weight 70 lb (31.8 kg)
Alfred Stieglitz Collection, 1949
The Metropolitan Museum of Art

 

Alfred Stieglitz (American, 1864-1946) 'Georgia O'Keeffe, Prospect Mountain, Lake George' 1927

 

Alfred Stieglitz (American, 1864-1946)
Georgia O’Keeffe, Prospect Mountain, Lake George
1927
Gelatin silver print
4⅝ x 3⅝ in. (11.8 x 9.3 cm)
National Gallery of Art, Washington, D.C.; Alfred Stieglitz Collection
© Board of Trustees, National Gallery of Art, Washington

 

Attributed to Georgia O'Keeffe. 'Dress (Tunic and Underdress)' c. 1926

 

Attributed to Georgia O’Keeffe
Dress (Tunic and Underdress)
c. 1926
Ivory silk crepe
Georgia O’Keeffe Museum, Santa Fe, N.M.; Gift of Juan and Anna Marie Hamilton
Photo: © Gavin Ashworth

 

Georgia O'Keeffe (American, 1887-1986) 'Line and Curve' 1927

 

Georgia O’Keeffe (American, 1887-1986)
Line and Curve
1927
Oil on canvas
32 x 16¼ in. (81.2 x 41.2 cm)
National Gallery of Art, Washington, D.C.; Alfred Stieglitz Collection, Bequest of Georgia O’Keeffe
© Board of Trustees, National Gallery of Art, Washington

 

Georgia O'Keeffe (American, 1887-1986) 'Clam and Mussel' 1926

 

Georgia O’Keeffe (American, 1887-1986)
Clam and Mussel
1926
Oil on canvas
48 1/8 × 29 7/9 in
122.2 × 75.6 cm
Georgia O’Keeffe Museum, Santa Fe / Art Resource, NY
© ARS, NY The Georgia O’Keeffe Museum, Santa Fe

 

 

Georgia O’Keeffe: Living Modern offers a new look at the iconic American artist’s powerful ownership of her identity as an artist and a woman. This major exhibition examines the modernist persona that Georgia O’Keeffe crafted for herself through her art, her dress, and her progressive, independent lifestyle. It will mark the first time O’’eeffe’s understated yet remarkable wardrobe will be presented in dialogue with key paintings, photographs, jewellery, accessories, and ephemera. Opening on March 3, Georgia O’Keeffe: Living Modern represents a homecoming of sorts, as the artist had her first solo museum exhibition at the Brooklyn Museum, in 1927.

On view through July 23, 2017, Georgia O’Keeffe: Living Modern is part of A Year of Yes: Reimagining Feminism at the Brooklyn Museum, a yearlong project celebrating a decade of feminist thinking at the Brooklyn Museum.

In addition to a number of O’Keeffe’s key paintings and never-before-exhibited selections from her wardrobe, the exhibition will also feature portraits of her by such luminary photographers as Alfred Stieglitz, Ansel Adams, Philippe Halsman, Yousuf Karsh, Todd Webb, Cecil Beaton, Bruce Weber, Annie Leibovitz, and others. These images, along with the garments and artworks on view, testify to the ways that O’Keeffe learned to use photographic sittings as a way to construct her persona, framing her status as a pioneer of modernism and as a style icon.

“Fifteen years ago I learned that when Georgia O’Keeffe died and left her two homes to her estate, her closets were filled with her belongings. The O’Keeffe Museum in Santa Fe now owns the homes and their contents, but no one had yet studied the sixty years of dresses, coats, suits, casual wear, and accessories she left behind. I took on that task. The Georgia O’Keeffe who emerged from my research and is presented in this exhibition was an artist not only in her studio but also in her homemaking and self-fashioning,” says guest curator, Wanda M. Corn, Robert and Ruth Halperin Professor Emerita in Art History, Stanford University.

“This exhibition reveals O’Keeffe’s commitment to core principles associated with modernism – minimalism, seriality, simplification – not only in her art, but also in her distinctive style of dress,” says Lisa Small, Curator of European Painting and Sculpture, Brooklyn Museum, who serves as the exhibition’s in-house coordinator.

Georgia O’Keeffe: Living Modern opens with an introduction that demonstrates how O’Keeffe began to craft her signature clothing style as a high school student, dispensing with the bows and frills worn by young women at the time. The exhibition continues in four parts. The first is devoted to New York in the 1920s and ’30s, when she lived with Alfred Stieglitz and made many of her own clothes. It also examines Stieglitz’s multiyear, serial portrait project, which ultimately helped her to become one of the most photographed American artists in history and contributed to her understanding of photography’s power to shape her public image.

Her years in New Mexico comprise the second section, in which the desert landscape – surrounded by colour in the yellows, pinks, and reds of rocks and cliffs, and the blue sky – influenced her painting and dress palette. A small third section explores the influence and importance of Asian aesthetics in her personal style. The final section displays images made after Steiglitz’s era by photographers who came to visit her in the Southwest.

Press release from the Brooklyn Museum

 

Alfred Stieglitz (American, 1864-1946) 'Georgia O'Keeffe' 1929

 

Alfred Stieglitz (American, 1864-1946)
Georgia O’Keeffe
1929
National Gallery of Art, Washington, Alfred Stieglitz Collection
© Board of Trustees, National Gallery of Art, Washington

 

Georgia O'Keeffe (American, 1887-1986) 'Manhattan' 1932

 

Georgia O’Keeffe (American, 1887-1986)
Manhattan
1932
Oil on canvas
84⅜ x 48¼ in. (214.3 x 122.6 cm)
Smithsonian American Art Museum, Washington, D.C.; Gift of The Georgia O’Keeffe Foundation
Photo: Smithsonian American Art Museum, Washington, D.C./Art Resource, NY

 

Ansel Adams (American, 1902-1984) 'Georgia O'Keeffe and Orville Cox' 1937

 

Ansel Adams (American, 1902-1984)
Georgia O’Keeffe and Orville Cox
1937
Gelatin silver print
7¾ x 11 in. (19.7 x 27.9 cm)
Georgia O’Keeffe Museum, Santa Fe, N.M.; Gift of The Georgia O’Keeffe Foundation
© 2016 The Ansel Adams Publishing Rights Trust

 

Attributed to Georgia O'Keeffe. 'Blouse' c. early to mid-1930s

 

Attributed to Georgia O’Keeffe
Blouse
c. early to mid-1930s
White linen
Georgia O’Keeffe Museum, Santa Fe, N.M.; Gift of Juan and Anna Marie Hamilton
Photo: © Gavin Ashworth

 

Attributed to Georgia O'Keeffe. 'Dress with Matching Belt' c. 1930s

 

Attributed to Georgia O’Keeffe
Dress with Matching Belt
c. 1930s
Black wool, crepe and white silk
Georgia O’Keeffe Museum, Santa Fe, N.M.; Gift of Juan and Anna Marie Hamilton
Photo: © Gavin Ashworth

 

Georgia O'Keeffe (American, 1887-1986) 'The Mountain, New Mexico' 1931

 

Georgia O’Keeffe (American, 1887-1986)
The Mountain, New Mexico
1931
Oil on canvas
30 1/16 × 36 1/8 in. (76.4 × 91.8 cm)
Whitney Museum of American Art, New York

 

Georgia O'Keeffe (American, 1887-1986) 'Rams Head, White Hollyhock - Hills' (Rams Head and White Hollyhock, New Mexico) 1935

 

