Exhibition dates: 21st October, 2023 – 14th April, 2024
Curator: Betty Yao
John Thomson (Scottish, 1837-1921) A Siamese monk holding a fan 1865 Photograph from a glass photonegative, wet collodion Public domain
A bridge between past and present
An Easter Monday posting.
Magnificent large format photographs of the landscape and people of Siam (now Thailand), just two decades after the invention of photography. The photographs give “us a glimpse into some characteristics of people and places of Siam in the 1860s.”
In the portrait photographs the engagement revealed by the photographer of the subject with the camera lens is masterful. To elicit this response from people unused to posing in front of a large, bulky camera shows how the photographer must have been empathetic to his subjects and put them at their ease with the process of having their photograph taken.
The subjects are not apprehensive of the camera. The images show them directly: composed, reserved, non-declamatory and possessing a powerful presence. The exchange between subject and photographer evidences a direct line of communication with the sitter.
The eyes of A Siamese boy (1865, below) drill into mine and I feel a profound engagement with his questioning gaze. I am pierced by his gaze … which forces me to confront my own identity, and mortality.
As a viewer of these human beings all these decades later (a bridge between past and present), it’s as if I could reach out and touch their humanity. Their soul.
Dr Marcus Bunyan
Many thankx to the Russell-Cotes Art Gallery and Museum for allowing me to publish the photographs in the posting. Please click on the photographs for a larger version of the image.
In the mid-19th century, John Thomson arrived in Siam with a fairly new invention of those days photography….
Step back in time and immerse yourself in the wonders of 19th-century Southeast Asia as seen through the lens of the intrepid adventurer and photographer, John Thomson. The Russell-Cotes Art Gallery & Museum is proud to present an enchanting new exhibition Siam: Through the Lens of John Thomson on display from 21 October 2023 to 14 April 2024, inviting visitors to embark on a captivating journey through time and space. This extraordinary showcase offers a unique glimpse into the captivating landscapes, diverse cultures, and fascinating history of Southeast Asia.
A British photographer with an exceptional eye for detail, Thomson embarked on a groundbreaking journey to Siam during the late Victorian era, with a fairly new invention in those days: photography, capturing scenes that had been scarcely witnessed before in the Western world. Throughout his remarkable career, Thomson ventured into uncharted territories and documented the exotic beauty and cultural richness of Thailand and Cambodia in stunning detail. Featuring dramatic images developed from negatives preserved in London’s Wellcome Collection, this exhibition introduces the sights and people of nineteenth-century Thailand and Cambodia as witnessed by Thomson first hand. In this new exhibition, visitors to the Russell-Cotes Art Gallery & Museum will have the privilege of witnessing many meticulously preserved photographs taken by Thomson during his travels, carefully curated to provide an insightful narrative of his exploration. Each image tells a story of its own, serving as a bridge between the past and the present, enabling visitors to forge a deeper connection with the cultures and history of Thailand and Cambodia.
Text from the Russell-Cotes Art Gallery and Museum website
Siam Through the Lens of John Thomson, 1865-66: In-Focus audio tour with Jo O’Rourke when the exhibition was at Chester Beatty
This exhibition gives us a glimpse into some characteristics of people and places of Siam in the 1860s. We are guided through a wonderful collection of images taken with great sensitivity by one of the pioneers of photojournalism John Thomson (1837-1921).
John Thomson (Scottish, 1837-1921) The Chao Phraya River and Rattanakosin Island from the Prang of Wat Arun 1865 Panorama of three photographs from a glass photonegatives, wet collodion Public domain
John Thomson (Scottish, 1837-1921) King Mongkut (King Rama IV) in the uniform of a French Field Marshall 1865 Photograph from a glass photonegative, wet collodion Public domain
“A shrill blast of horns heralded the approach of the King and caused us hastily to descend into the court,” Thomson wrote of the occasion. “His Majesty entered through a massive gateway, and I must confess that I felt much impressed by his appearance, as I had never been in the presence of an anointed sovereign before. He stood about five feet eight inches, and his figure was erect and commanding; but an expression of severe gravity was settled on his somewhat haggard face. His dress was a robe of spotless white, which reached right down to his feet; his head was bare.
“All was prepared beneath a space in the court when, just as I was about to take the photograph, His Majesty changed his mind, and without a word to anyone, passed suddenly out of sight. We patiently waited, and at length the King reappeared, dressed this time in a sort of French Field Marshal’s uniform. The portrait was a great success, and His Majesty afterwards sat in his court robes, requesting me to place him where and how I pleased.”
In the photo of the King in the field marshal’s regalia, he wears the sash of the Legion d’honneur and the Star First Class presented to him on behalf of Emperor Napoleon III by the admiral of the French fleet in Indochina. On a side able rests a small telescope, reflecting the king’s interest in astronomy and its Western means of study.
Anonymous. “How the world first saw Siam,” on The Nation website Thursday January 22nd, 2015 [Online] Cited 14/03/2024. Used under fair use conditions for the purposes of education and research
John Thomson (Scottish, 1837-1921) King Mongkut (King Rama IV) in state attire 1865 Photograph from a glass photonegative, wet collodion Public domain
John Thomson (Scottish, 1837-1921) Prince Chulalongkorn 1865 Photograph from a glass photonegative, wet collodion Public domain
Prince Chulalongkorn, subsequently King Chulalongkorn (1853-1910), aged 12 years, wearing a top-knot, fine traditional Thai clothes and jewellery. Standing in a courtyard of the Grand Palace, Bangkok, between an ornamental table and an urn.
John Thomson (Scottish, 1837-1921) Royal Barge Anantanakkharat / A Royal Barge Procession marks the Buddhist Kathin festival on Oct. 14, 1865 1865 Photograph from a glass photonegative, wet collodion Public domain
John Thomson (Scottish, 1837-1921) Offering lunch to Buddhist monks 1865-1866 Photograph from a glass photonegative, wet collodion Public domain
John Thomson (Scottish, 1837-1921) Khon and Lakhon troupe 1865-1866 Photograph from a glass photonegative, wet collodion Public domain
John Thomson (Scottish, 1837-1921) A white elephant belonging to King Mongkut 1865-1866 Photograph from a glass photonegative, wet collodion Public domain
John Thomson (Scottish, 1837-1921) Siam (Thailand) 1865 Photograph from a glass photonegative, wet collodion Public domain
John Thomson (Scottish, 1837-1921) A Siamese boy 1865 Photograph from a glass photonegative, wet collodion Public domain
John Thomson (Scottish, 1837-1921) Portrait of a princess with her maidservant (possibly a daughter of Prince Nilarat, Prince of Alongkot Kitpreecha) 1865 Photograph from a glass photonegative, wet collodion Public domain
Step back in time and immerse yourself in the wonders of 19th-century Southeast Asia as seen through the lens of the intrepid adventurer and photographer, John Thomson. The Russell-Cotes Art Gallery & Museum is proud to present an enchanting new exhibition Siam: Through the Lens of John Thomson on display from 21 October 2023 to 14 April 2024, inviting visitors to embark on a captivating journey through time and space. This extraordinary showcase offers a unique glimpse into the captivating landscapes, diverse cultures, and fascinating history of Southeast Asia, as captured by the illustrious Scottish Victorian photographer, John Thomson.
A Scottish photographer with an exceptional eye for detail, Thomson embarked on a groundbreaking journey to Siam during the late Victorian era, with a fairly new invention in those days: photography, capturing scenes that had been scarcely witnessed before in the Western world. Throughout his remarkable career, Thomson ventured into uncharted territories and documented the exotic beauty and cultural richness of Thailand and Cambodia in stunning detail. His evocative photographs offer an invaluable historical record and a testament to his artistic sensibility and his photographic vision marks him out as one of history’s most important travel photographers.
The founders of the Russell-Cotes Art Gallery and Museum, Merton and Annie Russell-Cotes travelled extensively in their lifetime, bringing back crates full of ‘objets d’art’,as Merton described them in his memoirs. These were to fill almost every room of the house alongside Merton’s vast art collection and, in some cases, inspired the Russell-Cotes to alter and adapt rooms to a particular theme. As they visited almost every continent during their grand worldwide tours, it is only fitting that this exhibition works in collaboration with the vast collections from around the world on display at the Russell-Cotes Art Gallery and Museum today. Annie and Merton witnessed similar scenes to John Thomson, but chose to collect objects, rather than images.
Featuring dramatic images developed from negatives preserved in London’s Wellcome Collection, this exhibition introduces the sights and people of nineteenth-century Thailand and Cambodia as witnessed by Thomson first hand. In this new exhibition, visitors to the Russell-Cotes Art Gallery & Museum will have the privilege of witnessing many meticulously preserved photographs taken by Thomson during his travels, carefully curated to provide an insightful narrative of his exploration. Each image tells a story of its own, serving as a bridge between the past and the present, enabling visitors to forge a deeper connection with the cultures and history of Thailand and Cambodia.
The photographs on display encompass a diverse range of subjects, including awe-inspiring temples, architectural marvels, picturesque landscapes, and enchanting portraits of everyday life, ceremonies royalty, tradition, and customs. Each photograph serves as a testament to Thomson’s skill as a storyteller, highlighting the allurement of these distant lands. Thomson also received special permission to visit Angkor Wat (then under Siam’s control), becoming the first to photograph its famous ruins.
He used the wet-collodion process as his method for taking photographs, so called because an exposure was made onto a glass negative. His process had to be carried out in complete darkness, requiring a portable darkroom tent and a large amount of equipment. He travelled around Siam with many crates of glass negatives and bottles of potentially harmful chemicals, which was remarkable considering the difficult terrain and unfamiliar regions he often visited. Despite these challenges, Thomson was able to capture the natural beauty of the land as well as the daily lives of the people he encountered. His style has been described as “photo-journalistic,” a term which acknowledges his ability to capture authentic and natural moments through his photography.
In addition to the captivating photographs, the exhibition will also feature informative panels, present day photographs and an exciting calendar of insightful talks and workshops. Visitors will have the opportunity to engage with historical context of the time and gain insights into Thomson’s wet collodion photography methods and techniques to understand the cultural significance of his work in Southeast Asia and the world of photography.
Press release from Russell-Cotes Art Gallery and Museum
John Thomson (Scottish, 1837-1921) Phra Chom Klao Bridge, Phetchaburi River 1865-1866
The Phra Chom Klao bridge over the Phetchaburi river.
John Thomson (Scottish, 1837-1921) The wife of the Prime Minister (Kralahom) of Siam 1865 Photograph from a glass photonegative, wet collodion Public domain
John Thomson (Scottish, 1837-1921) Siamese boatman 1865 Photograph from a glass photonegative, wet collodion Public domain
John Thomson (Scottish, 1837-1921) Face-towers of the Bayon temple, Angkor Wat 1866 Photograph from a glass photonegative, wet collodion Public domain
John Thomson (Scottish, 1837-1921) Elephants outside Angkor Wat 1866 Photograph from a glass photonegative, wet collodion Public domain
John Thomson (Scottish, 1837-1921) The western Gopura, Angkor Wat 1866 Photograph from a glass photonegative, wet collodion Public domain
Siam: Through the Lens of John Thomson (1865-66) poster
Russell-Cotes Art Gallery & Museum East Cliff Promenade, Bournemouth, BH1 3AA
Opening hours: Tuesdays – Sundays and Bank Holiday Mondays, 10am – 5pm
from the series Travelling the wonderful loneliness 2019-2024
March 2024
The third sequence from my new series.
Urban wandering, or travel as Hadjicostis writes, “more than any other activity cultivates the art of asking questions.“1
During 2019 I took a photographic journey through Europe. The trip was an ascetic experience, hardly talking to anyone for 2 months, immersed in photography, taking almost 10,000 photographs on three digital cameras. I have whittled these photographs down to around 120 images in four sequences.
This sequence, Tell Me Why, is one of the four sequences in the series collectively titled Travelling the wonderful loneliness (2019-2024).
1/ Nicos Hadjicostis. Destination Earth : A New Philosophy of Travel by a World-Traveler. Bamboo Leaf Press, 2016, p. 85 quoted in quoted in Olivia Schlichting. “Women in Cities & the Art of the Flaneuse,” in Urban Space & Women paper November 30, 2018, p. 11.
Please click on the photographs for a larger version of the image.
Elongation
The Red CarMan in blue
The Green Man
Clare Castle, England
Suspension
Three cracked eggs
Yellow funnel
Silver
Southbound Northbound
Push
Catch
The profit of industry
Rue des Ursulines, Paris
PhotospheresIn Memory Of (In Memory of the forty three people who died as a result of the tragic accident at Moorgate Underground Station on the 28th February 1975)
Christmas in October
The Riding School, England
The Blue Fan
The Casualities of War
Atget (colour)
Suspension
Self-portrait with dog
After (Hokusai)
Photographs are available from this series for purchase. As a guide, a digital colour 16″ x 20″ print costs $1,000 plus tracked and insured shipping. For more information please see the Store web page.
“Lange’s masterpieces such as ‘Dispossessed Arkansas farmers’ (1935) are truly avant-garde and experimental photographs for their time” Dr Marcus Bunyan
Stella Hurtig Jones was a famous American vaudeville performer who traveled the world as a flamenco and tango dancer during the late 19th and early 20th centuries. One of Lange’s earliest professional portraits, the composition uses the soft focus and diffused light that characterises pictorial photography, popular among celebrities. Lange photographed Hurtig Jones as herself, rather than as her stage persona La Estrellita (The Little Star), perhaps in recognition of her recent retirement. As European travel waned during World War I and movies replaced vaudeville as mass entertainment, the allure of traditional Spanish dance diminished. La Estrellita married, started a perfume business, and moved from Hollywood to the Bay Area.
Label text from the exhibition
Full of the world
Just when you think that you know the work of an artist photographs emerge that you have never seen before, photographs that challenge the canon of famous images on which the reputation of the artist rests. Such is the case in this two part posting on the work of social documentary photographer Dorothea Lange (American, 1895-1965). See Part 1 of the posting.
Rather, it is the relatively unknown early Pictorialist photographs, the earthy photographs of Irish people, and photographs that challenge the formalist construction of images of the disintegration of families and communities during the Great Depression – images that are far more avant-garde and experimental than I would have expected from Lange – which shine in the mind’s eye (in one’s imagination or memory).
The ethereal Pictorialist portraits (this posting) with their asymmetrical construction, trembling? vibrational? negative space, luminous light and low depth of field are a delightful surprise… as are the 1950’s Irish portrait photographs (Part 1 of the posting) full of earthy, brooding darkness – with faces that are “pure Ireland.” What intensity in these images, clearly and empathetically seen.
But it is the abstract figurative studies in which I am most interested… images that disrupt Lange’s normative representation in her social documentary photographs of humanity and their resilience. In photographs such as On the Plains a Hat Is More Than a Covering(1938, below) and Jake Jones’s Hands, Gunlock County, Utah(1953) – taken fifteen years apart but which could have been taken the same day, on a theme the artist was obviously interested in – Lange dissects the body, closing in on gnarled hands, weatherbeaten hats as metaphor for a tough life, well lived. These are images in which we see very little (as opposed to Barthes assertion that in photography’s realism a photo is an image in which we see everything) … but implicitly understand the sublime blur of legend of these workers and their hats.
Other photographs dial up the figurative abstraction. Demonstration, San Francisco (1934, below) is a study of light, shape and form, an almost Constructivist image of fragments and negative space: hand, pole, amorphous mass of shoulder, face turned away, hat and declarative “FEED US!” banner; San Francisco Waterfront (1934) is a beautifully rendered abstract pictorial space evidencing the despair of humanity through light and form: witness, the clasped hands at rear like sentinels, the thumb pointing left… while below, covered head in hand, the thumb points vertically to the surmounted ear, which echoes the cropped ear and hair at the bottom of the photo, while to the right the two buttons of the jacket lead us to the ascending column of four buttons back to the portentous, clasping, guarding hands above. A masterpiece of photographic pictorial construction. Further, with their radical pictorial construction and cropping of the picture frame, masterpieces such as Dispossessed Arkansas farmers(1935) are truly avant-garde and experimental photographs for their time, something I don’t normally associate with the work of Dorothea Lange. As my friend Jonathan Kamholtz observes of the photographs I have been discussing, Lange “tended to lose interest in the backgrounds. The pictorial space is really very shallow. This contributes to their theatricality – not in the sense that they are false or artificial, but that each one displays character, costume, fate.”
Forearmed with this knowledge, I start looking at her well known images with fresh eyes… and its all there in more subtle form: the low angle of the camera looking up at the subject, the geometric shape of hands and arms, the solid blocks of bodies filling the picture frame, the sculptural, abstract shape of bodies in fields (Migratory Field Worker Picking Cotton in San Joaquin Valley, 1938), the flattening of bodies one against another (May Day, San Francisco, California, 1934) and the disassociation of human identity through the occlusion of faces (This man is a labor contractor in the pea fields of California 1936, below; Damaged Child, Shacktown 1936, below; Washington, Yakima Valley, near Wapato 1939, below).
Dorothea Lange was an incredibly intelligent and passionate artist who removed her ego from the act of taking photographs, who lost herself in the visual experience in order to take photographs to effect social change, who connected with the world in order “to experience love, hate, and passion in every form in one’s body.”1
“That the familiar world is often unsatisfactory cannot be denied, but it is not, for all that, one that we need abandon,” she argued. “We need not be seduced into evasion of it any more than we need be appalled by it into silence… Bad as it is, the world is potentially full of good photographs. But to be good, photographs have to be full of the world.”2
And full of the spirit of the artist.
Dr Marcus Bunyan
1/ Carl Jung quoted in Nicos Hadjicostis. Destination Earth: A New Philosophy of Travel by a World-Traveler. Bamboo Leaf Press, 2016, p. 42.
2/ Dorothea Lange and Daniel Dixon, “Photographing the Familiar,” Aperture 1, no. 2 (1952), 15.
Many thankx to the National Gallery of Art for allowing me to publish the photographs in the posting. Please click on the photographs for a larger version of the image. See Part 1 of the posting
“When you enter into the visual world, detaching yourself from all the holds on you… it is a mental disengagement so that you live, for maybe two or three hours, as completely as possible a visual experience, where you feel that you have lost yourself, your identity.”
Dorothea Lange quoted in Dyanna Taylor and Public Broadcasting Service (U.S.), directors. American Masters – Dorothea Lange: Grab a Hunk of Lightning. Kanopy Streaming, 2014.
“The researcher ought to hang up exact science and put away the scholar’s gown, to say farewell to his study, and wander with human heart through the world, through the horror of prisons, madhouses, and hospitals, through drab suburban pubs, in brothels, and gambling dens, through the salons of elegant society, the stock exchanges, the socialist meetings, the churches, the revivals and ecstasies of the sects, to experience love, hate, and passion in every form in one’s body.”
Carl Jung quoted in Nicos Hadjicostis. Destination Earth: A New Philosophy of Travel by a World-Traveler. Bamboo Leaf Press, 2016, p. 42.
During her long, prolific, and groundbreaking career, the American photographer Dorothea Lange made some of the most iconic portraits of the 20th century. Dorothea Lange: Seeing People reframes Lange’s work through the lens of portraiture, highlighting her unique ability to discover and reveal the character and resilience of those she photographed.
Featuring some 100 photographs, the exhibition addresses her innovative approaches to picturing people, emphasising her work on social issues including economic disparity, migration, poverty, and racism.
“Five years earlier I would have thought it enough to take a picture of a man, no more. But now, I wanted to take a picture of a man as he stood in his world.”
“A single photographic print may be “news,” a “portrait,” “art,” or “documentary” – any of these, all of them, or none.”
“The whole world is a museum. To walk through the streets, as though down a museum corridor. … To step into a supermarket as though setting forth in the National Gallery – is an experience and an exercise in vision.”
Dorothea Lange
Dorothea Lange (American, 1895-1965) Untitled (Fleishhacker Portrait) 1920 Gelatin silver print Image: 15.4 x 15.1cm (6 1/16 x 5 15/16 in.) Mat: 16 x 14 in. Frame (outside): 17 1/4 x 15 1/4 in. Collection of the Oakland Museum of California, Gift of Paul S. Taylor
Lange embraced the chance to experiment outside her studio. In August 1923, she visited Walpi Village of the Hopi Nation with her then-husband Maynard Dixon, an avid outdoor painter. She had begun to crop some of her portraits to accentuate a gaze, hand, touch, or torso – a way of capturing the essence of a person, paradoxically showing less to reveal more.
When printing Hopi Man, Lange focused so closely on the subject’s face that his features resemble a map of his experience. She undercut her own effort to reach meaningfully across the cultural divide, however, because she did not record the man’s name or any other information about him. As a portrait, Hopi Man risks picturing a type or class of person rather than this individual’s character.
Label text from the exhibition
Dorothea Lange (American, 1895-1965) Clausen Child and Mother c. 1930 Gelatin silver print Image: 15.6 x 21cm (6 1/8 x 8 1/4 in.) Mat: 14 x 17 in. Frame (outside): 15 1/4 x 18 1/4 in. The Museum of Modern Art, New York. Thomas Walther Collection. Gift of Henri Cartier-Bresson, by exchange
Lange frequently photographed the subject of mother and child, a long-standing Western art historical tradition rooted in depictions of the Virgin Mary and baby Jesus and modernised and secularised in high-end portrait studios. Here Frances Clausen stares directly at the camera while her mother, Gertrude, sits in shadow, looking away. Lange focuses on the child’s inquisitive gaze, as well as her affectionate bond to and emerging independence from her mother. Lange’s expertise photographing children – acquired from her early studio work – led to some of her most important photographs made during the Great Depression, displayed in the next galleries.
Maynard Dixon (January 24, 1875 – November 11, 1946) was an American artist. He was known for his paintings, and his body of work focused on the American West. Dixon is considered one of the finest artists having dedicated most of their art to the U.S. Southwestern cultures and landscapes at the end of the 19th-century and the first half of the 20th-century. He was often called “The Last Cowboy in San Francisco.”
Through his work with the Galerie Beaux Arts, a cooperative gallery in San Francisco, Dixon played a pivotal role ensuring the West Coast supported the work of local, modern artists. He was married for a time to photographer Dorothea Lange, and later to painter Edith Hamlin.
In summer 1931, escaping the Depression-era turmoil of San Francisco, Lange and Dixon bought their first car and drove to New Mexico with their children. Her few surviving photographs from this trip reveal significant steps in her transition away from studio portraiture and toward a more straightforward approach to photographing people. A series of pictures portrays this unidentified Indigenous girl in a direct documentary style. Although her expression reveals few emotions, she looks squarely at the lens in one photograph and seems comfortable in front of the camera.
Lange met Dorothy Brett in 1931 when the photographer and her family spent several months in Taos. Born into an aristocratic British family, Brett rebelled against their expectations, attending art school and becoming a painter. In London she befriended writers associated with the Bloomsbury group, including D. H. Lawrence, who was recruiting people to go to New Mexico to form a utopian society. Brett was the only person who followed him, but she was so enchanted with the area that she lived there for the rest of her life.
Label text from the exhibition
Hon. Dorothy Eugénie Brett (10 November 1883 – 27 August 1977) was an Anglo-American painter, remembered as much for her social life as for her art. Born into an aristocratic British family, she lived a sheltered early life. During her student years at the Slade School of Art, she associated with Dora Carrington, Barbara Hiles and the Bloomsbury group. Among the people she met was novelist D.H. Lawrence, and it was at his invitation that she moved to Taos, New Mexico in 1924. She remained there for the rest of her life, becoming an American citizen in 1938.
Her work can be found in the Smithsonian American Art Museum in Washington D.C., in the Millicent Rogers Museum and the Harwood Museum of Art, both in Taos. Also at the New Mexico Museum of Art, Santa Fe, the Roswell Museum and Art Center, Roswell, New Mexico and in many private collections.
Dorothea Lange (American, 1895-1965) Demonstration, San Francisco 1934 Gelatin silver print Image: 12.1 x 14.3cm (4 3/4 x 5 5/8 in.) Sheet: 12.1 x 14.3cm (4 3/4 x 5 5/8 in.) Mount: 14.6 x 23.8cm (5 3/4 x 9 3/8 in.) Lent by The Metropolitan Museum of Art, Gilman Collection, Purchase, Joseph M. Cohen Gift, 2005
In 1934, as Lange began to forge a new documentary practice, she sought “to take a picture of a man as he stood in his world.” With no clients to please, she drew on insights she had learned from modernism, especially its celebration of close-up studies and dramatic angles. Like other artists, she also found that signs – such as the protest poster declaring “… FEED US!” – could root a photograph in a specific time and place and give agency to those she depicted, allowing them to speak. With carefully composed pictures like this one, Lange was acknowledging the power of modernist photography to tell stories in simple, dynamic ways.
Label text from the exhibition
Dorothea Lange (American, 1895-1965) Andrew Furuseth 1934 Gelatin silver print Image: 20.5 x 19.6cm (8 1/16 x 7 11/16 in.) Sheet: 21.1 x 20.3cm (8 5/16 x 8 in.) National Portrait Gallery, Smithsonian Institution
Andrew Furuseth was an American labor leader known for organising seamen during the late 19th and early 20th centuries. He helped create the Sailors’ Union of the Pacific and the International Seamen’s Union, heading both as their president. Lange met 80-year-old Furuseth around the time of the San Francisco waterfront strikes of 1934. She had been photographing labor organisers and protesters at May Day events around the city while Furuseth was working to help moderate the seamen’s anger to avoid a damaging strike. Her portrayal of Furuseth in profile against a dark background – eyes closed, deep in thought – emphasises his years of experience and a weary strength.
Label text from the exhibition
Andrew Furuseth (March 17, 1854 – January 22, 1938) of Åsbygda, Hedmark, Norway was a merchant seaman and an American labor leader. Furuseth was active in the formation of two influential maritime unions: the Sailors’ Union of the Pacific and the International Seamen’s Union, and served as the executive of both for decades.
Furuseth was largely responsible for the passage of four reforms that changed the lives of American mariners. Two of them, the Maguire Act of 1895 and the White Act of 1898, ended corporal punishment and abolished imprisonment for deserting a vessel.
Furuseth was credited as the key figure behind drafting and enacting the Seamen’s Act of 1915, hailed by many as “The Magna Carta of the Sea” and the Jones Act of 1920 which governs the workers’ compensation rights of sailors and the use of foreign vessels in domestic trade. In his later years, he was known as “the Old Viking”.
