Curators: Delphine Desveaux, Michaël Houlette, and Daniel Girardin
PLEASE NOTE: THIS POSTING CONTAINS ART PHOTOGRAPHS OF MALE AND FEMALE NUDITY – IF YOU DO NOT LIKE PLEASE DO NOT LOOK, FAIR WARNING HAS BEEN GIVEN
Laure Albin Guillot (French, 1879-1962) Estampe pour F. Marquis chocolatier-confiseur, Paris (Print for F. Marquis chocolate maker, Paris) Sans date (without date) Collection particulière, Paris
The ravishing sensuality of the nudes make all the hours spent assembling this archive worthwhile!
Dr Marcus Bunyan
Many thankx to Jue de Paume for allowing me to publish the photographs in the posting. Please click on the photographs for a larger version of the image.
Laure Albin Guillot (French, 1879-1962) Étude publicitaire (Advertising study) Sans date (without date) Collection Musée Nicéphore Niépce, Ville de Chalon-sur-Saône
Laure Albin Guillot (French, 1879-1962) Publicité pour la pommade-vaccin Salantale (Advertisement for Salantale ointment vaccine) 1942 Bibliothèque nationale de France
Laure Albin Guillot (Paris, 1879-1962), a “resounding name that should become famous”, one could read just after World War II. Indeed, the French photographic scene in the middle of the century was particularly marked by the signature and aura of this artist, who during her lifetime was certainly the most exhibited and recognised, not only for her talent and virtuosity but also for her professional engagement.
Organised in four parts, the exhibition, Laure Albin Guillot: The Question of Classicism allows one to discover her art of portraiture and the nude, her active role in the advertising world, her printed work and, at last, a significant gathering of her “micrographies décoratives”, stupefying photographs of microscopic preparations that made her renown in 1931. The exhibition presented at the Jeu de Paume gathers a significant collection of 200 original prints and books by Laure Albin Guillot, as well as magazines and documents of the period from public and private collections, such as the Parisienne de Photographie, the Musée National d’Art Moderne, the Bibliothèque Nationale de France, the Musée Nicéphore Niépce (Chalon-sur-Saône) and the Musée Français de la Photographie (Bièvres).
A large number of the original prints and documents on show come from the collections of the Agence Roger-Viollet, which acquired Laure Albin Guillot’s studio stock in 1964. This archive, which now belongs to the City of Paris, recently became accessible after a long inventory process. Made up of 52,000 negatives and 20,000 prints, this source has made it possible to question the oeuvre and the place that the photographer really occupies in history. The photographer’s work could appear as a counter-current to the French artistic scene of the 1920s to 40s, whose modernity and avant-garde production attract our attention and appeal to current tastes. It is however this photography, incarnating classicism and a certain “French style” that was widely celebrated at the time.
If Laure Albin Guillot’s photography was undeniably in vogue between the wars, her personality remains an enigma. Paradoxically, very little research has been carried out into the work and career of this artist. Her first works were seen in the salons and publications of the early 1920s, but it was essentially during the 1930s and 40s that Laure Albin Guillot, artist, professional and institutional figure, dominated the photographic arena. As an independent photographer, she practised several genres, including portraiture, the nude, landscape, still life and, to a lesser degree, documentary photography. Technically unrivalled, she raised the practice to a certain elitism. A photographer of her epoch, she used the new means of distribution of the image to provide illustrations and advertising images for the press and publishing industry.
She was notably one of the first in France to consider the decorative use of photography through her formal research into the infinitely tiny. With photomicrography, which she renamed “micrographie”, Laure Albin Guillot thus offered new creative perspectives in the combination of art and science. Finally, as member of the Société des artistes décorateurs, the Société Française de Photographie, director of photographic archives for the Direction générale des Beaux-Arts (forerunner of the Ministry of Culture) and first curator of the Cinémathèque nationale, president of the Union Féminine des Carrières Libérales, she emerges as one of the most active personalities and most aware of the photographic and cultural stakes of the period.
Laure Albin Guillot (French, 1879-1962) Sans titre [women with crossed legs on a plinth] 1937 Collection musée Nicéphore Niépce, Ville de Chalon-sur-Saône
Jeu de Paume 1, Place de la Concorde 75008 Paris métro Concorde Phone: 01 47 03 12 50
Opening hours: Tuesday: 11am – 9pm From Wednesday to Sunday: 11am – 7pm Closed Monday
American & Australasian Photographic Company [Merlin’s photographic cart?] and Mitchell’s London Hotel, Railway Place, Sandridge [Port Melbourne] 1870-1875
Another fascinating posting, this time featuring Australian colonial photography. In 1951, a hoard of 3,500 glass plate negatives from the nineteenth century was discovered in a garden shed in Chatswood. In time, the find proved to be the most important photographic documentation of goldfields life in Australia. All negatives have now been scanned at high resolution and for the first time in 140 years, it is possible to see what Merlin and Bayliss (from the American & Australasian Photographic Company) photographed, with astonishing clarity and fidelity. “Many of the images in the Holtermann collection were created for an ambitious 1870s publicity campaign to sell the wonders of the Australian colonies to the world.”
What I find particularly interesting is the familiarity of all photographs of goldfields from around the world, whether it be Californian or Victorian – the working class men, the pictures of diggings, etc… but also the particular Australian vernacular that these photographs possess. The photographs could be taken no where else but Australia.
Observe the abject poverty of some of the shopkeepers – draper, blacksmith, bootmaker and undertaker (who also acted as carpenter, joiner, builder and cabinet maker) – the timber clad facade of their buildings failing to conceal the bark structure behind (see Holmes, bootmaker, and Spiro Bennett’s store, Gulgong, 1872 below). And yet in their poverty they still thought it important to spend money on advertising with wonderful examples of distinctive typography that I have highlighted in detail – on the photographers, bakers and tent makers shops, on the undertakers facade replete with horses and funeral carriage, and on the painters and sign writers bark clad establishment. Contemporary typographers could have a field day studying these photographs for new typefaces!
Notice in the detail wonderful things:
~ The roughness of a man’s hand as he and his associates stand in front of their loot, the gold specimens;
~ The incongruous sight of toy dogs among the rough-and-ready types that inhabited a frontier gold town;
~ The riding crop tucked under the arm of one of the detectives;
~ The flour that covers the bakers shoes;
~ The decorative wallpaper hanging outside the painter and signwriters shack, the word ‘Sacred’ on top of the mirror, and his name ‘J.H. Osborne Painter No.2’ emblazoned on the side of his ladder.
Of particular poignancy is the way the undertaker William Lewis leans in the entrance of his establishment. Propped up against the door (to stop himself from moving during the exposure), his hands stiffly by his side, his eyes stare straight ahead as though he is in a trance. In the photograph he has almost become the corpse that it is his business to bury.
We must also acknowledge the temporary nature of these gold field towns, their insubstantial character and the transitory life of the people that lived and died in them. Bootmaker William Holmes’ wife passed away a few months after the photograph of her family was taken. It was a tough life living on a frontier town. We can also note how desolate the major cities seem, as can be seen in photographs of Sandridge [Port Melbourne] and Pall Mall, Bendigo, with the odd carriage on the street and a single man standing on a street corner.
This is such a rich photographic collection and to have all the negatives digitised and available online is such a pleasure, such a treasure for Australian photographers, historians, researchers and the general public who, with an inquiring mind, can begin to understand the colonisation and conquest of this never empty country.
Dr Marcus Bunyan
Many thankx to the State Library of New South Wales for allowing me to publish the photographs in the posting. Please click on the photographs for a larger version of the image.
The State Library of NSW’s world-renowned photographic archive, the Holtermann collection, will be officially included on the UNESCO Australian Memory of the World register at a ceremony in May 2013… The Australian UNESCO Memory of the World program is part of an international initiative, which aims to safeguard the documentary heritage of humanity and recognise the significance of all heritage materials… Many of the images in the Holtermann collection were created for an ambitious 1870s publicity campaign to sell the wonders of the Australian colonies to the world. The campaign was funded by German-born entrepreneur, Bernhardt Otto Holtermann, who made his fortune from mining in Hill End. For the first time 100 amazing large format prints from the Holtermann collection are on show [until 12 May] in the State Library’s free exhibition, The Greatest Wonder of the World.
Beaufoy Merlin (Australian, 1830-1873) Short Street, Hill End 1872 Wet plate glass negative, on 4/Box 5/No. 18504
Hill End in 1872 was a gold town at its peak. According to the Empire 7 June 1872, “The streets were thronged by a motley crowd; the stores and places of business crowded with customers; the little theatre so densely packed by an admiring audience, that there was not what is facetiously called ‘standing room,’ and even the public-houses, whose name is legion, were crammed. Yet I saw less, far less, drunkenness than can be met with in any street in the metropolis after 10 o’clock at night. There were very few inebriates, no filthy dishevelled women, no crouching loafers, no abject vice. The general aspect of the crowds of decently dressed folk who thronged ‘The Hill’ was that of respectability – rough indeed in many respects, and loud and noisy too, in some instances, but not disreputable, and altogether good-humoured.”
American & Australasian Photographic Company Hawkins Hill ‘Golden Quarter Mile’ 1872 Wet plate glass negative, on 4/Box 71/No. C
This panorama of Hawkins Hill was taken by Beaufoy Merlin, who erected his camera in a tree more than a kilometre away across a gully nearly 300 metres deep. In the centre of the image is Krohmann’s mine, with the twin buildings and two storied structure of Beyers and Holtermann’s immediately to the left of it. These two mines contributed to the 12.4 tonnes of gold extracted from Hawkins Hill, but such are the vagaries of goldmining, that Rapp’s, on the extreme right, returned little to its investors, despite digging to a depth of over 380 feet [115 metres]. An almost identical view of the Hawkins Hill ‘Golden Quarter Mile’ taken by Merlin appeared as an engraving in the Australian Town and Country Journal 18 May 1872.
American & Australasian Photographic Company Gold Specimens from the Star of Hope mine 1872 Wet plate glass negative, on 4/Box 71/No. T
A month before discovery of the 286 kg Holtermann “nugget” [estimated to hold around 93kg of gold], Bernhardt Holtermann (second from left) Richard Ormsby Kerr (centre) and Louis Beyers (fourth from left) posed with 3,663 ozs [114 kg] of gold specimens from their claim. The specimens were described in The Sydney Morning Herald 28 September 1872 ; “To say they were good would be to say but little – they were almost without rival – magnificent – the talk of this town, where specimens are not unknown.” Holtermann took the best to the Sydney Mint for smelting, “as being clotted with gold it would be almost impossible to crush it in the ordinary way.” The item of clothing on the floor to the right is Beyer’s waistcoat.
American & Australasian Photographic Company Gold Specimens from the Star of Hope mine (detail) 1872 Wet plate glass negative, on 4/Box 71/No. T
American & Australasian Photographic Company A domestic miner [Hill End] 1872 Wet plate glass negative, on 4/Box 10/No. 70154
Thomas Browne (better known as Rolf Boldrewood) was Gold Commissioner in Gulgong, during the period of Merlin and Bayliss’s photographs. Although this photograph was taken in Hill End, Boldrewood’s description of the domestic miner in his novel The Miners Right seems universal. “The thrifty miner who possesses the treasure, not less common on Australian goldfields than in other places, of a cleanly managing wife, is enabled to surround himself with rural privileges. A plot of garden ground, well fenced, grows not only vegetables but flowers, which a generation since were only to be found in conservatories… the domestic miner is often seen surrounded by his children, hoeing up his potatoes or cauliflowers, or training the climbing rose which beautifies his rude but by no means despicable dwelling.”
American & Australasian Photographic Company Studio and staff of American & Australasian Photographic Co., Hill End 1872 Wet plate glass negative, on 4/Box 9/No. 18850
The American and Australasian Photographic Company established a studio in Tambaroora Street, Hill End in 1872. Beaufoy Merlin’s assistant Charles Bayliss stands, hands in pockets, in the doorway, with studio operator James Clinton behind him. Beside the door is a frame containing large photographic views of Sydney, including the General Post Office and harbour.