Georgia O’Keeffe (American, 1887-1986)
Rams Head, White Hollyhock – Hills (Rams Head and White Hollyhock, New Mexico)
1935
Oil on canvas
30 x 36 in. (76.2 x 91.4 cm)
Brooklyn Museum; Bequest of Edith and Milton Lowenthal
Photo: Brooklyn Museum

 

Ansel Adams (American, 1902-1984) 'Georgia O'Keeffe at Yosemite' 1938

 

Ansel Adams (American, 1902-1984)
Georgia O’Keeffe at Yosemite
1938
Gelatin silver print
5¾ x 3⅜ in. (14.5 x 8.7 cm)
Georgia O’Keeffe Museum, Santa Fe, N.M.; Gift of The Georgia O’Keeffe Foundation
© 2016 The Ansel Adams Publishing Rights Trust

 

Georgia O'Keeffe (American, 1887-1986) 'Brooklyn Bridge' 1949

 

Georgia O’Keeffe (American, 1887-1986)
Brooklyn Bridge
1949
Oil on Masonite
48 x 35⅞ in. (121.8 x 91.1 cm)
Brooklyn Museum; Bequest of Mary Childs Draper
Photo: Brooklyn Museum

 

Georgia O'Keeffe (1887-1986) 'In the Patio IX' 1950

 

Georgia O’Keeffe (1887-1986)
In the Patio IX
1950
Oil on canvas mounted on panel
H- 30 x W- 40 in. (76.2 x 101.6 cm)
The Jan T. and Marica Vilcek Collection
© The Vilcek Foundation

 

Laura Gilpin (American, 1891-1979) 'Georgia O'Keeffe' 1953

 

Laura Gilpin (American, 1891-1979)
Georgia O’Keeffe
1953
Gelatin silver print
24.1 x 19.4 cm
Georgia O’Keeffe Museum, Santa Fe, N.M.
© 1979 Amon Carter Museum of American Art, Fort Worth, TX

 

Georgia O'Keeffe (American, 1887-1986) 'Patio with Cloud' 1956

 

Georgia O’Keeffe (American, 1887-1986)
Patio with Cloud
1956
Oil on canvas
36 x 30 in. (91.4 x 76.2 cm)
Milwaukee Art Museum; Gift of Mrs. Edward R. Wehr
© Georgia O’Keeffe Museum/Artists Rights Society (ARS), New York
Photo: P. Richard Eells

 

Todd Webb (American, 1905-2000) 'Georgia O'Keeffe on Ghost Ranch Portal, New Mexico' c. 1960s

 

Todd Webb (American, 1905-2000)
Georgia O’Keeffe on Ghost Ranch Portal, New Mexico
c. 1960s
Gelatin silver print
10 x 8 in. (25.4 x 20.3 cm)
Georgia O’Keeffe Museum, Santa Fe, N.M.; Gift of The Georgia O’Keeffe Foundation
© Estate of Todd Webb, Portland, ME

 

'Padded Kimono (Tanzen)' c. 1960s-70s

 

Padded Kimono (Tanzen)
c. 1960s-70s
Silk with woven black and gray stripe
Inner garment: Kimono. White linen (?)
Georgia O’Keeffe Museum, Santa Fe, N.M.; Gift of Juan and Anna Marie Hamilton
Photo: © Gavin Ashworth

 

Bruce Weber (American, born 1946) 'Georgia O'Keeffe, Abiquiu, N.M.' 1984

 

Bruce Weber (American, born 1946)
Georgia O’Keeffe, Abiquiu, N.M.
1984
Gelatin silver print
14 x 11 in. (35.6 x 27.9 cm)
Bruce Weber and Nan Bush Collection, New York
© Bruce Weber

 

'Emsley. Suit (Jacket, Pants, and Vest)' 1983

 

Emsley. Suit (Jacket, Pants, and Vest)
1983
Black wool
Inner garment: Lord & Taylor. Shirt
c. 1960s. White cotton
Georgia O’Keeffe Museum, Santa Fe, N.M.; Gift of Juan and Anna Marie Hamilton
Photo: © Gavin Ashworth

 

Ansel Adams (American, 1902-1984) 'Georgia O'Keeffe, Carmel Highlands, California' 1981

 

Ansel Adams (American, 1902-1984)
Georgia O’Keeffe, Carmel Highlands, California
1981
Gelatin silver print
10⅛ x 13⅛ in. (25.7 x 33.3 cm)
Georgia O’Keeffe Museum, Santa Fe, N.M.; Gift of Juan and Anna Marie Hamilton
© 2016 The Ansel Adams Publishing Rights Trust

 

'Georgia O'Keeffe: Living Modern' by Wanda Corn book cover 2017

 

Georgia O’Keeffe: Living Modern by Wanda Corn book cover 2017
Courtesy of Delmonico Books Prestel

 

 

Brooklyn Museum
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Brooklyn, NY 11238-6052
T: (718) 638-5000

Opening hours:
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Thursday11 am – 10 pm
Saturday and Sunday, 11 am – 6 pm
first Saturday of each month, 11 am – 11 pm
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01
Jul
17

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

Exhibition dates: 27th April – 8th July 2017

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

 

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

 

Christian Thompson. 'Black gum 1-3' 2007

 

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

 

Christian Thompson. 'Black gum 1' 2007

 

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

 

Christian Thompson. 'Black gum 2' 2007

 

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

 

 

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

.
Christian Thompson in conversation with Hetti Perkins, catalogue extract

 

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

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

.
Christian Thompson

 

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

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

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

 

 

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Dr Marcus Bunyan for Art Blart

Word count: 2,053

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

 

 

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

.
Christian Thompson

 

 

'Christian Thompson: Ritual intimacy', installation view

 

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

 

Christian Thompson. 'Untitled #6' 2010

 

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

 

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

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

 

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

 

 

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

 

 

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

 

 

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

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

 

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

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

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

 

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

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

Christian Thompson. 'Equilibrium' 2016

 

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

 

 

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

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

Wall text from the exhibition

 

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

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

 

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

 

 

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

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

Text from the Turner Galleries website

 

Christian Thompson. 'Energy Matter' 2010

 

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

 

Christian Thompson. 'Lamenting the flowers' 2010

 

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

 

Christian Thompson. 'Forgiveness of Land' 2010

 

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

 

Christian Thompson. 'Down Under World' 2010

 

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

 

 

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

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

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

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

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

Christian Thompson

 

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

 

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

 

 

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

Wall text from the exhibition

 

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

 

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

 

 

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

Text from the Turner Galleries website

 

Christian Thompson. 'Ancient bloom' 2015

 

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

 

Christian Thompson. 'Ship of dreams' 2015

 

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

 

 

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

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

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

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

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

 

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

.
Christian Thompson

 

 

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

 

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

 

 

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

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

 

Christian Thompson. 'Hannah's Diary' 2009

 

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

 

 

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

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

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

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

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

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

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

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

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

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

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

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

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

Press release from MUMA

 

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

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

 

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

 

 

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

 

Christian Thompson. 'Siren' 2014

 

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

 

Christian Thompson. 'Trinity II' 2014

 

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

 

Christian Thompson. 'Trinity III' 2014

 

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

 

Christian Thompson. 'Ariel' 2014

 

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

 

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

 

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

 

Christian Thompson. 'Ellipse' 2014

 

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

 

 

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

 

 

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

 

 

Christian Thompson
Refuge
2014
Video and sound
4 mins 18 secs

 

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

 

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

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

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

 

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

 

 

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

 

 

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

 

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

 

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

 

Christian Thompson. 'Untitled (Blue Gum)' 2007

 

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

 

Christian Thompson. 'Untitled (banksia)' 2007

 

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

 

 

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

 

 

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

 

 

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

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

 

 

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

 

 

Christian Thompson
Dhagunyilangu (Brother)

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

 

 

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

 

 

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

Opening hours:
Tuesday – Friday 10am – 5pm
Saturday 12 – 5pm

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22
May
17

Exhibition: ‘Monet’ at the Fondation Beyeler, Riehen, Switzerland

Exhibition dates: 22nd January – 28th May 2017

 

Underlying these “impressions” of light, shadow and reflection is structure. Perceiving the spaces in between things as things… means that you need to define the original things as a first point of call. Order/chaos, pattern/randomness, harmony/discord. One does not exist without the other.