Lange’s portrait of a Depression-era stenographer omits her face to focus on her dark, creased dress, tattered hosiery, and woven shoes. Her stockings are stitched up the front, mended to keep them – and her – going for another day or two. They reveal the grit and fortitude of San Francisco’s working women during a time when jobs were scarce and people had to conserve all their resources in the face of financial insecurity.
Dorothea Lange (American, 1895-1965) Black sharecropper with twenty acres. He receives eight cents a day for hoeing cotton. Brazos river bottoms, near Bryan, Texas June 1938, printed c. 1950 Gelatin silver print Image: 24.1 x 19.2cm (9 1/2 x 7 9/16 in.) Sheet: 25.3 x 20.5cm (9 15/16 x 8 1/16 in.) Mat: 18 x 14 in. Frame (outside): 19 x 15 in. National Gallery of Art, Washington, Gift of Daniel Greenberg and Susan Steinhauser
American photographer Dorothea Lange (1895-1965) created some of the most groundbreaking portraits of the 20th century. Through pictures of labourers, demonstrators, refugees, migrant farmers, the unjustly incarcerated, and others, Lange captured the spirit of human endurance while recording some of the profound social inequities of the period. Her work expanded the boundaries of portraiture and helped spark the development of modern documentary photography.
Dorothea Lange: Seeing People reframes Lange’s art through the lens of portraiture and highlights her capacity to spotlight the humanity and resilience of those she photographed. She began her career as a studio portrait photographer, and even as she ventured far outside her studio people remained key to her mission. Focusing on Lange’s abiding concern for those in need, this exhibition reveals her lifelong investigation into how photography – and portraits in particular – could help bring about collective change.
One of the most important documentary photographers of her time, Lange sought to transform how we see and understand one another. Motivated by an ever-growing interest in social justice, she was also an intrepid reporter who traveled extensively in the United States and around the world to create indelible and influential photographs. This exhibition illuminates the centrality of portraiture in Lange’s career and its role in exposing the impacts of economic disparity, climate change, migration, and war – issues that remain equally urgent today.
Dorothea Lange (American, 1895-1965) This man is a labor contractor in the pea fields of California. “One-Eye” Charlie gives his views. “I’m making my living off of these people (migrant laborers) so I know the conditions,” San Luis Obispo County, California February 1936 Gelatin silver print Image: 24.1 x 19.7cm (9 1/2 x 7 3/4 in.) Sheet: 25.4 x 20.3cm (10 x 8 in.) Mat: 18 x 14 in. Frame (outside): 19 x 15 in. National Gallery of Art, Washington, Gift of Daniel Greenberg and Susan Steinhauser
Dorothea Lange (American, 1895-1965) Migratory Pea Pickers, Nipomo, California March 1936 Gelatin silver print Image: 19.4 x 24.5cm (7 5/8 x 9 5/8 in.) Sheet: 20.3 x 25.7cm (8 x 10 1/8 in.) Mat: 13 x 16 in. Frame (outside): 14 x 17 in. National Gallery of Art, Washington, Gift of Daniel Greenberg and Susan Steinhauser
Dorothea Lange (American, 1895-1965) Post Office and Postmistress, Widtsoe, Utah April 1936 Gelatin silver print Image: 24.4 x 19.3cm (9 5/8 x 7 5/8 in.) Sheet: 25.4 x 20.3cm (10 x 8 in.) Mat: 16 x 13 in. Frame (outside): 17 x 14 in. National Gallery of Art, Washington, Gift of Daniel Greenberg and Susan Steinhauser
When Lange photographed Widtsoe, Utah, for the Resettlement Administration, the town’s population had dwindled to 17 families. Cycles of drought devastated the region’s agricultural economy and the RA stepped in to buy out landowners and relocate them. Signs of desolation are evident in this portrait of the town’s postmistress at the post office. Perched on cinder blocks, surrounded by dusty earth, the building appears to teeter – an effect intensified by Lange’s skewed composition. The stoic presence of the postmistress, who is posed neatly within the doorframe, hints at the stabilising role women often play in Lange’s compositions.
Label text from the exhibition
Dorothea Lange (American, 1895-1965) Plantation Owner, Mississippi Delta, near Clarksdale, Mississippi June 1936 Gelatin silver print Image: 18.7 x 24.1cm (7 3/8 x 9 1/2 in.) The Art institute of Chicago, Purchased with funds provided by Vicki and Thomas Horwich
In 1938, a cropped version of this photograph was featured in the publication of Archibald MacLeish’s book-length poem Land of the Free. The cropped photograph focused attention on the “plantation owner” and erased four of the Black men, leaving just one silhouetted in the background. MacLeish’s poem proclaims, “All you needed for freedom was being American” – yet Lange’s original picture, and the subsequent cropped version, reveals the fallacy of this sentiment. Both point to how African Americans were barred from achieving the freedom that MacLeish claims was available to all Americans. Paul Taylor appears at the far left edge interviewing the owner.
Label text from the exhibition
Dorothea Lange (American, 1895-1965) Drought Refugees from Oklahoma Camping by the Roadside, Blythe, California August 17, 1936 Gelatin silver print Image: 24 x 19.1cm (9 7/16 x 7 1/2 in.) Mount: 33.02 x 28.26 cm (13 x 11 1/8 in.) Mat: 20 x 16 in. Frame (outside): 21 x 17 in. National Gallery of Art, Washington, Gift of Daniel Greenberg and Susan Steinhauser
As a result of droughts and erosion that destroyed tillable land and crops in Oklahoma and Arkansas, thousands of farmers moved west with their families to start their lives over in places such as Blythe. Zella, Jess, and Jesse Power were among these families. It is not clear when the Powers began their move to California, but Jesse was born in Blythe, so Zella may have been pregnant during their journey. Lange’s field notes indicate that the Powers were a family of seven; an older sibling’s foot may be glimpsed in the lower right. With her furrowed brow and slumped posture, Zella exemplifies the difficulties faced by migrant mothers seeking better lives for themselves and their families in places that did not promise immediate relief.
Label text from the exhibition
Dorothea Lange (American, 1895-1965) Child Living in Oklahoma City Shacktown [Damaged Child, Shacktown] August 1936 Gelatin silver print Image: 24.2 x 19.4cm (9 1/2 x 7 5/8 in.) Mat: 17 x 14 in. The Museum of Modern Art, New York. Purchase
This photograph of a bruised girl with a hollow gaze is one of many Lange made depicting the exploitation of migrant children during the Great Depression. The portrait suggests the range of emotional and physical harm children experienced as they, too, struggled to survive economic hardship.
Label text from the exhibition
Dorothea Lange (American, 1895-1965) Eighty-year-old woman living in squatters’ camp on the outskirts of Bakersfield, California. “If you lose your pluck you lose the most there is in you – all you’ve got to live with” November 1936 Gelatin silver print Image: 19 x 24.4cm (7 1/2 x 9 5/8 in.) Sheet: 20.3 x 25.5cm (8 x 10 1/16 in.) Mat: 13 x 16 in. Frame (outside): 14 x 17 in. National Gallery of Art, Washington, Gift of Daniel Greenberg and Susan Steinhauser
Dorothea Lange (American, 1895-1965) Young Cotton Picker, San Joaquin Valley, California November 1936 Gelatin silver print Image: 24.1 x 18.4cm (9 1/2 x 7 1/4 in.) Collection of the Oakland Museum of California, Gift of Paul S. Taylor
Dorothea Lange (American, 1895-1965) Alabama Plow Girl, near Eutaw, Alabama 1936 Gelatin silver print Image: 19.1 x 19.4cm (7 1/2 x 7 5/8 in.) Lent by The Metropolitan Museum of Art, Purchase, Alfred Stieglitz Society Gifts, 2001
Lange travelled to the American South in 1936 while employed by the Resettlement Administration. Near Eutaw, Alabama, she photographed Black tenant farmers like this shoeless girl plowing a field in the punishing summer heat. In the South, Lange witnessed the oppressive working conditions endured by Black tenants, who farmed land predominantly held by white owners and often struggled to access New Deal resources. Southern Black farmers faced undue difficulty during the Depression as economic disaster exacerbated the oppression and poverty produced by the region’s racist agricultural system.
Label text from the exhibition
Dorothea Lange (American, 1895-1965) Migratory Workers Harvesting Peas near Nipomo, California Spring 1937 Gelatin silver print Image: 19.4 x 24.5cm (7 5/8 x 9 5/8 in.) Sheet: 20.6 x 25.4cm (8 1/8 x 10 in.) Mat: 13 x 16 in. frame (outside): 14 x 17 in. National Gallery of Art, Washington, Gift of Daniel Greenberg and Susan Steinhauser
Dorothea Lange (American, 1895-1965) Country store on dirt road. Sunday afternoon. Note the kerosene pump on the right and the gasoline pump on the left. Rough, unfinished timber posts have been used as supports for porch roof. Black men are sitting on the porch. Brother of store owner stands in doorway, Gordonton, North Carolina July 1939, printed later Gelatin silver print Image: 24.5 x 34.3cm (9 5/8 x 13 1/2 in.) Sheet: 25.6 x 35.4cm (10 1/16 x 13 15/16 in.) Mat: 16 x 20 in. Frame (outside): 17 x 21 in. National Gallery of Art, Washington, Gift of Daniel Greenberg and Susan Steinhauser
Rainey Curry Baynes II, the store owner’s brother, leans in the doorway conversing with five Black men. On the far right is Arthur Thorpe, and the man wearing overalls is Joe Carrington. The men appear relaxed in Baynes’s presence, but it is unclear whether their demeanour is genuine or for the benefit of Lange’s camera. They may have been sharecroppers or tenant farmers indebted to the Baynes brothers, or simply customers of the store.
Label text from the exhibition
Dorothea Lange (American, 1895-1965) Washington, Yakima Valley, near Wapato. One of Chris Adolph’s Younger Children. Farm Security Administration Rehabilitation Clients August 1939 Gelatin silver print Image: 20.83 x 25.4cm (8 3/16 x 10 in.) Collection of the Oakland Museum of California, Gift of Paul S. Taylor
Dorothea Lange (American, 1895-1965) End of Shift, Richmond, California 1942, printed 1965 Gelatin silver print Image: 75.7 x 59.5cm (29 13/16 x 23 7/16 in.) The Museum of Modern Art, New York. Purchase
Fortune magazine commissioned Lange to document the bustling shipyards in Richmond, north of Oakland, where newly desegregated defence firms were rapidly constructing transport, cargo, and warships for the United States Navy. With its tight cropping and dynamic configuration, End of Shift focuses on the rushing legs and torsos of shipbuilders leaving a wartime facility. Lange expressed the urgency of their work in defence production without showing their individual features. The angled composition and complex interplay of light and shadow demonstrate Lange’s understanding of how modern design techniques could convey the force and energy of a group working together on a project critical to the nation’s defence.
Label text from the exhibition
Dorothea Lange (American, 1895-1965) Street Encounter, Richmond, California c. 1943 Gelatin silver print Image: 21.7 x 17.9cm (8 9/16 x 7 1/16 in.) Frame (outside): 18 3/4 x 15 3/4 in. The Nelson-Atkins Museum of Art, Kansas City, Missouri (Gift of Hallmark Cards, Inc.)
Dressed for work as a welder, this woman was one of thousands who moved to Richmond, California, during the early 1940s to seek employment in the expanding wartime shipbuilding yards. On assignment for Fortune magazine, Lange documented the upheaval wrought by Richmond’s rapidly growing population and diversifying workforce. Lange’s field notes described this picture as an “Item on race relations. Scene on main street. The girl was a taxi driver in New Orleans. She came to Richmond with her husband two years ago.” Recognising the power of words in her pictures, Lange included a sign that could be read as “Serve You” or “Serve Your Country,” but which actually says “Serve Yourself” – a wry comment on the national unity promoted by the era’s patriotic propaganda.
Label text from the exhibition
Early Portraits
Born in Hoboken, New Jersey, in 1895, Dorothea Lange learned photography in New York City before embarking in 1918 on a round-the-world trip. When forced to cut her journey short and find employment in San Francisco, she secured a position at the photo-finishing counter of a variety store. She soon opened her own portrait studio and worked among a cohort of bohemian artists and intellectuals including Imogen Cunningham, Consuelo Kanaga, Ansel Adams, Edward Weston, and the painter Maynard Dixon, who would become her first husband.
Bay Area high-society and cultural figures became Lange’s clients and the subjects of her studio portraits. These early pictures combine elements of the pictorial style in which she was trained, such as soft focus and diffused light, with an emerging modernist aesthetic that included dramatic cropping and unusual angles. She used light, shadow, and carefully constructed poses to articulate the character, attitude, and individuality of her models: “I really and seriously tried, with every person I photographed, to reveal them as closely as I could.”
Poverty and Activism
Although she had a highly successful studio practice, Lange in 1933 was compelled by the nation’s worsening economic conditions to rethink her occupation and carry her cameras into the city. “There in my studio I was surrounded by evidence of the Depression,” she said. “I remember well standing at that one window and just watching the flow of life. … I was driven by the fact that I was under personal turmoil to do something.”
Out in the streets during the early years of the Great Depression, Lange saw poverty, breadlines, strikes, and labor demonstrations. Her photographs from this period portray the unemployment and unrest that plagued San Francisco, and also document the activism of workers who organised to change their conditions. In 1934, Lange met the agricultural economist Paul Taylor. The two formed an important professional and personal partnership (they married the following year). Lange soon shifted her attention to the plight of migrant farmers, who were moving to California to seek work.
The Great Depression
As the Great Depression deepened, Dorothea Lange focused her lens on the families who had fled westward in the face of economic hardship caused by depleted land and failed farm tenancy in the South and Midwest. When she was working for government agencies, she documented the success of rural cooperatives and the unsanitary conditions in California migrant camps while striving to humanise the large numbers of people seeking shelter and employment. For Lange, portraiture offered a way to visualise the impacts of migration, racism, and environmental change, as well as the legacy of slavery, to gain public support for government aid programs.
During this period Lange cemented her style of documenting people. Her empathetic, highly detailed, and sharply focused depictions show labourers within their living and working environments. Some subjects are alone, but many are seen with family and other members of their communities. These photographs provided evidence of economic disaster and bore witness to the resulting human tragedy while underscoring her subjects’ strength and resilience. This powerful merging of portraiture and documentary photography expanded the boundaries of both traditions, transforming them in ways that resonate deeply today.
World War II
During World War II, Dorothea Lange focused on the impact of the war on Americans at home as well as the nation’s complicated racial dynamics. Nowhere is this seen more acutely than in her portraits of individuals of Japanese ancestry who were forced to abandon their homes in response to President Franklin D. Roosevelt’s executive order (see nearby panel).
Lange also recorded the epochal shifts in California’s social fabric sparked by the growing defence industries, which helped rebuild the economy. Hired by Fortune magazine, she documented the Kaiser Shipyards in Richmond, California, where well-paid jobs attracted African Americans, Native Americans, and women into what had previously been a white male-dominated workforce. Yet as the population of Richmond quickly swelled, and as these newly empowered groups began to assert themselves, the changes also provoked housing shortages and social unrest.
Postwar America
Despite frequent health struggles, in the 1950s Dorothea Lange pursued photographic stories about a variety of American communities in the western United States. These include a project about urban life, for which she roamed the Bay Area; Three Mormon Towns, a collaboration made with Ansel Adams and Paul Taylor in Utah for Life magazine; and an environmental critique produced with photographer Pirkle Jones about the flooding of a Northern California town to create a reservoir. Wide-ranging in subject matter, Lange’s photographs reveal an extraordinary ability to portray the continued transformation of the American West and shine a light on the environmental and human consequences of the postwar economic boom.
World View
Dorothea Lange began working globally in 1954. Her first trip overseas was to Ireland, where she documented the kinship and community of country villages for Life magazine. Her husband, Paul Taylor, began consulting on international economic development for the US State Department and, in 1958, they traveled abroad for eight months, visiting Korea, Indonesia, Vietnam, and other countries; in the early 1960s, the couple traveled to Venezuela and Egypt. Continuing to concentrate on portraiture, Lange found a new sort of beauty and serenity in these foreign environments as well as ties to the economic and social disparities she had photographed in the United States. While photographs taken during these trips confirm her ongoing creativity in the face of declining health, profound cultural differences made it more difficult for Lange to connect with people.
Lange devoted the last years of her life to her family and to organising a retrospective exhibition of her photographs at the Museum of Modern Art in New York. She passed away in late 1965, but her legacy continues in the enduring resonance of her photographs and the new generations of photographers who use portraiture and documentary styles to prompt social change.
Travel
Beginning in 1922, Lange traveled with her first husband, artist Maynard Dixon, to Arizona and New Mexico, where she produced portraits of Indigenous Americans. The few photographs that remain from these excursions show Lange testing new strategies. She started to experiment with portraits that featured just a fragment of a person – their hands or face, for example – perhaps inspired by the modernist work of photographer Alfred Stieglitz, whom she had met in 1923. She also shed the soft-focus pictorial style of her earlier studio portraits in favour of a more direct approach. Although Lange interacted only briefly with the Indigenous people she photographed, she witnessed some of the “harsh and unjust treatment” they faced. The sensitivity and experimentation seen in these early photographs helped establish Lange’s expansive concept of portraiture, which impacted her later work.
The Resettlement Administration and the Farm Security Administration
From mid-1935, Dorothea Lange worked for the federal government’s Resettlement Administration (RA), reorganised as the Farm Security Administration (FSA) in 1937. Created to revitalise the country’s faltering agricultural economy, the RA helped farmers acquire land through low interest loans, administered projects on soil conservation and reforestation, and supported resettlement for those who could no longer work their land.
To document and report on its efforts, the RA established a historical division. Led by economist Roy Emerson Stryker, it enlisted some of America’s finest documentary photographers, including Walker Evans, Russell Lee, Marion Post Wolcott, Arthur Rothstein, and Ben Shahn. Stryker hired Lange on the strength of her earlier photographs documenting agricultural conditions for the state of California. In pictures of migrant labourers in California, tenant farmers in Alabama, drought refugees from Oklahoma, and others, Lange recorded the work and aspirations of the agencies. She covered a wide range of socially engaged stories that highlighted themes of human struggle and resilience, but the federal agencies – eager to garner widespread public and congressional support – discouraged depictions of racial oppression.
Migrant Mother March 1936
Human Erosion in California depicts a mother and three children at a migrant labor camp. Lange carefully composed the portrait to capture the woman’s face – prematurely etched by years of labor and worry – and her daughters embracing her. Migrant Mother, as the photograph is commonly known, has been compared to a Renaissance-era Madonna and child and described as an icon of 20th-century art, revered for its empathetic portrayal. Lange did not record the mother’s name. Only in 1978 was she finally identified as Florence Owens Thompson, a woman of Cherokee descent from Oklahoma. At the time of the photograph, Owens Thompson and her family were driving back home from California, where her husband had been working in a sawmill. When their car broke down, they were stranded at a nearby pea pickers’ camp. First published in a newspaper editorial urging government aid for migrant labourers, Migrant Mother prompted support from the state and the picture become an emblem of the power of photography to bring about social change. It also raises questions about the ethics of documentary photography and the dynamics between photographer and subject. Lange recalled that Owens Thompson “seemed to know that my pictures might help her, and so she helped me. There was a sort of equality about it.” Owens Thompson, however, received little benefit and was never given a copy of the photograph.
Executive Order 9066
In February 1942, months after the Japanese attack on the Pearl Harbor naval base, President Franklin D. Roosevelt signed Executive Order 9066. The order paved the way for the removal of more than 120,000 individuals of Japanese ancestry – the majority of whom were American citizens – from the West Coast to inland incarceration camps. Denying individuals their civil liberties, the government registered and tagged people before loading them onto buses and transporting them to rudimentary “assembly centers” and, eventually, one of 10 detention camps spread across seven states. The last camp closed four years after Roosevelt issued the order.
Soon after the initial order, the government’s War Relocation Administration (WRA) hired Lange to document this process. Opposed to the government’s actions, Lange believed it was important to record for history “what we did.” Through poignant portraits, she also depicted the resilience of Japanese Americans forced to abandon the lives and businesses they had built and face incarceration. Fearing that Lange’s portraits would elicit too much sympathy, the WRA did not release the photographs during the war.
Documentary Portraiture
Lange’s work during the 1930s synthesised her ideas about portraiture and documentary photography. With new purpose, she used the techniques, compositional strategies, and social skills she had cultivated in her portrait studio to frame the people and events she recorded. By 1940 she had distilled her understanding of documentary photography as an art form that “records the social scene of our time. It mirrors the present and documents for the future.”
Yet these photographs were also documents that followed the government’s New Deal economic doctrine – they emphasised getting the country back on its feet through perseverance, hard work, regulatory reforms, and government relief. This mix of presumed objectivity, propaganda, and documentary storytelling in service of a critical national agenda proved to be particularly powerful. As photography historian Beaumont Newhall later wrote, Lange was “resolved to photograph the now, rather than the timeless; to capture somehow the effects on people of the calamity which overwhelmed America.”
Lange’s Titles
You will notice Lange’s varied approach to titles across her career. Sometimes she simply used someone’s name or the location where a picture was made. Other titles describe or poetically evoke what she saw. Lange also created elaborate captions, often taken from interviews or conversations with those whom she photographed. This was an experimental documentary technique, which relied on Lange’s memory and prolific note taking. These long captions are seen especially in work she made for government agencies during the 1930s and 1940s.
Lange and her editors frequently retitled photographs when exhibiting or publishing them. For this exhibition, we have used Lange’s original titles when known. In a few instances we have updated language in original titles to reflect contemporary usage.
Wall text from the exhibition
Dorothea Lange (American, 1895-1965) Migrant Agricultural Worker’s Family, Nipomo, California March 1936 Gelatin silver print Image: 26.67 x 34cm (10 1/2 x 13 3/8 in.) Sheet: 27.94 x 35.56 cm (11 x 14 in.) Mat: 18 x 22 in. Frame (outside): 19 x 23 in. National Gallery of Art, Washington, Gift of Daniel Greenberg and Susan Steinhauser
Florence Owens Thompson
Human Erosion in California (Migrant Mother) captures the worry, need, and insecurity of everyday Americans during the Great Depression. It is one of the most recognisable American photographs. And it almost wasn’t taken.
In spring 1935, Lange was driving home from a long trip photographing migrant worker camps when she passed a sign pointing toward a pea pickers camp. Lange had already taken many photographs of pea pickers. She tried to convince herself that she didn’t need any more. But about 20 miles later, she turned around.
We don’t know exactly what happened when Lange doubled back – this time, she didn’t take notes. And she didn’t ask many questions. Lange assumed that she had come upon a mother and her three children, there among the waves of workers coming to pick peas, California’s cash crop.
But that wasn’t true. Florence Owen Thompson was traveling with her family from elsewhere in California. The family had set up a camp on the side of the road while her husband and son went into town to resolve some car troubles. When they returned, she mentioned a photographer had taken some photos. Thompson never expected one of those photographs to immortalise her as the “Migrant Mother.” Decades later she wrote a letter to the editor of her local paper expressing irritation with her likeness being misused. In a later interview, Thompson expressed regret at ever allowing Lange to take the photo saying, “I wish she hadn’t taken my picture. I can’t get a penny out of it. [Lange] didn’t ask my name. She said she wouldn’t sell the pictures. She said she’d send me a copy. She never did.”
Dorothea Lange (American, 1895-1965) Human Erosion in California (Migrant Mother) March 1936 Gelatin silver print Image: 34.1 x 26.8 cm (13 7/16 x 10 9/16 in.) Mount: 34.8 x 27.1 cm (13 11/16 x 10 11/16 in.) Frame (outside): 28 5/8 x 22 5/8 x 1 3/8 in. The J. Paul Getty Museum, Los Angeles
Dorothea Lange (American, 1895-1965) Grandfather and Grandson of Japanese Ancestry at a War Relocation Authority Center, Manzanar, California July 1942 Gelatin silver print Image: 26.4 x 33.7cm (10 3/8 x 13 1/4 in.) Sheet: 28 x 35.3cm (11 x 13 7/8 in.) Mat: 16 x 20 in. Frame (outside): 17 x 21 in. National Gallery of Art, Washington, Gift of Daniel Greenberg and Susan Steinhauser
Dorothea Lange (American, 1895-1965) Grandfather and Grandchildren Awaiting Evacuation Bus, Hayward, California 1942 Gelatin silver print Image: 26.4 x 22.7cm (10 3/8 x 8 15/16 in.) Sheet: 35.4 x 27.8cm (13 15/16 x 10 15/16 in.) Frame (outside): 20 3/4 x 16 7/8 in. The Nelson-Atkins Museum of Art, Kansas City, Missouri (Gift of Hallmark Cards, Inc.)
In the spring of 1942, Dorothea Lange requested another leave from her Guggenheim fellowship when she was hired to document the internment of Japanese Americans during World War II. Following the bombing of Pearl Harbor in December 1941, President Roosevelt signed Executive Order 9066 in February1942, which allowed military commanders to set up security zones wherever they thought necessary, with the full authority to remove anyone from these areas regardless of nationality or age. In March, Lieutenant General John L. DeWitt, head of the Western Defense Command, announced that all persons of Japanese ancestry would have to leave the Pacific Coast military zone, which included California, western Oregon and Washington, and southern Arizona. Though no specific charges were placed against any individuals, approximately 120,000 men, women, and children – more than two-thirds of them native-born American citizens – were ordered to abandon their homes and businesses and be relocated to internment camps established by the federal government. Two of the ten camps, Manzanar and Tule Lake, were in California as were twelve of the preliminary holding areas called assembly centers. The U.S. Army was responsible for gathering the Japanese Americans and retaining them in the makeshift assembly centers – race tracks, fairground exhibition halls, empty automobile showrooms – until the camps were ready. The War Relocation Authority (WRA) was established in March 1942 to oversee management of the camps. In a letter dated 1 April1942 to Moe, Lange requested a postponement of her Guggenheim fellowship explaining: the Japanese (aliens and citizens) are being evacuated from California. The War Relocation Authority has asked me to make photographic documentation of this situation. It’s too worth-while to refuse… It interrupts my fellowship, but is in line with my work.
For the next four months, Lange documented the internees as they were evicted from their homes and businesses, tagged and labeled, and then shuffled by trains and motor convoys to various assembly centers before they were incarcerated. She photographed at only one of the actual internment camps, Manzanar, in the desert of Owns Valley in Southern California. Although Lange was a government employee while recording what is now universally acknowledged as a gross violation of justice, her sympathies were with the Japanese Americans.