American & Australasian Photographic Company Studio and staff of American & Australasian Photographic Co., Hill End (detail) 1872 Wet plate glass negative, on 4/Box 9/No. 18850
American & Australasian Photographic Company Blacksmith William Jenkyns 1872 Wet plate glass negative, on 4/Box 7/No. 18715
William Jenkyns’ blacksmith and shoeing forge was situated in Clarke Street, Hill End. The condition of roads around Hill End ensured Jenkyns was busy. A correspondent to The Sydney Morning Herald 23 May 1872 wrote of the road between Bathurst and Hill End, “For miles at a stretch there is nothing to indicate that any money has been spent upon the road for years, and it is doubtful whether any portion of it has ever been properly made.” On 3 December 1872 another wrote, “I think I have travelled the worst of roads; for the sake of humanity, I hope there are none worse than those I have travelled.” Despite a superficial resemblance, the man on the right is not B.O. Holtermann.
There is no doubt that Bernhardt Otto Holtermann understood the importance and value of maintaining his association with the world’s largest specimen of reef gold. Unable to purchase the monster quartz and gold specimen when it was extracted from the Star of Hope mine in Tambaroora in 1872, he commissioned the American and Australasian Photographic Company to produce a photographic montage of him standing beside it. Photographers Beaufoy Merlin and Charles Bayliss seem to have carried out this assignment on more than one occasion, as Holtermann wears different clothing in the several known examples of the image.
Obviously pleased with the result, Holtermann used the montage on his business card and on the label to a patent medicine bearing his name. As an advertising ploy, the image of Holtermann resting his hand on the world’s largest hunk of gold can only have been interpreted as a symbol of success and a guarantee of the worth of his product.
(Alan Davies author)
American & Australasian Photographic Company B.O. Holtermann with the Holtermann Nugget, North Sydney 1874-1876?
During the 1870’s goldrush in central New South Wales, Bernard Holtermann, his partners and miners brought the largest agglomeration of gold to the surface. It was not a nugget of pure gold but he was instantly rich! An even larger gold find was broken up when it came to the surface in late January-early February 1873 but it was not photographed. With his wealth Holtermann financed the photography of the goldfields, a collection of international significance showing the ordinary people from all over the world with their houses and businesses on the goldfields. This composite photograph was put together later to give the appearance of Holtermann with the gold on the veranda of his new mansion at North Sydney, now the site of Shore Grammar School.
Three photographs were used to create this image of Holtermann, (supposedly holding the worlds’ largest accumulation of rock and gold ever brought to the surface in one piece). He was posed in the studio with his hand on a headclamp, the nugget was inserted and both placed on a photograph of the verandah of his mansion, built from the proceeds of his goldmine. The “nugget” was found in Hill End, New South Wales on 19th October 1872. More than half of the 630 lbs weight was pure gold, value 12,000 pounds ($24,000). With gold worth say $1400 per ounce, the value today would be over $A7,000,000. Amazingly Holtermann’s mine had already made him rich before the discovery of this boulder and there was reputed to be an even larger aggregate in the mine!
In 1872, the newly rich Bernhardt Otto Holtermann used some of his wealth to employ Henry Beaufoy Merlin and Charles Bayliss, of the American and Australasian (A&A) Photographic Company, to photograph gold producing areas and cities in NSW and Victoria for exhibition overseas. These images provide the most comprehensive and detailed record of nineteenth century goldfields life and, with the commissioned photographs, now form the Library’s Holtermann archive of 3500 wet plate negatives. The Greatest Wonder of the World features this extraordinary collection of nineteenth century documentary images. Through enlargements, digital images and a selection of vintage prints and wet plate negatives, the exhibition tells the remarkable story of the A&A Photographic Company and the philanthropy and vision of Bernhardt Holtermann.
In 1951, a hoard of 3,500 glass plate negatives from the nineteenth century was discovered in a garden shed in Chatswood. In time, the find proved to be the most important photographic documentation of goldfields life in Australia. The photographers responsible for the images were Beaufoy Merlin and Charles Bayliss of the American and Australasian Photographic Company, who had travelled to the town of Hill End in 1872 to record the rush. From there, they also recorded the burgeoning Gulgong and Mudgee goldfields.
In October 1872, the world’s largest specimen of reef gold, known as the Holtermann nugget, was unearthed at nearby Hawkins Hill and Merlin and Bayliss were there to record it. In an extraordinary act of patronage, the newly rich Bernhardt Otto Holtermann used some of his wealth to employ Merlin and Bayliss to photograph other gold producing areas and cities in NSW and Victoria for exhibition overseas. Proud of his own success, he believed that his travelling exposition would encourage immigration to Australia. Merlin and Bayliss’s documentation was slow, with long exposures and the difficulty of processing one photograph at a time. Their wet plate negatives captured exceptional detail, but copies made in the twentieth century failed to reveal the wealth of information hidden within.
In 2008, plans were made to digitally scan the Holtermann Collection at very high resolution and this became reality through the generous assistance of the Graham and Charlene Bradley Foundation; Simon and Catriona Mordant; Geoffrey and Rachel O’Conor; Morningstar and numerous other benefactors. For the first time in 140 years, it is possible to see what Merlin and Bayliss photographed, with astonishing clarity and fidelity.
Press release from the State Library of New South Wales website
American & Australasian Photographic Company [French warship ‘Atalante’, Fitzroy Dock, Sydney, 1873] Aug 1873
This photograph of the French warship Atalante in Fitzroy Dock on Cockatoo Island, with Balmain in the background, was taken in August 1873. Built in 1865, the iron clad Atalante had a protruding brass bow for ramming lesser vessels. It had taken part in the Franco Prussian War in 1870 and at the time of this photograph was the flagship of the Pacific Squadron, under the command of Rear Admiral Baron Roussin. Beaufoy Merlin was particularly pleased with his photographs of the Atalante and wrote about them in the Town and Country Journal.
American & Australasian Photographic Company [French warship ‘Atalante’ at Fitzroy Dock, Sydney, 1873 / attributed to the American & Australasian Photographic Company] 1873
“… One of the solar pictures which I took on the occasion of my last visit to the Atalante, of which an engraving accompanies the present pen-and-ink sketch, is taken from the rocks to the north-west, and shows her “ram,” with its massive projecting extremity of solid brass, her swelling sides, portholes, section of the dock, and men at work. The steps to the bottom of the basin as well as [its depth], are fairly indicated. Probably there is no one more difficult to please in procuring a picture of this kind than the landscape photographer himself. I may therefore be permitted to say in behalf of the one referred to, that it gave me satisfaction.”
Sadly, these images of Atalante were among the last photographs taken by Merlin. He contracted pneumonia and died, age 43, in September 1873.
American & Australasian Photographic Company Herbert Street, west side looking north from Mayne Street and showing Barnes’ Chemist Shop, Gulgong 1872 Wet plate glass negative, on 4/Box 2/No. 18242
The incongruous sight of toy dogs among the rough-and-ready types that inhabited a frontier gold town has been captured in this view of Herbert Street, Gulgong. According to the Empire 28 May 1872, “The streets – so to call the dusty avenues between the rows of shops and Inns – are thronged in the daytime, by much about the same number, though not, apparently by the same sort of persons, as the streets in Sydney. There is not the same bustling activity about them… There are also fewer women amongst them, and fewer well dressed men. The yellow, clay-stained fustian trousers which have never made and never will make acquaintance with the wash-tub, invest the lower extremities of every two men out of three…”
American & Australasian Photographic Company Charles Bird, Medical Hall, Gulgong 1872 Wet plate glass negative, on 4/Box 2/No. 18160
The Medical Hall of Charles Bird Jnr was situated at the corner of Belmore and Herbert Streets, Gulgong. Charles Bird Snr. conducted another shop at the corner of Mayne and Herbert Streets, until the Medical Hall was sold and converted into a hotel in 1879. The Gulgong Guardian 20 November 1872 noted that Charles Bird had received a new disinfectant “which will be invaluable during the summer months to all who are unfortunate enough to live in those parts of town where stenches are pungent and plentiful.”
American & Australasian Photographic Company Holmes, bootmaker, and Spiro Bennett’s store, Gulgong 1872 Wet plate glass negative, on 4/Box 3/No. 18314
This timber clad facade fails to conceal the bark structure behind and the poverty of its inhabitants. This is Gulgong bootmaker William Holmes and his family outside their shop in Mayne Street west. His wife Emily, in the doorway, died a few months after the photograph was taken. The town’s short-term architecture was described in The Sydney Morning Herald 30 September 1872. “Gulgong is not singular in its buildings. The followers of alluvial rushes have ere this found that business is fleeting. As leads work out so does business tide away. Hence have we buildings of a temporary nature; and, although the town of Gulgong may be reckoned three years old, yet not a single brick building stands on its site…”
American & Australasian Photographic Company The detectives 1872 Wet plate glass negative, on 4/Box 2/No. 18246
These are detectives Charles Powell and Robert Hannan, outside their Gulgong office. They had plenty to do. In a letter to the editor of the Maitland Mercury 16 May 1872, William Collins stated “The people (except the bankers and storekeepers), are in general a rough and ready set, occasionally a fight is to be seen, but the very diligent police speedily settle such hostile engagements, by marching the pugilists to a place called the town cage, from which place they are brought in the morning before the magistrate, who has often heard of mercy, but does not know what it means…” Powell and Hannan arrested 14 Chinese for gambling in January 1872 and the Empire 20 January 1872 noted, “In all these cases the lawyers reap a rich harvest, and it was somewhat amusing to witness their actively and interest within ten minutes of the time of arrest.”
American & Australasian Photographic Company The detectives (detail) 1872 Wet plate glass negative, on 4/Box 2/No. 18246
American & Australasian Photographic Company William Lewis, undertaker 1872 Wet plate glass negative, on 4/Box 2/No. 18168
The establishment of William Thomas Lewis, Undertaker and Carpenter at the corner of Belmore and Herbert Streets was primitive, but his funerals were said to be carried out ‘with his usual taste and completeness’. In 1871, Gulgong lacked a suitable place for burials and the Gulgong Guardian commented several times on the growing outcry for a cemetery. The locals had a valid complaint, particularly because of the considerable mortality rate among the young. In April 1871 alone, nine children died in a fortnight. Even Thomas De Courcy Brown, editor of the Guardian, lost his daughter Rose, age 7 months, in December that year. In January 1872, there were 37 deaths in Gulgong, (including 21 children under 5 years) and 17 births. The newspaper complained that the new cemetery was still unfenced.
American & Australasian Photographic Company William Lewis, undertaker (detail) 1872 Wet plate glass negative, on 4/Box 2/No. 18168
American & Australasian Photographic Company John Osborne, painter and signwriter 1872 Wet plate glass negative, on 4/Box 4/No. 18372
J.H. Osborne, painter & signwriter of Gulgong also supplied decorative wallpaper. It seems he painted faux marble headstones as well. Osborne’s bark clad establishment was located at 2 Medley Street, at the sparsely populated northern end of town, which explains the prominent display of his sign writing skill. The Empire 28 May 1872 commented on the temporary nature of buildings in Gulgong. “The shops and public-houses are, for the most part, of a very temporary and unsubstantial character, considered as buildings. A large proportion of them are capable of being removed, piecemeal, and set up again on a new diggings in the event of Gulgong declining in prosperity, and a rush taking place to another field within a day or two’s journey.”
American & Australasian Photographic Company John Osborne, painter and signwriter (detail) 1872 Wet plate glass negative, on 4/Box 4/No. 18372
A meeting between gold miner Bernard Otto Holtermann and photographer Beaufoy Merlin in Hill End in 1872 resulted in one of the most astonishing photographic documentations ever undertaken. Holtermann had been associated with the recent discovery of the world’s largest specimen of reef gold, weighing 145 kilograms, extracted from the Star of Hope mine at nearby Tambaroora. Merlin, an itinerant photographer, had just opened a temporary studio in Hill End. In January 1873, the two announced their plans for Holtermann’s great International Travelling Exposition, which would publicise the potential of their adopted country to the world through photography. Merlin and his assistant Charles Bayliss had already photographed some of the gold producing towns of the colony and Holtermann’s patronage enabled them to continue the undertaking, using a larger camera.
Merlin had begun his photographic career in Victoria in 1866 and within a few years had developed a unique style of outdoor photography. Charles Bayliss joined American & Australasian Photographic Company in Melbourne and the pair headed north into New South Wales, photographing towns along the way. When Beaufoy Merlin and Charles Bayliss arrived in Sydney in September 1870, they had already completed an extraordinary documentation of “almost every house in Melbourne, and the other towns in Victoria.” They were aware that their venture was unusual and contemporary advertising by the American & Australasian Photographic Company reflects a considered understanding of the photographic medium and an intellectual approach to their work.