Grounding all of Monet’s work is an intrinsic understanding of the structure of the world.

Marcus

.
Many thankx to the Fondation Beyeler for allowing me to publish the images in the posting. Please click on the images for a larger version of the art.

 

 

“The world’s appearance would be shaken if we succeeded in perceiving the spaces in between things as things.”

.
Maurice Merleau-Ponty

 

 

Claude Monet (1840-1926) 'The Customhouse' 1882

 

Claude Monet (1840-1926)
The Customhouse
1882
Oil on canvas
61 x 75 cm
Harvard Art Museums/Fogg Museum, Bequest of Annie Swan Coburn, 1934
Photo: Imaging Department © President and Fellows of Harvard College

 

Claude Monet (1840-1926) 'View of Bordighera' 1884

 

Claude Monet (1840-1926)
View of Bordighera
1884
Oil on canvas
66 x 81.8 cm
The Armand Hammer Collection, Schenkung der Armand Hammer Foundation, Hammer Museum, Los Angeles

 

Claude Monet (1840-1926) 'Vagues a la Manneporte' c. 1885

 

Claude Monet (1840-1926)
Vagues a la Manneporte (Waves at Manneporte)
c. 1885
Oil on canvas

 

Claude Monet (1840-1926) 'Rocks at Belle-Île, Port-Domois' 1886

 

Claude Monet (1840-1926)
Rocks at Belle-Île, Port-Domois
1886
Oil on canvas
81.3 x 64.8 cm
Cincinnati Art Museum, Fanny Bryce Lehmer Endowment and The Edwin and Virginia Irwin Memorial, 1985
Photo: Bridgeman Images

 

 

In the year of its 20th birthday, the Fondation Beyeler is devoting an exhibition to Claude Monet, one of the most important artists in its collection. Selected aspects of Monet’s oeuvre will be presented in a distilled overview. By concentrating on his work between 1880 and the beginning of the 20th century, with a forward gaze to his late paintings, the show will reveal a fresh and sometimes unexpected facet of the pictorial magician, who still influences our visual experiencing of nature and landscape today. The leitmotif of the “Monet” exhibition will be light, shadow, and reflection as well as the constantly evolving way in which Monet treated them. It will be a celebration of light and colours. Monet’s famed pictorial worlds – his Mediterranean landscapes, wild Atlantic coastal scenes, various locations places along the course of the River Seine, his flower meadows, haystacks, cathedrals and fog-shrouded bridges – are the exhibition’s focal points.

In his paintings, Monet experimented with the changing play of light and colours in the course of the day and the seasons. He conjured up magical moods through reflections and shade. Claude Monet was a great pioneer, who found the key to the secret garden of modern painting, and opened everyone’s eyes to a new way of seeing the world. The exhibition will show 62 paintings from leading museums in Europe, the USA and Japan, including the Musée d’Orsay, Paris; the Metropolitan Museum, New York; the Museum of Modern Art, New York; the Museum of Fine Art, Boston and the Tate, London. 15 paintings from various private collections that are seen extremely rarely and that have not been shown in the context of a Monet exhibition for many years will be special highlights of the show.

 

Light, shadow, and reflection

Following the death of his wife in 1879, Monet embarked on a phase of reorientation. His time as a pioneer of Impressionism was over; while by no means generally acknowledged as an artist, he was beginning to become more independent financially thanks to the help of his dealer, as is documented by his frequent journeys. Through them, he was, for example, first able to concern himself with Mediterranean light, which provided new impulses for his paintings. His art became more personal, moving away from a strictly Impressionist style.

Above all, however, Monet seems to have increasingly turned painting itself into the theme of his paintings. His comment, as passed down by his stepson Jean Hoschedé, that, for him, the motif was of secondary importance to what happened between him and the motif, should be seen in this light. Monet’s reflections on paintings should be interpreted in two ways. The repetition of his motifs through reflections, which reach their zenith and conclusion in his paintings of the reflections in his water-lily ponds, can also be seen as a continuous reflecting on the potential of painting, which is conveyed through the representation and repetition of a motif on a canvas.

Monet’s representations of shade are another way in which he represented the potential of painting. They are both the imitation and the reverse side of the motif, and their abstract form gives the painting a structure that seems to question the mere copying of the motif. This led to the situation in which Wassily Kandinsky, on the occasion of his famous encounter with Monet’s painting of a haystack seen against the light (Kunsthaus Zurich and in the exhibition), did not recognize the subject for what it was: the painting itself had taken on far greater meaning that the representation of a traditional motif.

 

Monet’s Pictorial Worlds

The exhibition is a journey through Monet’s pictorial worlds. It is arranged according to different themes. The large first room in the exhibition is devoted to Monet’s numerous and diverse representations of the River Seine. One of the most notable exhibits is his rarely shown portrait of his partner and subsequent wife Alice Hoschedé, sitting in the garden in Vetheuil directly on the Seine.

The next room celebrates Monet’s representation of trees: a subtle tribute to Ernst Beyeler, who devoted an entire exhibition to the theme of trees in 1998. Inspired by coloured Japanese woodcuts, Monet repeatedly returned to the motif of trees in different lights, their form, and the shade they cast. Trees often give his paintings a geometric structure, as is particularly obvious in his series.

The luminous colours of the Mediterranean are conveyed by a group of canvases Monet painted in the 1880s. In a letter written at that time, he spoke of the “fairytale light” he had discovered in the South.

In 1886 Monet wrote to Alice Hoschedé that he was “crazy about the sea”. A large section of the exhibition is devoted to the coasts of Normandy and the island Belle-Île as well as to the ever-changing light by the sea. It includes a fascinating sequence of different views of a customs official’s cottage on a cliff that lies in brilliant sunlight at times and in the shade at others. On closer examination, the shade seems to have been created out of myriad colours.

Monet’s paintings of early-morning views of the Seine radiate contemplative peace: the painted motif is repeated as a painted reflection in such a way that the distinction between painted reality and its painted reflection seems to disappear in the rising mist. The entire motif is repeated as a reflection. There is no longer any clear-cut differentiation between the top and bottom parts of the painting, which could equally well be hung upside down. In other words, the convention about how paintings ought to be viewed is abandoned and viewers are left to make their own decision. It is as if Monet sought to convey the constant flux (panta rhei) that is such a fundamental characteristic of nature, capturing not only the way light changes from night to day but also the constant merging of two water courses.

Monet loved London. He sought refuge in the city during the Franco-Prussian War of 1870/71. As a successful and already well known painter, he went back there at the turn of the century, painting famous views of Waterloo and Charing Cross Bridge as well as of the Houses of Parliament in different lights, particularly in the fog, which turns all forms into mysterious silhouettes. A tribute not only Monet’s famous hero/forerunner William Turner, but also to the world power of Great Britain with its Parliament and the bridges it built through trade.