Scope and Content
Lange was hired by the San Francisco Regional Office of the War Relocation Authority (WRA) in early April 1942 as a photographer investigator to document the evacuation of Japanese Americans from Northern California. Lange completed her work at the end of July 1942. It has been estimated that of the approximately 13,000 existing photographs taken for the federal government, Lange made over 700. Because of the political nature of her relocation photography, she was required to turn over to the WRA all of her negatives, prints, and undeveloped film; thus, very little of this material is contained within the museum’s archive. Following the end of the war, a complete file of Lange’s WRA negatives and prints was placed in the National Archives in Washington, D.C., with a duplicate set of prints placed at the Bancroft Library of the University of California, Berkeley.
Anonymous. “Guide to the Lange (Dorothea) Collection 1919-1965,” on the Online Archive of California website Nd [Online] Cited 25/02/2024. Used under fair use conditions for the purposes of education and research
Dorothea Lange (American, 1895-1965) Japanese American-Owned Grocery Store, Oakland, California March 1942 Gelatin silver print Image: 19 x 24.4cm (7 1/2 x 9 5/8 in.) Sheet: 20.3 x 25.4 cm (8 x 10 in.) Mat: 14 x 18 in. frame (outside): 15 x 19 in. National Gallery of Art, Washington, Gift of Daniel Greenberg and Susan Steinhauser
On December 8, 1941, a day after Japan bombed Pearl Harbor, Tatsuro Masuda, the 25-year-old American-born owner of the Wanto Company store in Oakland, posted a sign on his building: “I AM AN AMERICAN.” Masuda’s bold assertion of his national identity did little good. In March 1942, Masuda, a University of California graduate, closed the store that his father had founded 26 years earlier. In August 1942, he and his family were incarcerated at the Gila River War Relocation Center in Arizona. They were not released until October 1944. They never returned to Oakland.
Label text from the exhibition
Tatsuro Masuda
After the bombing of Pearl Harbor in 1941, President Franklin D. Roosevelt issued Executive Order 9066 in 1942. The order forced the unjust incarceration of more than 120,000 Americans of Japanese descent (the majority of whom were American citizens). The War Relocation Authority hired Lange to document this process. Lange was horrified by what she witnessed. She chronicled her subjects in a sympathetic light, so much so that her photographs were censored during the war.
Lange began by photographing Japanese Americans as they prepared to abandon their homes. She took this picture of a grocery store on a street corner in Oakland, California, in March 1942, a month after the executive order was issued.
Tatsuro Masuda ran the Wanto Company store (look for its name on the windows), opened by his father in 1900. Fearful of growing anti-Japanese sentiments, Masuda paid for the “I AM AN AMERICAN” sign to be installed the day after Pearl Harbor. By the time Lange took the photograph, Masuda decided to close the store. Japanese Americans were forced to sell or relinquish any property they couldn’t carry with them. He moved to Fresno with his new wife, Hatsue Kuge. In August the couple (now expecting their first child) were incarcerated at Gila River War Relocation Center in Arizona. Their second child was born at Gila, as well. They weren’t released until October 1944.
Among the places Lange visited for the Life magazine photo-essay Three Mormon Towns (produced with Ansel Adams and Paul Taylor) was Saint George, Utah. A formerly secluded pastoral community, the area had grown into a town with gas stations and motels to accommodate visitors to nearby Zion National Park. The town’s modernisation infringed upon the community’s prior isolation from mainstream American culture, and Lange feared that some of its early pioneer principles might be lost. Perhaps equating her own fragile health with the town’s vulnerability, Lange photographed her face and camera reflected in the window of a dilapidated building, calling the picture a self-portrait.
These family portraits were abandoned in a home in Monticello, California, when residents were forced to relocate. The Napa County town was destroyed and flooded in 1957 after the creation of Lake Berryessa, a reservoir formed by the new Monticello Dam. Lange made this photograph for the series Death of a Valley, a collaboration with photographer Pirkle Jones, reproduced in a 1960 edition of Aperture magazine. Lange’s “portrait” of forsaken family photographs communicates a sense of lost memories and the human costs of development. It demonstrates not only Lange’s prescient environmentalism but also her long-standing concern for the disintegration of families and communities.
Lange and Taylor traveled to South Korea in 1958 and encountered people still reeling from a divisive war. When visiting a classroom, Lange focused on a group of excited students. But when she printed Korean Child for her 1966 retrospective exhibition, she radically cropped her negative to concentrate on one boy’s serene features. Since her early portraits of the 1920s, Lange had used dramatic cropping to shape the meaning of her photographs. Here, by isolating the boy’s calm face from the chaos surrounding him, she created a more universal exploration of the innocence of childhood in a nation then torn by war and poverty.
For years, Lange and Taylor spent many weekends with their children and grandchildren at a rented cabin on Steep Ravine above Stinson Beach, just north of San Francisco. Bad Trouble over the Weekend was made during one such stay near the end of Lange’s life – she had already been diagnosed with terminal cancer. She cropped the photograph to focus on her daughter-in-law Mia Dixon’s hands, which cradle her unseen face. The gesture and the caption suggest the emotional weight of Lange’s flagging health, although she provided few narrative details. The photograph communicates both a personal and a universal connotation of “trouble,” telling an ambiguous story for viewers to imagine and, perhaps, identify with.
Label text from the exhibition
Dorothea Lange (American, 1895-1965) Pledge to the Flag, San Francisco 1942, printed c. 1965 Gelatin silver print Image/sheet: 31.7 x 13.9cm (12 1/2 x 5 1/2 in.) Mat: 22 x 16 in. Frame: 23 x 17 in. National Gallery of Art, Washington, Gift of Daniel Greenberg and Susan Steinhauser
National Gallery of Art National Mall between 3rd and 7th Streets Constitution Avenue NW, Washington
from the series Travelling the wonderful loneliness 2019-2024
March 2024
Photographs from the sequence Material Witness from the series Travelling the wonderful loneliness (2019-2024)
During 2019 I took a photographic journey through Europe. The trip was an ascetic experience, hardly talking to anyone for 2 months, immersed in photography, taking almost 10,000 photographs on three digital cameras. I have whittled these photographs down to around 120 images in four sequences.
This sequence, Material Witness, is one of the four sequences in the series collectively titled Travelling the wonderful loneliness (2019-2024).
Notice the hole in the carpet and the hole in the wall. Ian Lobb loved the conjunction of the creeper up the side of the building and the yellow plastic with orange tape, in the repose of a dead body. Minor White’s ice/fire…
Please click on the photographs for a larger version of the image.
Photographs from the sequence Material Witness from the series Travelling the wonderful loneliness (2019-2024)
Photographs are available from this series for purchase. As a guide, a digital colour 16″ x 20″ print costs $1,000 plus tracked and insured shipping. For more information please see the Store web page.
There has been much written about these photographs of crossdressers at Casa Susanna and the issues surrounding them – for example, privacy of the individuals; gender roles in culture; oppression, criminalisation and anti-cross-dressing laws; how they were mainly white and from a higher socio-economic background (1950s stereotypes of white, middle-class womanhood); and celebrity adulation – to name but a few. I will let you read the text below to find out more.
What I will say is that it is a delight to see these intimate snapshot photographs of humans being who they want to be without prejudice… “the healthy expression of fun and joy.”
“Most guests at Casa Susanna were married, and considered themselves heterosexual men who enjoyed cross-dressing, but many others later identified as transgender and lived out their lives as women, including Virginia Prince and Susanna herself.” (Wikipedia)
“Photography was essential to them,” said Michel Hurst. “Photography was proof that they existed.”
The photograph Large group in the living room with Louise Lawrence (1963, below) shows a large group of crossdressers in a New York apartment. Attached to the photograph is a note: “This is me” with an arrow pointing to a crossdresser in the photo.
I find it poignant that “This is me” possesses a double meaning: being both a photographic representation of the person and also how they would like to be seen as a crossdresser, a declamation of the freedom to express themselves in the light of day … without the fear of being arrested or institutionalised, losing their jobs and being ostracised by their families and communities.
Dr Marcus Bunyan
Many thankx to the Art Gallery of Ontario for allowing me to publish the photographs in the posting. Please click on the photographs for a larger version of the image.
For the first time, three photography collections of Casa Susanna will be brought together, including the one from Cindy Sherman, Betsy Wollheim, and the AGO, which acquired the albums previously owned by Swope and Hurst. The show delves deeper into the narratives and ideals of the community’s protagonists, illuminating their radical approach to femininity and the importance of photography in sustaining identity and ideology.
From the mid-1950s until 1969, Susanna Valenti and her wife, Marie, operated two resorts for masculine-to-feminine cross-dressers in upstate New York: the Chevalier d’Eon Bungalows and Casa Susanna. The resorts provided a safe haven for visitors to explore alternative forms of gender expression. Guests spent weekends revelling in the freedom to dress in women’s clothing and accessories – something they could not do in day-to-day life – talking, performing skits, sharing fashion and makeup tips, and photographing one another. The snapshots, taken by the participants themselves, are typically candid and full of camaraderie: groups of friends at parties, enjoying a summer afternoon, celebrating birthdays. But many also feature individuals playing different female roles, including the femme fatale and the matron, highlighting a keen awareness of image, appearance, and gender roles in the culture.
The quiet banality of these scenes belies the violence and ridicule the subjects might have faced in the world at large. At the time, laws in Canada and the U.S. criminalized queer life. In New York, for instance, if an individual wore fewer than three items of clothing of their supposed gender, they could be arrested on charges of “sexual deviancy.” For decades, anti-cross-dressing laws were a flexible tool used by police to enforce normative notions of gender. These laws have now been repealed, human rights laws have been passed, and trans visibility has increased dramatically in recent years.
Anonymous. “Casa Susanna,” on the Contact Photography Festival website, May 2016 [Online] Cited 10/03/2024. Used under fair use conditions for the purposes of education and research
“The resort itself is secluded, way off the highway. The guests are never introduced to each other by their real names. Each gives a first name (a girl’s name of course) and that’s all. Discretion is a “must”… But to make things really fool proof, the management of the Resort maintains most cordial and friendly relations with the town’s chief of Police. He protects us!! ~ Susanna Says,” May 1960
“To take TV pictures it isn’t always necessary to stand in front of the camera making believe we are some sort of Rita Hayworth or Elizabeth Taylor… we decided to register on film the healthy expression of fun and joy that pervades a TV gathering… candid camera style… unposed and unexpected…these show the TV as she really looks to others.”
Susanna Says, December 1965
“Through these wonderfully intimate shots-perhaps never intended to see the light of day outside the sanctum of the “house”-Susanna and her gorgeous friends styled era-specific fashion shows and dress-up Christmas and tea parties. As gloriously primped as these documentary snaps are, it is in the more private and intimate life at Casa Susanna, where the girls sweep the front porch, cook, knit, play Scrabble, relax at the nearby lake and, of course, dress for the occasion, that the stunning insight to a very private club becomes nothing less than brilliant and awe inspiring in its pre-glam, pre-drag-pose ordinariness and nascent preening and posturing in new identities. It is not glamour for the stage but for each other, like other women who dress up to spend time with friends, flaunting their own sense of style. There is an evident pleasure of being here, at Casa Susanna, that is a liberation, a simplification of the conflicts inherent in a double life.”
Michel Hurst and Robert Swope. “About The Casa Susanna Book,” on the Simon & Schuster website Nd [Online] Cited 16/03/2024
But there was just one catch: no openly homosexual men were allowed. Living and working at a time when both gender expression and sexuality were criminalized, Tornell and Valenti restricted admittance to self-professed heterosexual men and their wives. The presence of wives signified deference to patriarchal notions of heterosexual gender roles, simultaneously averting unfounded fears of the presence of queer desires that upended the status quo. …
“Virginia Prince was a polarising figure in the queer and trans communities because she stuck to very rigid ideas of crossdressing: that you were a straight man who sometimes liked to wear women’s clothing,” says Sophie Hackett. “Her whole project was to normalise it but not everyone wanted to adhere to those dictates or the Ladies Home Journal kind of femininity that she and Susanna advocated.”
Miss Rosen. “Inside case Susanna,” on the Blind Magazine website July 12, 2023 [Online] Cited 14/03/2024
CASA SUSANNA | Trailer | AMERICAN EXPERIENCE | PBS
In the 1950s and ’60s, an underground network of transgender women and cross-dressing men found refuge at a modest house in the Catskills region of New York. Known as Casa Susanna, the house provided a safe place to express their true selves and live for a few days as they had always dreamed – dressed as and living as women without fear of being incarcerated or institutionalised. Told through the memories of those who visited the house, CASA SUSANNA provides a moving look back at a secret world where the persecuted and frightened found freedom, acceptance and, often, the courage to live out of the shadows.
Casa Susanna: An Inside Look
York University Professor, Michael Gilbert, also known as Miqqi Alicia, is a life-long cross-dresser who spoke with us about Casa Susanna, a safe haven and resort for cross-dressers in upstate New York during the ’50s and ’60s.
Unknown photographer (American) Susanna in a shiny gown on the stage at the Chevalier d’Eon, Hunter, NY 1960-1963 Gelatin silver print 14 x 9cm Collection of Cindy Sherman
From the mid-1950s to the late 1960s, a network of crossdressers found refuge in the Catskills region of New York State. Susanna with her wife Marie created safe spaces at two modest resorts for guests to freely crossdress en femme at a time of strictly defined gender roles. Guests used photography to build their femme identities and their network. These snapshots – candid, playful, and at times staged, blending family and fashion photography conventions – have since come to be known collectively as the Casa Susanna photographs.
Casa Susanna brings together for the first time three collections of photographs created by this network of crossdressers: from the AGO’s holdings, from the personal collection of artist Cindy Sherman, and from the collection of Betsy Wollheim. Seen together, these 250 images, provide insight into this historically significant crossdressing scene, allowing us to develop an understanding of this world and its connection to the lives of trans and crossdressing people today. These affirming photographs circulated among crossdressers by mail, as well as in the pages of Transvestia, a community magazine, copies of which will also be on view
The exhibition is accompanied by an illustrated publication that brings together recent research, an expansive selection of photographs, and pages of Transvestia, adding another important account of the ways photographs have served to build queer communities. Co-published by Editions Textuel, it includes essays by co-curators French photo historian, Isabelle Bonnet and AGO Curator of Photography, Sophie Hackett, as well as noted American scholar of trans history Susan Stryker.
Casa Susanna is coproduced by the Art Gallery of Ontario and the Rencontres D’Arles.
“If the photographs had been revealed 50 years prior, people like Susanna Valenti, Katherine Cummings and Diana Merry-Shapiro could have been arrested or institutionalized, lost their jobs and been ostracized by their families and communities. For more than a century, cross-dressing was criminalized in the United States through statutes like “masquerade laws,” which were used to persecute many forms of gender expression in public spaces under the guise of limiting prostitution and “immoral performances” – an echo of the drag-show bans currently being passed in Tennessee and other states. …
More recently, several states have introduced laws to limit or ban drag shows as part of a wider attack on LGBTQ+ rights around the country. Nearly 500 anti-LGBTQ+ bills have been filed in state legislatures this year, according to the American Civil Liberties Union, which is tracking legislation across the country. An Associated Press analysis showed lawmakers have been motivated to file these bills by a handful of conservative interest groups, not constituent demand.”
“Some of these snapshots are black and white, some in colour. The photographer was often either the subject herself (using a self-timer or cable release, both relatively new at the time) or a trusted member of the community (easily obtainable in group settings). Initially, many would develop the pictures themselves rather than risk involvement of an external lab. As the Polaroid instant camera became more affordable it revolutionized photography for this community, which was a critical tool for them to image / imagine themselves for their own use or for sharing with others in their society. …
Some pictures were taken at home, or in a hotel room, with the curtains carefully drawn, to ensure privacy and create a little world where freedom was momentarily possible. They are typically deliberately posed, with a definite sense of happiness and an aura of breaking a constricting taboo. Other photographs were shot at one of the resorts, often outdoors. The joy here is quite evident, with a strong quality of relief. The pictures taken later on seem to become less performative, and show people simply being.
In constructing their female appearance and persona, the subjects here (who were almost all white) leaned heavily on 1950s stereotypes of white, middle-class womanhood. There would seem to be an irony in that they thereby leveraged a patriarchy that oppressed them. However, from my perspective, their goal (which I instinctively understand) was to externalize an inner truth in a way that was meaningful to them, that could be seen by select others, and by themselves in a mirror or in their photographs; and in this they were successful.
One display was a case containing a distinctive snapshot and a short biography for each of 18 different individuals who appear in the pictures. These are poignant reminders of the humanity of this community and the serious challenges that they faced. And it provided positive proof that my intuition from 2014 was correct, my personal sisterhood was indeed there. First, I hasten to stress that even without physical transition one can still be a woman, it is an internal identification; however, when someone assigned male at birth followed that path (especially during that era) it is very suggestive of a female gender. With that in mind, it was personally moving to find that one of the 18, whose name was Gloria, and who happened to be a millionaire, used her fortune to support women seeking (pioneering at that time) gender affirmation surgery in Mexico, before, during and afterwards; and that two others, Kate and Irène, successfully underwent the procedure.”
Jennifer Wenn is a trans-identified writer from London, Ontario, Canada.
Jennifer Wenn. “Casa Susanna, at the Art Gallery of Ontario,” on the Centred.ca website January 4, 2024 [Online] Cited 05/03/2024. Used under fair use conditions for the purposes of education and research
Of particular note is the gathering of 71 transvestites at the Chevalier D’Eon Resort for Halloween 1962, held a day after the New York police unusually raided the annual National Variety Artists costume ball and 30 cross-dressed “men” were arrested. The guests at Chevalier D’Eon Resort included Virginia Prince, Katherine Cummings, Felicity Chandelle, Darrell Raynor and Gail Wilde, and psychologists Hugo Beigel and Wardell Pomeroy. Raynor, Cummings and Beigel later wrote about the event.
Both Virginia and Susanna were upset by one guest who not only did not bother to shave, he also smoked a cigar. This brought Susanna closer to Virginia’s point of view that a cultivation of ‘inner femininity’ distinguished true transvestites from drag queens and fetishists. She expressed this opinion in her column several times. Initially ‘fetishism’ had been equated with partial dressing, but FPE increasingly identified as fetishistic those who fully dressed as female but failed or didn’t bother to fashion themselves as truly feminine. A few years later Sheila Niles would propose the term ‘whole girl fetishist’.
This winter, the Art Gallery of Ontario and Rencontres D’Arles present Casa Susanna, an exhibition of snapshots taken by members of the earliest known American crossdressing network, which operated in upstate New York from the mid-1950s through the end of the 1960s. Co-curated by Sophie Hackett, the AGO’s curator of photography and Dr. Isabelle Bonnet, a photography historian and independent curator, this is the first museum exhibition dedicated to what are collectively known as the Casa Susanna photographs and features previously unseen images.
“These joyful snapshots provide insight into a historically significant crossdressing scene, allowing us to develop an understanding of this world and its connection to the lives of trans and crossdressing people today,” says Sophie Hackett, AGO Curator of Photography. “Looking at these snapshots, I am not only touched by their familial atmosphere and conviviality, but also reminded of the ways photography has been – and continues to be – used as a powerful tool for affirming personal identity and forging community.”
“At a time when trans people – and more broadly, 2SLGBTQ+ people – are attacked from many sides, I think that this exhibition and this book serve a public purpose: the story of the members of Casa Susanna, which is that of thousands of people across the world throughout the centuries, call for respect and tolerance,” says Dr. Isabelle Bonnet. “The personalities that gradually emerged during my research, notably those of Gloria, Kate, Vicky, Felicity, Gail, Susanna and Marie, filled me with admiration and I hope to pass it on to those who come to see the exhibition.”
Bringing together three collections of amateur photographs for the first time – from the AGO’s holdings, from the personal collection of artist Cindy Sherman, and from the collection of Betsy Wollheim, the exhibition tells the story of a community of men, including Wollheim’s own father, who regularly met at two upstate New York retreats organized by Susanna Valenti and her wife Marie, where they were free to safely dress as women and express their feminine identities. Organised thematically, the exhibition shines a spotlight on many of the community’s leading figures and describes how and where they came gathered and the feminine ideals they celebrated.
Snapshots of and by the community – all White, upper middle-class professionals – reveal days spent dressing up, swimming, playing cards, and generally enjoying life as women. The photographs bring to light the type of femininity they aspired to, drawn from images in their visual culture, for instance widely seen in magazines like Ladies Home Journal: traditional and appropriate, even as the crossdressers defied the strict gender prescriptions of their time. The exhibition includes copies of Transvestia magazine, a clandestine publication founded by Virginia Prince in 1960 that provided a vital forum for connection, information, and images to crossdressers across the United States and beyond. It also highlights the radical nature of this community, and the role photographs played in affirming and sustaining trans identities.
A leader in the presentation and research of vernacular photography, the AGO has acquired numerous collections showcasing historically underrepresented photographers, makers, and subjects, among them the Casa Susanna Collection. First discovered at the 26th Street flea market in New York City by furniture dealers Michel Hurst and Robert Swope in 2004, the AGO’s collection of 340 Casa Susanna photographs – acquired in 2015 – originally belonged to Susanna Valenti.
Accompanying the exhibition is a 480-page illustrated publication, edited by co-curators Sophie Hackett and Isabelle Bonnet. Bringing together recent research, an expansive selection of photographs, and pages of Transvestia, Casa Susanna was shortlisted for the Paris Photo – Aperture Foundation Photobook Awards 2023. Published by Editions Textuel in both English and French, Casa Susanna is available at shopAGO for $73.
Isabelle Bonnet, Sophie Hackett Casa Susanna: The Story of the First Trans Network in the United States, 1959-1968
Thames and Hudson Ltd, January 2024
480 pp softback
[This book] Brings together a wealth of research and an expansive selection of photographs to create an enduring account of America’s first known trans network, Casa Susanna.
In the 1950s and 60s, an underground network of transgender women and cross-dressing men found refuge at a modest house in the Catskills region of New York. Known as Casa Susanna, the house provided a safe place to express their true selves and live for a few days as they had always dreamed – dressed as and living as women without fear of being incarcerated or institutionalised for their self-expression.
This book opens up that now-lost world. The photographs – mostly discovered by chance in a New York flea market in 2004 – chronicle the experiences of men who dressed as women, gender nonconforming people, and trans women in states of relaxation, experimentation, connection and joy. All of this was made possible by Susanna Valenti who – on her own journey toward womanhood – created Casa Susanna, a protected space where others could crossdress and live freely as women. Supplementing the images are excerpts from Transvestia, a magazine that allowed those who had been cast out by a rigidly binary society to connect in a different medium.
The people who came to Casa Susanna found a spot where they could explore and celebrate their own and each other’s femininity, as they could not do elsewhere. Their creations are also a reminder that there were, and still are, many ways to explore the boundaries of gender.
Isabelle Bonnet is an independent curator, currently completing a thesis in history / visual culture devoted to the crime scene in contemporary photography. Sophie Hackett is the Curator, Photography at the Art Gallery of Ontario, Toronto. Susan Stryker is professor of gender and women’s studies at the University of Arizona.
from the series Travelling the wonderful loneliness 2019-2024
March 2024
My mother’s apples
During 2019 I took a photographic journey through Europe. The trip was an ascetic experience, hardly talking to anyone for 2 months, immersed in photography, taking almost 10,000 photographs on three digital cameras. I have whittled these photographs down to around 120 images in four sequences.
This sequence, (How I) Wish You Were Here, is one of the four sequences in the series collectively titled Travelling the wonderful loneliness (2019-2024).
Please click on the photographs for a larger version of the image.
EL 25
Looking at you looking at me
Crossing
Habitat
Dawn, Prague
Only You
Photoautomat
Imaginary friends
Ascending
Liberté, Egalité, Fraternité
Infinity, Centre Pompidou
Mr Skull is Not for sale!
Golden angel
Pastoral landscape, No. 2
Purple chair
Blue jeans
White coach
Love
V&A Photography Centre, London
Dawn, Prague
The Bell
An American in Amsterdam (Berenice Abbott)
C D
Arriving leaving, Stowmarket
Pink, blue, green
Ovule
Heads I win tails you loose
Photographs are available from this series for purchase. As a guide, a digital colour 16″ x 20″ print costs $1,000 plus tracked and insured shipping. For more information please see the Store web page.
Curator: Susan van Wyk, NGV Senior Curator of Photography
Paul Strand (American 1890-1976, France 1951-1976) Still life, pear and bowls, Twin Lakes, Connecticut 1916, printed 1983 From the Paul Strand: The Formative Years 1914-1917 portfolio photogravure National Gallery of Victoria, Melbourne Purchased, 1984 Public domain
“I feel that photographs can either document or record reality or they can offer images as an alternative to everyday life: places for the viewer to dream in.”
Francesca Woodman, 1980
Smoke and mirrors, smoke and mirrors…
In many ways the exhibition Photography: Real & Imagined at The Ian Potter Centre: NGV Australia can be seen as a summation of all that is good and bad with the photography collection and the photography exhibition program at the National Gallery of Victoria.
Since the sad and unfortunate demise of the small but important dedicated photography gallery, photography exhibitions at the NGV (other than the large Patrick Pound exhibition all those years ago in 2017) have been in a state of deep freeze. I MISS that little third floor gallery… it’s all we had for photography at the NGV on a regular basis and there were some interesting shows there. It’s been gone for years and photography has been lumped in with contemporary art. And then, and now, nothing for years.
Therefore, as a fellow photographic artist observed to me, “It was great to see the NGV finally give photography a large exhibition after so many years of neglect.” Never a truer word said.
Let’s get the good stuff about the exhibition out of the way first. Whoever curated the exhibition (unknown, unnamed) really knew how to pull an installation of photographs together. There was some sophisticated sequencing of the images on the various themes from Australian and International artists, very intelligently and beautifully rendered which I enjoyed tremendously. I also enjoyed seeing the glorious display of photobooks: I was in heaven seeing in one display cabinet Man Ray’s book Photographs by Man Ray Paris 1920-1934 (published 1934), Claude Cahun and Marcel Moore’s book Aveux non Avenus (Disavowals or Cancelled Confessions) (published 1930), Bill Brandt’s book Perspective of Nudes (published 1961), and Germaine Krull’s book Nude studies (Études de nu) (published 1930). What a selection!
And it was finally great to see Australian and international work displayed together on such a large scale, something I can’t remember happening in the 35 years I have being viewing photography exhibitions in Australia. This is something that the NGV should have been promoting for many years, the placement of Australian photography in an international context… even taking this concept overseas, to promote Australian photography internationally. But no, nothing of this kind of forward thinking has ever happened in insular Australia.