“The chief characteristic and distinguishing feature of the Company’s style of work, is the introduction of figures into the photograph – the most complete and life-like portraits of individuals who happen, or may choose to stand outside, being incorporated in the picture. The A&A Photographic Company desire further to remind the public that these negatives are not taken for the mere immediate object of sale, but that being registered, copies can at all times be had by or of those parties residing in any part of the colonies wherever the Company’s operations have extended, thus forming a novel means of social and commercial intercourse.”
Nevertheless, it is not surprising that Merlin and Bayliss headed west in 1872 with the new gold rushes. The cry “Rush-O!” meant money for businesses, including photographers. A studio for the A&A Photographic Company was built on land owned by Holtermann in Hill End and excursions were made to surrounding areas by horse drawn caravan. The photographic process of the day required the photographer coat each plate just before use and develop it immediately before it lost sensitivity. For the itinerant photographer, this meant taking a portable darkroom wherever he went. Despite the difficulty of the wet plate process, the comprehensive goldfields photography of Merlin and Bayliss has provided a unique documentation of frontier life.
Merlin fell ill and died from pneumonia in 1873, leaving his assistant the task of documenting towns for Holtermann’s Exposition. Consequently, Bayliss toured Victoria the following year, but returned to Sydney in 1875 and began making giant panoramas of the city from Holtermann’s house in North Sydney. The venture was to cost Holtermann over ₤4000, but resulted in the production of the world’s largest wet-plate negatives and several panoramas. One, measuring 10 metres long, astonished audiences overseas and received the Bronze award at the Philadelphia Centennial Exhibition of 1876 and a Silver Medal at the Paris Exposition Universelle Internationale in 1878. Only a small percentage of the A&A Photographic Company’s output has survived, but 3,500 small format wet plates negatives (including extensive coverage of the towns of Hill End and Gulgong) and the world’s largest wet plate negatives, measuring a massive 1 x 1.5 metres, are held by the Library.
Text from The Holtermann Collection website
Charles Bayliss (Australian, 1850-1897) The beginning of Home Rule 1872 Wet plate glass negative, on 4/Box 3/No. 18278
Home Rule, 11 km south-east of Gulgong, was only two months old when Charles Bayliss took this photograph. A reporter from the Gulgong Guardian was also in town and wrote on 13 July 1872, “During the past fortnight there has been a great improvement for the better in the appearance of the township at the Home Rule. Large and costly buildings are springing up in every direction and being fitted up for almost every trade. In hotels there is a great change for the better, as in several of them notably Messrs Wright, Moss, and Oliver, the accommodation is almost equal to any on Gulgong; so visitors need not fear that they will suffer hunger or thirst.”
Charles Bayliss (Australian, 1850-1897) Tent city, Home Rule 1872 Wet plate glass negative, on 4/Box 3/No. 18285
In the early days of gold rushes, miners usually lived in tents. Here tentmaker J. Booth has confidently set up his canvas shop in Home Rule. The burgeoning new field was described in the Sydney Morning Herald 22 May 1872, “On Friday last there must have been fully fifteen hundred persons upon the ground, and tents and habitations of every description were springing, apparently Iike mushrooms, from the ground, and such is the rapidity with which a gold-fields town is formed, I shall not be surprised to see the place well supplied with stores, and, of course, hotels, when I again visit the place about a fortnight hence.”
Charles Bayliss (Australian, 1850-1897) John Davey, baker 1872 Wet plate glass negative, on 4/Box 3/No. 18384
With his shoes covered in flour, John Davey steps outside his bakery in the main street of Canadian Lead. Bread cost 6d a 2lb [5 cents per 900g] loaf. The woman and children to the right also appear outside Ruth Beck’s North Star Hotel, three doors away. The rush to Canadian Lead began in early 1872 and the Maitland Mercury 6 April 1872 was able to state “the Canadian Lead, where a month ago some four hundred people were, can now boast of a couple of thousands…” Not everyone was law-abiding. The Maitland Mercury 24 August 1872 related the story of Mrs Beck dropping a purse containing £21 [$42, worth about $2000 today], which was picked up by her little boy, but taken from him by two men claiming that it was theirs. The miscreants were arrested in Mudgee two days later, drinking the profits.
Charles Bayliss (Australian, 1850-1897) John Davey, baker (detail) 1872 Wet plate glass negative, on 4/Box 3/No. 18384
Beaufoy Merlin (Australian, 1830-1873) Circular Quay from Dawes Battery 1873 Wet plate glass negative, on 4/Box 58/No. 285
In mid 1873, Beaufoy Merlin returned to Sydney to continue photographing the city for Holtermann. The Sydney Morning Herald 2 August 1873 noted, “Mr. Beaufoy Merlin has taken a considerable number of photographic views of Sydney for the first section of ‘Holtermann’s Intercolonial Exposition’.” This image from Dawes Battery, past Campbell’s Wharf to Circular Quay can be dated to early September 1873, as the Haddon Hall (r) from London, is loading for San Francisco at Campbell’s wharf. Behind it is Aviemore and the ship in background in front of Customs House is La Hogue. Both Aviemore and La Hogue left for London on 13 September 1873.
After the death of Beaufoy Merlin in 1873, Bernhardt Holtermann engaged Merlin’s assistant, 24 year-old Charles Bayliss, to continue taking photographs for his planned Exposition. This view of Pall Mall from Hadley’s City Family Hotel, Sandhurst [Bendigo, Victoria] was taken in April 1874. Bayliss photographed the town using the Exposition’s standard 10 x 12 inch (25 x 30cm) glass negatives, but for this image used a mammoth camera specially imported by Holtermann which took glass plates measuring 18 x 22 inches (46 x 56cm). Bayliss also photographed Ballarat in June 1874, using the mammoth camera to produce a panorama from the town hall clock tower.
State Library of New South Wales Macquarie Street, Sydney NSW 2000 Australia Phone: +61 2 9273 1414
“By repositioning Vishniac’s iconic photographs of Eastern Europe within the broader tradition of social documentary photography, and introducing recently discovered and radically diverse bodies of work, this exhibition stakes Vishniac’s claim as a modern master.”
ICP Adjunct Curator Maya Benton
Re/visioning
Rediscovered! Rediscovered? Surely, such a splendid artist as Vishniac has never been away…
Revealing “a compositional acuity, inventiveness, and surprising stylistic range” – in other words traces of Josef Sudek, Walker Evans, Rodchenko and New Photography – Vishniac’s best work is a record of its troubled time: a photographic record of Jewish life in Eastern Europe between the two World Wars. What the viewing public must be made aware of is the curatorial reinterpretation of his work, seeking as it does to solidify his place “among the 20th century’s most accomplished photographers.”
While some of the work on view may be new, the claims of curator Maya Benton (above) must be observed with a good deal of scepticism. What we need to understand is how his photographs are being interpreted across a range of frames of reference – from photojournalism, to social documentary photography and art – in order, as Maya Benton says, to “reposition” his iconic photographs within the broader tradition of social documentary photography. This repositioning is a form of re/visioning of an artist’s work to place it in a different context or frame of reference in order to increase its significance; or, by exclusion (as in the case of the S/M photographs by Robert Mapplethorpe that have been occluded by the Mapplethorpe Foundation), another context, make the work of an artist more socially palatable than would otherwise be the case.
The interpretation of Vishniac’s photographs becomes problematic depending on what frame of reference one applies to them and how their interpretation is negotiated between multiple, fluid points of view. Repositioning an artist’s work within a broader context changes the nature of the interpretation of that artist’s work and raises the pertinent question: who is repositioning this work and for what reason(s); who is pushing that agenda and curatorial barrow (in Benton’s case it is because she wants Vishniac’s work to be seen as that of a modern master, to make the credibility of the exhibition and the artist more than it possibly is).
What we must be fully aware of is the time and place in which Vishniac made the work and the conditions for its initial reception, not some stake in the ground claim of modern mastership.
Vishniac’s photographs frame the historical discourse of the end of Jewish culture in Eastern Europe and the rise of Fascism in Germany with erudition – for the past, present and future. Any other claims to eclecticism, applying different “repositioning” in particular cases, seems inelegant and shows a lack of consistency in clear thinking. When you really look at his work there is a sensitivity to the human condition in his work that is outstanding, coupled with a clear compositional structure and use of chiaroscuro. He was an excellent visual artist who had strong previsualisation that is evidenced in the prints. These photographs make insightful comment on the surrounding culture at the time of their production. Nothing more grandiose need be said.
Dr Marcus Bunyan
Many thankx to the ICP for allowing me to publish the photographs in the posting. Please click on the photographs for another version of the image.
Roman Vishniac Rediscovered, on view at the International Center of Photography (1133 Avenue of the Americas at 43rd Street) January 18 – May 5, 2013, brings together four decades of work by a remarkably versatile and innovative photographer. The exhibition includes recently discovered vintage prints, moving film footage, personal correspondence, and exhibition prints made from Vishniac’s recently digitised negatives. His complex and visionary work, much of which is shown here for the first time, reveals a compositional acuity, inventiveness, and surprising stylistic range that solidifies his place among the 20th century’s most accomplished photographers.
Vishniac created the most widely recognised and reproduced photographic record of Jewish life in Eastern Europe between the two World Wars. Yet only a fraction of his work was published during his lifetime, most notably in A Vanished World (1983). Over the course of his career, Vishniac witnessed the sweeping artistic and photographic innovation of Weimar Berlin, the ominous rise to Nazi power in Germany, the final years of Jewish life in Eastern Europe, and immigrant life in America during and after the war.
“By repositioning Vishniac’s iconic photographs of Eastern Europe within the broader tradition of social documentary photography, and introducing recently discovered and radically diverse bodies of work, this exhibition stakes Vishniac’s claim as a modern master,” said ICP Adjunct Curator Maya Benton, who organised the exhibition.
Born in 1897 to a wealthy Russian-Jewish family, Vishniac immigrated to Berlin in 1920 in the aftermath of the Russian Revolution. As an amateur photographer, he took to the streets with his camera throughout the 1920s and ’30s, offering astute, often humorous visual commentary on his adopted city and experimented with new and modern approaches to framing and composition. Documenting the rise of Nazi power, he focused his lens on the signs of oppression and doom that soon formed the backdrop of his Berlin street photography. From 1935 to 1938, while living in Berlin and working as a biologist and science photographer, he was commissioned by the American Jewish Joint Distribution Committee (JDC), then the world’s largest Jewish relief organisation, to photograph impoverished Jewish communities in Central and Eastern Europe. On New Year’s Day, 1941, he arrived in New York and soon opened a portrait studio. At the same time, he began documenting American Jewish communal and immigrant life and established himself as a pioneer in the field of photomicroscopy. In 1947, Vishniac returned to Europe and documented Jewish displaced persons camps and the ruins of Berlin. During this time, he also recorded the efforts of Holocaust survivors to rebuild their lives, and the work of the JDC and other Jewish relief organisations in providing them with aid and emigration assistance.
Roman Vishniac Rediscovered is a comprehensive reappraisal of Vishniac’s total photographic output, from the early years in Berlin through the postwar period. The exhibition also includes a slideshow of 100 colour science transparencies – digitised for the first time – of Vishniac’s microphotoscopy, taken from the early 1950s to the late 1970s. In addition to the exhibition, a primary task of the archive is to make this work available for research, in partnership with the United States Holocaust Memorial Museum.
Press release from the ICP website
Sections of the exhibition
~ Introduction: Roman Vishniac Rediscovered
~ Berlin Street Photography, 1920s-30s
~ Nazi Rise to Power in Germany, 1933-1938
~ German Jewish Relief and Community Organizations, Berlin, mid- to late 1930s
~ Jewish Life in Eastern Europe, c. 1935-38
~ Werkdorp Nieuwesluis Agrarian Training Camp, Wieringermeer, The Netherlands, c. 1938
~ Travel, Refuge, and Internment in France: Paris, Nice, and Marseille, c. 1939
~ Portrait Studio and Nightclubs, America, 1941 – early 1950s
~ YIVO Exhibitions in New York, January 1944 and January 1945
~ Immigrants and Refugees, New York, 1941 – early 1950s
~ “The Face of America at War”: New York, 1941-1944
~ Jewish Community Life, New York, 1941 – early 1950s
~ Berlin in Ruins, 1947
~ Refugees and Displaced Persons Camps, Germany and France, 1947
~ Scientific Work and Photomicroscopy, America, early 1950s – late 1970s
~ Vishniac’s Scrapbook
Vishniac’s daughter Mara, age seven, was photographed standing in front of this 1933 poster celebrating Hitler’s recent appointment as German chancellor. The poster advertises a plebiscite to permit withdrawal from the League of Nations and Geneva Disarmament Conference, which restricted Germany’s ability to develop a military. Other posters include the slogans “Mothers, fight for your children!,” “The coming generation accuses you!,” and “In 8 months… 2,250,000 countrymen able to put food on the table. Bolshevism destroyed. Sectionalism overcome. A kingdom and order of cleanliness built… Those are the achievements of Hitler’s rule…”
Another fascinating exhibition and a bumper posting to boot (pardon the pun!)