Monet’s late work consists almost exclusively of paintings of his garden and the reflections in his waterlily ponds, of which the Beyeler Collection owns some outstanding examples. The exhibition’s last room contains a selection of paintings of Monet’s garden in Giverny.

Press release from the Fondation Beyeler

 

Claude Monet (1840-1926) 'The Terrace at Vétheuil' 1881

 

Claude Monet (1840-1926)
The Terrace at Vétheuil
1881
Oil on canvas
81 x 65 cm
Private Collection
Photo: Robert Bayer

 

Claude Monet (1840-1926) 'In the "Norvégienne"' 1887

 

Claude Monet (1840-1926)
In the “Norvégienne”
1887
Oil on canvas
97.5 x 130.5 cm
Musée d’Orsay, Paris, legacy of Princesse Edmond de Polignac, 1947
Photo: © RMN-Grand Palais (Musée d’Orsay) / Hervé Lewandowski

 

Claude Monet (1840-1926) 'Jean-Pierre Hoschedé and Michel Monet on the Banks of the Epte' c. 1887-90

 

Claude Monet (1840-1926)
Jean-Pierre Hoschedé and Michel Monet on the Banks of the Epte
c. 1887-90
Oil on canvas
76 x 96.5 cm
National Gallery of Canada, Ottawa, Gift of the Saidye Bronfman Foundation, 1995
Photo: © National Gallery of Canada

 

Theodore Robinson. 'Portrait of Monet' c. 1888-90

 

Theodore Robinson
Portrait of Monet
c. 1888-90
Cyanotype
24 x 16.8 cm
Terra Foundation for American Art, Chicago, gift of Mr. Ira Spanierman, 1985
Photo: © Terra Foundation for American Art, Chicago / Art Ressource, NY

 

 

Theodore Robinson (1852-1896) was an American painter best known for his Impressionist landscapes. He was one of the first american artists to take up impressionism in the late 1880s, visiting Giverny and developing a close friendship with Claude Monet. Several of his works are considered masterpieces of American Impressionism.

An early exponent of American Impressionism, Theodore Robinson made a number of visits to France, between the years 1876 and 1892, and became a close friend of Claude Monet, whom he visited at Giverny. Paradoxically, despite his willingness to explore a new type of modern art, his particular style of Impressionism was relatively conservative. Even so, several of his paintings are considered to be masterpieces of American art in the Impressionist style. Best known for his landscape painting, he was also noted for his genre painting of village and farm life, as well as his Connecticut boat scenes. His famous works include: By the River (1887, Private Collection), La Vachere (1888, Smithsonian American Art Museum), La Debacle (1892, Scripps College, Claremont) and Union Square (1895, New Britain Museum of American Art, Conn). Shortly before his premature death from an acute asthma attack, he wrote in-depth articles on the Barbizon painter Camille Corot (1796-1875) and his friend Claude Monet (1840-1926).

 

Unknown photographer. 'Portrait of Theodore Robinson' Nd

 

Unknown photographer
Portrait of Theodore Robinson
Nd

 

Claude Monet (1840-1926) 'Poplars on the Banks of the Epte' 1891

 

Claude Monet (1840-1926)
Poplars on the Banks of the Epte
1891
Oil on canvas
92,4 x 73.7 cm
Tate, Presented by the Art Fund 1926
Photo: © Tate, London 2016

 

 

The Travels of Monsieur Monet: A Geographical Survey

Hannah Rocchi

 

Le Havre

Oscar-Claude Monet was born in Paris on November 14, 1840, the son of Claude-Alphonse, a commercial officer, and Louise-Justine Aubrée. From 1845 on he grew up in the port city of Le Havre in Normandy, his father having found employment in the trading house of his brother-in-law, Jacques Lecadre. The Lecadres owned a house three kilometres away in the little fishing village of Sainte-Adresse, which as a burgeoning bathing resort was much loved by the Monets. Claude attended the local high school beginning in 1851 and there received his first drawing lessons. His earliest surviving sketches dating from 1856 show caricatures of his teachers and the landscapes of Le Havre. When Monet’s mother died, in 1857, Claude and his elder brother, Léon, moved in with their aunt, Marie-Jeanne Lecadre, who would become very important to him and support him in his pursuit of an artistic career. As an amateur painter with a studio of her own, she had connections to local artists and made sure that her nephew could continue his drawing lessons in Le Havre. Monet’s caricatures soon attracted notice and were exhibited at the local stationer’s, Gravier, who also sold paints and frames. This brought his work to the attention of Eugène Boudin, a former partner in the business, who became Monet’s new teacher.

Boudin invited the young Monet to join him on plein air painting expeditions around Le Havre, an experience that made a lasting impression on his pupil. Monet twice applied for a municipal scholarship, but was turned down both times. Despite moving to Paris to take painting lessons there in 1859, Monet repeatedly returned to Le Havre, including in 1862, when after a year of military service in Algeria he had to return to France on grounds of poor health. Later that year he was discharged from military service thanks to the replacement fee paid by his aunt. It was in the summer of that year that he met the Dutch painter Johan Barthold Jongkind and claimed to have found in him his “true teacher.” He also spent the months May to November 1864 painting landscapes in and around Le Havre. His lover and future wife, Camille Doncieux, gave birth to their first child, Jean-Armand- Claude Monet, in Paris in 1867; yet, urged by his father, who was against the relationship, to leave Paris, the painter spent the summer without them, painting seascapes, gardens, figural compositions, and regattas in Sainte-Adresse. A year later he won a silver medal at the Le Havre art show. After the death of his aunt, in 1870, followed by that of his father just a year later, his visits to Le Havre became less frequent. At the same time, he was drawn more to the towns further up the Normandy coast, to Étretat, Fécamp, and Pourville, where he found even more impressive subjects for paintings.

 

Paris

Monet, who was born in Paris, returned to the capital in the spring of 1859 to visit the Salon and take painting lessons. During his stays in “chaotic Paris” he incurred numerous expenses, which he was able to defray thanks only to the support of his father and his aunt. Instead of enrolling at the atelier of the painter Thomas Couture for the preparatory course for admission to the École des Beaux-Arts, he chose the academy of Charles Suisse, where he probably met Camille Pissarro. After his discharge from the army in 1862, Monet returned to Paris and there joined the studio of the Swiss history painter Charles Gleyre, where he made the acquaintance of Alfred Sisley, Frédéric Bazille, and Pierre-Auguste Renoir. Two years later, when Gleyre ran into financial difficulties and had to close his studio, Monet’s father provided him with the funds he needed to rent a studio together with Bazille on the rue de Furstenberg. Renoir, Sisley, Pissarro, and even Paul Cézanne were all regular visitors there. Monet was experimenting with figural paintings at the time, including his large Déjeuner sur l’herbe (1865-66). When their money troubles came to a head in January 1866, Monet and Bazille had no choice but to relinquish their shared space. Monet then rented a small studio of his own on the place Pigalle, and it was there that he engaged Camille Doncieux, the woman he would marry in 1870, to sit for him. His painting of the nineteen-year-old Camille (Camille, or La Femme à la robe verte, 1866), was accepted for the Salon and not only won fulsome praise from the critic Émile Zola, but also aroused the interest of Édouard Manet.