Now to the not so good stuff. The most glaring anomaly about the exhibition was its over ambitious structure. While the concept ‘Real & Imagined’ was very strong – an exhibition of photographs picturing a version of reality captured by the camera (for it can never capture reality itself) / photographs created by the imagination of human beings – this robust concept was overwhelmed by too many thematic sections in the exhibition.
These sections included ‘Light’ and ‘Systems and Surface’ and ‘Surreal’ and ‘Narrative’ and ‘Work and Play’ and ‘Movement’ and ‘Studio and Things’ and ‘Display’ and ‘Consumption’ and ‘Self’ and ‘Skin’ and ‘Community and Touch’ and ‘Environment’ and ‘Place and Built’ and ‘Nineteenth-century photography’ and ‘Conflict’ and ‘Death’. I’m exhausted already…
And then, walking around the exhibition, the wall texts used to identify and illuminate these sections became totally irrelevant as through their placement on the wall I had no idea to which area they were referring. It was totally confusing and in the end I just ignored them.
As I observed people wandering around the exhibition, most had no idea of the importance of some of the images on display… why would they? They are not photography aficionados but the viewing public. If I found the exhibition confusing imagine how they viewed it. What the NGV should have done was have a guided tour on the hour, every hour, to talk about the seminal works in the exhibition and about how the exhibition had been structured. Imagine someone explaining the importance of the four photobooks in a display cabinet mentioned earlier in the history of photography and how by putting them together you were creating a sophisticated dialogue over time about identity and gender issues.
As the aforementioned colleague observed to me, “the exhibition felt like a data dump with a tacked on theme that strained (and failed) to resonate.” I wouldn’t go that far for the overall concept was strong and vibrant but like much of what has happened with the photography collection at the NGV, the overall outcome was confused and piecemeal.
This can no better be illustrated than through the comments of the Director of the NGV, Tony Ellwood, when he said in the press release, “This exhibition celebrates the collections and achievements of the NGV’s photography department, which has presented more than 180 exhibitions in its 55-year history. The exhibition is a testament to the strength of the NGV Collection, with so many key examples of the history of photography represented, from the earliest examples from the 19th century, through to contemporary images being produced right now in the twenty-first century.”
I note that when the head of the NGV boasts about the number of photography exhibitions over the last 55 years (180, about 3 a year mainly small exhibitions) and the “strength” of the NGV Photography Collection… you know that he is proselytising.
Most of the large photography exhibitions have been brought in from outside sources in the last 30 years and little research has been done into Australian photography and its relationship to world photography in house. And while the NGV collection has “strength” in certain areas it is woefully lacking in others. Again, the word “piecemeal” springs to mind, like Swiss cheese full of the biggest holes … and this exhibition only serves to reinforce that idea, often displaying the only photograph by an important artist that the collection holds.
Smoke and mirrors, smoke and mirrors!
For example I picked a few photographic artists off the top of my head as I thought of them – and the NGV collection possesses some in reasonable depth:
Edward Steichen 23
Paul Strand 51
Brassai 17
André Kertesz 45
Eugène Atget 143
Frank Hurley 20
Max Dupain 94
Bill Brandt 44
Bill Henson 108
Lee Friedlander 31
David Goldblatt 15
Dorothea Lange 28
August Sander 16
Other important photographers the NGV have nothing or next to nothing at all:
Joseph Sudek 1
Stephen Shore 0
William Eggleston 0
Julia Margaret Cameron 3
Robert Mapplethorpe 1
Ansel Adams 4
Hiroshi Sugimoto 1
Daido Moriyama 0
Raja Deen Dayal 0
Aleksandr Rodchenko 1
Olive Cotton 9
Berenice Abbott 7
Diane Arbus 2
Roger Ballen 1
Bernd and Hiller Becher 1
Thomas Ruff 2
Manuel Álvarez Bravo 0
Edward Weston 6
Henri Cartier-Bresson 2
Robert Frank 11
Garry Winogrand 0
Nan Goldin 3
Gordon Parks 3
Lewis Hine 9
Peter Hujar 0
Imogen Cunningham 6
Not exactly an institution that has “strength” in their photography collection. And over the last 30 years seemingly nothing much has been done to plug these enormous holes in the collection…. instead, for example, buying one work by Jeff Wall for a million dollars.
The NGV needs to improve the photography collection and its photography exhibition program. After too many years of stagnation an injection of new ideas and a new direction for exhibition programming is needed. A couple of focused photography exhibitions per year would be a good start, as would the purchasing of historic photographs to fill huge gaps in the collection rather than the purchasing of contemporary work. Non-vintage prints of the masters can still be bought at affordable prices. And therein lies just one of the problems: money.
Investment in photography at the NGV in terms of people and money is much needed, otherwise the deep freeze and dance of smoke and mirrors will continue well into the future.
Photography: Real and Imagined examines two perspectives on photography; photography grounded in the real world, as a record, a document, a reflection of the world around us; and photography as the product of imagination, storytelling and illusion. On occasion, photography operates in both realms of the real and the imagined.
Highlighting major photographic works from the NGV Collection, including recent acquisitions on display for the very first time, Photography: Real and Imagined examines the complex, engaging and sometimes contradictory nature, of all things photographic. The NGV’s largest survey of the photography collection, the exhibition includes more than 300 works by Australian and international photographers and artists working with photo-media from the nineteenth, twentieth and twenty-first centuries.
Installation view of the exhibition Photography: Real & Imagined at The Ian Potter Centre: NGV Australia, Melbourne showing at rear left, Penelope Davis’ Shelf (2008) and Non-fiction (red) (2008, below); at third right, Anne Ferran’s Scenes on the death of nature, III (1986); at second right, Candida Höfer’s Teylers Museum Haarlem II (2003, below); and at right, Thomas Struth’s Pergamon Museum IV, Berlin (2001) Photo: Marcus Bunyan
Installation view of the exhibition Photography: Real & Imagined at The Ian Potter Centre: NGV Australia, Melbourne showing Penelope Davis’ Shelf (2008) and Non-fiction (red) (2008) from the Fiction-Non-Fiction series 2007-2008 Photo: Marcus Bunyan
Installation view of the exhibition Photography: Real & Imagined at The Ian Potter Centre: NGV Australia, Melbourne showing at middle left, Anne Ferran’s Scenes on the death of nature, III (1986); at centre, Candida Höfer’s Teylers Museum Haarlem II (2003, below); and at middle right, Thomas Struth’s Pergamon Museum IV, Berlin (2001) Photo: Marcus Bunyan
The luminous photograph by Thomas Struth shows museum visitors immersed in observing the Telephos frieze within a room of the Pergamon Museum in Berlin. Struth draws our attention to the fact that viewing a work of art in a public gallery is rarely a private experience. The visit is usually shared by other visitors, museum staff, security guards and tour guides. There is also the omnipresent gaze of security cameras. Struth seems to be emulating the technical innovations of the Telephos frieze in his arrangement of the viewers. Similarities between the poses of the audience members and the poses of the carved relief figures gradually emerge, suggesting an unconscious dialogue between the viewers and the objects they regard.
Wall text from the exhibition
Candida Höfer (German, b. 1944) Teylers Museum Haarlem II 2003 Type C photograph National Gallery of Victoria, Melbourne Purchased, 2004
This photograph shows the famous Oval Room within Teylers Museum, the oldest public museum in the Netherlands. Candida Höfer photographed the space bathed in a brilliant, even light that illuminates its architecture, objects and famed mineralogical cabinet. The highly structured museological ordering of the objects and the Neoclassical architecture that contains them are exaggerated by the formal, symmetrical composition of the photograph. This image invites reflection of the ways in which cultural institutions direct our engagement with materials. As the artist has said, ‘There are no people there, but you understand that the places were made specially for them. This is very meaningful for me, and it’s exactly what I want to express’.
Wall text from the exhibition
Installation view of the exhibition Photography: Real & Imagined at The Ian Potter Centre: NGV Australia, Melbourne showing at left, Anne Ferran’s Scenes on the death of nature, III (1986); at centre, Candida Höfer’s Teylers Museum Haarlem II (2003, above); and at right, Thomas Struth’s Pergamon Museum IV, Berlin (2001). In the distance can be seen Lotte Jacobi’s Head of a dancer (1929, below); Man Ray’s Head of a dancer (1929, below); and Lee Miller’s Nimet Eloui Bey (c. 1930, below) Photo: Marcus Bunyan
Lotte Jacobi (German 1896-1990, United States 1935-1990) Head of a dancer 1929, printed c. 1970 Gelatin silver photograph 26.4 x 33.2cm National Gallery of Victoria, Melbourne Bowness Family Fund for Photography, 2021 Public domain
Man Ray (Emmanuel Radnitzky) (American, 1890-1976) Kiki with African mask 1926 Gelatin silver photograph 21.1 x 27.6cm National Gallery of Victoria, Melbourne Purchased through The Art Foundation of Victoria with the assistance of Miss Flora MacDonald Anderson and Mrs Ethel Elizabeth Ogilvy Lumsden, Founder Benefactors, 1983 Public domain
Kiki with African maskis one of Man Ray’s most celebrated photographs and an iconic image of the Art Deco period. First published in Vogue in 1926, it is an elegant image, but it also speaks to the impact of European colonialism in Africa. In this pared-back studio photograph all extraneous detail is excluded from the image, focusing our attention on the exquisitely made-up face of Kiki in juxtaposition with the perfectly polished ebony of the mask. This photograph invites us to delight in the physical beauty of Man Ray’s celebrated model but offers nothing about the mask or its maker.
Wall text from the exhibition
Installation view of the exhibition Photography: Real & Imagined at The Ian Potter Centre: NGV Australia, Melbourne showing Lee Miller’s Nimet Eloui Bey (c. 1930, below) Photo: Marcus Bunyan
Lee Miller (American 1907-1977) Nimet Eloui Bey (installation view) c. 1930 Gelatin silver photograph 23.0 x 15.8cm National Gallery of Victoria, Melbourne Gift of Krystyna Campbell-Pretty AM and Family through the Australian Government’s Cultural Gifts Program, 2022 Photo: Marcus Bunyan
Lee Miller may have been well-known as Man Ray’s colleague, model and lover, but she was also celebrated for her own photographic practice, producing portrait and fashion photographs. When Miller photographed Egyptian model Nimet Eloui Bey the encounter changed both women’s lives. Four years after taking this intimate portrait, Miller would marry Nimet’s then husband, Aziz Eloui Bey. As curator Sophia Cai comments, ‘The personal scandal behind this portrait colours many contemporary interpretations, but also demonstrates the way that the personal lives of artists become interwoven with their artistic identities. This is particularly true in instances of women artists who are relegated to the role of the “muse” or lovers to male artists’.
Wall text from the exhibition
Installation view of the exhibition Photography: Real & Imagined at The Ian Potter Centre: NGV Australia, Melbourne showing at centre, Fiona Pardington’s Portrait of a life-cast of Koe, Timor (2010) and Portrait of a life cast of Matoua Tawai, Aotearoa New Zealand (2010); and at right, Linda Judge’s Victoria and Albert Museum 20/4/94 (1994, below) Photo: Marcus Bunyan
Fiona Pardington’s photograph shows a life cast of the tattooed head of a Māori man, Matoua Tawai. The cast, held in a museum collection, is one of many made by Pierre- Marie Alexandre Dumoutier of Māori peoples in the 1830s. Pardington, who is of Māori and Scottish descent, has spoken of her desire to reconsider the complex history of these life casts and find a state of continuum between the past and present, to, as she says, ‘find the faces of the living people presenting and manifesting in the object’. Printing the photograph at larger-than-life scale provokes a physical encounter, an opportunity to look again and reconsider the histories of the person, the object and the image.
Wall text from the exhibition
Linda Judge (Australian, b. 1964) Victoria and Albert Museum 20/4/94 (installation view detail) 1994 Type C photographs National Gallery of Victoria, Melbourne Margaret Stewart Endowment, 1994 Photo: Marcus Bunyan
In this image, Linda Judge wittily creates new narratives and resurrects otherwise ‘mummified’ museum objects. Concerned with the open-ended nature of archives and their ability to slip between fiction and reality, Judge presents photographs of historical lace from the collection of the Victoria and Albert Museum, London. Beneath each photograph, Judge has provided a range of both ‘plausible’ captions (’12. collar, cuff, border: Italian, late 17th century, Tape lace with needlepoint fillings and brides’) and fanciful ones (’51. veil: Brussels, end 18th century, needlepoint on bobbin ground. Worn by Madonna, for Like a Virgin in her Brussels tour ’91’). Judge humorously invites the viewer to interrogate the expectations of truth in the presentation of archival content.
Wall text from the exhibition
Installation view of the exhibition Photography: Real & Imagined at The Ian Potter Centre: NGV Australia, Melbourne showing at left, Martin Parr’s Pink pig cakes from Common Sense (1995-1999); at fourth left, ringl+pit’s Komol (1931, below); at fifth left, Ilse Bing’s Salut de Schiaparelli (1934, below); and at sixth left, Dora Maar’s Untitled (Study of Beauty) (1936, below) Photo: Marcus Bunyan
Installation view of the exhibition Photography: Real & Imagined at The Ian Potter Centre: NGV Australia, Melbourne showing ringl+pit’s Komol (1931, below) Photo: Marcus Bunyan
Installation view of the exhibition Photography: Real & Imagined at The Ian Potter Centre: NGV Australia, Melbourne showing at left, Martin Parr’s Pink Pig Cakes, Bristol, UK (1995); at third right, Lillian Bassman’s More fashion mileage per dress, Barbara Vaughn, Harper’s Bazaar, New York (1956); at second right, and at right, Darren Sylvester’s On Holiday (2010) Photo: Marcus Bunyan
Darren Sylvester builds and photographs hyperreal tableaux using the visual language of advertising – beautiful models, perfect lighting and considered ‘product’ placement – to construct a familiar yet illusionary reality. Here Sylvester’s model plays the role of a handsome businessman. ‘Against a sunrise, a business traveller gazes at an unknown destination’, Sylvester once wrote of this image. ‘The composition plays on stereotypes of luxury aspirations and aeroplane advertisements. For example, no-one ever flies into darkness or storms in an ad.’ In this lush, seductive photograph, Sylvester explores the slippery space between reality and illusion, aspiration and irrelevance, as we move on to the next shiny thing.
Wall text from the exhibition
Lillian Bassman (American, 1917-2012) More fashion mileage per dress, Barbara Vaughn, Harper’s Bazaar, New York 1956, printed later Gelatin silver photograph National Gallery of Victoria, Melbourne Gift of Krystyna Campbell-Pretty AM and Family through the Australian Government’s Cultural Gifts Program, 2023
In the late 1930s, Lillian Bassman studied fashion illustration and textile design at the Pratt Institute, New York. In 1940 she began working with Alexey Brodovitch, art director of Harper’s Bazaar magazine, which soon led to her appointment as art director of the subsidiary publication Junior Bazaar. In this capacity she worked with photographers, including Richard Avedon and Robert Frank, and in 1947 began working as a freelance fashion and advertising photographer. In an interview later in her life Bassman played down her directorial role as photographer, stating, ‘It is part of the nature of a woman to be unconsciously graceful … I try to record that natural grace with a camera’.
Wall text from the exhibition
Installation view of the exhibition Photography: Real & Imagined at The Ian Potter Centre: NGV Australia, Melbourne showing Athol Shmith’s Fashion illustration, model Ann Chapman (c. 1961) Photo: Marcus Bunyan
Installation view of the exhibition Photography: Real & Imagined at The Ian Potter Centre: NGV Australia, Melbourne showing at left, Alice Mills’ Joan Margaret Syme (c. 1918, below); at second left, works by Edson Chagas from his Tipo Passe series (2014); and at third left, Hassan Hajjaj’s Master Cobra Mansa (2013, below) with at right, Martin Parr’s Pink Pig Cakes, Bristol, UK (1995) Photo: Marcus Bunyan
Alice Mills (attributed to) (Australian, 1870-1929) Joan Margaret Syme c. 1918 Gelatin silver photograph, coloured dyes National Gallery of Victoria, Melbourne Presented through the NGV Foundation by Michael Hayne, 2005 Public domain
Alice Mills set up her first studio in Melbourne in 1900. She was highly regarded as a portrait photographer and in 1907 was invited to exhibit in the Australian Exhibition of Women’s Work. Her portrait of five-year-old Joan Margaret Syme dressed in a leopard-skin robe is an outstanding example of studio portraiture. It shows the skilled application of hand colouring, which was used to transform black-and-white photographs in the era before colour photography, bringing a life-like quality to the portrait. At almost two metres high, this is no only a charming study of a young child, but one of the largest photographs from the early twentieth century in the NGV Collection.
Wall text from the exhibition
Installation view of the exhibition Photography: Real & Imagined at The Ian Potter Centre: NGV Australia, Melbourne showing at left Alice Mills’ Joan Margaret Syme (c. 1918, above); at centre, works by Edson Chagas from his Tipo Passe series (2014); and at right, Hassan Hajjaj’s Master Cobra Mansa (2013, below) Photo: Marcus Bunyan
Multidisciplinary artist Hassan Hajjaj’s portraits show London’s Moroccan diaspora; as a designer he also creates stylish street fashion and playful interiors that are a contemporary take on Moroccan tea houses and riads. Hajjaj came to professional photography by happenstance, taking pictures both for fun and as a tool while working as a stylist on music videos. It soon became a cornerstone of his creative practice. From the outset Hajjaj wanted his photography to show ‘another side of Moroccan culture’, something that, as he says, was not ‘camels, dates and drinking mint tea!’
Wall text from the exhibition
Adolphe Braun (French 1811-1877) No title (Flower study) c. 1854 Albumen silver photograph 31.0 x 37.3cm National Gallery of Victoria, Melbourne Purchased NGV Foundation, 2017 Public domain
Adolphe Braun arrived in Paris in 1828 to study drafting and decorative design and within six years had established a textile design studio. Around 1853 he began to make photographs using the recently invented collodion process. The following year Braun commenced a project to photograph an extensive series of flower studies with the intent of providing documentary source material for artists and designers. He produced 300 of these photographs and in 1854 published his images in a six-volume series titled Fleurs photographiés. When they were exhibited in the 1855 Universal Exhibition in Paris, Braun was awarded a gold medal for his work’s usefulness to the fabric and decorating industries.
Wall text from the exhibition
Installation view of the exhibition Photography: Real & Imagined at The Ian Potter Centre: NGV Australia, Melbourne showing at left Julie Rrap’s Persona and shadow: Madonna (1984, below)
Julie Rrap (Australian, b. 1950) Persona and shadow: Madonna 1984 Cibachrome photograph 194.7 × 104.6cm (image and sheet) National Gallery of Victoria, Melbourne Michell Endowment, 1984
Installation view of the exhibition Photography: Real & Imagined at The Ian Potter Centre: NGV Australia, Melbourne showing from left to right, Yasumasa Morimura’s An inner dialogue with Frida Kahlo (Flower wreath and tears) (2001, below); Phumzile Khanyile’s Untitled (2016); Zanele Muholi’s Ntozkhe II (Parktown) (2016, below); Ayana V. Jackson’s How sweet the song (2017); Julie Rrap’s Madonna (1984, above); and Siri Hayes Spilling pearls (2012) Photo: Marcus Bunyan
Yasumasa Morimura (Japanese, b. 1951) An inner dialogue with Frida Kahlo (Flower wreath and tears) (installation views) 2001 From the An Inner Dialogue with Frida Kahlo series 1991-2001 Photograph, plastic 213.4cm diameter National Gallery of Victoria, Melbourne Purchased NGV Foundation, 2022 Photos: Marcus Bunyan
Using found props – in this instance a ‘crown’ of scouring pads – Zanele Muholi has photographed themself to confront racial stereotypes and examine concepts of self-representation while honouring generations of women who have worked domestically. Discussing this work the artist wrote, ‘In some ways, yes: Ntozakhe is based on the Statue of Liberty, representing the idea of freedom – the freedom all women should have – as well as pride: pride in who we are as black, female-bodied beings. But what kind of freedom are we talking about? What is the colour of the Statue of Liberty? What race is the figure monumentalised as Lady Liberty?’
Wall text from the exhibition
Installation view of the exhibition Photography: Real & Imagined at The Ian Potter Centre: NGV Australia, Melbourne showing at left, Julie Rrap’s Madonna (1984, above); at second left, Siri Hayes’ Spilling pearls (2012); at third left, Sarah Lucas’ Self-portrait with fried eggs (1999); at fourth left, William Yang’s William, Father, Mother, Graceville, Brisbane (1974, below) and then his Self Portrait #5 (2008, below) Photo: Marcus Bunyan
William Yang (Australian, b. 1943) William, Father, Mother, Graceville, Brisbane (installation view) 1974, printed 2014 Inkjet print National Gallery of Victoria, Melbourne Purchased, Victorian Foundation for Living Australian Artists, 2014 Photo: Marcus Bunyan
William Yang’s autobiographical photographs combine photographs and handwritten text to tell the stories of Yang’s family, his childhood, and his experiences of being Chinese in an Australia that was not always welcoming to him. In one of these photographs Yang points to the difficulties he faced as a young man torn between his parents’ aspirations for him and his own wish for a different life. In the other, he describes himself as more content, at ease with himself and the choices he has made in his life. Together they form part of a powerful account of his life and sense of self.
Wall text from the exhibition
William Yang (Australian, b. 1943) Self Portrait #5 (installation view) 2008; printed 2014 From the Self Portrait series Inkjet print 43 x 65cm National Gallery of Victoria, Melbourne Purchased, Victorian Foundation for Living Australian Artists, 2014 Photo: Marcus Bunyan
Installation view of the exhibition Photography: Real & Imagined at The Ian Potter Centre: NGV Australia, Melbourne showing from left to right, Virginie Grange’s Untitled (1990); George Hoyningen-Huene’s Horst torso (1931, below); František Drtikol’s Nude (1927-1929); Olive Cotton’s Max after surfing (1937, below); Edward Weston’s Nude (1936, below); Eadweard Muybridge’s Plate 227 from Animal Locomotion series 1887; and Helmut Newton’s Big nude I (1980) Photo: Marcus Bunyan
Installation view of the exhibition Photography: Real & Imagined at The Ian Potter Centre: NGV Australia, Melbourne showing from left to right, George Hoyningen-Huene’s Horst torso (1931, below); František Drtikol’s Nude (1927-1929); Olive Cotton’s Max after surfing (1937, below); Edward Weston’s Nude (1936, below); Eadweard Muybridge’s Plate 227 from Animal Locomotion series 1887 Photo: Marcus Bunyan
The František Drtikol was the first fine art photograph to enter the National Gallery of Victoria collection.
George Hoyningen-Huene (Russian 1900-1968, England 1917-1921, France 1921-1935, United States 1935-1968) Horst torso 1931, printed 1980s Gelatin silver photograph 23.1 x 27.9cm National Gallery of Victoria, Melbourne Bowness Family Fund for Photography, 2017
Edward Weston (American 1886-1958) Nude 1936, printed 1976 Gelatin silver photograph 17.8 x 23.8cm (image and sheet) National Gallery of Victoria, Melbourne Purchased from Agfa and B. H. P. donation, 1977 Public domain
Olive Cotton (Australian, 1911-2003) Max after surfing 1937, printed 1998 Gelatin silver photograph 26.0 x 19.7cm National Gallery of Victoria, Melbourne Purchased through The Art Foundation of Victoria with the assistance of Optus Communications Pty Limited, Member, 1998
Photographs of lovers, family and friends are perhaps the most emotionally charged of all images, not because the subject is monumental or dramatic, but because they allow us to see into intimate relationships. When photographs show subjects nude, or even partially naked, the sense of familiarity is heightened. Olive Cotton’s photograph of Max Dupain is an image that reveals intimacy and tenderness. His body is sculpted by raking side lighting and the allusion to Classical sculpture is apparent, but this photograph also carries an erotic charge – Dupain is shown as being tanned and muscular, movie-star handsome and the object of Cotton’s desire.
Wall text from the exhibition
Installation view of the exhibition Photography: Real & Imagined at The Ian Potter Centre: NGV Australia, Melbourne showing from left to right, Francesca Woodman’s Space², Providence, Rhode Island, 1976 (1976, below); E. J. Bellocq’s Woman reclining with mask (c. 1912, below); Florence Henri’s Nude composition (c. 1930, below); an anonymous American photographer’s image Kaloma (1914); and Germaine Krull’s Daretha (Dorothea) Albu (c. 1925) Photo: Marcus Bunyan
Francesca Woodman (American, 1958-1981) Space², Providence, Rhode Island, 1976 1976, printed c. 2000 Gelatin silver photograph 16.3 x 16.3cm National Gallery of Victoria, Melbourne Ruth Margaret Frances Houghton Bequest, 2021
Francesca Woodman once stated, ‘I want my pictures to have a certain timeless, personal but allegorical quality like they do in many Ingres history paintings, but I like the rough edge that photography gives a nude’. Woodman was only twenty-three when she died, her work has had a profound impact on other artists, including Cindy Sherman, who wrote, ‘[Woodman] had few boundaries and made art out of nothing: empty rooms with peeling wallpaper and just her figure … Her process struck me more the way a painter works, making do with what’s right in front of her, rather than photographers like myself who need time to plan out what they’re going to do’.
Wall text from the exhibition
E. J. Bellocq (American, 1873-1949) No title (Woman reclining with mask) c. 1912, printed c. 1981 From the Storyville Portraits series c. 1911-1913 Gelatin silver photograph National Gallery of Victoria, Melbourne Purchased, 1981 Public domain
Florence Henri (American, 1893-1982) Nude composition (Nu composition) c. 1930 Gelatin silver photograph National Gallery of Victoria, Melbourne Gift of Krystyna Campbell-Pretty AM and Family through the Australian Government’s Cultural Gifts Program, 2021 Public domain
This photograph is a beautiful example of the way in which Florence Henri combined the elements of New Objectivity in photography, including sharp focus and unexpected vantage points, with her exploration of identity and sexuality. The presentation of the woman is unashamedly erotic: her naked form is presented for the pleasure of the viewer, but she does not conform to conventional modes of softcore pornography. The woman’s gaze excludes the viewer; she reclines on a coarse cloth backdrop, crumpled to suggest a beach as she looks at a perfect conch shell symbolising female fertility and an eloquently beautiful indicator of the artist’s object of desire.