A panoply of famous photographers along with a few I had never heard of before (such as Georges Hugnet) are represented in this posting. As the press blurb states, through “key photographic projects, experimental films, and photobooks, The Shaping of New Visions offers a critical reassessment of photography’s role in the avant-garde and neo-avant-garde movements, and in the development of contemporary artistic practices.”
The large exhibition seems to have a finger in every pie, wandering from the birth of the 20th-century modern metropolis, through “New Vision” photography in the 1920s, experimental film, Surrealism, Constructivism and New Objectivity, Dada, Rayographs, photographic avant-gardism, photocollages, photomontages, street photography of the 1960s, colour slide projection performance, through New Topographics, self-published books, and conceptual photography, featuring works that reevaluate the material and contextual definitions of photography. “The final gallery showcases major installations by a younger generation of artists whose works address photography’s role in the construction of contemporary history.”
Without actually going to New York to see the exhibition (I wish!!) – from a distance it does seem a lot of ground to cover within 5 galleries even if there are 250 works. You could say this is a “meta” exhibition, drawing together themes and experiments from different areas of photography with rather a long bow. Have a look at the The Shaping of New Visions exhibition checklist to see the full listing of what’s on show and you be the judge. There are some rare and beautiful images that’s for sure.
From the photographs in this posting I would have to say the distorted “eyes” have it…
Dr Marcus Bunyan
Many thankx to MoMA for allowing me to publish the photographs in the posting. Please click on the photographs for a larger version of the image.
In 1920 Paul Strand and artist Charles Sheeler collaborated on Manhatta, a short silent film that presents a day in the life of lower Manhattan. Inspired by Walt Whitman’s book Leaves of Grass, the film includes multiple segments that express the character of New York. The sequences display a similar approach to the still photography of both artists. Attracted by the cityscape and its visual design, Strand and Sheeler favoured extreme camera angles to capture New York’s dynamic qualities. Although influenced by Romanticism in its view of the urban environment, Manhatta is considered the first American avant-garde film.
Aleksandr Rodchenko (Russian, 1891-1956) Sovetskoe foto (Soviet Photo) No. 10 October 1927 Letterpress 10 3/8 x 7 1/4″ (26.3 x 18.4cm) Publisher: Ogonek, Moscow The Museum of Modern Art, New York. Gift of the Judith Rothschild Foundation
Dziga Vertov (Russian, 1896-1954) Chelovek s kinoapparatom (Man with a Movie Camera) (still) 1929 35mm film 65 min ( black and white, silent) The Museum of Modern Art, New York Department of Film
Dziga Vertov (Russian, 1896-1954) Chelovek s kinoapparatom (Man with a Movie Camera) 1929 Film 1 hr 6 mins 49 secs
Excerpt from a camera operators diary ATTENTION VIEWERS: This film is an experiment in cinematic communication of real events Without the help of Intertitles Without the help of a story Without the help of theatre This experimental work aims at creating a truly international language of cinema based on its absolute separation from the language of theatre and literature
Man with a Movie Camera (Russian: Человек с киноаппаратом (Chelovek s kinoapparatom) is an experimental 1929 silent documentary film, with no story and no actors by Soviet-Russian director Dziga Vertov, edited by his wife Elizaveta Svilova.
Vertov’s feature film, produced by the film studio VUFKU, presents urban life in the Soviet cities of Kiev, Kharkov, Moscow and Odessa. From dawn to dusk Soviet citizens are shown at work and at play, and interacting with the machinery of modern life. To the extent that it can be said to have “characters,” they are the cameramen of the title, the film editor, and the modern Soviet Union they discover and present in the film.
This film is famous for the range of cinematic techniques Vertov invents, deploys or develops, such as double exposure, fast motion, slow motion, freeze frames, jump cuts, split screens, Dutch angles, extreme close-ups, tracking shots, footage played backwards, stop motion animations and self-reflexive visuals (at one point it features a split-screen tracking shot; the sides have opposite Dutch angles).
In the British Film Institute’s 2012 Sight & Sound poll, film critics voted Man with a Movie Camera the 8th best film ever made. In 2014 Sight & Sound also named it the best documentary of all time.
Text from the YouTube website
László Moholy-Nagy (Hungarian, 1895-1946) Ein Lichtspiel: schwarz weiss grau (A Lightplay: Black White Gray) (excerpt) 1930
This short film made by László Moholy-Nagy is based on the shadow patterns created by his Light-Space Modulator, an early kinetic sculpture consisting of a variety of curved objects in a carefully choreographed cycle of movements. Created in 1930, the film was originally planned as the sixth and final part of a much longer work depicting the new space-time.
Georges Hugnet (French, 1906-1974) Untitled [Surrealist beach collage] c. 1935 Collage of photogravure, lithograph, chromolithograph and gelatin silver prints on gelatin silver print 11 7/8 x 9 7/16″ (30.2 x 24cm) The Museum of Modern Art, New York Gift of Timothy Baum in memory of Harry H. Lunn, Jr.
William Klein (American, 1928-2022) Gun, Gun, Gun, New York 1955 Gelatin silver print 10 1/4 x 13 5/8″ (26 x 34.6cm) The Museum of Modern Art, New York Gift of Arthur and Marilyn Penn
Martha Rosler (American, b. 1943) Red Stripe Kitchen 1967-1972 From the series Bringing the War Home: House Beautiful Pigmented inkjet print, printed 2011 23 3/4 x 18 1/8″ (60.3 x 46cm) The Museum of Modern Art, New York Purchase and The Modern Women’s Fund
The Museum of Modern Art draws from its collection to present the exhibition The Shaping of New Visions: Photography, Film, Photobook on view from April 18, 2012, to April 29, 2013. Filling the third-floor Edward Steichen Photography Galleries, this installation presents more than 250 works by approximately 90 artists, with a focus on new acquisitions and groundbreaking projects by Man Ray, László Moholy-Nagy, Aleksandr Rodchenko, Germaine Krull, Dziga Vertov, Gerhard Rühm, Helen Levitt, Robert Frank, Daido Moriyama, Robert Heinecken, Edward Ruscha, Martha Rosler, Bernd and Hilla Becher, Philip-Lorca diCorcia, Paul Graham, and The Atlas Group / Walid Raad. The exhibition is organised by Roxana Marcoci, Curator, Department of Photography, The Museum of Modern Art.
Punctuated by key photographic projects, experimental films, and photobooks, The Shaping of New Visions offers a critical reassessment of photography’s role in the avant-garde and neo-avant-garde movements, and in the development of contemporary artistic practices. The shaping of what came to be known as “new vision” photography in the 1920s bore the obvious influence of “lens-based” and “time-based” works. The first gallery begins with photographs capturing the birth of the 20th-century modern metropolis by Berenice Abbott, Edward Steichen, and Alfred Stieglitz, presented next to the avant-garde film Manhatta (1921), a collaboration between Paul Strand and Charles Sheeler.
The 1920s were a period of landmark constructions and scientific discoveries all related to light – from Thomas Edison’s development of incandescent light to Albert Einstein’s theory of relativity and light speed. Man Ray began experimenting with photograms (pictures made by exposing objects placed on photosensitive paper to light) – which he renamed “rayographs” after himself – in which light was both the subject and medium of his work. This exhibition presents Man Ray’s most exquisite rayographs, alongside his first short experimental film, Le Retour à la raison (Return to Reason, 1923), in which he extended the technique to moving images.
In 1925, two years after he joined the faculty of the Bauhaus school in Weimar Germany, László Moholy-Nagy published his influential book Malerei, Fotografie, Film (Painting, Photography, Film) – part of a series that he coedited with Bauhaus director Walter Gropius – in which he asserted that photography and cinema are heralding a “culture of light” that has overtaken the most innovative aspects of painting. Moholy-Nagy extolled photography and, by extension, film as the quintessential medium of the future. Moholy-Nagy’s interest in the movement of objects and light through space led him to construct Light-Space Modulator, the subject of his only abstract film, Ein Lichtspiel: schwarz weiss grau (A Lightplay: Black White Gray, 1930), which is presented in the exhibition next to his own photographs and those of Florence Henri.
The rise of photographic avant-gardism from the 1920s to the 1940s is traced in the second gallery primarily through the work of European artists. A section on Constructivism and New Objectivity features works by Paul Citroën, Raoul Hausmann, Florence Henri, Germaine Krull, El Lissitzky, Albert Renger-Patzsch, and August Sander. A special focus on Aleksandr Rodchenko underscores his engagement with the illustrated press through collaborations with Vladimir Mayakovsky and Sergei Tretyakov on the covers and layouts of Novyi LEF, the Soviet avant-garde journal of the “Left Front of the Arts,” which popularised the idea of “factography,” or the manufacture of innovative aesthetic facts through photomechanical processes. Alongside Rodchenko, film director Dziga Vertov redefined the medium of still and motion-picture photography with the concept of kino-glaz (cine-eye), according to which the perfectible lens of the camera led to the creation of a novel perception of the world. The exhibition features the final clip of Vertov’s 1929 experimental film Chelovek s kinoapparatom (Man with a Movie Camera), in which the eye is superimposed on the camera lens to form an indivisible apparatus fit to view, process, and convey reality, all at once. This gallery also features a selection of Dada and Surrealist works, including rarely seen photographs, photocollages, and photomontages by Hans Bellmer, Claude Cahun, George Hugnet, André Kertész, Jan Lukas, and Grete Stern, alongside such avant-garde publications as Documents and Littérature.
The third gallery features artists exploring the social world of the postwar period. On view for the first time is a group of erotic and political typo-collages by Gerhard Rühm, a founder of the Wiener Gruppe (1959-1960), an informal group of Vienna-based writers and artists who engaged in radical visual dialogues between pictures and texts. The rebels of street photography – Robert Frank, William Klein, Daido Moriyama, and Garry Winogrand – are represented with a selection of works that refute the then prevailing rules of photography, offering instead elliptical, off-kilter styles that are as personal and controversial as are their unsparing views of postwar society. A highlight of this section is the pioneering slide show Projects: Helen Levitt in Color (1971-1974). Capturing the lively beat, humour, and drama of New York’s street theatre, Levitt’s slide projection is shown for the first time at MoMA since its original presentation at the Museum in 1974.
Photography’s tradition in the postwar period continues in the fourth gallery, which is divided into two sections. One section features “new topographic” works by Robert Adams, Bernd and Hilla Becher, Stephen Shore, and Joel Sternfeld, along with a selection of Edward Ruscha’s self-published books, in which the use of photography as mapmaking signals a conceptual thrust. This section introduces notable works from the 1970s by artists who embraced photography not just as a way of describing experience, but as a conceptual tool. Examples include Eleanor Antin’s 100 Boots (1971-1973), Mel Bochner’s Misunderstandings (A theory of photography) (1970), VALIE EXPORT’s Einkreisung (Encirclement) (1976), On Kawara’s I Got Up… (1977), and Gordon Matta-Clark’s Splitting (1974), all works that reevaluate the material and contextual definitions of photography. The other section features two major and highly experimental recent acquisitions: Martha Rosler’s political magnum opus Bringing the War Home (1967-1972), developed in the context of her anti-war and feminist activism, for which the artist spliced together images of domestic bliss clipped from the pages of House Beautiful with grim pictures of the war in Vietnam taken from Life magazine; and Sigmar Polke’s early 1970s experiments with multiple exposures, reversed tonal values, and under-and-over exposures, which underscore the artist’s idea that “a negative is never finished.” The unmistakably cinematic turn that photography takes in the 1980s and early 1990s is represented with a selection of innovative works ranging from Robert Heinecken’s Recto/Verso (1988) to Philip-Lorca diCorcia’s breakthrough Hustler series (1990-1992).