Together with other Impressionists, Monet founded the Société anonyme coopérative des artistes peintres, sculpteurs, graveurs, etc., whose first group show was held in the studio of the photographer Nadar on the boulevard des Capucines in Paris in 1874. Among the works exhibited was Monet’s work Impression, soleil levant, painted in Le Havre in 1872. The show was savaged by the critics, who in a play on the title of Monet’s painting derided it as an “exhibition of impressionists.” Monet tended to find his subjects in the suburbs of Paris rather than in the capital itself, one exception being Saint-Lazare railway station, which he captured on several canvases in 1877. When Monet moved to Vétheuil, in 1878, he held onto a small studio in Paris, even if he used it mainly as a showroom for art dealers and potential collectors. When Monet’s patron Ernest Hoschedé declared bankruptcy, in 1877, he had no choice but to sell his large collection of works by the Impressionists a year later. It was through the sale of Hoschedé’s paintings that Monet met the collector and gallerist Georges Petit, who in the world of Impressionism would soon come to rival the art dealer Paul Durand-Ruel. In 1882 Durand-Ruel himself commissioned Monet with several still lifes for his home on the rue de Rome. In 1914, in Giverny, Monet began work on his last major project, the famous Grandes Décorations, and after his death, in 1927, twenty-two of these large-format paintings of water lilies were installed in the Musée de l’Orangerie in Paris.

 

The Normandy coast

Although his career necessitated ever more frequent trips to Paris, in 1868 Monet wanted to make a home for himself, his partner Camille Doncieux, and their son, Jean, in Normandy. He wrote to Bazille that he could not imagine spending longer than a month at a time in Paris and that whatever he might paint on the coast of Normandy would be very different from anything produced in the French capital. The cliffs near Fécamp that he painted in early 1881 show how his style of painting was already beginning to change, how his once idyllic landscapes were becoming wilder. Monet spent a few months in Poissy near Paris beginning in December of that year, but found the village uninspiring and returned to the coast, this time to the fishing village of Pourville. This was a landscape of rugged cliffs with several subjects of interest to him, among them the customs officer’s house near Varengeville. Furthermore, the beaches were deserted in the winter months, making them ideal for painting. Monet began several new series, sometimes working on eight canvases at once so that he needed help transporting his equipment and canvases from one place to another.

In the 1880s, when sales of his paintings began to pick up and his financial situation became less dire, Monet was at last able to rent a holiday home in Pourville. His new partner, Alice Hoschedé, and her daughter Blanche, who also painted, often accompanied him on his painting expeditions there, and he received visits from both Durand-Ruel and Renoir. In January 1883 Monet visited the village of Étretat, famed for its precipitous cliffs and arches, and there found several motifs right in front of the hotel. He also sought out remote beaches with views of the Manneporte Arch, which he proceeded to paint in different light conditions, often working on several canvases at once. While painting on a secluded beach on November 27, 1885, Monet miscalculated the incoming tide and was hurled against the face of a cliff by a wave. He told Alice that his brush and painting equipment had fallen into the sea, but that what annoyed him most was that the wave had washed away the canvas he was working on. Monet finished all of his over fifty paintings of Étretat in his studio in Giverny, which by then had become his permanent home.

 

On the Seine: Argenteuil, Vétheuil, and Poissy

On December 21, 1871, Monet rented a house in Argenteuil, a suburb northwest of Paris that allowed him to live in the country but remain within easy reach of the city. Thanks to the sale of several paintings as well as Camille s dowry and inheritance, the Monets were able to employ three servants and Monet himself bought a boat that he converted into a floating studio. Argenteuil became an important center for the Impressionists; Cézanne, Manet, Pissarro, Sisley, and Renoir all visited Monet there. In 1873 Monet met Gustave Caillebotte. One motif that Monet found especially interesting was the railway bridge of Argenteuil. It was destroyed in the Franco-Prussian War but rebuilt soon afterward, making it a symbol of French resilience – and further evidence of Monet’s general interest in bridges. In 1878 the Monets moved to Vétheuil, a little village on the Seine, some sixty kilometers away from Paris. As Monet’s patron Hoschedé was undergoing financial difficulties at the time, he and his wife, Alice, and their six children shared a house with the Monets. Monet’s wife, Camille, had just given birth to their second son, Michel, but was already ill with cervical cancer.

Their financial situation had deteriorated and they were no longer able to pay their servants. As a devout Christian, Alice Hoschedé took it upon herself to ensure that the Monets, who had married in a civil ceremony only, received the blessing of the Church for their union and that Camille Monet was given the last rites. Camille died on September 5, 1879, in Vétheuil and was buried in the cemetery there. The winter of 1879-80 was exceptionally cold and the Seine froze over. On January 5, 1880, the Hoschedé-Monet family awoke to the sound of the ice breaking apart, and Monet spent the next few days painting dozens of impressions of this spectacle. As Ernest Hoschedé mainly resided in Paris and visited his family only occasionally, Monet and Alice lived more or less alone with their children in Vétheuil, and before long they were rumoured to be having an affair. In 1881 they decided to move again. Monet had been unable to find a suitable school for his son Jean, and Alice was considering whether to return to Ernest in Paris with the children. In the end, however, both Monet and Alice moved to Poissy in December of that year. When Poissy proved uninspiring, however, the two families resumed their quest for the perfect home, which they would find in Giverny in 1883, some seventy kilometers northeast of Paris.

 

On the Mediterranean

In December 1883 Monet accompanied Renoir on a short trip to the Mediterranean. They traveled from Marseille to Genoa and visited Cézanne in L’Estaque. Monet was especially taken with the little town of Bordighera on the Ligurian Riviera and vowed to return there in January 1884, this time without Renoir, in order to paint in peace. The three-week stay originally planned eventually turned into three months, during which Monet explored the region, visited several mountain villages, and admired the wonderful gardens of Francesco Moreno, where to his great delight he was able to paint palms. The colours and new motifs brought Monet close to despair, and he complained to Alice of how difficult it was to paint the landscape as it really looked. Visibly fascinated by the warm light of the Mediterranean, he declared that he would need a palette of diamonds and jewels to capture its féerique (magical) atmosphere. Although in her replies Alice made no secret of her displeasure at the painter’s constant absences, Monet chose to linger in the south and continued the series he had just begun. He also traveled to Cap Martin and to Monte Carlo, painting as he went. In January 1888 he painted several views of Antibes.

In late September 1908 he visited Venice – one of only a few trips undertaken together with Alice – where he was especially impressed by the Grand Canal, the Doge’s Palace, and the church of San Giorgio Maggiore. When the pair left Venice again, in December 1908, Monet consoled himself with the thought that he would return there the following year, although he already had an inkling that that was “a forlorn hope.” Even so, the 1912 Claude Monet: Venise exhibition, comprising twenty-nine views of Venice and held at the Galerie Bernheim- Jeune, was a great success.