Wall text from the exhibition
Installation view of the exhibition Photography: Real & Imagined at The Ian Potter Centre: NGV Australia, Melbourne showing at left, Sophie Calle’s The giraffe (2012); and centre right, Lynne Roberts-Goodwin’s Al Hammadi Desert Saqar #1 and #3; and at right, Sarah Waiswa’s Finding solace (2016) Photo: Marcus Bunyan
Sarah Waiswa (Ugandan, b. 1980) Finding solace (installation view) 2016 From the Stranger in a Familiar Land series 2016 Inkjet print 79.5 × 79.5cm Purchased NGV Foundation, 2017 Photo: Marcus Bunyan
Sarah Waiswa has described her series Stranger in a Familiar Land as an exploration of life outside the security and boundaries of community. Discussing her work, she wrote, ‘People fear what they do not understand … The concept of Stranger in a Familiar Land groups together various portraits of an albino woman set against the backdrop of the Kibera slums, which are a metaphor for my turbulent vision of the outside world. The series also explores how the sense of non-belonging has led her to wander and exist in a dreamlike state. People notice Kisombe, but at the same time, they don’t’.
Wall text from the exhibition
Installation view of the exhibition Photography: Real & Imagined at The Ian Potter Centre: NGV Australia, Melbourne showing at right, Lynne Roberts-Goodwin’s Al Hammadi Desert Saqar #1 and #3 Photo: Marcus Bunyan
Installation view of the exhibition Photography: Real & Imagined at The Ian Potter Centre: NGV Australia, Melbourne showing from left to right, Jan Groover’s Untitled (1981); August Sander’s Bohemians (Willi Bongard and Gottfried Brockman) (1922-1925, below); Julia Margaret Cameron’s Mrs Herbert Duckworth, her son George, Florence Fisher and H. A. L. Fisher (c. 1871, below); Harry Callahan’s Eleanor and Barbara, Chicago (1954); Gordon Parks’ Big Mama and boy, 1961 (1961); Micky Allan’s Man holding his daughter (1982, below); Brenda L. Croft’s In my mother’s garden (1998); and Angela Lynkushka’s Zühre Yildirim from Turkey with grand-daughter Nurahan Gundogdu, born in Australia. De Carle Street, Brunswick (1982) Photo: Marcus Bunyan
August Sander (German, 1876-1964) Bohemians (Willi Bongard and Gottfried Brockman) 1922-1925, printed 1973 From the People of the Twentieth Century project 1920s-1964 Gelatin silver photograph 23.3 x 30.5cm (image and sheet) National Gallery of Victoria, Melbourne Purchased, 1974
Gottfried Waldemar Brockmann (1903-1983) was a German artist, educator, publisher, and served as a cultural advisor for the city of Kiel, Germany. He taught at Muthesius Academy of Art in Kiel.
Julia Margaret Cameron (English, 1815-1879, Ceylon (Sri Lanka) 1875-1879) Mrs Herbert Duckworth, her son George, Florence Fisher and H. A. L. Fisher c. 1871 Albumen silver photograph 31.0 x 22.7cm (image and sheet) National Gallery of Victoria, Melbourne Purchased through The Art Foundation of Victoria with the assistance of the Herald & Weekly Times Limited, Fellow, 1979 Public domain
In this portrait, Julia Duckworth sits for her aunt, Julia Margaret Cameron, one of the nineteenth century’s most esteemed photographers. As curator Elisa deCourcy notes, ‘Julia Duckworth’s lackadaisical pose and her flailing hand cast her as somewhat of a Pre-Raphaelite heroine, very much in the style of Cameron’s broader oeuvre’. DeCourcy adds it is perhaps also a depiction of the experience of maternal exhaustion: ‘Julia’s distant gaze and slouched form makes it hard for us not to read this photograph as depicting fatigued motherhood. Through touch, the children seem to demonstrate a sentimental connection to Julia while also laying claim to her attention and energy’.
Wall text from the exhibition
Harry Callahan (American, 1912-1999) Eleanor and Barbara 1954, printed 1970s Gelatin silver photograph National Gallery of Victoria, Melbourne Purchased, 1979
Harry Callahan began photographing his wife Eleanor shortly after they married in 1936 and continued to do so for almost fifty years. Discussing their relationship as artist and muse in a 1983 film, Callahan said, ‘I felt very natural photographing Eleanor. I didn’t feel like there were any obstacles of any kind’. Following the birth of their daughter Barbara in 1950 he began to photograph mother and child and, as can be seen in this image, often captured moments of family life in pictures of great intimacy.
Wall text from the exhibition
Installation view of the exhibition Photography: Real & Imagined at The Ian Potter Centre: NGV Australia, Melbourne showing Micky Allan’s Man holding his daughter (1982) from the People of Elizabeth series 1982-1983 Photo: Marcus Bunyan
The application of hand-colouring to photographs was generally the work of women in photography studios until the 1950s. In the 1970s and 80s these superseded processes experienced a revival as some feminist photographers applied the historic treatment to their images of contemporary life. As art historian Elisa deCourcy observes, ‘Micky Allan’s vibrant hand-colouring radically alters the topography of this otherwise monochrome photographic portrait of a young father and daughter from the 1980s … The application of colour to the father’s and daughter’s faces and the “retouching” of their hair, eyes and lips with colour offers an illuminated realism to each subject’.
Wall text from the exhibition
Installation view of the exhibition Photography: Real & Imagined at The Ian Potter Centre: NGV Australia, Melbourne showing at right Gilbert & George’s FORWARD (2008, below) Photo: Marcus Bunyan
Gilbert & George (active 1967- ) Gilbert Proesch (Italian, b. 1943 George Passmore (English, b. 1942) FORWARD 2008 From the Jack Freak series Inkjet print National Gallery of Victoria, Melbourne Professor AGL Shaw AO Bequest, 2021
Writer Michael Bracewell described the Jack Freak series as being ‘among the most iconic, philosophically astute and visually violent works that Gilbert & George have ever created’. In this picture the Union Jack, an internationally familiar flag and politically charged symbol whose significance spans the cultural spectrum from contemporary fashion to aggressive national pride, forms the backdrop to monumental portraits of the artists. In contrast to this visual cacophony the artists appear as rather low-key, neatly dressed, senior statesmen maintaining their central relevance in a community that too often disregards the elderly.
Wall text from the exhibition
Installation view of the exhibition Photography: Real & Imagined at The Ian Potter Centre: NGV Australia, Melbourne showing from left to right, Ellen José’s Basket Weaver, Lake Tyers (1988); Roman Vishniac’s Grandfather and granddaughter, Warsaw (c. 1935-1938, below); Wolfgang Tillmans’ Lars in tube (1993); Ruth Maddison’s Molly O’Sullivan, 82 (1990); Naomi Hobson’s The God Father (2021); Donna Bailey’s Lush (2002); Carol Jerrems Sharpies (1976, below); and Nan Goldin’s Misty in Sheridan Square, NYC (1991, below) Photo: Marcus Bunyan
Roman Vishniac (Russian, 1897-1990, United States 1940-1990) Grandfather and granddaughter, Warsaw c. 1935-1938, printed 1977 Gelatin silver photograph National Gallery of Victoria, Melbourne Purchased, 1978
Installation view of the exhibition Photography: Real & Imagined at The Ian Potter Centre: NGV Australia, Melbourne showing Carol Jerrems’ Sharpies (1976) Photo: Marcus Bunyan
Installation view of the exhibition Photography: Real & Imagined at The Ian Potter Centre: NGV Australia, Melbourne showing from left to right, Huang Yan’s Chinese landscape – Tattoo (Number 1) (1999); four photographs by Hedda Morrison (1935, below); and Mervyn Bishop’s Prime Minister Gough Whitlam pours soil into the hands of traditional land owner Vincent Lingiari, Northern Territory (1975, below) Photo: Marcus Bunyan
Huang Yan (Chinese, b. 1966) Chinese landscape – Tattoo (Number 1) 1999, printed 2004 Type C photograph National Gallery of Victoria, Melbourne Purchased, 2004
In this photograph Huang Yan uses the human body as a canvas for the traditional shānshuǐ style of Chinese landscape painting. Discussing this image, curator and writer Isobel Crombie observed, ‘The title of the work, Tattoo, implies that landscape traditions are written permanently into the Chinese body, making them alive and active. However, ironically, the scenes painted onto the artist’s torso are clearly fugitive, alerting us to both the fragility of the natural environment and the transience of the body’.
Wall text from the exhibition
Hedda Morrison (German 1908-1991, China 1933-1946, Australia 1967-1991) No title (Fairy Palm Cliff) 1935 Gelatin silver photograph 25.3 x 22.8cm Purchased, 1976 National Gallery of Victoria, Melbourne Purchased, 1976 Public domain
Hedda Morrison (German 1908-1991, China 1933-1946, Australia 1967-1991) No title (Three gnarled pines) 1935 Gelatin silver photograph 30.6 × 19cm Purchased, 1976 National Gallery of Victoria, Melbourne Purchased, 1976 Public domain
Hedda Morrison (German 1908-1991, China 1933-1946, Australia 1967-1991) No title (Lone pine against clouds) 1935; printed 1976 Gelatin silver photograph 25.3 x 22.8cm Purchased, 1976 National Gallery of Victoria, Melbourne Purchased, 1976 Public domain
Hedda Morrison (German 1908-1991, China 1933-1946, Australia 1967-1991) No title (Morning clouds) 1935; printed 1970s Gelatin silver photograph 25.3 x 22.8cm Purchased, 1976 National Gallery of Victoria, Melbourne Purchased, 1976 Public domain
In August 1975 Mervyn Bishop travelled to Daguragu, formerly known as Wattie Creek, in the Northern Territory. As a press photographer he captured the moment when then prime minister Gough Whitlam placed a handful of soil into the palm of Gurindji elder and activist Vincent Lingiari. This photograph is an iconic image of the ongoing battle for self-determination for Australia’s traditional owners; however, the photograph is not as straightforward as it appears: the moment was re-staged outside so Bishop could take advantage of better lighting.
Wall text from the exhibition
Installation view of the exhibition Photography: Real & Imagined at The Ian Potter Centre: NGV Australia, Melbourne showing from left to right, Robert Macpherson’s Rome (c. 1860); Louis-Emile Durandelle and Clémence Delmaet’s The new Paris Opera, ornamental sculpture (c. 1870, below); Edouard Baldus’ Notre Dame, Paris (c. 1852-1853, below); and Véronique Ellena’s Santi Luca e Martina, Rome (2011) Photo: Marcus Bunyan
In Véronique Ellena’s photograph we see a shrouded figure, draped in a blanket or canvas cloth, lying on the steps of a Baroque church in central Rome. Initially seducing us with the formal beauty of the city and its architecture, the photograph then jolts us as we recognise the harsh reality of the scene. This was a calculated strategy on Ellena’s part, as she acknowledges: ‘At first, we could only perceive the sublime beauty of architecture. But this work tells us something else: the place of some people in this world, who are there but whom we do not see – or not anymore’.
Wall text from the exhibition
Louis-Emile Durandelle (French, 1839-1917) Clémence Delmaet (French, 1838-1917) The new Paris Opera, ornamental sculpture c. 1870 Albumen silver photograph 38.1 x 28.3cm (image and sheet) National Gallery of Victoria, Melbourne Presented by the Lunn Gallery, Washington D.C, USA, 1982 Public domain
Edouard Baldus (Prussian 1813-1989, France c. 1848 – c. 1869) Notre Dame, Paris c. 1852-1853, printed 1880s Platinum photograph National Gallery of Victoria, Melbourne Presented by the National Gallery Women’s Association, 1995 Public domain
By the middle of the nineteenth century many of the great historic buildings of Paris, including Notre Dame Cathedral, were in a state of disrepair due to decades of neglect. Under the auspices of the Commission des Monuments Historiques, significant historic buildings underwent extensive restoration. This committee recognised the invaluable role photography could play in documenting the changes occurring to the architectural heritage of Paris. Official Second Empire photographer, Édouard Baldus, captured the splendour of newly commissioned and lavishly restored architectural icons as cultural highlights of the Second Empire.
Wall text from the exhibition
Installation view of the exhibition Photography: Real & Imagined at The Ian Potter Centre: NGV Australia, Melbourne showing at left, Véronique Ellena’s Santi Luca e Martina, Rome (2011); at second right, work from Girma Berta’s Moving shadows series (2017); and at right, Pieter Hugo’s Green Point Common, Cape Town (2013) Photo: Marcus Bunyan
Installation view of the exhibition Photography: Real & Imagined at The Ian Potter Centre: NGV Australia, Melbourne showing at centre, Girma Berta’s Untitled IV, VI and XII (2017) at right, Pieter Hugo’s Green Point Common, Cape Town (2013) Photo: Marcus Bunyan
Girma Berta has been photographing people on the streets of Addis Ababa, Ethiopia, since around 2014. His earlier photographs were documentary in style, but over time his work has become more refined and stylised.
The five photographs from his Moving Shadows series 2017 … are from an ongoing body of work in which all background detail has been removed. These photographs show isolated figures, and their shadows, on immersive, coloured backgrounds. The works feature individuals photographed on the streets of Addis Ababa going about the daily lives. Using the camera in his phone, Berta is able to work discretely and capture his subjects without them being aware of his presence.
In all his street-based work, Berta is interested in presenting a ‘portrait’ of the people of Addis Ababa. Working in his studio, he has developed a method to extract aspects of the scenes he photographs from the city’s busy streetscapes. Berta explains further: ‘Through my work on Instagram, I wish the world (would) stare into the eyes of a face of Addis Ababa; the city where I was born and where I grew up. The beautiful, the ugly and all that is in between.’
Text from the National Gallery of Victoria website
Installation view of the exhibition Photography: Real & Imagined at The Ian Potter Centre: NGV Australia, Melbourne showing at second left, Girma Berta’s Untitled IV, VI and XII (2017, above); and at right, Dacre Stubbs’ St. George’s Road flats (1953, below) Photo: Marcus Bunyan
Installation view of the exhibition Photography: Real & Imagined at The Ian Potter Centre: NGV Australia, Melbourne showing from left to right, Gertrude Kasebier’s Gargoyle (1901, top); Albert Renger-Patzsch’s Art d’eglise in Achen (1930s, bottom); Werner Mantz’s Industrial Landscape (1937, top); Max Dupain’s Silos through windscreen (1935, bottom); Edward Steichen’s The maypole (1932); Barbara Morgan’s City shell (1938, top); Berenice Abbott’s Park Avenue and Thirty-ninth Street, Manhattan, October 8 (1936, bottom) and Dacre Stubbs’ St. George’s Road flats (1953) Photo: Marcus Bunyan
For modernist architects in the 1930s there was a natural synergy between their own vision of the constructed environment in the machine age and the work of photographers. In architecture this was manifested in structural clarity and precision, and the use of modern building materials such as steel, glass and unadorned concrete. In photography the use of sharp focus, unexpected vantage points, radical cropping of images and unusual perspectives formed part of the lexicon of the so-called New Objectivity. Photographers like Werner Mantz show a world in which compressed space and unexpected vantages confound our expectations of how buildings should be photographed.
Wall text from the exhibition
Gertrude Kasebier (American, 1852-1934) Gargoyle 1901 Platinum photograph 20.6 x 13.5cm (image and sheet) National Gallery of Victoria, Melbourne Purchased through The Art Foundation of Victoria with the assistance of the Herald & Weekly Times Limited, Fellow, 1979 Public domain
Werner Mantz (German 1901-1983) Industrial landscape 1937 Gelatin silver photograph 38.6 x 29.2cm (image and sheet) National Gallery of Victoria, Melbourne Purchased, 1983 Public domain
Max Dupain (Australian 1911-1992) Silos through windscreen 1935, printed c. 1985 Gelatin silver photograph National Gallery of Victoria, Melbourne Purchased, 1986 Public domain
Installation view of the exhibition Photography: Real & Imagined at The Ian Potter Centre: NGV Australia, Melbourne showing Edward Steichen’s The maypole (1932) Photo: Marcus Bunyan
Barbara Morgan (American, 1900-1992) City shell 1938, printed 1972 Gelatin silver photograph 34.4 x 25.1cm (image and sheet) National Gallery of Victoria, Melbourne Gift of Krystyna Campbell-Pretty AM and Family through the Australian Government’s Cultural Gifts Program, 2022 Public domain
Barbara Morgan moved to New York in 1930 and began experimenting with the avant-garde photographic techniques of photograms and photomontage. City shell is an outstanding example of Morgan’s innovative photography from the 1930s. In this image she combined a view from her studio window of the Empire State Building with a shell gifted to her by a friend. The monumental skyscraper is shown tilted on an extreme angle while the shell appears upright in the centre of the photograph – a visual metaphor, according to the artist, for the transient nature of built structures in comparison to those of the natural world.
Wall text from the exhibition
Berenice Abbott (American 1898-1991, France 1921-1929) Park Avenue and Thirty-ninth Street, Manhattan, October 8 1936 Gelatin silver photograph 19.3 x 24.3cm National Gallery of Victoria, Melbourne Bowness Family Fund for Photography, 2021 Public domain
In 1929, after living in Paris for eight years, Berenice Abbott returned to New York and, having noted the rapid change taking place across the city, commenced a project to document New York in photographs. Abbott’s project was funded by the WPA Federal Art Project from 1935 to 1939, which culminated in the 1939 book and exhibition, Changing New York. Discussing her project, Abbott wrote of desiring to capture the ‘spirit’ of the city, driven by the urgent realisation that ‘the tempo of the metropolis is not of eternity, or even time, but of the vanishing instant’.
Wall text from the exhibition
Installation view of the exhibition Photography: Real & Imagined at The Ian Potter Centre: NGV Australia, Melbourne showing Dacre Stubbs’ St George’s Road flats (1953, below) Photo: Marcus Bunyan
Dacre Stubbs (English 1910-2001, Australia 1948-2001) St George’s Road flats 1953 Gelatin silver photograph 47.6 x 38.0cm National Gallery of Victoria, Melbourne Purchased, 1993 Public domain
More photographs from the exhibition
Installation view of the exhibition Photography: Real & Imagined at The Ian Potter Centre: NGV Australia, Melbourne showing William Henry Fox Talbot’s Portrait of a man (c. 1844, below) Photo: Marcus Bunyan
William Henry Fox Talbot (English, 1800-1877) No title (Portrait of a man) c. 1844 Salted paper photograph 7.6 x 6.6cm irreg. National Gallery of Victoria, Melbourne Purchased through The Art Foundation of Victoria with the assistance of David Syme & Co. Limited, Fellow, 1982 Public domain
Maxime Du Camp (French 1822-1894) Peristyle of the Palace of Rameses III, Medinet Habu, Thebes 1849-1851, printed 1852 Salted paper photograph National Gallery of Victoria, Melbourne Purchased, 1983 Public domain
Gaspard-Felix Tournachon Nadar (French, 1820-1910) Alexander Dumas (père) 1855 Salted paper photograph 24.4 x 18.6cm irreg. (image and sheet) National Gallery of Victoria, Melbourne Presented by the National Gallery Women’s Association, 1995 Public domain
Alexander Gardner (American 1821-1882) Home of a Rebel sharpshooter, Gettysburg 1863; printed 1865-1866 Plate no. 41 from Gardner’s Photographic Sketch Book of the War, vol. I and II, 1865-1866 Albumen silver photograph National Gallery of Victoria, Melbourne Purchased through The Art Foundation of Victoria with the assistance of the Herald & Weekly Times Limited, Fellow, 1979 Public domain
Around 620,000 soldiers are believed to have died during the American Civil War, which was fought from 1861 to 1865. Discussing the war, this photograph, and the work of Alexander Gardner, author and art historian Helen Ennis wrote, ‘The extensive coverage of the war that Gardner and his colleagues achieved – including its often graphic, confronting imagery – is lauded in the history of photography for its pioneering documentary photography and photojournalism. However, war photography has its own disturbing history, one in which photographing the dead has become routine. In Gardner’s photograph the corpse (and his rifle) may have been specially positioned for the photograph, a further reminder that in war death has no dignity’.
Wall text from the exhibition
Installation view of the exhibition Photography: Real & Imagined at The Ian Potter Centre: NGV Australia, Melbourne showing Julia Margaret Cameron’s Julia Jackson (1864, below) Photo: Marcus Bunyan
Julia Margaret Cameron (English, 1815-1879) Julia Jackson 1864 Albumen silver photograph 24.0 x 19.1cm (image and sheet) National Gallery of Victoria, Melbourne Purchased through The Art Foundation of Victoria with the assistance of the Herald and Weekly Times Limited, Fellow, 1979 Public domain
Giorgio Sommer (German 1834-1914) Human imprint, Pompeii (Impronte umare. Pompei) 1873 Albumen silver photograph 19.8 x 25.5cm National Gallery of Victoria, Melbourne Presented through the NGV Foundation by Janice Hinderaker, Member, 2003 Public domain
Charles Rudd (Australian 1872-1900) Statuary Gallery, Melbourne Public Library 1886-1887 From the C. Rudd’s New Views of Melbourne series 1886-1887 Albumen silver photograph 13.6 x 19.8cm National Gallery of Victoria, Melbourne Gift of Terence Lane, 1990 Public domain
F. B. Mendelssohn & Co., Melbourne (Australian, active 1889-1900) No title (Young woman, full length, seated at plush covered table) 1889 Cabinet print Albumen silver photograph 14 x 10cm National Gallery of Victoria, Melbourne Gift of C. Stuart Tompkins, 1972 Public domain
Installation view of the exhibition Photography: Real & Imagined at The Ian Potter Centre: NGV Australia, Melbourne showing Diane Jones’ Woman in black Dress (2009) Photo: Marcus Bunyan
Writing about historical and contemporary studio photography, curator Sophia Cai explored connections between the work of contemporary artist Dianne Jones and historical vernacular portraits, noting that ‘Jones is a contemporary Balardung artist who works in photo media to critically re-examine historical and contemporary depictions of Indigenous peoples in popular imagery. Jones’s work sees the artist insert herself into familiar, iconic scenes from Australian art and photography to challenge myths of cultural nationhood and identity. This act of insertion is both a comedic and political action, as it not only highlights the homogeneity common to these scenes, but also addresses the lack of Indigenous representation in our histories and stories’.
Wall text from the exhibition
Unknown photographer (Japanese active 1880s) No title (Woman with umbrella) 1880s Albumen silver photograph, colour dyes 24.2 x 19.4cm (image and sheet) National Gallery of Victoria, Melbourne Public domain
In the nineteenth century a distinctive style of photography developed in Japan in which the aesthetics of traditional woodblock prints (ukiyo-e) were translated into photographic practice. The resulting photographs included carefully composed genre images featuring traditional aspects of the life and work of the Japanese middle classes. Typical life scenes, such as this one showing a woman walking through a rainstorm, were recreated in the studio with remarkable attention to detail, as seen in the subject’s ‘windblown’ kimono. As these images were staged for the European market, however, they often diverted from reality in favour of focusing on customs that would have appeared ‘exotic’ to their Western viewers.
Wall text from the exhibition
Installation view of the exhibition Photography: Real & Imagined at The Ian Potter Centre: NGV Australia, Melbourne showing Frank Hurley’s A turreted berg (1913, below) Photo: Marcus Bunyan
Frank Hurley (Australian, 1890-1962) No title (A turreted berg) 1913 Carbon print National Gallery of Victoria, Melbourne Purchased, 1999 Public domain
The photographs produced by Frank Hurley during his time as the official photographer for the Australasian Antarctic Expedition (1911-1914), and his subsequent texts, dramatically convey the awe-inspiring gargantuan icebergs encountered in the region. ‘No grander sight have I ever witnessed among the wonders of Antarctica’, Hurley wrote of the icebergs in the area where this photograph was taken. ‘We threaded a way down lanes of vivid blue with shimmering walls of mammoth bergs rising like castles of jade on either side.’ This photograph is, at first appearance, a sublimely ‘true’ representation of an iceberg. On closer inspection, however, subtle alterations become apparent. More real than real, Hurley’s constructed image was celebrated at the time and continues to be.
Wall text from the exhibition
André Kertész (Hungarian, 1894-1985) Chez Mondrian, Paris 1926; c. 1972 {printed} Gelatin silver photograph 24.7 x 18.5 cm (image) 25.3 x 20.4 cm (sheet) National Gallery of Victoria, Melbourne Purchased, 1973 Public domain
Trude Fleischmann (Austrian 1895-1990, United States 1938-1990) The actress Sibylle Binder, Vienna c. 1926 Gelatin silver photograph 21.9 x 16.2cm National Gallery of Victoria, Melbourne Bowness Family Fund for Photography, 2022 Public domain
Trude Fleischmann (American born Austria, 1895-1990)
Trude Fleischmann (22 December 1895 – 21 January 1990) was an Austrian-born American photographer. After becoming a notable society photographer in Vienna in the 1920s, she re-established her business in New York in 1940. …
In 1920, at the age of 25, Fleischmann opened her own studio close to Vienna’s city hall. Her glass plates benefitted from her careful use of diffuse artificial light. Photographing music and theatre celebrities, her work was published in journals such as Die Bühne, Moderne Welt, ‘Welt und Mode and Uhu. She was represented by Schostal Photo Agency (Agentur Schostal). In addition to portraits of Karl Kraus and Adolf Loos, in 1925 she took a nude series of the dancer Claire Bauroff which the police confiscated when the images were displayed at a Berlin theatre, bringing her international fame. Fleischmann also did much to encourage other women to become professional photographers.
With the Anschluss in 1938, Fleischmann was forced to leave the country. She moved first to Paris, then to London and finally, together with her former student and companion Helen Post, in April 1939 to New York. In 1940, she opened a studio on West 56th Street next to Carnegie Hall which she ran with Frank Elmer who had also emigrated from Vienna. In addition to scenes of New York City, she photographed celebrities and notable immigrants including Albert Einstein, Eleanor Roosevelt, Oskar Kokoschka, Lotte Lehmann, Otto von Habsburg, Count Richard von Coudenhove-Kalergi and Arturo Toscanini. She also worked as a fashion photographer, contributing to magazines such as Vogue. She established a close friendship with the photographer Lisette Model.
Sybille Binder (5 January 1895 – 30 June 1962) was an Austrian actress of Jewish descent whose career of over 40 years was based variously in her home country, Germany and Britain, where she found success in films during the 1940s.
Binder began her stage career in Berlin in 1915, then in 1918 moved to Munich, where she enjoyed success in classical drama. Between 1916 and 1918 she also appeared in a handful of silent films. In 1922, she returned to Berlin and received acclaim for her performance in Frank Wedekind’s Earth Spirit. Over the next few years she performed regularly in Germany and Austria then, in the mid-1930s as war approached and conditions in Germany became difficult, she made the decision to move to England.