The final gallery showcases major installations by a younger generation of artists whose works address photography’s role in the construction of contemporary history. Tapping into forms of archival reconstitution, The Atlas Group / Walid Raad is represented with My Neck Is Thinner Than a Hair: Engines (1996-2004), an installation of 100 pictures of car-bomb blasts in Beirut during the Lebanese civil war (1975-1990) that provokes questions about the factual nature of existing records, the traces of war, and the symptoms of trauma. A selection from Harrell Fletcher’s The American War (2005) brings together bootlegged photojournalistic pictures of the U.S. military involvement in Southeast Asia, throwing into sharp focus photography’s role as a documentary and propagandistic medium in the shaping of historical memory. Jules Spinatsch’s Panorama: World Economic Forum, Davos (2003), made of thousands of still images and three surveillance video works, chronicles the preparations for the 2003 World Economic Forum, when the entire Davos valley was temporarily transformed into a high security zone. A selection of Paul Graham’s photographs from his major photobook project a shimmer of possibility (2007), consisting of filmic haikus about everyday life in today’s America, concludes the exhibition.
Helen Levitt (American, 1913-2009) Projects: Helen Levitt in Color (detail) 1971-1974 40 colour slides shown in continuous projection Originally presented at The Museum of Modern Art, New York, September 26-October 20, 1974
On Kawara (Japanese, 1932-2014) I Got Up At… 1974-1975 (Ninety postcards with printed rubber stamps)
The semi autobiographical I Got Up At… by On Kawara is a series of postcards sent to John Baldessari. Each card was sent from his location that morning detailing the time he got up. The time marked on each card varies drastically from day to day, the time stamped on each card is the time he left his bed as opposed to actually waking up. Kawara’s work often acts to document his existence in time, giving a material form to which is formally immaterial. The series has been repeated frequently sending the cards to a variety of friends and colleagues.
Atlas Group, Walid Raad My Neck is Thinner Than a Hair: Engines (detail) 1996-2004 100 pigmented inkjet prints 9 7/16 x 13 3/8″ (24 x 34cm) each The Museum of Modern Art, New York Fund for the Twenty-First Century
The Museum of Modern Art 11 West 53 Street New York, NY 10019 Phone: (212) 708-9400
Opening hours: 10.30am – 5.30pm Open seven days a week
Aliza Levi (South African, b. 1969) Across Australia 2011 Archival Inkjet Print 59 x 42cm
Aura of white
Shadow of black
Books for the boys *
Black bodies out the back
* Books for the bourgeois
* Books for the parlour
* Books for the burning
* Books to hide memories
* Books lost in archives
* Books still in libraries
* Books for the tower (implying Babel)
* Books for the scrapheap
* Books for academics
* Books for the garbo
* Books for the church stall
* Books to forget
Dr Marcus Bunyan
Many thankx to Edmund Pearce Gallery for allowing me to publish the photographs in the posting. Please click on the photographs for a larger version of the image.
Aliza Levi (South African, b. 1969) Australia, its History and Present Condition 2013 Archival Inkjet Print 59 x 42cm
Aliza Levi (South African, b. 1969) Australia the Land of Promise 2012 Archival Inkjet Print 59 x 42cm
Aliza Levi (South African, b. 1969) Black But Comely 2013 Archival Inkjet Print 59 x 42cm
Aliza Levi (South African, b. 1969) Malthus on Population 2012 Archival Inkjet Print 59 x 42cm
“I began this series by choosing books that reflected the assumptions and behaviour of the nineteenth century colonists, the persistent notations of self and other. I soon started to notice, that many of the titles were pertinent to today. A blurring of time and relevance, where views from a hundred years ago were intersecting with current attitudes and events.”
Aliza Levi
South African born artist, Aliza Levi premiers her latest body of work Books on a White Background at Edmund Pearce Gallery. Camera and lights in hand, Aliza has been photographing nineteenth century books in small town junk shops, second-hand book dealers, flea markets, rare book collections and libraries both here and in her native South Africa. Books authored by anthropologists, ethnologists and laypersons who took it upon themselves to comment on their travels. To date she has captured nearly 250 books.
The books, were initially chosen to reflect the ideologies and assumptions of the nineteenth century West. However, Aliza soon realised, that some of the titles were pertinent to today. A blurring of time and relevance where titles from a hundred years ago were intersecting with current attitudes and events. For example, the book Strangers May be Present, in its evocation of colonial settlers viewing the other as stranger also evoked for her the more recent, disturbing events in which the other is articulated: xenophobic attacks and corrective rapes in South Africa. Closer to home, the century old book entitled Australia, the Land of Promise immediately raises questions around certain stark realities such as refugee detention centres.
Kate Warren writes in the accompanying exhibition essay: “The precise regularity of her photographic compositions create a compelling visual plane that immediately draws the viewer’s attention. But look closer. In the situation that Levi presents us with, the seductive nature of the visual cannot escape the immediacy of language. The force of their titles – often starkly confronting and potentially upsetting – leaves the embossing, decoration and materiality of the books themselves as an ironic supplement.”
Born in 1969 in South Africa, Aliza Levi’s practice is multidisciplinary in form yet single-minded in concept. Much of her work presents a relationship to land, consciousness and memory brought on by her South African and Australian citizenship. Having recently presented her work in the UK, this is her first solo show in Melbourne, where she has been producing art as well as facilitating women’s art groups with refugees from Sudan. Levi is currently completing a Masters Degree in Fine Art at Monash University.
Press release from the Edmund Pearce Gallery website
Aliza Levi (South African, b. 1969) Ourselves Writ Strange 2011 Archival Inkjet Print 59 x 42cm
Aliza Levi (South African, b. 1969) Scenes and Sports of Savage Lands 2012 Archival Inkjet Print 59 x 42cm
Aliza Levi (South African, b. 1969) Strangers May Be Present 2010 Archival Inkjet Print 59 x 42cm
Aliza Levi (South African, b. 1969) The Art of Living in Australia 2012 Archival Inkjet Print 59 x 42 cm
Textual thresholds: The uncomfortable nature of titles in Books on a White Background
Kate Warren
Aliza Levi’s research-based photographic project, Books on a White Background (2012), confronts the viewer with an array that is at once visually compelling and profoundly difficult to look at. The precise regularity of her photographic compositions, the ‘grid-like’ repetition of these images’ installation, the consistent form and shape of her subject matter, and the contrast between the stark white background and the darker shadows thrown, all create a compelling visual plane that immediately draws the viewer’s attention. But look closer. In the situation that Levi presents us with, the seductive nature of the visual cannot escape the immediacy of language. The force of their titles – often starkly confronting and potentially upsetting – leaves the embossing, decoration and materiality of the books themselves as an ironic supplement.
This is not a ‘library’. Although developed from Levi’s archival research, the final photographic project is not an ‘archive’. Rather than displaying the original books themselves as objets trouvés, Levi disavows their materiality and tactility. Photographing the books’ ‘spines’, she not only flattens but removes entirely from view their ‘flesh’ the pages and the content – and in doing so opens up a liminal space that can accommodate and illuminate a multiplicity of (sometimes uncomfortable) and connections between the past and the present.
In the human form, our spines form the connection between the psychical realm of our brains and the physicality of our bodies; between our ‘inner’ subjectivity and our ‘outer’ ability to move, communicate and interact with our surroundings. Likewise in the case of the books that Levi photographs; the spines and titles are liminal spaces that mediate their content and the cultural and historical contexts in which they exist. Gérard Genette calls this the ‘paratext’, the “fringe [which] constitutes a zone between text and off-text, a zone not only of transition but also of transaction: a privileged place of a pragmatics and a strategy, of an influence on the public.” Levi’s project works at this juncture. By denying access to the detailed substance and content of these books she denies their overt ‘authority’, yet at the same time she reveals uncomfortable legacies that persist and cannot be wholly escaped.
The various ‘post’ discourses (post-colonialism, post-structuralism, post-modernism) and their influential theorists and practitioners have done enormous amounts of work to deconstruct and destabilise dominant narratives and histories. The process is necessarily ongoing and open-ended; because although many narratives that were once unquestioned have been removed from their dominance and acceptability, it is often through language that their traces and legacies remain.
Thus in the selection of Australian books included in this exhibition, there emerges jarring and disturbing contrasts between titles that clearly belie values that are no longer widely accepted (such as The Aboriginal as Human Being), and other titles which still resonate with national myths (such as Australia the Land of Promise). Other titles like Ourselves Writ Large and The Gulf Between become more ambiguous; for without access to the specificities of their content, these books’ paratexts are revealed in Levi’s project as (necessarily) multifaceted signifiers. They immediately open up a ‘zone of transaction’ that reveals the past as an immanent presence, constantly transformed by and transforming of the present. These now abstracted titles retain a force and power to reveal uncomfortable truths and forgotten narrative tropes, speaking to the way that Australian history and presumed cultural values are constructed and repeated in our contemporary life.
Kate Warren would like to thank Aliza Levi for the stimulating and ongoing discussions; and David Wlazlo for his timely and astute insights.
Gérard Genette, Paratexts: Thresholds of Interpretation (Cambridge: Cambridge University Press, 1997), p. 2.
Aliza Levi (South African, b. 1969) The Aboriginal as Human Being 2012 Archival Inkjet Print 59 x 42cm
Aliza Levi (South African, b. 1969) The Gulf Between 2012 Archival Inkjet Print 59 x 42cm
Aliza Levi (South African, b. 1969) The Report of the Aborigines Committee of the Meeting for Sufferings 1840 2012 Archival Inkjet Print 59 x 42cm
Aliza Levi (South African, b. 1969) White Settlers and Native Peoples 2012 Archival Inkjet Print 59 x 42cm
What an admirable photographer Gordon Parks was. It is a joy to see five of his colour photographs in this posting because I have never seen any before. They are glorious, complex compositions that ebb and flow like music whilst at the same time they are also damning indictments of the racially segregated society that was America in the 1950s (and still is today). Bitterness, discrimination and racism have deep roots in any country – just look at contemporary Australia. The little girl looks on in Ondria Tanner and Her Grandmother Window-shopping (1956, above), her left index finger bent upward on the pane of glass as the prettily dressed white, automaton mannequins march on, oblivious to her gaze; Mr. and Mrs. Albert Thornton, Mobile, Alabama (1956, below) are surrounded by photographs, their pose mimicking that of their parents hanging behind them, while before them on the coffee table (under glass) are other, younger members of their extended family. Past, present and future coalesce in this one poignant image.
“Sensibility” is based on personal impressions of pleasure or pain. The sensibility of Parks photographs is a refined sensitivity based on experience – his experience of the discrimination of human beings toward each other. These hard-wired responses toward such a situation will vary from person to person.
These photographs were his hard-wired response. This was his feeling towards subject matter and that is why these insightful photographs still matter to us today.
Dr Marcus Bunyan
Many thankx to the Jenkins Johnson Gallery for allowing me to publish the photographs in the posting. Please click on the photographs for a larger version of the image.
Gordon Parks is the most important black photographer in the history of photojournalism. Long after the events that he photographed have been forgotten, his images will remain with us, testaments to the genius of his art, transcending time, place and subject matter.
In celebration of the 100th birthday of Gordon Parks, one of the most influential African American photographers of the 20th century, Jenkins Johnson Gallery in collaboration with The Gordon Parks Foundation presents Gordon Parks: Centennial, on view from February 21 through April 27, 2013. Gordon Parks, an iconic photographer, writer, composer, and filmmaker, would have turned 100 on November 30, 2012. This will be the first solo exhibition for Parks on the West Coast in thirteen years. The exhibition will survey works spanning six decades of the artist’s career starting in 1940. The exhibition consists of more than seventy-five gelatin silver and pigment prints, including selections from Life magazine photo essays: Invisible Man, 1952; Segregation Story, 1956; The Black Panthers, 1970; and Flavio, 1960, about favelas in Brazil. Also included in the exhibition is his reinterpretation of American Gothic and his elegant depictions of artists like Alexander Calder, fashion models, and movie stars.
Noteworthy highlights include groundbreaking prints from the Invisible Man series which unfolds a visual narrative based on Ralph Ellison’s award winning novel. The images capture the essence of social isolation and the struggle of a black man who feels invisible to the outside world. Also on view will be a number of colour prints from Segregation Story, 1956, which are a part of a limited edition portfolio of twelve colour photographs with an essay by Maurice Berger. Newly released, these images were produced from transparencies found in early 2012, discovered in a storage box at The Gordon Parks Foundation. In the late 1960s Life magazine asked Gordon Parks to report on the Oakland, California-based Black Panther Party, including Eldridge Cleaver. Parks’ striking image of Eldridge Cleaver and His Wife, Kathleen, Algiers, Algeria, 1970 depicts Cleaver recovering from gun wounds after being ambushed by the Oakland police as well as an insert of Huey P. Newton, co-founder of the party along with Bobby Seale.