 

Rouen

Léon Monet, who ran the Rouen branch of a Swiss chemical company, was on good terms with his younger brother, Claude. Jean, the elder of Monet’s two sons, would later work for Léon, providing the painter with another good reason for visiting Rouen. It was probably at his brother’s instigation that Monet took part in the 23ème Exposition municipale des Beaux-Arts, in Rouen in March 1872. Monet discovered his fascination with the Gothic towers of Notre-Dame de l’Assomption, the cathedral in Rouen, which would become such a major preoccupation of his later years. He had planned to return to Rouen for longer painting projects as early as the spring of 1891, but in the end was too busy expanding his garden in Giverny to leave. In February 1892, however, he was offered the use of an empty apartment that looked out onto the cathedral’s west façade. In March of that year he took lodgings above a boutique that offered a similar view but from a slightly different angle. While in Rouen he worked on nine canvases at the same time, painting from early morning to late evening. The intensity was not without consequences, and Monet was afflicted by nightmares in which the cathedral – “it seemed to be blue, pink, or yellow” – came crashing down on top of him. The constantly changing light drove Monet almost to despair, and by 1893 he was working on up to fourteen canvases at once. In early 1894 he began preparing an exhibition of his cathedral paintings, but was plagued by doubts over whether he was up to the task. Twenty paintings in the series were to be exhibited as a solo show at the gallery of his art dealer, Durand-Ruel, in 1895. Believing that this might be an opportunity to raise his market value, he decided to demand 15,000 francs per painting. Durand-Ruel was so appalled that he refused to be involved in the actual sales and left the negotiations to the painter himself. Most of the works were well received in the press and would meet with acclaim in other exhibitions, too. Although Monet never received 15,000 francs for his cathedrals during his lifetime, the French state did at least pay 10,500 francs for the one that it bought for the Musée du Luxembourg in Paris in 1907.

 

London

On July 19, 1870, Napoléon III declared war on Prussia. Fearful of being conscripted, Monet fled to London at the beginning of October that year, taking Camille and their son Jean with him. There he met Paul Durand-Ruel, who was likewise a refugee and would become Monet’s most important art dealer. Durand-Ruel’s first documented sale of a Monet work was in May 1871. Together with Pissarro, Monet visited London’s many museums and there admired the works of Joseph Mallord William Turner and John Constable. When the war ended in late May 1871, Monet returned to France via the Netherlands. Although he would return to London on several occasions in the following years, his stays would invariably be brief and motivated mainly by visits to fellow painters. His desire to paint various views of the Thames swathed in fog nevertheless comes up in several letters. When his youngest son, Michel, went to London to study, Monet, Alice, and Alice’s daughter Germaine paid him a visit there in September 1899. They stayed at the luxurious Savoy Hotel, which has excellent views of the Thames. Monet was thus able to spend a whole month painting Charing Cross Bridge to excess, dedicating himself intensively to Waterloo Bridge later on.

He would return to London in the next two years, and in 1900 set up his easel in a room in St. Thomas’ Hospital that commanded an especially fine view of Westminster. While there, Monet received a visit from Georges Clemenceau, a personal friend of his and later an important French statesman, through whose good offices he was granted permission to paint in the Tower of London – a dispensation he never made use of. The thick fog that he woke up to toward the end of his stay in 1901 was grounds enough for him to postpone his departure. Many of the canvases begun in London were actually finished back in Monet’s studio in Giverny. There he also began to destroy some of them, admitting to Durand-Ruel that “my mistake is to try to improve them.” An exhibition of selected London paintings held in Paris at Durand-Ruel’s in May 1904 met with great acclaim.

 

Giverny

Monet signed a lease for a house with a plot of land in Giverny and moved in on April 29, 1883, bought it in 1890, and lived there until his death, for over forty years all told. Alice and her children moved in the very next day after the lease was signed. The village near the Seine is not far from Vernon, which is where the older children went to school. The two-story house was big enough to accommodate the large family, and the barn was readily converted into a painting studio. In the first summer there, Monet built a boathouse so that he could explore his environs in search of suitable motifs by boat. He also began planting a garden, which soon became an enduring passion. He painted views of the church of Vernon as well as his first fields with grain stacks. It was on the tiny Île aux Orties, which Monet bought as a place to moor his boats, that he painted Alice’s daughter Suzanne with a parasol (Essai de figure en plein-air: Femme à l’obrelle, 1886). Apart from his French painter friends, he was visited by both the American painter John Singer Sargent (in 1885 and 1887) and Georges Clemenceau, the former of whom painted both Monet and Blanche Hoschedé at work. The first grain stacks began to appear in late 1888. Monet traveled much less after 1890 and tended to confine himself to just a few motifs that he painted in series. He clearly felt at home in Giverny and lavished a great amount of time (and money) on the cultivation of his garden there, which became a favourite preoccupation. Many of his motifs were now to be found on his doorstep, among them the aforementioned grain stacks, which in 1890-91 he painted no fewer than twenty-five times in varying light. Ernest Hoschedé died in Paris in 1891 with his wife, Alice, at his side. He was buried in Giverny. In the spring of 1891 Monet began painting a series of a row of poplars on the Epte River two kilometers away from his home, which he visited in his studio boat. When the poplars came up for auction in August of that year, he paid the timber merchant to leave them standing until he had finished painting them.

A little less than a year later Monet and Alice married in Giverny. Work on their property continued, and in early 1893 Monet purchased the adjoining plot with the aim of creating a water lily pond. In the summer of 1896 Monet began work on his Matinée sur la Seine series, for which he set off for work in his boat at half past three in the morning. In 1899 he had a second studio built specifically for the purpose of finishing paintings begun en plein air, while the first studio, being larger, would henceforth serve mainly as a showroom. Water lilies were becoming an increasingly important subject by now, and in 1901 he purchased land again, to enlarge his pond. He also had a third studio built to allow him to commence work on the monumental water lily wall panels (the Grandes Décorations). From 1909 on, Monet’s sight deteriorated to such an extent that he had to undergo various operations, notwithstanding his fears that these might change his perception of colour. Alice fell ill with a rare form of leukaemia and died in 1911, with a distraught Monet by her side. Following the death of his son Jean, in 1914, Blanche, who was both Monet’s stepdaughter and daughter-in-law, moved into the house at Giverny and cared for the deeply grieved artist. Yet he continued painting, right to the end of his days, finding most of his motifs in his own garden. It was also in Giverny that Monet, who died of lung cancer on December 5, 1926, would find his final resting place. He was buried in the same grave as his son Jean (1914), his wife Alice (1911), her first husband, Ernest Hoschedé (1891), and their daughters Suzanne (1899) and Marthe (1925).

.
The present chronology is based on the accounts provided in Charles F. Stuckey, “Chronology,” in Claude Monet 1840-1926, exh. cat. The Art Institute of Chicago (London and Chicago, 1995), p. 185–266; and quotations cited from the artist’s letters published in Daniel Wildenstein, Claude Monet: Biographie et catalogue raisonné (Paris and Lausanne, 1974-91), vols. 1-5.

 

Claude Monet (1840-1926) 'Sunset on the Seine in Winter' 1880

 

Claude Monet (1840-1926)
Sunset on the Seine in Winter
1880
Oil on canvas
60.6 x 81.1 cm
Pola Museum of Art, Pola Art Foundation

 

Claude Monet (1840-1926) 'Morning on the Seine' 1897

 

Claude Monet (1840-1926)
Morning on the Seine
1897
Oil on canvas
89.9 x 92.7 cm
The Art Institute of Chicago, Mr. and Mrs. Martin A. Ryerson Collection, 1933
Photo: © The Art Institute of Chicago / Art Resource, NY / Scala, Florence

 

Claude Monet (1840-1926) 'Charing Cross Bridge: Fog on the Thames' 1903

 

Claude Monet (1840-1926)
Charing Cross Bridge: Fog on the Thames
1903
Oil on canvas
73.7 x 92.4 cm
Harvard Art Museums / Fogg Museum, Donation of Mrs. Henry Lyman, 1979
Photo: Imaging Department © President and Fellows of Harvard College

 

Claude Monet (1840-1926) 'Houses of Parliament, Stormy Sky' 1904

 