Between 1942 and 1950 Binder featured in 13 British films, including several of superior quality. Her first screen appearance in Britain came auspiciously in the highly acclaimed supernatural drama Thunder Rock, playing opposite dramatic heavyweights including Michael Redgrave, James Mason and Frederick Valk. Other notable films in which Binder appeared were war drama Candlelight in Algeria (1944), hugely popular period melodrama Blanche Fury, espionage thriller Against the Wind and amnesia-themed romance Portrait from Life (all 1948).
Binder returned to Germany in 1950, settling in Düsseldorf, where she successfully picked up her stage career but did not attempt to break into the German film industry. She died on 30 June 1962, aged 67.
Walker Evans (American 1903-1975) Graveyard, houses and steel mill, Bethlehem, Pennsylvania 1935, printed c. 1975 Gelatin silver photograph 39.5 x 49.5cm National Gallery of Victoria, Melbourne Purchased, 1975 Public domain
Marion Post Wolcott (American, 1910-1990) Near Wadesboro, North Carolina 1938; c. 1975 {printed} Gelatin silver photograph 26.4 x 26.5cm National Gallery of Victoria, Melbourne Purchased, 1975
Joe Rosenthal (1911-2006) Raising the Flag on Iwo Jima 1945; printed (c. 1948) Gelatin silver photograph 11.5 x 8.8cm National Gallery of Victoria, Melbourne Gift of Francis Reiss, 2014 Public domain
Imogen Cunningham (American, 1883-1976) The unmade bed 1957 Gelatin silver photograph 24.4 x 32.7cm National Gallery of Victoria, Melbourne Gift of Krystyna Campbell-Pretty AM and Family through the Australian Government’s Cultural Gifts Program, 2023
In 1957, while teaching at the California School of Fine Arts in San Francisco, Imogen Cunningham overheard her colleague Dorothea Lange set a task for her students to photograph an ordinary object that they used every day. Cunningham is said to have set the same task for herself. The resulting photograph, The unmade bed, is an image constructed with familiar objects, including discarded hairpins and a crumpled bedsheet. In this quiet and unassuming photograph, Cunningham has created both an elegant still life and an unexpectedly tender portrait of a woman recently risen from her sleep.
Wall text from the exhibition
George Bell (Australian 1878-1966, England 1907-1920) Pain 1966, printed 1991 Gelatin silver photograph 28.2 × 35.6cm National Gallery of Victoria, Melbourne Purchased, 1991 Public domain
Ulrich Wüst (German, b. 1949) Berlin (installation view) 1982 From the Cityscapes (Stadtbilder) series 1979-1984 Inkjet print National Gallery of Victoria, Melbourne Purchased NGV Foundation, 2018 Photo: Marcus Bunyan
Hank Willis Thomas’s photographs printed on mirrors are sometimes difficult to look at, but with the viewer’s reflection integrated into the work they are also impossible to ignore. In this work we bear witness to the shockingly violent incursions into what was intended to have been a peaceful civil rights protest in Selma, Alabama. Willis Thomas’s work and its source image, a photograph taken in 1965 by Spider Martin, show civil rights activist Amelia Boynton Robinson being carried by fellow marchers after being gassed and beaten. Through his use of archival images Willis Thomas draws connections between historical moments and contemporary life, leaving little comfortable space to be a dispassionate observer.
Malala Andrialavidrazana’s series Figures are digital photomontages created using images sourced from archival collections of nineteenth-century maps of the African continent, as well as bank notes and stamps. The historical maps are overlaid with portraits of various heads of state and depictions of colonial developments and decorative details showing people, places, plants and animals from across Africa. These photomontages reveal the complex political and cultural histories of maps, cartography and archives, and the changing understanding of the greater African continent by European colonial powers in the nineteenth and twentieth centuries.
Wall text from the exhibition
Section wall texts from the exhibition
Light wall text from the exhibition
Systems and Surface wall text from the exhibition
Surreal wall text from the exhibition
Narrative wall text from the exhibition
Work and Play wall text from the exhibition
Movement wall text from the exhibition
Studio and Things wall text from the exhibition
Display wall text from the exhibition
Consumption wall text from the exhibition
SELF wall text from the exhibition (missing)
Skin wall text from the exhibition
Community and Touch wall text from the exhibition
ENVIRONMENT wall text from the exhibition (missing)
Place and Built wall text from the exhibition
NINETEETH-CENTURY PHOTOGRAPHY wall text from the exhibition (missing)
Conflict wall text from the exhibition
DEATH wall text from the exhibition (missing)
The Ian Potter Centre: NGV Australia Federation Square Corner of Russell and Flinders Streets, Melbourne
Dorothea Lange (American, 1895-1965) Child of Impoverished Black Tenant Family Working on Farm, Alabama July 1936 Gelatin silver print Image: 20 x 19.2cm (7 7/8 x 7 9/16 in.) Sheet: 25.4 x 20.2cm (10 x 7 15/16 in.) Mat: 14 x 14 in. Frame (outside): 15 x 15 in. National Gallery of Art, Washington, Gift of Daniel Greenberg and Susan Steinhauser
A humungous two-part posting on the work of American photographer Dorothea Lange (1895-1965) which features over 110 of her photographs many of which were unknown to me.
Of course, the posting features the photographs for which she is rightly famous (Migrant Mother; White Angel Breadline; Nettie Featherston; Migratory cotton picker with his cotton sack slung over his shoulder rests at the scales before returning to work in the field; Once a Missouri farmer, now a Migratory Farm Laborer) but others are a surprise for the senses, especially the Irish portrait photographs.
Many thankx to the National Gallery of Art for allowing me to publish the photographs in the posting. Please click on the photographs for a larger version of the image.
During her long, prolific, and groundbreaking career, the American photographer Dorothea Lange made some of the most iconic portraits of the 20th century. Dorothea Lange: Seeing People reframes Lange’s work through the lens of portraiture, highlighting her unique ability to discover and reveal the character and resilience of those she photographed.
Featuring some 100 photographs, the exhibition addresses her innovative approaches to picturing people, emphasising her work on social issues including economic disparity, migration, poverty, and racism.
“The portrait is made more meaningful by intimacy – an intimacy shared not only by the photographer with his subject but by the audience.”
Dorothea Lange
“The power of her pictures – their ability to speak to the character and resilience of those she photographed – lies not only in her desire to effect social change, but also in her deep humanism, her abiding interest in people, and the skills and insights she learned as a portrait photographer.”
A growing desire to capture the Depression’s impact drew Lange to the White Angel Jungle, a San Francisco soup kitchen run by Lois Jordan, the “White Angel.” There Lange photographed this downtrodden man leaning on a barricade, his jaw clenched, shoulders hunched, back to the crowd, and eyes covered by the brim of his hat. Though anonymous, he drew Lange’s sympathetic eye and became a symbol of the nameless masses who faced economic hardship as the United States plunged deep into financial crisis.
In spring and summer 1934, a longshoremen’s strike gripped San Francisco and demonstrations took place throughout the city. Protesters also advocated for Japanese unions, which were being threatened by anti-labor forces in Japan. Lange wrote in her notes, “This was just before the New Deal during a time when Communists were very active. A few blocks away … soup was being distributed daily to the unemployed.”
Lange focused on a lone policeman standing before a crowd of protesters holding placards in English and Japanese. The policeman projects authority through his firm stance, crisp uniform, and shiny badge, creating a barrier between the photographer and the crowd.
In the summer of 1935, Lange traveled with Paul Taylor, working with his research team on a study of migrant labourers funded by California’s State Emergency Relief Administration. Mexican farm labourers, like this trio of cantaloupe harvesters, saw wages plummet during the Depression as thousands of westbound American migrants flooded the labour market. Angling her camera upward, Lange silhouetted the workers against a hazy sky, producing a striking group portrait. Working together solidified Lange and Taylor’s professional relationship, which developed into a romantic partnership and marriage later that same year.
Label text from the exhibition
Dorothea Lange (American, 1895-1965) Once a Missouri farmer, now a Migratory Farm Laborer. San Joaquin Valley, California February 1936, printed c. 1965 Gelatin silver print Image/sheet: 44.6 x 39.5cm (17 9/16 x 15 9/16 in.) Mat: 26 x 22 in. Frame (outside): 27 x 23 in. National Gallery of Art, Washington, Gift of Daniel Greenberg and Susan Steinhauser
Although this farm labourer from Missouri seems to be alone behind the wheel of his car, he is actually seated beside his wife, in the passenger seat. Her overcoat and right arm are easily overlooked at the bottom left. By focusing only on the driver, with his gaunt features and intense gaze, Lange heightens our sense of his isolation to create an evocative portrait of a man grappling with the consequences of dislocation. The photograph also calls attention to the automobile as a means of transport and escape for some Depression-era migrants.
Label text from the exhibition
Dorothea Lange (American, 1895-1965) Former Tenant Farmer on Relief Grant in the Imperial Valley, California March 1937 Gelatin silver print Image/sheet: 9.5 x 9cm (3 3/4 x 3 9/16 in.) Mat: 14 x 11 in. Frame (outside): 15 x 12 3/4 in. National Gallery of Art, Washington, Gift of Daniel Greenberg and Susan Steinhauser
Dorothea Lange (American, 1895-1965) Eighteen-Year-Old Mother from Oklahoma, now a California Migrant March 1937 Gelatin silver print Image: 18.9 x 24.5cm (7 7/16 x 9 5/8 in.) Sheet: 20.6 x 25.5cm (8 1/8 x 10 1/16 in.) Mat: 13 x 16 in. Frame (outside): 14 x 17 in. National Gallery of Art, Washington, Gift of Daniel Greenberg and Susan Steinhauser
Dorothea Lange (American, 1895-1965) Displaced Tenant Farmers, Goodlett, Hardeman County, Texas July 1937, printed 1950s Gelatin silver print Image: 19 x 24cm (7 1/2 x 9 7/16 in.) Sheet: 20.3 x 25.2cm (8 x 9 15/16 in.) Mat: 14 x 16 in. Frame (outside): 15 x 17 in. National Gallery of Art, Washington, Gift of Daniel Greenberg and Susan Steinhauser
During the 1930s, machines began to replace people in some cotton-growing regions like Hardeman County in Northeast Texas; consequently, many tenant farmers were evicted from their land. Already reckoning with severe drought and economic depression, these “tractored out” farmers were forced to seek work as day labourers, a precarious livelihood offering little security. In this picture, five displaced tenant farmers congregate outside the screened porch of a small house. Although they are united by a common plight, each man seems utterly alone, unable to find solace or support within an eroding agricultural system.
When Lange photographed her on a North Texas farm, 40-year-old Nettie Featherston was accustomed to a life of hard labor and poverty. She and her family had left Oklahoma seeking work in California when they ran out of money in Texas and found work picking cotton. Lange’s portrait reveals a gaunt survivor of the Dust Bowl, her right arm echoing the shape of the storm cloud behind her – a symbol of the difficult road ahead for migrant families looking for work. Reflecting on the photograph of herself years later, Featherston said, “It seems like … I have too much on my mind. I can just be burdened so bad, awful burdens they’ll be.”
Label text from the exhibition
Nettie Featherston
Lange met Nettie Featherston while working on that same FSA project. Like Turpen, Featherston’s family had been forced off their farm in Oklahoma. On their way to California to find work, they ran out of money and found themselves stranded in Childress, Texas.
The Featherstons sold their car for money to buy food. That left them with no way out of the dry and dusty landscape we seen behind Featherston. She looks desperate and distraught. “This county’s a hard county. They won’t help bury you here. If you die, you’re dead, that’s all,” she told Lange.
Decades later photographer and author Bill Ganzel tracked down Featherston. Then in her 80s, she still remembered how difficult that time had been. “Your kids would cry for something to eat, and you couldn’t give it. We cooked with black-eyed peas until I never wanted to ever see another black-eyed pea.”
Dorothea Lange (American, 1895-1965) Arkansas mother come to California for a new start, with husband and eleven children. Now a rural rehabilitation client. Tulare County, California, from The American Country Woman November 1938, printed 1965 Gelatin silver print Image/sheet: 35.5 x 27.9cm (14 x 11 in.) Mat: 20 x 16 in. Frame (outside): 21 x 17 in. National Gallery of Art, Washington, Gift of Daniel Greenberg and Susan Steinhauser
Dorothea Lange (American, 1895-1965) On the Plains a Hat Is More Than a Covering 1938, printed c. 1965 Gelatin silver print Image/sheet: 32 x 26.3cm (12 5/8 x 10 3/8 in.) Mat: 20 x 18 in. Frame (outside): 21 x 19 in. National Gallery of Art, Washington, Gift of Daniel Greenberg and Susan Steinhauser
Lange wrote in her field notes that a “hat is more than a covering against sun and wind … it is a badge of service … linking past and present.” This artfully cropped photograph of James Abner Turpen, a 70-year-old Texas tenant farmer, focuses on Turpen’s hand as his fingers curl around the brim of a hat. Both hand and hat are weathered, aged by time and work, and portray Turpen without showing his face.
Label text from the exhibition
James Abner Turpen
From 1936 to 1939, Lange worked for the Resettlement Administration (which later became the Farm Security Administration). In Texas she documented the impacts of mechanisation on farmers. In the town of Goodlett she met James Abner Turpen, a 70-year-old tenant farmer who was about to be “tractored out” of his farm. Realising that agricultural machines like tractors could replace many farmers, landowners would evict their tenant farmers.
Turpen’s sons had already been tractored out. In her caption, Lange recorded his distress. “What are my boys going to do?” he asked. He believed the government was partly to blame. “They’re not any up there in Congress but what are big landowners and they’re going to see that the program is in their interest.”
Lange cropped one image to focus on Turpen’s weathered hand grasping his hat. The photograph is titled On the Plains a Hat Is More Than a Covering. But curator Philip Brookman inspected the image closely and compared it with others to confirm that Turpen is the subject.
Dorothea Lange (American, 1895-1965) Migratory Field Worker Picking Cotton in San Joaquin Valley, California from An American Exodus November 1938, printed later Gelatin silver print Image/sheet: 19 x 24cm (7 1/2 x 9 7/16 in.) Mat: 14 x 18 in. Frame (outside): 15 x 19 in. National Gallery of Art, Washington, Gift of Daniel Greenberg and Susan Steinhauser
This photograph of hard stoop labor appeared in Lange and Paul Taylor’s 1939 book An American Exodus. According to Taylor’s field notes, “These pickers are paid seventy-five cents per hundred pounds of picked cotton. Strikers organising under CIO union (Congress of Industrial Organizations) are demanding one dollar. A good male picker, in good cotton, under favourable weather conditions, can pick about two hundred pounds in a day’s work.”
Label text from the exhibition
Dorothea Lange (American, 1895-1965) Cotton Pickers and Farm Owners, Bakersfield, California 1938, printed c. 1950s Gelatin silver print Image: 19 x 24cm (7 1/2 x 9 7/16 in.) Sheet: 20.32 x 25.4cm (8 x 10 in.) Mat: 13 x 16 in. Frame (outside): 14 x 17 in. National Gallery of Art, Washington, Gift of Daniel Greenberg and Susan Steinhauser
Dorothea Lange (American, 1895-1965) Yazoo Delta, Mississippi from An American Exodus 1938, printed 1965 Gelatin silver print Image/sheet: 34.2 x 44.7cm (13 7/16 x 17 5/8 in.) Mat: 20 x 24 in. Frame (outside): 21 x 25 in. National Gallery of Art, Washington, Gift of Daniel Greenberg and Susan Steinhauser
Dorothea Lange (American, 1895-1965) Edison, Kern County, California. Young migratory mother, originally from Texas. On the day before the photograph was made, she and her husband traveled 35 miles each way to pick peas. They worked 5 hours each and together earned $2.25. They have two young children… Live in auto camp. April 11, 1940, printed 1950s Gelatin silver print Image/sheet: 30.1 x 24cm (11 7/8 x 9 7/16 in.) Mount: 30.8 x 24cm (12 1/8 x 9 7/16 in.) Mat: 20 x 16 in. Frame (outside): 21 x 17 in. National Gallery of Art, Washington, Gift of Daniel Greenberg and Susan Steinhauser
Dorothea Lange (American, 1895-1965) Children of the Weill Public School Shown in a Flag Pledge Ceremony, San Francisco, California April 1942, printed c. 1965 Gelatin silver print Image: 23.5 x 17.4cm (9 1/4 x 6 7/8 in.) Mat: 18 x 14 in. Frame (outside): 19 x 15 in. National Gallery of Art, Washington, Gift of Daniel Greenberg and Susan Steinhauser
Fortune magazine commissioned Lange to document the bustling shipyards in Richmond, north of Oakland, where newly desegregated defence firms were rapidly constructing transport, cargo, and warships for the United States Navy. With its tight cropping and dynamic configuration, End of Shift focuses on the rushing legs and torsos of shipbuilders leaving a wartime facility. Lange expressed the urgency of their work in defence production without showing their individual features. The angled composition and complex interplay of light and shadow demonstrate Lange’s understanding of how modern design techniques could convey the force and energy of a group working together on a project critical to the nation’s defence.
While in Richmond, Lange photographed not only shipyard workers but also local people on the street, such as this pair of young mothers. Cradling swaddled infants, with a knee-high toddler between them, the two women personify the prosperity and growth generated by the wartime boom, which brought renewed economic stability to many Californians. Lange’s pictures from Richmond capitalise on the symbolism presented by the backdrop of expanding production. In this photograph, for example, cruciform utility poles seem to watch over the women and children like industrial guards, symbolically guiding them away from the poverty of the Depression years.
During her prolific and groundbreaking career, the American photographer Dorothea Lange (1895-1965) made some of the most iconic portraits of the 20th century. Dorothea Lange: Seeing People examines Lange’s decades-long investigation into how portrait photography could embody the humanity of the people she depicted. It demonstrates how her photographs helped shape contemporary documentary practice by connecting everyday people with moments of history – from the Great Depression through the mid-1960s – that still resonate with our lives in the 21st century. Featuring 101 photographs, the exhibition addresses her innovative approaches to picturing people, emphasising her work on various social issues including economic disparity, migration, poverty, and racism. The exhibition is on view from November 5, 2023, through March 31, 2024, in the West Building of the National Gallery of Art.
“Throughout the course of her 50-year career, Lange created an intensely humanistic body of work that sought to transform how we see and understand people,” said Kaywin Feldman, director of the National Gallery of Art. “Merging her skills as a portrait artist, a social documentary photographer, and a storyteller, she helped redefine photography through images that emphasise social issues.”
About the Exhibition
Dorothea Lange: Seeing People examines how Lange’s portraits have shaped our contemporary understanding of documentary photography as well as its importance to her vision and creative practice. Divided into six thematic sections, the exhibition features portraits ranging from her early career as a San Francisco studio photographer – the earliest work is from 1919 – and her powerful coverage of the Great Depression through expressive photographs of everyday people and communities during the 1950s and early 1960s.
Among the works on view are portraits of Indigenous people in Arizona and New Mexico from the 1920s and early 1930s; later depictions of striking labourers, migrant farmworkers, rural African Americans during the Jim Crow era, Japanese Americans denied their civil rights during World War II, and postwar baby boomers; and portraits of people in Ireland, Korea, Vietnam, Egypt, and Venezuela that Lange made in the decade before her death in 1965.
Lange began her career as a commercial studio photographer in San Francisco in 1918. Her studio became a gathering spot for artists who had serious discussions about photography and art. In 1920 she married Maynard Dixon, a painter of western subjects, who encouraged Lange to take her photography outside. She accompanied him on trips through the American Southwest, photographing rural landscapes and Dixon at work, along with the Indigenous communities he was portraying.
She started to work in the streets of San Francisco in 1933, making photographs such as White Angel Breadline, San Francisco, California (1933) that capture the effects of the Great Depression and the plight of the city’s dispossessed men and women. Lange also photographed labor organisers and protesters at May Day events around San Francisco’s Civic Center Plaza: she focused on the protesters speaking, listening, or holding signs, and vowed to produce prints within 24 hours, as in May Day, San Francisco, California (1934). She also documented ensuing strikes, creating portraits of speakers and demonstrators with placards as well as photographs of the police presence in works such as Street Demonstration, San Francisco (1934). When she met the labor economist Paul Schuster Taylor in 1934, Lange began to photograph the plight of migrant farmers who had moved to California from the South and Midwest seeking new livelihoods.
From 1935 to 1943, while working for the for the US Resettlement Administration, Farm Security Administration, and War Relocation Authority, Lange focused on the resilience of Depression-era families, farmworkers, rural cooperative communities, migrant camps, and the forced incarceration of Japanese Americans in the early days of World War II. The resulting images illustrate the human and economic impact wrought across the United States by farm tenancy, racism, the legacy of slavery, climate change, and migrations. These portraits, sometimes combined with interviews, added a personal element to Lange’s stark pictures of makeshift housing and agricultural fields and cemented her documentary style.
During World War II Lange produced one of her most powerful series for the War Relocation Authority, depicting the forced incarceration of California’s Japanese Americans at Manzanar, in works on view such as Grandfather and Grandson of Japanese Ancestry at a War Relocation Authority Center, Manzanar, California (July 1942). She also photographed the shifts in California’s social fabric as its rising economy – sparked by growing defence industries – drew African Americans from the South and women into previously male-dominated and segregated businesses such as shipbuilding. In the 1950s, Lange continued to pursue stories about people and their communities for personal projects, as well as for Life magazine, that include her first photographs from Europe. Asia, South America, and North Africa.
Exhibition Publication
Published by the National Gallery of Art and distributed by Yale University Press, this 208-page illustrated volume explores Dorothea Lange’s decades-long investigation of how photography, through articulating people’s core values and their sense of self, helped to expand our current understanding of portraiture and the meaning of documentary practice. Lange’s sensitive, humane portraits of often-marginalised people galvanised public understanding of important social problems in the 20th century.
Compassion guided Lange’s early portraits of Indigenous people in Arizona and New Mexico from the 1920s and 1930s, as well as her depictions of striking workers, migrant farmers, rural African Americans during the Jim Crow era, Japanese Americans in internment camps, and the people she met while traveling in Europe, Asia, Venezuela, and Egypt. Drawing on new research, Philip Brookman, Sarah Greenough, Andrea Nelson, and Laura Wexler, examine Lange’s roots in studio portraiture and demonstrate how her influential and widely seen photographs addressed issues of identity as well as social, economic, and racial inequalities – topics that remain as relevant for our times as they were for hers.
In fall 1919 Lange met Maynard Dixon, a painter and illustrator of western subjects and one of the best-known artists in California. Early the following year, Lange and Dixon were married. Their first son, Daniel, was born in 1925 and their second, John, in 1928. This intimate portrait presents a close-up view of Dixon’s hands holding Dan in a gentle embrace, with the boy’s tiny fingers quietly resting on top of his father’s. Here Lange directed their pose to express both character and personal narrative, which recalls her training in New York portrait studios, as well as Alfred Stieglitz’s “portraits” of Georgia O’Keeffe that focused on her hands to convey her personality.
Label text from the exhibition
Alfred Stieglitz (American, 1864-1946) Georgia O’Keeffe – Hands 1917 Silver-platinum print National Gallery of Art, Alfred Stieglitz Collection
Mary Ann Savage was a faithful Mormon all her life. She was a plural wife. She was a pioneer. She crossed the plains in 1856 with her family when she was six years old. Her mother pushed her little children across plain and desert in a hand-cart. A sister died along the way. “My mother wrapped her in a blanket and put her to one side.”
From Dorothea Lange Looks at the American Country Woman
Dorothea Lange (American, 1895-1965) Dispossessed Arkansas farmers. These people are resettling themselves on the dump outside of Bakersfield, California from An American Exodus 1935 Gelatin silver print Image: 24.1 x 18.8cm (9 1/2 x 7 3/8 in.) Sheet: 25.3 x 20.7cm (9 15/16 x 8 1/8 in.) Mat: 16 x 14 in. Frame (outside): 17 x 15 in. National Gallery of Art, Washington, Gift of Daniel Greenberg and Susan Steinhauser
Dorothea Lange (American, 1895-1965) Black Woman Working in Field near Eutaw, Alabama 1936 Gelatin silver print Image/sheet: 20.5 x 13.8cm (8 1/16 x 5 7/16 in.) Mount: 21.2 x 14.5cm (8 3/8 x 5 11/16 in.) Mat: 15 x 12 in. Frame (outside): 16 x 13 in. National Gallery of Art, Washington, Gift of Daniel Greenberg and Susan Steinhauser
Dorothea Lange (American, 1895-1965) Calipatria (vicinity), California. Native of Indiana in a migratory labor contractor’s camp. “It’s root hog or die for us folks.” February 1937 Gelatin silver print Image/sheet: 24.1 x 19.1cm (9 1/2 x 7 1/2 in.) Mat: 16 x 14 in. Frame (outside): 17 x 15 in. National Gallery of Art, Washington, Gift of Daniel Greenberg and Susan Steinhauser
Dorothea Lange (American, 1895-1965) Line of men inside a division office of the State Employment Service office at San Francisco, California, waiting to register for unemployment benefits January 1938, printed c. 1960s Gelatin silver print Image: 19 x 24cm (7 1/2 x 9 7/16 in.) Sheet: 25.08 x 20.32cm (9 7/8 x 8 in.) Mat: 14 x 17 in. Frame (outside): 15 x 18 in. National Gallery of Art, Washington, Gift of Daniel Greenberg and Susan Steinhauser
Dorothea Lange (American, 1895-1965) Funeral Cortege, San Joaquin Valley, California 1938, printed early 1950s Gelatin silver print Image: 20 x 19cm (7 7/8 x 7 1/2 in.) Sheet: 25.08 x 20.32cm (9 7/8 x 8 in.) Mat: 16 x 14 in. Frame (outside): 17 x 15 in. National Gallery of Art, Washington, Gift of Daniel Greenberg and Susan Steinhauser
Dorothea Lange (American, 1895-1965) Hitch-hiking from Joplin, Missouri, to a sawmill job in Arizona. On U.S. 66 near Weatherford, western Oklahoma August 12, 1938, printed c. 1960s Gelatin silver print Image: 24 x 19.5cm (9 7/16 x 7 11/16 in.) Sheet: 25.4 x 20.32cm (10 x 8 in.) Mat: 16 x 13 in. Frame (outside): 17 x 14 in. National Gallery of Art, Washington, Gift of Daniel Greenberg and Susan Steinhauser
Dorothea Lange (American, 1895-1965) Formerly Enslaved Woman, Alabama from The American Country Woman 1938, printed 1950s Gelatin silver print Image/sheet: 20.3 x 27.9cm (8 x 11 in.) Mat: 14 x 18 in. Frame (outside): 15 x 19 in. National Gallery of Art, Washington, Gift of Daniel Greenberg and Susan Steinhauser
This formerly enslaved woman, whom Lange does not name, would have witnessed several events that transformed the nation. She would have experienced the tragedy of chattel slavery in the United States and the victory for enslaved people in the South through Emancipation, as well as the ups and downs of Reconstruction, the passage of Jim Crow laws that permitted segregation, and the Great Depression. The dilapidated home, falling and standing simultaneously, suggests her own perseverance amid a lifetime of racial, gender, and class oppression.