About Gordon Parks
Parks was born into poverty in Fort Scott, Kansas in 1912, the youngest of fifteen children. He worked several odd jobs until he bought a camera at a Pawn Shop in 1937 in Seattle and was hired to photograph fashion at a department store in Minneapolis. In 1942 Parks received a photography fellowship from the Farm Security Administration, succeeding Dorothea Lange among others. While at the F.S.A., Parks created American Gothic, now known as one of his signature images, in which he shows Ella Watson, a cleaning women, holding a mop and broom, standing in front of an American flag. The image makes a poignant commentary on social injustice whilst referencing Grant Wood’s celebrated painting American Gothic which it is also named after. He became a freelance photographer working for Vogue as well as publishing two books, Flash Photography (1947) and Camera Portraits: Techniques and Principles of Documentary Portraiture (1948). In 1948 Parks was hired by Life magazine to do a photographic essay on Harlem gang leader, Red Jackson, which led to a permanent position at Life, where he worked for twenty years. Parks developed his skills as a composer and author and in 1969 he became the first African American to direct a major motion picture, The Learning Tree based on his best selling novel and in 1971 he directed Shaft. A true Renaissance man, Gordon Parks passed away in 2006.
As Philip Brookman, curator of photography and media arts at the Corcoran, states, “Gordon Parks’ art has now changed the way we perceive and remember chronic issues, such as race, poverty, and crime, just as it has influenced our understanding of beauty: of nature, landscape, childhood, fashion, and memory.”
Press release from the Jenkins Johnson Gallery website
“Photography for me is not looking, it’s feeling. If you can’t feel what you’re looking at, then you’re never going to get others to feel anything when they look at your pictures”
“You do not go away from here without carrying a huge burden, if you are a decent human being and you have a conscience.”
“I photograph the humble, the anonymous, who are spontaneous and mirror all of us.”
Don McCullin, Sleeping With Ghosts: A Life’s Work in Photography
Many thankx to the National Gallery of Canada 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 ever, the National Gallery of Canada is organising an monographic exhibition dedicated to the work of a contemporary British photographer. Don McCullin: A Retrospective features a collection of 134 exceptional black-and-white photographs taken by McCullin, an unflinching photojournalist best known for his coverage of the world’s most dangerous conflict zones. His photographs have been published in major newspapers and magazines, including The Observer, The Sunday Times and The Daily Telegraph. McCullin has also created an important body of social documentary work and a series of lyrical landscapes in his native Britain. Several of these photographs are included in the exhibition, which will be on display until April 14, 2013 in the NGC’s Prints, Drawings and Photographs Galleries. “McCullin’s photographs belong in an art gallery because they consistently bring clarity and compositional grace to their compelling subject matter. These pictures are both hard to look at and hard not to,” said NGC director and CEO Marc Mayer.
Don McCullin: A Retrospective highlights works from all of McCullin’s major series: portraits of the poor and the homeless in London and northern England (1950s to 1980s); the construction of the Berlin Wall (1961); war and famine in Cyprus, the Congo, Biafra, Vietnam, Bangladesh, Cambodia, Lebanon and Northern Ireland (1964-1982); peoples of Southeast Asia and Africa (1988-2004); and landscapes in Somerset, England, and northern France (1970-2011). In this exhibition, the artist’s journey from working class England to the killing fields and to the landscape of Arthurian myth reveals his searing outrage and profound compassion. Also included are magazines and newspapers relating to past assignments.
McCullin covered war zones on four continents, primarily from the 1960s to the 1980s. His photographs from the battlefields belong to a tradition of war art practiced by Francisco de Goya, Otto Dix and photographer Robert Capa, artists who, like himself, sought to communicate in images the horrors of human conflict. Particularly compelling for their narrative depth, sombre lighting and powerful composition, McCullin’s photographs convey the intensity and intimacy of his human encounters. His landscapes, although also dark and brooding, speak to his desire to distance himself from the subject of human suffering.
Although, McCullin did travel to Syria recently for The Times on one final war assignment (these photographs are not included in the exhibition), his exposure to the worst human atrocities took such a toll on him that he more or less retreated from conflict zones beginning in the 1980s. McCullin does not like being called a war photographer. Nor does he think of himself as an artist, but rather as a photojournalist, or simply, a photographer. In her insightful essay in the exhibition catalogue, Sobey Curatorial Assistant Katherine Stauble writes of the war photographs: “Likely (these images) were not meant to hang on a gallery wall, but rather, to communicate information, to reveal truths and to mobilise action. Now that McCullin has escaped the battlefield and for the past twenty years has been focusing his lens on landscape and still life, one might expect the artist moniker to sit more comfortably with him.”
Press release from the National Gallery of Canada website
Ah symmetry, that vague sense of harmonious and beautiful proportion and balance, that patterned self-similarity that, through Hofer’s large format photographs, reflects the vainglorious human edifices of Northern Italy, superbly beautiful in their empty pride. Customarily devoid of human presence, Hofer’s photographs are technically and aesthetically superb. One has to examine the photographs with respect to their relationship to the passage of time, utilising spatial awareness to try to understand why things exist in specific locations within human culture.
“Both in ancient and modern times, the ability of a large structure to impress or even intimidate its viewers has often been a major part of its purpose, and the use of symmetry is an inescapable aspect of how to accomplish such goals.” (Wikipedia) Symmetries are informative of the world around us, and peer relationships are based on symmetry sending the message “we are all the same.” So Hofer’s symmetrical photographs possess opposing messages: we are all the same but some of us are more important (read powerful) than others.
Hofer’s highly symmetrical rooms are unavoidably also rooms in which anything out of place or potentially threatening can be identified easily and quickly, which has implications for safety, security, and familiarity. In this case it is the absence of human presence. To me this is the critical reading of Hofer’s photographs: they comment on the foibles of the human race, a race nearing the destruction of its only place of habitation, reaching the tipping point on the path to annihilation, yet indulging itself in a continuing race of construction and consumption. There will come a point when these edifices are crumbling and in ruins, as an Ebola-like virus races airborne around the world, destroying 90 percent of the population of the earth within months. The Earth will self balance and all we will be left with will be the memory of an empty symmetry.
Symmetry, then, can be a source of comfort not only as an indicator of biological health, but also of a safe and well-understood living environment. The paradox of Hofer’s environments is that in these colourful, exuberant, profuse environments nothing is alive, the interiors meaningless in an empty, vacuous world.
The human race will soon have left the building.
Dr Marcus Bunyan
Many thankx to Ben Brown Fine Arts for allowing me to publish the photographs in the posting. Please click on the photographs for a larger version of the image.
German photographer Candida Höfer makes a significant return to Ben Brown Fine Arts in London on 12 February with a major solo show, unveiling thirteen new and previously unseen photographs which catalogue the architectural treasures of Northern Italy.
Mantova, Vicenza, Sabbioneta, Venice and Carpi provide the glorious setting for this new series shot over the past two years, a continuation of Höfer’s previous work in Central and Southern Italy. The interiors of palaces, opera houses, libraries and theatres, which Höfer captures with incredible skill, are part of her meticulous documentation of public spaces – places of culture, knowledge, communication and exchange with a rich history and clear functionality. Having rarely visited the Northern region, Höfer was particularly touched by the naturalness and ease with which the local people there accepted this extraordinary architecture as a part of their daily lives.
Höfer’s portraits of interiors, customarily devoid of human presence, emphasise the solemn magnificence of the Palazzo Ducale, Teatro La Fenice and Biblioteca Teresiana, amongst others. By featuring spaces that celebrate mankind’s greatness, yet where people are nowhere to be found, Höfer’s images possess an unexpected poignancy which has become the hallmark of her work. Höfer produces these large-format photographs without digital enhancement or alteration, using long exposure and working solely with the existing light source. The effect is a rare combination of intimacy and scale, in which intricate architectural detail is captured without sacrificing the sense of space and civilised order.
Höfer, a member of the Düsseldorf School (Kunstakademie Düsseldorf), was a noted pupil of the Bechers, who were heavily influenced by the 1920s German art tradition of Neue Sachlichkeit and pioneered a type of detached objectivity. The Bechers’ black and white photographs of industrial landscapes and architecture embodied a clinical, documentary style, which Höfer has retained in her work through the same neutral and methodical process. Yet Höfer’s large-scale colour prints differ in their more sympathetic approach to the building’s culture and history.”
InsideArt TV Marcus Bunyan – Confounding: Contemporary Photography 2013
This week on InsideArt TV, Michel Lawrence talks with Dr Marcus Bunyan about the National Gallery of Victoria’s intriguing photographic exhibition, Confounding: Contemporary Photography, where the photographs exhibited are not always what they seem (Series 3, Episode 1, Part 2).
Many thankx to Michel and Inside Art for inviting me to speak about the exhibition, and the NGV for allowing us to film in the gallery.
Exhibition dates: 13th November, 2012 – 7th April, 2013
From the Art Fund Collection of Middle Eastern Photography at the V&A and the British Museum
Curator: Marta Weiss, Curator of Photographs at the V&A
Newsha Tavakolian (Iranian, b. 1981) From the series Mothers of Martyrs 2006 Digital C-print Art Fund Collection of Middle Eastern Photography at the V&A and the British Museum
A massive posting on a fascinating subject. I know little about this area of (sometimes postcolonial) photography. The images are really strong, powerful and laden with symbology – the signifier (photograph) and signified (meaning of the photograph) evidencing signs that interrogate “the creative responses to the social challenges and political upheavals that have shaped the Middle East over the past 20 years.” The three concepts Recording, Reframing and Resisting are critical to understanding the practices of these artists as they investigate the historicity, sacrifice, repression and persecution of their peoples.
Dr Marcus Bunyan
Many thankx to the Victoria and Albert Museum for allowing me to publish the photographs in the posting. Please click on the photographs for a larger version of the image.
Nermine Hammam (Egyptian, b. 1967) The Break 2011 From the series Upekkha Archival inkjet print The Art Fund Collection of Middle Eastern Photography at the V&A and the British Museum
Light from the Middle East: New Photography is the first major museum exhibition of contemporary photography from and about the Middle East. It features more than 90 works by some of the most exciting artists from the region, spanning North Africa to Central Asia. The exhibition is part of a collaboration between the British Museum and the V&A, which has over the last three years seen the development of a major collection of Middle Eastern photography thanks to substantial funding from the Art Fund. The collection of 95 works has been built in response to a surge of interest in the visual arts in the region and is beginning to remedy the under-representation of Middle Eastern photography in UK collections. Light from the Middle East includes 87 of the works from this shared collection.
The photographs on display show the creative responses to the social challenges and political upheavals that have shaped the Middle East over the past 20 years and include work made following the recent revolution in Egypt. The photographs present multiple viewpoints of a region where collisions between personal, social, religious and political life can be emotive and complex. The exhibition showcases the work of 30 artists from 13 different countries including internationally established practitioners such as Abbas (Iran), Youssef Nabil (Egypt) and Walid Raad (Lebanon) as well as emerging talents such as Taysir Batniji (Palestine), Shadi Ghadirian (Iran) and Abdulnasser Gharem (Saudi Arabia). The work covers a wide range of techniques and subject matter, from photojournalism to staged and digitally manipulated imagery.
Marta Weiss, curator of the exhibition said: “In the past few years contemporary photographic practice from and about the Middle East has been some of the most exciting, innovative and varied art anywhere in the world. The exhibition celebrates the creative and sophisticated ways that contemporary artists use photography to respond to the complexities of the Middle East.”
The exhibition is structured around three key themes; Recording, Reframing and Resisting. Each explores a range of strategies Middle Eastern artists have used to engage with the medium of photography.
The opening section shows how photography can be used as a powerful tool for recording people, places and events. From Newsha Tavakolian’s series Mothers of Martyrs (2006) featuring elderly mothers holding framed pictures of their sons who were killed in the Iran-Iraq war during the 1980s, to Jananne Al-Ani’s disorienting aerial views of the desert in her video Shadow Sites II (2011), this section demonstrates various ways in which the camera has been used to document and record. The work in the second section explores an interest in reframing and reworking preexisting photographs. Shadi Ghadirian’s series Qajar (1998) recreates 19th-century Iranian studio portraits, updating them with contemporary props such as sunglasses and Pepsi cans, while Taysir Batniji applies the modernist style of the German photographers Bernd and Hilla Becher to his series of photographs of Israeli watchtowers in the West Bank.