Claude Monet (1840-1926)
Houses of Parliament, Stormy Sky
1904
Oil on canvas
81 x 92 cm
Palais des Beaux-Arts de Lille, legs de Maurice Masson, 1949
Photo: © RMN-Grand Palais / René-Gabriel Ojéda

 

Claude Monet (1840-1926) 'Île aux Orties near Vernon' 1897

 

Claude Monet (1840-1926)
Île aux Orties near Vernon
1897
Oil on canvas
73.3 x 92.7 cm
The Metropolitan Museum of Art, Gift of Mr. and Mrs. Charles S. McVeigh, 1960
Photo: © bpk / The Metropolitan Museum of Art

 

Claude Monet (1840-1926) 'Meadow at Giverny, Autumn Effect' 1886

 

Claude Monet (1840-1926)
Meadow at Giverny, Autumn Effect
1886
Oil on canvas
92.1 x 81.6 cm
Museum of Fine Arts, Boston, Juliana Cheney Edwards Collection
Photo: © 2017 Museum of Fine Arts, Boston

 

Claude Monet (1840-1926) 'Water-Lilies' 1916-1919

 

Claude Monet (1840-1926)
Water-Lilies
1916-1919
Oil on canvas
200 x 180 cm
Fondation Beyeler, Riehen / Basel, Beyeler Collection
Photo: Robert Bayer
The restoration of this art work is supported by the BNP Paribas Swiss Fondation

 

 

Fondation Beyeler
Beyeler Museum AG
Baselstrasse 77, CH-4125
Riehen, Switzerland

Opening hours:
10 am – 6 pm daily, Wednesdays until 8 pm

Fondation Beyeler website

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17
May
17

Exhibition: ‘Tom Goldner: Passage’ at The Fox Darkroom & Gallery, Kensington, Melbourne

Exhibition dates: 5th May – 21st May, 2017

 

Tom Goldner. 'Valley' 2015-15

 

Tom Goldner
Valley
2015-16
Silver gelatin print

 

 

It is such a pleasure to be able to walk into a gallery – in this case, one located in the recently restored Young Husband Wool Store in Kensington: a building originally built in the late 1800s which is now home to a vibrant community of artists, musicians, designers and makers – to view strong, fibre-based analogue black and white photographs printed by the artist from medium format negatives. No worrying about crappy, digital ink-jet prints which don’t do the tableau justice. Just the pure pleasure of looking at the wondrous landscape.

Goldner is working in the formalist way of modernist photographers and in a long tradition of mountain photography – a combination of travel, mountaineering and fine-art photography. As the text from the recent exhibition at the Musée de l’Elysée Vertical No Limit: Mountain Photography observes: “… photography invented the mountain landscape by revealing it to the eyes of the world. Photography is heir to a certain idea of the mountains and of the sublime, closely linked to pictorial romanticism.” In Goldner’s work, this romanticism is subdued but still present: reflection in lake, mist over treetop, and the capture of human figures in the landscape to give scale to the great beyond, a feature of Victorian landscape photography, mountain or otherwise.

However, the photographs contain a certain innocence: not the romantic, isn’t the world grand BUT this is the world. Goldner celebrates photography by allowing the camera to do what it does best – capture reality. He takes things as they are. There is no waiting for a particularly dramatic sky, the artist just takes what he sees. In this sense his everyday skies undercut the dramatic romanticism of place by allowing the possibility that these images (or variations of them) could be taken day after day, year after year. This is the natural state of being of these places and he pushes no further.

This is where the title of the exhibition and words supporting it are confusing. There is nothing transitional, transnational, or transient about these images – no movement from one state to another as in a “passage” – and certainly no discernible difference from one year to the next. Goldner’s photographs show the everyday, just how it is. That is their glorious strength: their clarity of vision, their ability to celebrate the here and now, which can be witnessed every day in the passes and peaks around the Mont Blanc regions of France, Italy and Switzerland. And then I ask, is that innocence enough?

Marcus

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

 

The world around us is perpetually changing – ice melts, glaciers shift, weather changes and time passes. Nowhere stays the same, and neither do we.

Passage captures a transitional time in Tom Goldner’s photography practice. In 2015 and 2016, Tom made two physical expeditions around the Mont Blanc regions of France, Italy and Switzerland. Ever-conscious of the changing nature of the landscape – the fact that you could stand in the same spot one year later and find everything had changed – he shot fleeting moments on medium format film.

Back in Melbourne, Tom painstakingly developed and printed each photograph by hand in his darkroom. The experience reawakened his love of manual photography, and he saw parallels between the physical exertion of actually taking the pictures and the intense concentration needed in producing the series of atmospheric silver gelatin prints.

Artist’s statement

 

Tom Goldner. 'Passage' 2015-16

 

Tom Goldner
Passage
2015-16
Silver gelatin print

 

Tom Goldner. 'Lake' 2015-16

 

Tom Goldner
Lake
2015-16
Silver gelatin print

 

Tom Goldner. 'Pines' 2015-16

 

Tom Goldner
Pines
2015-16
Silver gelatin print

 

Tom Goldner. 'Rocks' 2015-16

 

Tom Goldner
Rocks
2015-16
Silver gelatin print

 

Tom Goldner. 'Window (a)' 2015-16

 

Tom Goldner
Window (a)
2015-16
Silver gelatin print

 

Tom Goldner. 'Window (b)' 2015-16

 

Tom Goldner
Window (b)
2015-16
Silver gelatin print

 

Tom Goldner. 'Hill' 2015-16

 

Tom Goldner
Hill
2015-16
Silver gelatin print

 

Tom Goldner. 'Col de la Seigne' 2015-16

 

Tom Goldner
Col de la Seigne
2015-16
Silver gelatin print

 

Tom Goldner. 'Aiguille du Midi' 2015-16

 

Tom Goldner
Aiguille du Midi
2015-16
Silver gelatin print

 

 

The Fox Darkroom & Gallery
8 Elizabeth St, Via Laneway,
Kensington VIC 3031

Opening hours:
Thursday – Friday 11am – 6pm
Saturday – Sunday 11am – 5pm

The Fox Darkroom & Gallery website

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12
May
17

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

Exhibition dates: 11th February – 21st May 2017

Curator: Dr Steven Tonkin

 

 

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

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

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

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

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

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

Marcus

 

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

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

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

 

 

 

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

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

 

 

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

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

 

Melati Suryodarmo. 'Sweet Dreams Sweet' 2013

 

Melati Suryodarmo
Sweet Dreams Sweet
2013
Courtesy the artist

 

Khvay Samnang. 'Rubber Man #3' 2014

 

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

 

 

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

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

 

 

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

 

Lee Wen. 'Splash! #7' 2003

 

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

 

 

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

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

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

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

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

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

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

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

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

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

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

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

Press release from the Arts Centre Melbourne

 

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

 

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

 

 

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

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

 

 

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

 

 

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

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

 

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

 

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

 

 

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

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

 

 

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

 

 

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

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

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

 

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

 

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

 

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

 

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

 

 

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

Arts Centre Melbourne website

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07
May
17

Exhibition: ‘The Unsettled Lens’ at the Oklahoma City Museum of Art

Exhibition dates: 18th February – 14th May 2017

 

Not a great selection of media images… I would have liked to have seen more photographs from what is an interesting premise for an exhibition: the idea of the uncanny as a sense of displacement, as a difficulty in reconciling the familiar with the unknown.