Label text from the exhibition
Dorothea Lange (American, 1895-1965) Formerly Enslaved Woman, Alabama from The American Country Woman 1938, printed c. 1955 Gelatin silver print Image: 24 x 19cm (9 7/16 x 7 1/2 in.) Sheet: 25 x 20cm (9 13/16 x 7 7/8 in.) Mat: 16 x 13 in. Frame (outside): 17 x 14 in. National Gallery of Art, Washington, Gift of Daniel Greenberg and Susan Steinhauser
Lange’s portraits of Depression-era people have inspired other artists, such as Elizabeth Catlett, to remember that time. In Survivor, Catlett translated the power of Lange’s photograph of a formerly enslaved woman into a linocut, an image cut into a linoleum block, inked, and then pressed onto paper, which prints it in reverse from the original.
Label text from the exhibition
Elizabeth Catlett (American, 1915-2012) Survivor 1983 Linocut National Gallery of Art Purchased as the Gift of the Roy Lichtenstein Foundation in Honor of Mary Lee Corlett
Wheeley’s Church was a congregation of Primitive Baptists, conservative practitioners located primarily in the South. Lange had a knack for building rapport with people from various religious communities and worked to gain their trust and respect to make photographs. This portrait features one church member, “Queen” Bowes, a devout widow shaded by her elaborate sunbonnet. Lange captured her stern expression, with piercing eyes and a tightly closed mouth that hid her false teeth.
Label text from the exhibition
Dorothea Lange (American, 1895-1965) Scandinavian Homesteader, Great Plains, South Dakota from The American Country Woman 1939, printed 1950s Gelatin silver print Image/sheet: 25.9 x 26.6cm (10 3/16 x 10 1/2 in.) Mat: 18 x 18 in. Frame (outside): 19 x 19 in. National Gallery of Art, Washington, Gift of Daniel Greenberg and Susan Steinhauser
Dorothea Lange (American, 1895-1965) Near Coolidge, Arizona. Migratory cotton picker with his cotton sack slung over his shoulder rests at the scales before returning to work in the field November 1940, printed c. 1965 Gelatin silver print Image/sheet: 31.5 x 41cm (12 3/8 x 16 1/8 in.) Mat: 24 x 20 in. Frame (outside): 21 x 25 in. National Gallery of Art, Washington, Gift of Daniel Greenberg and Susan Steinhauser
Dorothea Lange (American, 1895-1965) Edison, Kern County, California. Young girl looks up from her work. She picks and sacks potatoes on large-scale ranch April 11, 1940 Gelatin silver print Image: 18.7 x 24cm (7 3/8 x 9 7/16 in.) Sheet: 20.2 x 25.3cm (7 15/16 x 9 15/16 in.) Mat: 13 x 16 in. Frame (outside): 14 x 17 in. National Gallery of Art, Washington, Gift of Daniel Greenberg and Susan Steinhauser
Riley Savage, son of Mary Ann Savage (pictured in the photograph nearby), was a third-generation Mormon settler whose grandmother had crossed the plains to the Utah Territory in 1856.
On assignment for Life magazine in 1954, Lange spent six weeks in Ireland with her son, Dan Dixon – her first time overseas. They stayed in Ennis, a small town in County Clare, and traveled extensively; Lange took some 2,400 photographs. Twenty-two of these were featured in Life the following year. Lange enjoyed working in Ireland and was particularly fond of this portrait of a smiling girl in a rain bonnet, which she pinned to a corkboard in her home kitchen. “Isn’t that a beautiful face?” she declared. “That’s pure Ireland.”
During a 1958 trip to Indonesia with Paul Taylor, Lange observed a practice session of traditional gamelan music and Javanese dance. In this photograph, she focused on a gesture known as Ngrayung / Nangreu. Although such gestures can carry different meanings depending on the choreography, each highly controlled movement is believed to embody an expression of the soul and requires deep concentration.
Lange joined Taylor on a trip to Venezuela, where he was consulting on agrarian reform. Here, she captured a man holding an axe in one hand and a machete in the other – blades used to clear corn stalks in the field. The presence of these sharp tools, along with the man’s torn clothing and bare feet, hint at the physical and economic vulnerability of farm labourers working on the land.
“For many people, secure and stable public housing has been their safe space from the vicissitudes of the world. No longer.” Dr Marcus Bunyan
February 2024
F. Oswald Barnett (Australian, 1883-1972) Interior, children’s bedroom c. 1935 Gelatin silver print 9.7 x 7.4cm F. Oswald Barnett Collection State Library of Victoria Public domain
Communities dismantled
Dismantled: late 16th century (in the sense ‘destroy the defensive capability of a fortification’): from Old French desmanteler, from des- (expressing reversal) + manteler ‘fortify’ (from Latin mantellum ‘cloak’).
At any age in life, having a stable place to live is vitally important to your physical and mental health. This is especially true for lower socio-economic individuals and families, older human beings, and people with a physical and/or mental disability.
The photographs presented in this posting by active Methodist and photographer F. Oswald Barnett were used to encourage government to remove the ‘slum menace’ – that is, a person or thing that is likely to cause harm; a threat or danger – in inner city Melbourne during the late 1930s-1970s. “Captured by Methodist social reformer F. Oswald Barnett, these photographs served to power his campaign to abolish the city’s inner-city slums and provide a better quality of life for Melbournians.”
“Slum portrayals were sensationalist and voyeuristic. Photos from the slums featured alcoholic mothers with loose moral standards, ‘vermin-infested kitchens’, and children riddled with fleas and head lice.”1
Of course, it is photography’s “ability to police and regulate its subjects, especially those lacking social and political power: the poor, presumed “deviants” or “criminals,” and workers”2 that is at play here. Value judgements about people’s lives and homes were made by do gooders, those of moral fortitude and in positions of power and comfort, likely those very people who had never experienced what it is to be poor, homeless or suffer from a disability. Class would have come in to it as much as the self lubricating disciplinary systems of church, state, hospital, prison that enable and enact power and control over others (Foucault).
And yet, and yet, despite their obvious poverty and “slum” residency (a squalid and overcrowded urban street or district inhabited by very poor people), F. Oswald Barnett’s photographs also document proud people and communities.
Observe the key of the front door hanging outside a hole in the door in Fitzroy. The key of the front door of the apartment house (c. 1935, below) and note the inference that “easy means of access is the open door to immorality.” A true moralists deduction given the evidence… whereas I would have thought it was a testament to the honesty and integrity of the community, and the lack of crime, that the key to the house could be left freely accessible.
In Carlton. Slum pocket (c. 1930, below) two older women stand proudly in their front yards, positioned for and staring at the camera, a broom propped up against the picket fence where one of the woman has been sweeping down the cobbled street. In North Melbourne. Group of children in Erskine Place (c. 1935, below) eight children stand in a line for the camera, quizzical, sullen, smiling, barefoot. Collectively the possess a sense of camaraderie. Witness the two boys holding hands at the left of the image, probably brothers, the one brother looking with love at his brother who faces the camera. This sense of camaraderie, community and family is something all the modernisation in the world can’t buy.
The plan to excise the slums ‘for the common good’ and for immoral reasons, did not go according to plan.
“But abolishing the slums was proving to be difficult. The ‘demolitions program’ was beset with problems. By 1940, only 53 families had actually been moved into new houses. Synchronising demolition works with the building program was hard. The Commission did not have enough resources, and lacked the support of the labour movement.
The Housing Commission upped the ante. In the 1950s and 1960s, the Commission launched the most ambitious slum-clearance projects ever seen in Australia. Residents in Fitzroy, Collingwood and Richmond protested and refused to move. In 1969, the Carlton Association launched a PR campaign denouncing the schemes.
Finally, four years later, the Victorian government abandoned the slum clearance schemes, but by then, whole communities had been dismantled. The buildings that housed them had been demolished.”3
Whole communities had been dismantled for no apparent benefit. And this is exactly what is happening with the demolition of existing public housing in Melbourne at the moment, to be replaced by a mixture of social, affordable and private housing, often tripling the number of dwellings in redevelopments and totally destroying any sense of community that existed in that place, where people actively looked after each other.
Cait Kelly, in an article on the Guardian website in July 2023 on the proposed demolition of the Barak Beacon estate in Port Melbourne comments on Margaret Kelly, the last resident left living in the estate. “When Kelly moved in to Barak Beacon she was a 43-year-old single mum who had spent years in and out of different homes. The housing estate gave her stability. She raised her son, who now has an international career as a game developer, grew flowers in the garden and watched as her neighbour’s children grew up. She said she was “shattered” to be having to fight to stay in her home. “This was our safe home,” she said. “And that’s what it’s been for so many tenants.”4
For many people, secure and stable public housing has been their safe space from the vicissitudes of the world. No longer. Today in Victoria and across Australia, these havens of security and community are being dismantled to be replaced by public-private housing, shared spaces and high density living.
Which brings me to the Grosvenor Precinct (Brunning, Woodstock & Grosvenor Street residences) in Balaclava. HousingFirst, a not-for-profit community housing organisation (providing social housing to over 2000 people across Melbourne) – which purchased the precinct in 1989 “to build and construct accommodation for older persons” – hand delivered a letter at 5pm on the Friday of a long weekend, dropped into the letterbox of each resident.
The letter states, “At HousingFirst, we work hard to continually improve our housing because we want you to enjoy living in a home that meets contemporary standards, where you and your family can live your best life.
We’re pleased to announce the redevelopment of our Grosvenor Precinct (Brunning, Woodstock & Grosvenor Street residences) in Balaclava.
The redevelopment will provide 68 new architect designed environmentally sustainable homes with modern amenity and beautiful shared spaces for all to enjoy.
To accommodate the changes, you will need to move out of your current home into alternative accommodation that will be arranged by HousingFirst for the period of construction. However, you will have first right of return to the new developed homes once the new homes are complete, and we’re confident the enhanced amenity with be worth the inconvenience.”5
This letter arrived without warning to the residents of the precinct on a Friday night of a long weekend without any consultation, as a fait accompli.
It is believed that the redevelopment of 68 units (which more than triples the number of units on the precinct) will be a mixture of private and public housing although this knowledge has not been formally addressed to the current tenants in the form of a letter. The percentage of public and private housing is uncertain in this point in time. And, despite the protestations of the letter, there is no legal guarantee at the moment that any of the current tenants will be offered first preference in the new development and apartments upon completion.
The older, disabled people who live in this “precinct” sit on a valuable parcel of land (and therein lies one of the major problems). They enjoy units close to the shops, with single or double bedroom villas with their own very small courtyard garden. It is a quiet precinct with little noise and no violence or drug use and the villas are modern and well maintained. The residents are now being placed in multi-storey blocks of flats with noise at all hours of the night, nowhere to house their pets, drug users living down the corridor and litter everywhere. Residents who have already been forced to move have noted that their mental and physical health has deteriorated under the stress of these new living arrangements. HousingFirst is destroying a stable, loving community that cared about each other for the sake of modernisation and, let’s be honest, probably profit.
The whole community is up in arms, both the public housing residents who are left in the precinct together with the residents of privately owned homes in the surrounding area, who themselves have formed a committee to oppose the redevelopment.
This underhand development enacted under a “cloak” of secrecy (see the definition of “dismantling”) has been thrust on vulnerable, older, disabled people without consultation … and is typical of what is going on all over Victoria, as public housing is torn down across the state to be replaced by a mixture of mainly private housing with a bit of public housing thrown in for good measure. All in the name of high density inner city living and supposedly more “modern” amenities without any regard to culture, friendship or community.
It is therefore ironic that the HousingFirst website states that, in terms of building communities, it is their belief that “social and affordable housing is the foundation on which we build strong communities… The service we provide is more than just a safe, secure place to call home. We know that homes transform the lives of our residents. HousingFirst helps our residents put down roots which means home becomes community.”6
Home becomes community! What a load of lip service…
In terms of their residents they state, “Everyday we work with our residents and stakeholders, developing relationships built on our values of integrity, respect, inclusiveness, collaboration and accountability.”7
In all of these areas, these values, their supposed values, have truly been washed down the drain.
As with the ‘excising’ of slum pockets for the ‘common good’ in the late 1930s onwards in Melbourne – an exercise of futility if ever there was one – so the destruction of perfectly modern villa units with their own garden, a small community of older and disabled people who look after each other, and their spreading to the uncertain winds of poorer physical and mental health (I already have reports that where people have been moved they are suffering with both) is outright social vandalism.
Talk about trashing your brand. Well done HousingFirst you have achieved that admirably!
Dr Marcus Bunyan
1/ Sarah Matthews. “Slums of Melbourne,” on the State Library of Victoria Blog website August 6, 2015 [Online] Cited 12/02/2024
Please click on the photographs for a larger version of the image. All F. Oswald Barnett photographs are public domain on the State Library of Victoria website. They have been digitally cleaned and balanced by Marcus Bunyan.
Building Communities
Our Belief
We believe social and affordable housing is the foundation on which we build strong communities. Securing housing first allows us to then support the well-being and full participation of low income, disadvantaged Victorians.
The service we provide is more than just a safe, secure place to call home.
We know that homes transform the lives of our residents.
HousingFirst helps our residents put down roots which means home becomes community.
Our Residents
Everyday we work with our residents and stakeholders, developing relationships built on our values of integrity, respect, inclusiveness, collaboration and accountability.
Anonymous. “Building Communities,” on the HousingFirst website June 2020 [Online] Cited 12/02/2024
The land at Grosvenor, Brunning and Woodstock Streets Balaclava was purchased in 1989 to build and construct accommodation for older persons. Construction commenced in 1992 with final completion in 1994.
The property comprises:
10 x 1BR units (2 in Brunning St, 2 in Grosvenor St, 6 in Woodstock St) 8 x 2BR units (4 in Brunning St, 4 in Grosvenor St) 2 x 3BR units (Grosvenor St) 4 parking spaces at Woodstock with street parking and resident permits available all units are wheelchair accessible.
DHS holds nomination rights over 2 units in each Brunning and Grosvenor, as well as for 4 units at Woodstock.
Map of Woodstock, Brunning and Grosvenor Streets, Balaclava, Melbourne
Photograph of the units in Woodstock Street, Balaclava
The Great Depression saw Australia’s unemployment rate rise to 32% by 1932, is seen through the eyes of photographer F. Oswald Barnett in his powerful images of poverty-stricken inner Melbourne suburbs such as Fitzroy, Collingwood and Carlton.
From the vault: Melbourne slums of the 1930s
The first video in our brand new series, From the Vault, provides a rare glimpse into the slums of Melbourne 100 years ago.
Captured by Methodist social reformer F. Oswald Barnett, these photographs served to power his campaign to abolish the city’s inner-city slums and provide a better quality of life for Melbournians.
This collection also tells a fascinating story about the history of Melbourne’s housing reform movement more broadly. Barnett himself was instrumental in helping to lay the foundations for what would become the Housing Commission of Victoria – although as you’ll discover in this film, its remit to excise the slums ‘for the common good’ did not go according to plan.
F. Oswald Barnett (Australian, 1883-1972) Bathroom interior c. 1935 Gelatin silver print 24.1 x 19.1cm F. Oswald Barnett Collection State Library of Victoria Public domain
Collingwood
F. Oswald Barnett (Australian, 1883-1972) Collingwood. Glasshouse Street c. 1935 Gelatin silver print 5.4 x 8cm F. Oswald Barnett Collection State Library of Victoria Public domain
View of road paved with bluestone disappearing between corrugated iron fence on left hand side and paling fence on the right. Weatherboard house behind paling fence. Large brick building bearing the words, “Foy & Gibson” visible in the background.
F. Oswald Barnett (Australian, 1883-1972) Collingwood. Little Oxford Street c. 1935 Gelatin silver print 5.4 x 8.1cm F. Oswald Barnett Collection State Library of Victoria Public domain
View of street with single storey brick/weatherboard/stone houses along the right hand side and other houses visible in the background. Girl standing on footpath outside one-roomed house. Two boys standing in the middle of the road and a car parked on the left hand side.
F. Oswald Barnett (Australian, 1883-1972) Collingwood. Victoria Place. c. 1935 Gelatin silver print 5.4 x 8cm F. Oswald Barnett Collection State Library of Victoria Public domain
F. Oswald Barnett (Australian, 1883-1972) Collingwood. Plan of house, No. 12 Hood Street. c. 1935 Gelatin silver print, hand-coloured 10.5 x 6.8cm F. Oswald Barnett Collection State Library of Victoria Public domain
F. Oswald Barnett (Australian, 1883-1972) Collingwood. Hood Street c. 1935 Gelatin silver 5.4 x 8cm F. Oswald Barnett Collection State Library of Victoria Public domain
Map of contemporary Melbourne showing two of the locations pictured in F. Oswald Barnett’s photographs of Collingwood
Frederick Oswald Barnett (1883-1972) was an active Methodist. In 1923 a visit to an inner-city slum shocked him deeply and, concerned for the welfare of the children in particular, he enlisted the aid of young Methodists in a campaign which led to the establishment of the Methodist Babies’ Home in South Yarra in 1929. At the same time he was studying part time at the University of Melbourne (B. Com., 1928); his master’s thesis of 1931, based on the result of 150 questionnaires, was published in 1933 as The Unsuspected Slums.
Barnett set up a study-group of forty people drawn from various community organisations, who met weekly in his office to discuss problems of housing reform. His group soon widened its activities to form the nucleus of the slum-abolition movement of the early 1930s. In his public campaign Barnett used a combination of scientifically gathered data and sometimes emotional presentation; he urged his audiences to write to the premier (Sir) Albert Dunstan, who finally agreed to inspect the slums for himself. In 1936 the premier appointed a Housing Investigation and Slum Abolition Board, of which Barnett was a member: it recommended establishment of a housing scheme run by a commission of experts, a policy which his group had long advocated. When the Housing Commission of Victoria was set up in 1938 Barnett became vice-chairman until 1948, when he declined reappointment.
Barnett frequently contributed to public discussion of housing, poverty and related issues through newspaper articles, public addresses and pamphlets, which included, with W. O. Burt, Housing the Australian Nation (1942) and, with Burt and F. Heath, We Must Go On: A Study in Planned Reconstruction and Housing (1944). In 1941-49 he was a director of the City Mutual Life Assurance Society Ltd and chairman from 1946 of its Victorian board, but he was asked to resign when it was known that he was auditor to Australia-Soviet House, Melbourne. In 1952 his was virtually a lone voice attacking proposals for multi-storey flats as public housing, in an address from his familiar platform, the Pleasant Sunday Afternoon at Wesley Church.
E. W. Russell. “Frederick Oswald Barnett (1883-1972),” on the Australian Dictionary of Biography website 2006 first published in the Australian Dictionary of Biography, Volume 7, 1979 [Online] Cited 11/02/2024. Used under fair use conditions for the purposes of education and research
Fitzroy
F. Oswald Barnett (Australian, 1883-1972) Fitzroy. The Bungalows c. 1935 Gelatin silver print 7.5 x 10.0cm mounted on card F. Oswald Barnett Collection State Library of Victoria Public domain
F. Oswald Barnett (Australian, 1883-1972) Fitzroy. A group of four cottages c. 1935 Gelatin silver print 7.7 x 10.0cm mounted on card F. Oswald Barnett Collection State Library of Victoria Public domain
F. Oswald Barnett (Australian, 1883-1972) Fitzroy. The key of the front door of the apartment house c. 1935 Gelatin silver 9.4 x 7.1cm F. Oswald Barnett Collection State Library of Victoria Public domain
F. Oswald Barnett (Australian, 1883-1972) Fitzroy. The key of the front door of the apartment house (detail) c. 1935 Gelatin silver 9.4 x 7.1cm F. Oswald Barnett Collection State Library of Victoria Public domain
F. Oswald Barnett (Australian, 1883-1972) Fitzroy. View from the Brotherhood of St. Lawrence c. 1935 Gelatin silver print 7.6 x 9.4cm F. Oswald Barnett Collection State Library of Victoria Public domain
F. Oswald Barnett (Australian, 1883-1972) Fitzroy. Rear view of house c. 1935 Gelatin silver print F. Oswald Barnett Collection State Library of Victoria Public domain
F. Oswald Barnett (Australian, 1883-1972) Fitzroy Town Hall c. 1935 Gelatin silver print 8.0 x 5.3cm F. Oswald Barnett Collection State Library of Victoria Public domain
F. Oswald Barnett (Australian, 1883-1972) Fitzroy. Tin house, Ward’s Lane c. 1935 Gelatin silver print 7.2 x 9.6cm F. Oswald Barnett Collection State Library of Victoria Public domain
View down lane paved with bluestone. Paling fence on right hand side, single storey brick houses on the left, one appearing to have a tin structure attached. Double storey houses visible in the background.
F. Oswald Barnett (Australian, 1883-1972) Fitzroy. Argyle Street c. 1935 Gelatin silver print 7.4 x 9.5cm F. Oswald Barnett Collection State Library of Victoria Public domain
F. Oswald Barnett (Australian, 1883-1972) Fitzroy. Martin i.e. Market Street c. 1935 Gelatin silver print 7.0 x 9.4cm F. Oswald Barnett Collection State Library of Victoria Public domain
As far back as the 1850s, slums existed in inner city Melbourne. Slum dwellers lived a squalid existence. Often, they had no bathrooms, or sewerage. They lived in ramshackle housing, with leaky roofs and holes in the walls.
In 1923, active Methodist and social reformer F. Oswald Barnett visited an inner city slum. He was so shocked that he was moved to write the following lament:
WHAT CAN I DO?
Oh God. What shall I do about these little ones, These children of the slums, These helpless, unwashed babies of the slums, Who crawl along on bare and filthy floors, Who feed with sticky flies, Who play in evil-smelling lanes, Whose mothers cannot keep them clean, In body or in soul?1
Enlisting the help of other young Methodists, Barnett began a campaign for social change. Together, they successfully advocated for the establishment of the Methodist Babies’ House in South Yarra in 1929.
Barnett went further. Along with several other photographers, he began taking photos of the slums, using them as fuel in his push for social reform. The pictures, combined with emotive language, simultaneously shocked and captivated the public.
Melbourne historian, Dr Andrew Brown-May, observes that from the 1850s onwards: ‘Slum depictions, fashioned in words and illustration, endured as a powerful genre in Melbourne’s cultural landscape.’2
Slum portrayals were sensationalist and voyeuristic. Photos from the slums featured alcoholic mothers with loose moral standards, ‘vermin-infested kitchens’, and children riddled with fleas and head lice.
The campaign to rid Melbourne of its slums steadily gained momentum over the next century. In 1937 the Housing Investigation and Slum Abolition Board produced a damning report on the ‘slum menace’:
‘The Board records its horror and amazement at the deplorable conditions … Hidden behind wide, spacious streets there are slum pockets which are hotbeds of depravity and disease’.3
The Board recommended urgent measures to combat the problem, including the rehousing of slum dwellers and reclamation of slum areas. Its report led to the creation of the Housing Commission of Victoria.
In 1938, the Victorian government passed legislation to facilitate a‘war on slums.’ The Housing Commission was tasked with ‘excising’ slum pockets for the ‘common good’.4 The Commission built flats to rehouse the slum dwellers. At the same time, it went about acquiring cheap land in suburbs such as Coburg, Brunswick, Northcote, Fitzroy and Richmond.
But abolishing the slums was proving to be difficult. The ‘demolitions program’ was beset with problems. By 1940, only 53 families had actually been moved into new houses. Synchronising demolition works with the building program was hard. The Commission did not have enough resources, and lacked the support of the labour movement.5
The Housing Commission upped the ante. In the 1950s and 1960s, the Commission launched the most ambitious slum-clearance projects ever seen in Australia. Residents in Fitzroy, Collingwood and Richmond protested and refused to move. In 1969, the Carlton Association launched a PR campaign denouncing the schemes.
Finally, four years later, the Victorian government abandoned the slum clearance schemes, but by then, whole communities had been dismantled. The buildings that housed them had been demolished.
Society moved on to other concerns. But the slum stereotype lives on in our records. It is the only version of the truth that remains.
Sarah Matthews. “Slums of Melbourne,” on the State Library of Victoria Blog website August 6, 2015 [Online] Cited 12/02/2024. Used under fair use conditions for the purposes of education and research
Carlton
F. Oswald Barnett (Australian, 1883-1972) Carlton. David Street c. 1935 Gelatin silver print 7.3 x 9.7cm F. Oswald Barnett Collection State Library of Victoria Public domain
View down paved street. Two storey brick houses on either side. Child leaning over front fence on left hand side. Two dogs, child and other single storey houses visible at end of street.
F. Oswald Barnett (Australian, 1883-1972) Carlton. Two mothers c. 1935 Gelatin silver print 9.5 x 6.5cm mounted on card 15.2 x 10.1cm F. Oswald Barnett Collection State Library of Victoria Public domain
F. Oswald Barnett (Australian, 1883-1972) Carlton. Two mothers (detail) c. 1935 Gelatin silver print 9.5 x 6.5cm mounted on card 15.2 x 10.1cm F. Oswald Barnett Collection State Library of Victoria Public domain
F. Oswald Barnett (Australian, 1883-1972) Carlton. Carlton Place c. 1935 Gelatin silver print 7.1 x 9.5cm F. Oswald Barnett Collection State Library of Victoria Public domain
F. Oswald Barnett (Australian, 1883-1972) Carlton. Entrance to a slum pocket c. 1935 Gelatin silver print 6.4 x 9.7cm F. Oswald Barnett Collection State Library of Victoria Public domain
F. Oswald Barnett (Australian, 1883-1972) Carlton. Slum pocket c. 1930 Gelatin silver print 7.3 x 9.8 cm F. Oswald Barnett Collection State Library of Victoria Public domain
F. Oswald Barnett (Australian, 1883-1972) Carlton. Little Barkly Street c. 1935 Gelatin silver print 7.4 x 9.6cm mounted on card F. Oswald Barnett Collection State Library of Victoria Public domain
F. Oswald Barnett (Australian, 1883-1972) Carlton. Little Barkly Street (detail) c. 1935 Gelatin silver print 7.4 x 9.6cm mounted on card F. Oswald Barnett Collection State Library of Victoria Public domain
F. Oswald Barnett (Australian, 1883-1972) Carlton. Kitchen interior with woman and three children c. 1935 Gelatin silver print 7.2 x 9.9cm F. Oswald Barnett Collection State Library of Victoria Public domain
Interior view of kitchen with open fireplace. Containers and utensils on mantelpiece above fireplace. Woman and three children seated around a wooden table in front of fireplace.