The final section looks at practitioners who resist the authority of the photograph, questioning the medium’s ability to record factual information. Whether manipulating or digitally altering images, or physically attacking the print surface by scratching and burning, these artists demonstrate a desire to undermine the legibility and reliability of the photograph. In the intimate and poetic series Le Retour Imaginaire (2002), Afghan artist Atiq Rahimi rejects new technology, opting instead to photograph war-ravished Kabul with a primitive box camera. The recent series Uphekka by Nermine Hammam reworks photographs of Egyptian soldiers taken during the protests in Tahrir Square, Cairo in 2011 and transports them to multicoloured fantasy settings that are far removed from the struggles of the Arab Spring.
Press release from the V&A website
Recording
Photography is a seemingly accurate means of recording people, places and events. A photograph can serve a commemorative purpose or document a historic moment. It can reveal something not otherwise visible, such as a place or event the viewer would not have access to, or a particular vantage point available only to the photographer. It can also create a lasting image of a fleeting performance, or of a scene staged only for the camera.
But how reliable is a photograph? Despite the apparent authority of photographic images, they can trick or disorient. They can be ambiguous and difficult to decipher. Their meaning can shift according to context, cropping or captioning. What are the limitations of photography?
The photographers in this section use a range of approaches to exploit and explore the camera’s capacity to record.
Abbas (Iranian, 1944-2018) Rioters burn a portrait of the Shah as a sign of protest against his regime. Tehran, December 1978 1978-1979 From the series Iran Diary Gelatin silver print Art Fund Collection of Middle Eastern Photography at the V&A and the British Museum Abbas@Magnum Photos, courtesy Magnum Gallery
Issa Touma (Syrian, b. 1962) From the series Sufis: The day of al-Ziyara 1995-2005 Gelatin silver print Art Fund Collection of Middle Eastern Photography at the V&A and the British Museum
Issa Touma is a prominent figure in the Syrian art scene. Self-taught, he began his career as a photographer in the early 1990s. In 1996 he founded Le Pont Organisation and Gallery, an independent art organisation to promote freedom of expression and stimulate the local art scene through international events.
His series on the day of al-Ziyara documents an annual procession of Sufi pilgrims in northern Syria. Sufism is a mystical path within Islam. Touma photographed the event over the course of ten years, gradually gaining the trust of his subjects. The resulting images convey his sense of immersion in the festival and capture the fervour of the worshippers.
Jananne Al-Ani (Born Kirkuk, Iraq, 1966. Lives London, UK) Still from ‘Shadow Sites II’ 2011 Single channel digital video. Duration 8 mins 38 secs Photography by Adrian Warren Courtesy the Artist and Rose Issa Projects, London
Al-Ani works with photography, film and video, producing bodies of work that explore the power of testimony and interrogate the documentary tradition, often characterised by an interweaving of intimate recollections of loss and trauma with more formal, official accounts of historic events.
This is a still from a video composed of a series of aerial views, which show that the desert is inhabited and not the unoccupied wilderness it is sometimes believed to be. The title draws on a phenomenon familiar to archaeologists: when the sun is at its lowest, shadows make visible the remains of otherwise undetectable settlements. Al-Ani’s images are presented without explanation and the scale of the landscapes is difficult to interpret. They are deliberately ambiguous and point to the limitations of photography.
Shadow Sites II by Jananne Al-Ani
Extracts from Jananne al Ani’s film Shadow sites II 2011
Waheeda Malullah (Bahrain, b. 1978) From the series Light 2006 Inkjet print on rag paper Art Fund Collection of Middle Eastern Photography at the V&A and the British Museum
Waheeda Malullah uses playfulness and humour to explore social rules, and in particular the roles women play in Islamic society. In the series Light she records a performance staged expressly for the camera. By lying down next to tombs in Bahrain she exaggerates the Shi’i Muslim custom of seeking blessing by touching the tombs of revered people. These stylised compositions are also studies of form, light and shadow.
Ahmed Mater (Saudi Arabian, b. 1979) Magnetism II 2012 Photogravure Acquired thanks to Mr Abdulaziz al-Turki
Ahmed Mater is a Saudi artist and qualified GP. Working in photography, calligraphy, painting, installation and video, Mater reflects his experiences as a doctor and the ways this has challenged his traditional background and beliefs, and explores wider issues about Islamic culture in an era of globalisation. In the series Magnetism, what at first appear to be pilgrims circling the Ka’ba, the sacred building at the heart of the sanctuary at Mecca, are in fact iron filings spiralling around a cube-shaped magnet. Mater refers to the spiritual force that Muslim believers feel during Hajj, the pilgrimage to Mecca. By creating photographs that recall well-known images on a dramatically different scale, Mater also questions the reliability of photography.
Newsha Tavakolian (Iranian, b. 1981) From the series Mothers of Martyrs 2006 Digital C-print Art Fund Collection of Middle Eastern Photography at the V&A and the British Museum
Newsha Tavakolian started her career at the age of 16, as a junior photographer for the Iranian women’s daily Zan-e Rooz. She also worked with other reformist newspapers and by the early 1990s had established herself as one of Tehran’s few female photojournalists, working internationally and particularly focussing on women’s issues. She is a founder member of the EVE international collective of women photojournalists, established in 2006 and of Rawiya, a collective of women photographers from the Middle East, founded in 2011. Her series Mothers of Martyrs shows elderly Iranian women holding framed photographs of their sons who died decades earlier in the Iran-Iraq war (1980-1988). The double portraits attest to photography’s emotive power.
Abbas Kowsari (Iranian, b. 1970) Halabche 2003 Digital C-print Art Fund Collection of Middle Eastern Photography at the V&A and the British Museum
Abbas Kowsari began his career as a photojournalist for the Tehran Times in 1994 and is currently Senior Picture Editor for Shargh, a popular reformist title. This photograph made in nothern Iraq presents a portrait within a portrait. The figure of a peshmerga (a Kurdish combatant) is tightly framed to exclude his face. Instead, the face of rock musician Bryan Adams, on the soldier’s T-shirt, fills a central portion of the composition. The faded black-and-white image is surrounded by saturated colours and brightly gleaming metal. The contrast reinforces the incongruity between warfare in Iraq and western pop culture.
Abdulnasser Gharem (Saudi Arabian, b. 1973) The Path (Siraat) 2009 Inkjet print on aluminium Art Fund Collection of Middle Eastern Photography at the V&A and the British Museum
Abdulnasser Gharem works across a variety of media to explore local Saudi issues. Amongst his best-known works are ‘stamp paintings’, made from industrial paint on rubber stamps, a technique devised to negotiate and comment on censorship. He combines service in the Saudi armed forces (he is currently Lieutenant Colonel) with his activities as an artist.
The subject of this photograph is a bridge in southern Saudi Arabia that was severely damaged in the early 1980s when villagers attempted to take shelter on it during a flash flood. Instead of providing a safe high ground above the floodwaters the bridge collapsed, resulting in the loss of many lives. Gharem spray-painted the word siraat repeatedly on the bridge. The word means path, and in the Qur’an it refers to ‘the path to God’.
Tal Shochat (Israeli, b. 1974) Pomegranate (Rimon) 2010 C-print Art Fund Collection of Middle Eastern Photography at the V&A and the British Museum
In her photographs Shochat stages both figures and objects to create symbolically-laden images that often question the boundary between nature and artifice. Here she applies the conventions of studio portraiture to photographing trees. The first stage in her meticulous process is to identify the perfect specimen of a particular type of tree. When the fruit is at the height of maturity, she cleans the dust off the branches, leaves and fruit. Finally, Shochat photographs the tree, artificially lit and isolated against a black cloth background. The photographs present a view of nature that would never actually exist in a natural environment. The work highlights the tensions in photography between reality and artifice.
Yto Barrada (French, b. 1971) Bricks (Briques) 2003/2011 C-print Art Fund Collection of Middle Eastern Photography at the V&A and the British Museum
Yto Barrada grew up in Paris and Tangier and studied in Paris and New York. Since 2006 she has directed the Cinématèque de Tanger, a cultural centre home to an archive of Maghrebi and Arabic film and video. Barrada’s hometown of Tangier is the subject of much of her work. In this view, recently constructed buildings in various states of completion are scattered across the hillsides. The pile of bricks in the foreground seems to parallel the haphazard nature of the surrounding building projects. The untidy man-made heap echoes the form of the natural hills in the background.
Mehraneh Atashi (Iranian, b. 1980) Bodiless I 2004 From the series Zourkhaneh Project (House of Strength) Digital C-print Art Fund Collection of Middle Eastern Photography at the V&A and the British Museum
Mehraneh Atashi explores the relationship between photography and power in her ongoing investigation into the possibilities of self-portraiture. Her photographic series reveal lesser-known aspects of Iranian life.
This photograph shows the inside of a zurkhana, a traditional Iranian wrestling gym, in Tehran. The artist has explained that ‘tradition forbids the breath of women’ in the zurkhana. Atashi includes herself in the scene through a reflection in a mirror. This picture within a picture emphasises her incongruous presence in a place from which women are normally excluded.
Reframing
The artists in this section appropriate or imitate images from the past in order to make statements about the present. Their sources range from studio portraiture to fashion photography, from Old Master paintings to Modernist photographs. Using a variety of techniques, they update and interrogate, knowingly combining past and present, East and West, fact and fiction. Whether emulating or critiquing, these artists reframe existing images to new ends.
Raeda Saadeh (Palestinian, b. 1977) Who will make me real? 2003 Digital C-print Art Fund Collection of Middle Eastern Photography at the V&A and the British Museum
In her photographs, videos and performances, Raeda Saadeh assumes various roles to explore issues of displacement, gender and identity, with particular reference to the Israeli-Palestinian conflict. Here the artist lies in a pose that recalls 19th-century European paintings of reclining nudes. These often featured non-European women and ‘Orientalist’ costumes and scenery. Saadeh is encased in Palestinian newspapers, which conceal her body from neck to ankle while revealing its contours. The covering is both flimsy and apparently immobilising, resembling a papier-mâché body cast. Any sensuality implied by her pose is disrupted by the harsh realities reported in the newspaper.
Jalali was a photographer and teacher who played a leading role in collecting and preserving historical photographs in Iran. He was an influential teacher, mentored many of the younger generation of Iranian photographers, and was instrumental in setting up Tehran’s first Museum of Photography (also known as Akskhaneh Shahr).
In this montage he layered Qajar-period (1786-1925) portraits and an enlarged detail of an old photographic studio sign that had been crossed out with red paint. Jalali speculated that this defacement occurred during the Islamic revolution (1978-1979), perhaps as an attack on a studio where unveiled women had been photographed.
Shadi Ghadirian (Iranian, b. 1974) From the series Qajar 1998 Gelatin silver print Art Fund Collection of Middle Eastern Photography at the V&A and the British Museum
Shadi Ghadirian was among the first students to graduate in photography from the Azad University, Tehran. Her work addresses concerns of Iranian women of her generation, exploring ideas such as censorship, religion and modernity, often with a wry humour.
The series Qajar is based on a style of photograph made during Iran’s Qajar period (1786-1925). In those portraits, sitters posed with props representing their aspirations. Here, the sitters wear costumes that approximate Qajar fashion, but the objects they pose with are jarringly modern and western – a mountain bike, a stereo or a can of Pepsi. The contrast makes a comment on the tensions between tradition and modernity that women in Iran face today.
Youssef Nabil (Egyptian, b. 1972) The Yemeni Sailors of South Shields (detail) 2006 Hand-coloured gelatin silver print Art Fund Collection of Middle Eastern Photography at the V&A and the British Museum
Youssef Nabil’s photographs and films evoke the glamour and melodrama of the golden age of Egyptian cinema in the 1940s and 50s, known as Hollywood on the Nile. This is one of a dozen portraits made as part of a project to document the last surviving Yemeni men to settle as ship-workers in South Shields, in the north of England. The area is home to one of the oldest Muslim communities in the UK. Nabil hand-coloured the black-and-white photographs in the manner of mid 20th-century Egyptian studio portraiture.
Hassan Hajjaj (Moroccan, b. 1961) Saida in Green 2000 Digital C-print and tyre frame Art Fund Collection of Middle Eastern Photography at the V&A and the British Museum
Hajjaj is inspired by fashion photography, while also mocking its methods. He creates playful juxtapositions between global brand names and local motifs such as veils and babouches (traditional Moroccan slippers). The result is an exuberant collision of the stereotypical symbols of western consumerism and Middle Eastern tradition. The frames, which Hajjaj constructs from recycled materials, transform the photographs into three-dimensional, sculptural objects.