The three haunting – to haunt, to be persistently and disturbingly present in (the mind) – images by Wyn Bullock are my favourites in the posting.

Marcus

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

 

 

Since the early twentieth-century, photographers have crafted images that hinge on the idea of the uncanny, a psychological phenomenon existing, according to psychoanalysis, at the intersection between the reassuring and the threatening, the familiar and the new. The photographs in this exhibition build subtle tensions based on the idea of the uncanny as a sense of displacement, as a difficulty in reconciling the familiar with the unknown. By converting nature into unrecognisable abstract impressions of reality, by intruding on moments of intimacy, by weaving enigmatic narratives, and by challenging notions of time and memory, these images elicit unsettling sensations and challenge our intellectual mastery of the new. This exhibition showcases new acquisitions in photography and photographs from the permanent collection, stretching from the early twentieth-century to the year 2000.

 

 

Edward J. Steichen (American, born Luxembourg, 1879-1973) 'Moonrise, Mamaroneck, New York' 1904, printed 1981

 

Edward J. Steichen (American, born Luxembourg, 1879-1973)
Moonrise, Mamaroneck, New York
1904, printed 1981
Photogravure
Oklahoma City Museum of Art
Museum purchase with funds provided by Ms. Frances Kerr

 

William A. Garnett. 'Sand Bars, Colorado River, Near Needles, California' 1954

 

William A. Garnett (1916-2006)
Sand Bars, Colorado River, Near Needles, California
1954
Silver gelatin print
Oklahoma City Museum of Art

 

Elliott Erwitt (American, born France 1928) 'Cracked Glass with Boy, Colorado' 1955, printed 1980

 

Elliott Erwitt (American, born France 1928)
Cracked Glass with Boy, Colorado
1955, printed 1980
Gelatin silver print
Oklahoma City Museum of Art
Gift of Raymond W. Merritt

 

Wynn Bullock (American, 1902–1975) 'Navigation Without Numbers' 1957

 

Wynn Bullock (American, 1902-1975)
Navigation Without Numbers
1957
Gelatin silver print
Collection of Mr. and Mrs. Nicholas V. Duncan

 

 

In “Navigation Without Numbers,” photographer Wynn Bullock comments on life’s dualities and contradictions through imagery and textures: the soft, inviting bed and the rough, rugged walls; the bond of mother and child, and the exhaustion and isolation of motherhood; and the illuminated bodies set against the surrounding darkness. The book on the right shelf is a 1956 guide on how to pilot a ship without using mathematics. Its title, Navigation Without Numbers, recalls the hardship and confusion of navigating through the dark, disorienting waters of early motherhood.

 

Wynn Bullock (American, 1902–1975) 'Child in Forest' 1951

 

Wynn Bullock (American, 1902-1975)
Child in Forest
1951
Gelatin silver print
Collection of Mr. and Mrs. Nicholas V. Duncan

 

Wynn Bullock (American, 1902-1975) 'Child on Forest Road' 1958, printed 1973

 

Wynn Bullock (American, 1902-1975)
Child on Forest Road
1958, printed 1973
Gelatin silver print
Oklahoma City Museum of Art
Lent by Mr. and Mrs. Nicholas V. Duncan

 

 

“Child on Forest Road,” which features the artist’s daughter, brings together a series of dualities or oppositions in a single image: ancient forest and young child, soft flesh and rough wood, darkness and light, safe haven and vulnerability, communion with nature and seclusion. In so doing, Bullock reflects on his own attempt to relate to nature and to the strange world implied by Einstein’s newly theorized structure of the universe.

 

Ruth Bernhard (American, born Germany, 1905-2006) 'In the Box - Horizontal' 1962

 

Ruth Bernhard (American, born Germany, 1905-2006)
In the Box – Horizontal
1962
Gelatin silver print
Oklahoma City Museum of Art
Museum purchase

 

Brett Weston (American, 1911-1993) 'Untitled [dead bird and sand]' 1967

 

Brett Weston (American, 1911-1993)
Untitled (dead bird and sand)
1967
Gelatin silver print
Oklahoma City Museum of Art
Gift of the Christian Keesee Collection

 

Edward J. Steichen (American, born Luxembourg, 1879-1973) 'Balzac, The Open Sky - 11 P.M.' 1908

 

Edward J. Steichen (American, born Luxembourg, 1879-1973)
Balzac, The Open Sky – 11 P.M.
1908
Photogravure
Oklahoma City Museum of Art
Museum purchase with funds provided by Ms. Frances Kerr

 

 

Edward Steichen, who shared similar artistic ambitions with Symbolist sculptor, Auguste Rodin, presented Rodin’s Balzac as barely decipherable and as an ominous silhouette in the shadows. In Steichen’s photograph, Balzac is a pensive man contemplating human nature and tragedy, a “Christ walking in the desert,” as Rodin himself admiringly described it. Both Rodin and Steichen chose Balzac as their subject due to the French writer’s similar interest in psychological introspection.

 

Ralph Gibson (American, b. 1939) 'Untitled (Woman with statue)' 1974, printed 1981

 

Ralph Gibson (American, b. 1939)
Untitled (Woman with statue)
1974, printed 1981
Gelatin silver print
Oklahoma City Museum of Art
Gift of Carol and Ray Merritt

 

William A. Garnett (1916-2006) 'Two Trees on Hill with Shadow, Paso Robles, CA' 1974

 

William A. Garnett (1916-2006)
Two Trees on Hill with Shadow, Paso Robles, CA
1974
Silver gelatin print
Oklahoma City Museum of Art

 

Thomas Harding (American, 1911-2002) 'Barbed Wire and Tree' 1987

 

Thomas Harding (American, 1911-2002)
Barbed Wire and Tree
1987
Platinum print
Oklahoma City Museum of Art
Museum purchase with funds provided by Mr. Jack Coleman

 

Zeke Berman (American, b. 1951) 'Untitled (Web 2)' 1988

 

Zeke Berman (American, b. 1951)
Untitled (Web 2)
1988
Gelatin silver print
Oklahoma City Museum of Art
Museum purchase

 

 

In “Untitled,” New York sculptor and photographer Zeke Berman sets up a still life in the Dutch tradition – the artist presents a plane in foreshortened perspective, sumptuous fabric, and carefully balanced objects – only to dismantle it, and reduce it to a semi-abandoned stage. Spider webs act as memento mori (visual reminders of the finitude of life), while the objects, seemingly unrelated to each other and peculiarly positioned, function as deliberately enigmatic signs.

 

Stan Douglas (Canadian, b. 1960) 'Roof of the Ruskin Plant' 1992

 

Stan Douglas (Canadian, b. 1960)
Roof of the Ruskin Plant
1992
Chromogenic print
Oklahoma City Museum of Art
Gift of the Christian Keesee Collection

 

 

Oklahoma City Museum of Art
415 Couch Drive
Oklahoma City, OK 73102

Opening hours:
Tuesday – Saturday: 10 am – 5 pm
Thursday: 10 am – 9 pm
Sunday: noon – 5 pm
Closed: Monday and Major Holidays

Oklahoma City Museum of Art website

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Marcus Bunyan black and white archive: ‘Études’ 1994

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Dr Marcus Bunyan

Dr Marcus Bunyan is an Australian artist and writer. His work explores the boundaries of identity and place. He writes the Art Blart blog which reviews exhibitions in Melbourne, Australia and posts exhibitions from around the world. He has a Dr of Philosophy from RMIT University, Melbourne and is currently studying a Master of Art Curatorship at The University of Melbourne.

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