F. Oswald Barnett (Australian, 1883-1972) Carlton. Wash-house and bath-room, 48 Palmerston Street c. 1935 Gelatin silver print 7.4 x 9.6cm mounted on card F. Oswald Barnett Collection State Library of Victoria Public domain
F. Oswald Barnett (Australian, 1883-1972) Carlton. Wash-house and bath-room, 48 Palmerston Street (detail) c. 1935 Gelatin silver print 7.4 x 9.6cm mounted on card F. Oswald Barnett Collection State Library of Victoria Public domain
Contemporary photograph of 48 Palmerston Street, Carlton
F. Oswald Barnett (Australian, 1883-1972) Carlton. Airedale Place c. 1935 Gelatin silver print 7.2 x 9.8cm F. Oswald Barnett Collection State Library of Victoria Public domain
F. Oswald Barnett (Australian, 1883-1972) Carlton. Somerset Place c. 1935 Gelatin silver 6.0 x 9.8cm F. Oswald Barnett Collection State Library of Victoria Public domain
F. Oswald Barnett (Australian, 1883-1972) Carlton. Somerset Place (detail) c. 1935 Gelatin silver 6.0 x 9.8cm F. Oswald Barnett Collection State Library of Victoria Public domain
F. Oswald Barnett (Australian, 1883-1972) Carlton. Ormond Place c. 1935 Gelatin silver 6.1 x 9.5cm F. Oswald Barnett Collection State Library of Victoria Public domain
Map of contemporary Melbourne showing five of the locations pictured in F. Oswald Barnett’s photographs of Carlton
One of the most visible and lasting effects of the Great Depression was the housing crisis in the poor working class areas of Melbourne and Sydney. Many of the nineteenth-century houses had fallen into disrepair, overcrowding was endemic and a great number of families lived in squalid and unhealthy conditions. Throughout the decade ‘slum’ abolition movements in Melbourne and Sydney ran public campaigns to place public housing on the political agenda, leading to the creation of the first state Housing Commissions.
In Melbourne, Methodist layman F. Oswald Barnett led a campaign calling for slum demolition and the rehousing of residents in government-financed housing. He took hundreds of photographs that were used in public lectures and to illustrate the 1937 report of the Housing Investigation and Slum Abolition Board. This led to the creation of the Housing Commission of Victoria in 1938, with its first major project being the Garden City estate at Fishermans Bend. In Sydney a similar campaign led to the Housing Improvement Act of 1936 and the construction of the first fifty-six home units at Erskineville.
Text from the National Gallery of Victoria
The photographs in the F. Oswald Barnett Collection were taken by Barnett and other unidentified photographers in the 1930s. Many of them were used to illustrate a government report on slum housing and/or made into lantern slides for lectures in a public campaign. F. Oswald Barnett was born in Brunswick, Victoria. A committed Methodist and housing reformer, he led a crusade against Melbourne’s inner city slums. In 1936 he was appointed to the Slum Abolition Board and from 1938-1948 he was the vice-chair of the Housing Commission. In this position he attempted to shape compassionate public housing policy. He later protested vigorously against proposed high-rise housing.
Text from the Monash Biographical Dictionary of 20th century Australia
West Melbourne and North Melbourne
F. Oswald Barnett (Australian, 1883-1972) West Melbourne. The lavatory to a Dudley Mansion c. 1935 Gelatin silver 7.4 x 9.7cm F. Oswald Barnett Collection State Library of Victoria Public domain
View of a poorly constructed lavatory building on the edge of a stretch of water. Construction material is mainly corrugated iron. Rail freight car and industrial landscape in the background.
F. Oswald Barnett (Australian, 1883-1972) West Melbourne. The lavatory to a Dudley Mansion (detail) c. 1935 Gelatin silver 7.4 x 9.7cm F. Oswald Barnett Collection State Library of Victoria Public domain
F. Oswald Barnett (Australian, 1883-1972) West Melbourne. A Dudley Mansion c. 1935 Gelatin silver print 7.5 x 9.7cm F. Oswald Barnett Collection State Library of Victoria Public domain
F. Oswald Barnett (Australian, 1883-1972) West Melbourne. A Dudley Mansion (detail) c. 1935 Gelatin silver print 7.5 x 9.7cm F. Oswald Barnett Collection State Library of Victoria Public domain
F. Oswald Barnett (Australian, 1883-1972) West Melbourne. A group of Dudley Mansions c. 1935 Gelatin silver print 7.4 x 9.8cm F. Oswald Barnett Collection State Library of Victoria Public domain
View across hillside and stretch of water to a group of shanties. Industrial landscape in the background.
F. Oswald Barnett (Australian, 1883-1972) West Melbourne. One of the Dudley Mansions c. 1935 Gelatin silver print 7.4 x 9.7cm F. Oswald Barnett Collection State Library of Victoria Public domain
F. Oswald Barnett (Australian, 1883-1972) West Melbourne. One of the Dudley Mansions (detail) c. 1935 Gelatin silver print 7.4 x 9.7cm F. Oswald Barnett Collection State Library of Victoria Public domain
F. Oswald Barnett (Australian, 1883-1972) North Melbourne. Row of four houses c. 1935 Gelatin silver print 7.3 x 9.6cm F. Oswald Barnett Collection State Library of Victoria Public domain
F. Oswald Barnett (Australian, 1883-1972) North Melbourne. Group of children in Erskine Place c. 1935 Gelatin silver print 10.0 x 7.5cm F. Oswald Barnett Collection State Library of Victoria Public domain
F. Oswald Barnett (Australian, 1883-1972) North Melbourne. Group of children in Erskine Place (detail) c. 1935 Gelatin silver print 10.0 x 7.5cm F. Oswald Barnett Collection State Library of Victoria Public domain
F. Oswald Barnett (Australian, 1883-1972) North Melbourne. Group of children in Erskine Place (detail) c. 1935 Gelatin silver print 10.0 x 7.5cm F. Oswald Barnett Collection State Library of Victoria Public domain
F. Oswald Barnett (Australian, 1883-1972) North Melbourne. Hardwicke Street c. 1935 Gelatin silver 7.2 x 9.7cm F. Oswald Barnett Collection State Library of Victoria Public domain
F. Oswald Barnett (Australian, 1883-1972) North Melbourne. Hardwicke Street (detail) c. 1935 Gelatin silver 7.2 x 9.7cm F. Oswald Barnett Collection State Library of Victoria Public domain
F. Oswald Barnett (Australian, 1883-1972) North Melbourne. No. 19 Byron Street c. 1935 Gelatin silver print F. Oswald Barnett Collection State Library of Victoria Public domain
Contemporary photograph of Byron Street, North Melbourne with number 19 half way along on the left. All apartment complexes now…
Curators: Jim Ganz (Senior Curator of Photographs) and Paul Martineau (Curator in the Department of Photographs) at the J. Paul Getty Museum
Warning: This posting contains photographs of male nudity and sexual activity.
Installation view of the exhibition Arthur Tress: Rambles, Dreams, and Shadows at the J. Paul Getty Museum, Los Angeles showing the work Boy in Flood Dream, Ocean City, Maryland 1971
Arthur Tress: fantastical photographer
Definition of ‘fantastical’
1. strange, weird, or fanciful in appearance, conception, etc.
2. created in the mind; illusory.
I honour the work of Arthur Tress. Strange and wonderful, like something out of a fairytale or a nightmare, Arthur Tress’ ‘imaginary’ stories take the viewer out of themselves and into a different realm of being and believing. His staged, performative “magic realism” photographs – featuring the inclusion of fantastic or mythical elements into seemingly realistic fiction – emerge from the psyche of the artist, from his deepest thoughts, feelings and dreams.
Taking advice from that another gay photographer, American Duane Michals (who works in sequences of images to tell stories), Michals told Tress that “a photograph can be anything”. As Michals insightfully observes,
“I believe in the imagination. What I cannot see is infinitely more important than what I can see…
Everything we experience is in our mind. It is all mind. What you are reading now, hearing now, feeling now…
There is not one photography. There is no photography. The only value judgment is the work itself. Does it move, touch, fill me?”1
It’s all in the mind.
Tress discovered his own way to tell stories, his own signature style, that was completely different from anything being accomplished in New York at the time by (for example) Robert Mapplethorpe, Peter Hujar, Diane Arbus, David Wojnarowicz, or Nan Goldin. Through the transmutation of metal into gold, or dream into photograph, Tress placed himself outside the trendy happenings of the Big Apple. In images such as the early Woman with Coin Operated Binoculars, Coit Tower, San Francisco (1964, below) – redolent of what was to follow – the disturbing Boy with Root Hands, New York (1970, below), Bride and Groom, New York, New York (1970, below) and Boy in Flood Dream, Ocean City, Maryland (1971, below), Tress reaches out an illuminates the dreams, desires and fears of children and adults.
What is disappointing is that neither the media images nor the accompanying text include any images from or text about what I feel is one of Tress’ strongest bodies of work, his photographs of gay fantasies. Can we not include these images for fear of upsetting delicate conservative sensibilities? I don’t know whether there were any included in the exhibition either, having not seen the presentation in person.
Again, created from the artist’s fantasies and imagination these works posses a tremendous élan vital, a celebration of sexuality and life. They also possess intelligence and wit a plenty. Witness, Band-aid Fantasy (1978, below) which is clever and sensitive in its fetishisation of the removal of a Band-aid from a friend; or the look on the face of Superman and the male subject in Superman Fantasy (1977, below) where one cock belongs to both: the penis of the male “standing” in for that of the super man, standing in for the always hidden power of Superman’s cock represented by the (irony: cut-out cardboard) phallic armoured body of the hyper-masculine hero, desired by the male with his lustful look. The photograph makes me laugh. If you are so further inclined, there are six pages of these wonderful gay fantasies on the Stanford Libraries Arthur Tress Photograph Collection web pages. Well worth a visit.
To my mind, Arthur Tress has always been an underrated artist. A courageous and dedicated photographer who forged an extra-ordinary magical path, it is a pleasure to see his work exhibited at the Getty.
Dr Marcus Bunyan
1/ Duane Michals June 20, 1976 September 1, 1976
Many thankx to the J. Paul Getty Museum for allowing me to publish the photographs in the posting. Please click on the photographs for a larger version of the image.
“Tress credits his friend and fellow photographer Duane Michals with opening his eyes to the possibilities of his chosen medium in the 1960s, back when Tress’ photographs hewed more closely to the prevalent “documentary” style of the day. “He said a photograph can be anything,” Tress says, describing Michals’ approach. “It can be a sequence, you can write on the photograph, paint on it, make collages, tell a story. In the ’60s, that was revolutionary.”
As it turned out, Tress was a receptive audience for Michals’ manifesto. By the time the Brooklyn native had secured his breakthrough assignment in 1969 to photograph what he describes as the “endangered folk cultures” of Appalachia, Tress was already pushing against the dispassion of the documentary style.”
The first exhibition to chronicle the early career of Arthur Tress, one of the most innovative American photographers of the postwar era. During his first decade as an emergent professional in the New York photography world (1968-1978), his artistic practice evolved from being rooted in the social documentary tradition to a bold new approach drawing inspiration from the inner worlds of fantasies, daydreams, and nightmares.
One of Tress’s best known images from his Dream Collectors photobook, the photograph depicts a child emerging out of a discarded roof on a pier in Ocean City, Maryland. The effectiveness of this composition is remarkable given that Tress stumbled on the site and the subject by chance.
Wall label
Installation view of the exhibition Arthur Tress: Rambles, Dreams, and Shadows at the J. Paul Getty Museum, Los Angeles showing Boy in Flood Dream, Ocean City, Maryland (1971, above)
Installation views of the exhibition Arthur Tress: Rambles, Dreams, and Shadows at the J. Paul Getty Museum, Los Angeles showing works from his Shadows series in the bottom image
Arthur Tress’s Magic Realism Comes to Getty
Drawn from his imagination, dreams, and queer identity, Arthur Tress’s photography presents a surrealist world with fantastical subjects In the field of staged photography, Arthur Tress (American, born 1940) was a trailblazer, directing his subjects in fictional and often surreal scenes.
The first exhibition to chronicle his early career, Arthur Tress: Rambles, Dreams, and Shadows, on view October 31, 2023 – February 18, 2024 at the Getty Center, examines how his artistic practice evolved from being rooted in the social documentary tradition to a bold new approach drawing inspiration from fantasies, daydreams, and nightmares.
“Tress’s early work from his Dream Collector and other related series constitutes a remarkable artistic achievement and a major contribution to the history of post-war photography and the photo book,” says Timothy Potts, Maria Hummer-Tuttle and Robert Tuttle Director of the J. Paul Getty Museum. “In a series of increasingly radical projects, Tress delved deeply into the worlds of surrealism and the unconscious, establishing himself as one of the most interesting mavericks of his generation.”
Born in Brooklyn, New York, Tress began his career as a documentary photographer in the late 1960’s, focusing his lens on the people of New York and the Appalachian region of the eastern United States. Initially concerned with such societal issues as poverty, pollution, and lack of open space for urban recreation, by the mid-1970s he began channeling his creative energy into more personal artistic projects that reflected his imagination, dreams, and his own queer identity.
This exhibition presents highlights from Tress’s major photographic projects dating from 1968 to 1978: Appalachia: The Disturbed Land; Open Space in the Inner City; The Dream Collector; Shadow; Theater of Mind; and The Ramble.
Tress’s early work is rooted in the social documentary tradition, recalling photographs made by Depression-era artists for the U.S. government. Tress’s Appalachia: The Disturbed Land captures scenes of poverty and environmental degradation in coal mining communities. The work was originally exhibited at the Sierra Club’s gallery in New York where it garnered positive reviews.
Tress’s next major project, Open Space in the Inner City, also reflects his concern for the environment as well as his interest in documenting problems facing young people. Set primarily in New York City and its environs, the photographs show polluted streetscapes and waterways, housing projects, junkyards, factories, and parking lots, and include both candid and posed images of children, families, and commuters. A central theme of the series is the general lack of open space for recreation.
Appearing as his first major photo book in 1972, The Dream Collector visualises children’s fantasies and nightmares. This body of work cemented Tress’s reputation for staging macabre and fantastic subjects at a time when the photography world was largely dedicated to prosaic realism.
Between 1972 and 1975 Tress created a series of photographs centered on his own shadow. The images reproduced in his photobook Shadow trace the mystical dream journey of an individual soul through birth, death, and enlightenment. Tress chose to use a wide-angle lens that alters the perspective and imparts a dreamlike quality. His only light source was the sun, which made early morning or late afternoon the ideal times to shoot, as the raking light lengthened the shadows, making them more dramatic.
In Theater of the Mind Tress explored his personal anxieties as well as the complexities of family relationships. He convinced his subjects to play out dramatic and sometimes disturbing scenes for the camera which were informed by the artist’s own psychic intuitions. Afterwards, when he shared the photographs with them, his sitters often remarked on his having illuminated an important but hitherto hidden aspect of their family dynamic.
One of Tress’s most personal bodies of work is an extraordinary series depicting the Ramble, a wooded section of Central Park in New York City known as a gay cruising ground. The Ramble was a personal photographic project that he did not exhibit or publish, as doing so could have exposed his subjects to embarrassment, harassment, or violence. Tress was still struggling with his sexuality at this time and making these pictures helped allay his anxieties, giving him something else to focus on in the Ramble aside from his own furtive sexual encounters.
“By revisiting an energetic decade of professional and personal work from 1968 to 1978, this exhibition enabled me to see more clearly how these early explorative years marked the beginning of a very personal vision, unique to myself, as an emerging photo artist – a peculiar combination of documentary realism and emotional responsiveness to the hidden mysteries of everyday life,” says Arthur Tress.
“I’m excited to have this amazing opportunity both in our exhibition and its accompanying catalogue to share an extraordinary body of work that is not well known to the general public, and to narrate the remarkable story behind Tress’s early career that has remained untold,” says Jim Ganz, senior curator in the Getty Museum’s Department of Photographs.
Arthur Tress: Rambles, Dreams, and Shadows is curated by Jim Ganz with Paul Martineau, curator in the Department of Photographs. Related programming includes Magic Realism: An Evening with Arthur Tress, where Tress will discuss his bold approach to photography, and the world premiere of Arthur Tress: Water’s Edge, an immersive journey into the life and unique vision of acclaimed photographer Arthur Tress. The exhibition is also accompanied by a catalogue, Arthur Tress: Rambles, Dreams, and Shadows.
Anonymous. “Arthur Tress’s Magic Realism Comes to Getty,” on the Getty website Oct 18, 2023 [Online] Cited 28/10/2023. Used under fair use conditions for the purposes of education and research
Photographer Arthur Tress’s “shaman vision quest dream journey”
Photographer Arthur Tress revels in the weird and fantastic – a hand sticking out of a bus seat, boys blending in with trees, children and adults playing against backdrops of rubble and trash – dark, spooky, unnerving images.
Tress, who spent time in his early career as a documentary photographer and traveled widely, staged his photographs to set a mood and tell a story.
Tress is one of the foremost practitioners of staged photography. He’s well known for his surreal photobooks, especially The Dream Collector (1972), but his career began earlier, in the 1960s, with commercial projects that encouraged his artistic development and anticipated his later fantastical works.
Arthur Tress: Rambles, Dreams, and Shadows (out now from Getty) looks closely at the artist’s early career, from 1968 to 1978, from his travels abroad through his return to the United States, stopping in Sweden, Russia, Appalachia, New York, San Francisco, and many other places. The images and quotations below are drawn from the exhibition catalog and take you into his world.
Tress traveled to Appalachia several times early in his career, and he became increasingly passionate about accurately representing the character of the destitute yet beautiful region and its people. Photographs curator Mazie Harris writes that the twisted branches and lonely image reflect the region’s “barren future.”
In 1969 Tress photographed “the Ramble,” known as a gay cruising ground in New York’s Central Park. But he never published this work, says photographs curator James Ganz, “because doing so could have exposed the photographer and his subjects to embarrassment or harassment.” Even the act of taking these pictures was dangerous at the time. This body of work is a deeply personal, intimate expression and probing of Tress’s identity as a gay man and also reflects much about the culture of the time and the anxieties, fears, and longings experienced by members of his community.
The image Hobby Horses, Harlem River, Bronx, New York (1970, below) is part of Tress’s series Open Space in the Inner City (1969-1971). It shows his environmentalism, which he cultivated throughout his travels, especially in his exploration of Appalachia. Having settled in New York after living in Sweden, Tress was shocked by the rampant urban blight and crowding in the city and how few open spaces there were for people to play, thrive, and live. His series helped bring attention to this widespread civic issue and was shown by institutions like the Sierra Club and the New York State Council on the Arts.
While Tress was at work on what would become his Dream Collector series, he sought the advice of famed children’s author Maurice Sendak, who is most widely known for the book Where the Wild Things Are. At the end of their visit, Tress offered Sendak the choice of one of Tress’s photographs, and Sendak picked Wild Man of the Forest, Central Park, New York (1969, below) which “evoke[s] the archetypal figure of the medieval wild man of the woods.”
Between 1972 and 1975 Tress created a series and photobook called Shadow. The work Shadow, Cannes, France (negative 1974; print 1975, below), featuring the artist and shadows cast by a sculpture of birds, appeared toward the end of the book in a section titled “Magic Flight.” Curator of photographs Paul Martineau says this picture – juxtaposed with other images of imprisoned shadows – symbolises freedom and “traces a mystical dream journey of an individual soul from the past to the present and into the future, through birth, death, and enlightenment.”
“[This] photograph of my father in a snowstorm is, in fact, a kind of surrogate self-portrait that mirrors my own hollow fearfulness about my own body’s decline and disappearance into a cold emptiness,” Tress wrote in a 2022 letter to curator Paul Martineau. [Last Portrait of My Father, New York, New York, 1978 below]
In 1970 Tress wrote about the magical properties of a photograph, and, surely, he is a visual magician, an artist possessed of a creative vision and intuition that allows him to connect to his subjects in a deep, revelatory way. Tress’s images pull you into his imagined, constructed worlds. His work is mysterious, surprising, surreal, and dreamlike. His images, the product of personal experiences and feelings, are universal in their play on and exploration of human fears, desires, and longings. He once described his series Shadow as a “shaman vision quest dream journey.”
Rachel Barth. “A Kind of Magic,” on the Getty website Nov 07, 2023 [Online] Cited 10/11/2023. Used under fair use conditions for the purposes of education and research
In July 1969, while photographing the site of the Newark race riots that had occurred two summers earlier, Tress wrote to his sister that the police took him in for questioning. “They could have arrested me for being in the abandoned buildings – so I was very polite to them.”
While Tress was at work on what would become his Dream Collector series, he sought the advice of famed children’s author Maurice Sendak, who is most widely known for the book Where the Wild Things Are. At the end of their visit, Tress offered Sendak the choice of one of Tress’s photographs, and Sendak picked Wild Man of the Forest, Central Park, New York, which “evoke[s] the archetypal figure of the medieval wild man of the woods.”
The above image is part of Tress’s series Open Space in the Inner City (1969-1971). It shows his environmentalism, which he cultivated throughout his travels, especially in his exploration of Appalachia. Having settled in New York after living in Sweden, Tress was shocked by the rampant urban blight and crowding in the city and how few open spaces there were for people to play, thrive, and live. His series helped bring attention to this widespread civic issue and was shown by institutions like the Sierra Club and the New York State Council on the Arts.
Installation view of the exhibition Arthur Tress: Rambles, Dreams, and Shadows at the J. Paul Getty Museum, Los Angeles showing Hockey Player, New York (1972, below)
Between 1972 and 1975 Tress created a series and photobook called Shadow. The above work, featuring the artist and shadows cast by a sculpture of birds, appeared toward the end of the book in a section titled “Magic Flight.” Curator of photographs Paul Martineau says this picture – juxtaposed with other images of imprisoned shadows – symbolises freedom and “traces a mystical dream journey of an individual soul from the past to the present and into the future, through birth, death, and enlightenment.”
“[This] photograph of my father in a snowstorm is, in fact, a kind of surrogate self-portrait that mirrors my own hollow fearfulness about my own body’s decline and disappearance into a cold emptiness,” Tress wrote in a 2022 letter to curator Paul Martineau.
In 1970 Tress wrote about the magical properties of a photograph, and, surely, he is a visual magician, an artist possessed of a creative vision and intuition that allows him to connect to his subjects in a deep, revelatory way. Tress’s images pull you into his imagined, constructed worlds. His work is mysterious, surprising, surreal, and dreamlike. His images, the product of personal experiences and feelings, are universal in their play on and exploration of human fears, desires, and longings. He once described his series Shadow as a “shaman vision quest dream journey.”
Rachel Barth. “A Kind of Magic,” on the Getty website Nov 07, 2023 [Online] Cited 10/11/2023. Used under fair use conditions for the purposes of education and research
Installation view of the exhibition Arthur Tress: Rambles, Dreams, and Shadows at the J. Paul Getty Museum, Los Angeles showing the work Bride and Groom, New York, New York 1970 (below)
Child’s Dream of Redwood Monster, Santa Cruz, CA, 1971 on the cover
Arthur Tress: Rambles, Dreams, and Shadows book
Edited by James A. Ganz, with contributions by Mazie M. Harris and Paul Martineau
This richly illustrated volume is the first critical look at the early career of Arthur Tress, a key proponent of magical realism and staged photography.
Arthur Tress (b. 1940) is a singular figure in the landscape of postwar American photography. His seminal series, The Dream Collector, depicts Tress’s interests in dreams, nightmares, fantasies, and the unconscious and established him as one of the foremost proponents of magical realism at a time when few others were doing staged photography.
This volume presents the first critical look at Tress’s early career, contextualising the highly imaginative, fantastic work he became known for while also examining his other interrelated series: Appalachia: People and Places; Open Space in the Inner City; Shadow; and Theater of the Mind. James A. Ganz, Mazie M. Harris, and Paul Martineau plumb Tress’s work and archives, studying ephemera, personal correspondence, unpublished notes, diaries, contact sheets, and more to uncover how he went from earning his living as a social documentarian in Appalachia to producing surreal work of “imaginative fiction.” This abundantly illustrated volume imparts a fuller understanding of Tress’s career and the New York photographic scene of the 1960s and 1970s.
This volume is published to accompany an exhibition on view at the J. Paul Getty Museum at the Getty Center from October 31, 2023, to February 18, 2024.
James A. Ganz is senior curator in the Department of Photographs at the J. Paul Getty Museum.
“Along with several others of his cohort, Arthur Tress spearheaded the resurgence of the directorial mode in the 1970s, as well as his generation’s engagement with previously taboo subject matter. With his unique blend of documentary and surrealist approaches, he has made a major contribution to his medium.”
~ A. D. Coleman, photography critic and historian
264 pages 9 1/2 x 11 inches 17 color and 198 b/w illustrations ISBN 978-1-60606-861-8 hardcover
Getty Publications Imprint: J. Paul Getty Museum
Arthur Tress: Rambles, Dreams, and Shadows book cover
Arthur Tress: Rambles, Dreams, and Shadows pp. 30-31
Arthur Tress: Rambles, Dreams, and Shadows pp. 40-41
Arthur Tress: Rambles, Dreams, and Shadows pp. 82-83
The J. Paul Getty Museum 1200 Getty Center Drive Los Angeles, California 90049
![Dorothea Lange (American, 1895-1965) 'Child Living in Oklahoma City Shacktown [Damaged Child, Shacktown]' August 1936](https://artblart.com/wp-content/uploads/2024/02/5558-093-web.jpg "Dorothea Lange (American, 1895-1965) 'Child Living in Oklahoma City Shacktown [Damaged Child, Shacktown]' August 1936")
Art Blart _ art and cultural memory archive 
You must be logged in to post a comment.