Resisting
The artists in this section question the idea that a photograph can tell the truth. Some digitally alter images. Some scratch negatives and prints, or even burn them. Other artists reject clarity and detail in favour of processes that rely on chance. The results are murky, atmospheric images that require effort to interpret. These manipulations demonstrate the fragility of the photograph, whether at the hands of artists or censors. They also lay bare the power of photographic imagery to influence and control through propaganda or surveillance. These works resist photography’s claim to accuracy and authority.
Atiq Rahimi (Afghanistan, b. 1962) On the threshold of time (Au seuil du temps) 2002 From the series The Imaginary Return (Le retour imaginaire) Gelatin silver print Art Fund Collection of Middle Eastern Photography at the V&A and the British Museum
Atiq Rahimi is a writer, film director and photographer who fled Afghanistan after the Soviet invasion in 1984, seeking political refuge in France, where he is now based. He returned to Afghanistan in 2002, after the fall of the Taliban. Confronted by the ruins of Kabul, he decided not to photograph the city with his digital camera. Instead he chose a primitive box camera normally used to take identity portraits in the streets of Kabul. The unpredictable process resulted in dreamlike photographs. They convey the nostalgia and brutal feelings of loss that Rahimi experienced when revisiting the war-wounded city.
Jowhara AlSaud (Saudi Arabian, b. 1978) Airmail 2008 From the series Out of Line C-print Art Fund Collection of Middle Eastern Photography at the V&A and the British Museum
Jowhara AlSaud’s photographs explore the language of censorship and the malleability of photography. AlSaud scratches the outlines of figures from her personal photographs into photographic negatives, which she then prints. By reducing the figures to line drawings she renders them anonymous. The embracing figures hint at farewells and longing. The envelopes suggest thwarted attempts at communication. AlSaud’s hybrid technique of drawing and photography critiques the censorship of visual communication in Saudi Arabia.
Şükran Moral (Turkish, b. 1962) Despair 2003 Digital C-print Art Fund Collection of Middle Eastern Photography at the V&A and the British Museum
Şükran Moral works in photography, sculpture, video and performance, creating bold and often controversial works that critique society and its institutions. Violence against women is a major theme. She has also made work about other groups who lack societal power, including the mentally ill, children, immigrants and prostitutes.
In this image, brightly-coloured birds, what Moral calls ‘digital nightingales’, perch on a group of migrant workers huddled in a boat. According to the artist, in Turkish literature nightingales are a symbol of hope, love and separation. The men and boys are shown in black-and-white, at the mercy of their situation. The birds, however, are free to fly away.
Nermine Hammam (Egyptian, b. 1967) Armed Innocence II 2011 From the series Upekkha Archival inkjet print Art Fund Collection of Middle Eastern Photography at the V&A and the British Museum
Influenced by a background in film and graphic design, Nermine Hammam works in series, making prints that combine elements of painting and photography, often digitally manipulating and layering images to represent subjects in states of abandonment or altered consciousness. When the army was called in to respond to the protests in Cairo’s Tahrir Square in January 2011, Hammam was struck by the vulnerability of the soldiers. They seemed to want to be anywhere but there. In the Uppekkha series she transports these soldiers into vibrant fantasy settings. Reminiscent of postcards, the series likens the events of Tahrir Square to a tourist attraction that drew the world’s attention, but was not fully understood.
Joana Hadjithomas (Lebanon, b. 1969) and Khalil Joreige (Lebanon, b. 1969) Wonder Beirut #13, Modern Beirut, International Centre of Water-skiing 1997-2006 From the series Wonder Beirut: The Story of a Pyromaniac Photographer C-print mounted on aluminium with face mounting Art Fund Collection of Middle Eastern Photography at the V&A and the British Museum Courtesy of the artists and CRG Gallery, New York and In Situ / Fabienne Leclerc, Paris
Joana Hadjithomas and Khalil Joreige collaborate as filmmakers and artists, producing cinematic and visual art work that intertwine. In the series Wonder Beirut they use photography to blur fact and fiction. The artists noticed that tourist postcards of pre-civil war Beirut were still for sale after the war ended in 1990. They invented a fictional photographer named Abdallah Farrah who, in 1968, was commissioned by the tourist board to make postcard views of Beirut’s attractions. When the civil war broke out in 1975, he began to burn his negatives to reflect the surrounding destruction. The artists present these works as prints from the fictional photographer’s damaged negatives.
John Jurayj (American, b. 1968) Untitled (Large Embassy with Red Mirror #1) 2007 Inkjet print on watercolour paper, with burn holes and mirrored Plexiglas Art Fund Collection of Middle Eastern Photography at the V&A and the British Museum
Using a variety of media, including painting, print-making, sculpture and video, John Jurayj explores the impact of the Lebanese civil war (1975-1990), as both a world conflict and an identity trauma. He often re-works photographs of Lebanon from family albums, press archives and online databases. Here he translates the brutality of war into an attack on the photograph itself. He enlarges to near abstraction a news photograph of the bombed US embassy in Beirut in 1984. The image is further disrupted by the holes burnt into the paper. The holes are then filled in with red, mirrored Plexiglas.
Victoria and Albert Museum Cromwell Road London SW7 2RL Phone: +44 (0)20 7942 2000
![Laure Albin Guillot (French, 1879-1962) 'Estampe pour F. Marquis chocolatier-confiseur, Paris [Print for F. Marquis chocolate maker, Paris]' sans date (without date) from the exhibition 'Laure Albin Guillot: The Question of Classicism' at Jeu de Paume, Paris, February - May, 2013](https://artblart.com/wp-content/uploads/2013/04/albinguillot_13-web.jpg "Laure Albin Guillot (French, 1879-1962) 'Estampe pour F. Marquis chocolatier-confiseur, Paris [Print for F. Marquis chocolate maker, Paris]' sans date (without date) from the exhibition 'Laure Albin Guillot: The Question of Classicism' at Jeu de Paume, Paris, February - May, 2013")
![Laure Albin Guillot (French, 1879-1962) 'Les tierces alternées, illustration pour les Préludes de Claude Debussy [The third alternative, illustration for Claude Debussy Preludes]' 1948](https://artblart.com/wp-content/uploads/2013/04/laure-albin-guillot-les-tierces-alternes-illustration-pour-les-prludes-de-claude-debussy-1948-web.jpg "Laure Albin Guillot (French, 1879-1962) 'Les tierces alternées, illustration pour les Préludes de Claude Debussy [The third alternative, illustration for Claude Debussy Preludes]' 1948")
![Laure Albin Guillot (French, 1879-1962) 'Nudite de Jeune Femme [Nude of a Young Woman]' c. 1950](https://artblart.com/wp-content/uploads/2013/04/laure_albin-guillot_nudite_de_jeune_femme-web.jpg "Laure Albin Guillot (French, 1879-1962) 'Nudite de Jeune Femme [Nude of a Young Woman]' c. 1950")
![Laure Albin Guillot (French, 1879-1962) 'Sans titre [women with crossed legs on a plinth]' 1937](https://artblart.com/wp-content/uploads/2013/04/albinguillot_sanstitre-web.jpg "Laure Albin Guillot (French, 1879-1962) 'Sans titre [women with crossed legs on a plinth]' 1937")
![American & Australasian Photographic Company. '[Merlin's photographic cart ?] and Mitchell's London Hotel, Railway Place, Sandridge [Port Melbourne]' 1870-1875 from the exhibition 'The Greatest Wonder of the World' at the State Library of New South Wales, Sydney, February - May, 2013](https://artblart.com/wp-content/uploads/2013/04/american-australasian-photographic-company-merlins-photographic-cart-and-mitchells-london-hotel-railway-place-sandridge-port-melbourne-1870-1875-web.jpg "American & Australasian Photographic Company. '[Merlin's photographic cart ?] and Mitchell's London Hotel, Railway Place, Sandridge [Port Melbourne]' 1870-1875 from the exhibition 'The Greatest Wonder of the World' at the State Library of New South Wales, Sydney, February - May, 2013")
![American & Australasian Photographic Company. 'A domestic miner [Hill End]' 1872](https://artblart.com/wp-content/uploads/2013/04/american-australasian-photographic-company-couple-and-child-in-the-front-formal-garden-of-their-slab-hut-cottage-hill-end-1870-1875-web.jpg "American & Australasian Photographic Company. 'A domestic miner [Hill End]' 1872")
![Gibbs, Shallard & Co., Colour Printers [188-?] 'Holtermann's Life Preserving Drops' 1872](https://artblart.com/wp-content/uploads/2013/04/holtermans-life-preserving-drops-1872-web.jpg "Gibbs, Shallard & Co., Colour Printers [188-?] 'Holtermann's Life Preserving Drops' 1872")
![American & Australasian Photographic Company. '[French warship 'Atalante', Fitzroy Dock, Sydney, 1873]' Aug 1873](https://artblart.com/wp-content/uploads/2013/04/american-australasian-photographic-company-french-warship-atalante-fitzroy-dock-sydney-1873-1873-web.jpg "American & Australasian Photographic Company. '[French warship 'Atalante', Fitzroy Dock, Sydney, 1873]' Aug 1873")
![American & Australasian Photographic Company. '[French warship 'Atalante' at Fitzroy Dock, Sydney, 1873 / attributed to the American & Australasian Photographic Company]' 1873](https://artblart.com/wp-content/uploads/2013/04/french-warship-atalante-at-fitzroy-dock-web.jpg "American & Australasian Photographic Company. '[French warship 'Atalante' at Fitzroy Dock, Sydney, 1873 / attributed to the American & Australasian Photographic Company]' 1873")
![Roman Vishniac (Russian-American, 1897-1990) 'Untitled [Jewish schoolchildren, Mukacevo]' c. 1935-1938 from the exhibition 'Roman Vishniac Rediscovered' at the International Center of Photography (ICP), New York, January - May, 2013](https://artblart.com/wp-content/uploads/2013/04/vishniac_jewish-school-children-web.jpg "Roman Vishniac (Russian-American, 1897-1990) 'Untitled [Jewish schoolchildren, Mukacevo]' c. 1935-1938 from the exhibition 'Roman Vishniac Rediscovered' at the International Center of Photography (ICP), New York, January - May, 2013")
![Roman Vishniac (Russian-American, 1897-1990) '[Boys admiring a motorcycle, Brandenburg, outskirts of Berlin]' 1929 - early 1930s (printed 2012)](https://artblart.com/wp-content/uploads/2014/08/vishniac-boys-admiring-a-motorbike.jpg "Roman Vishniac (Russian-American, 1897-1990) '[Boys admiring a motorcycle, Brandenburg, outskirts of Berlin]' 1929 - early 1930s (printed 2012)")
![Roman Vishniac (Russian-American, 1897-1990) 'Untitled [Boy with kindling in basement dwelling, Krochmalna Street, Warsaw]' c. 1935-1938](https://artblart.com/wp-content/uploads/2013/04/vishniac_boy-with-kindling-in-basement-dwelling-web.jpg "Roman Vishniac (Russian-American, 1897-1990) 'Untitled [Boy with kindling in basement dwelling, Krochmalna Street, Warsaw]' c. 1935-1938")
![Roman Vishniac (Russian-American, 1897-1990) 'Untitled [Interior of the Anhalter Bahnhof, a railway terminus near Potsdamer Platz, Berlin]' late 1920s - early 1930s](https://artblart.com/wp-content/uploads/2013/04/vishniac_interior-of-the-anhalter-bahnhof-web.jpg "Roman Vishniac (Russian-American, 1897-1990) 'Untitled [Interior of the Anhalter Bahnhof, a railway terminus near Potsdamer Platz, Berlin]' late 1920s - early 1930s")
![Roman Vishniac (Russian-American, 1897-1990) 'Untitled [Street scene with swastika flag in background, Berlin]' c. 1935-36](https://artblart.com/wp-content/uploads/2013/04/vishniac_street-scene-with-swastika-flag-in-background-web.jpg "Roman Vishniac (Russian-American, 1897-1990) 'Untitled [Street scene with swastika flag in background, Berlin]' c. 1935-36")
![Roman Vishniac (Russian-American, 1897-1990) 'Untitled [Nazi Storm Troopers marching next to the Arsenal in front of the Berlin Cathedral]' c. 1935](https://artblart.com/wp-content/uploads/2013/04/vishniac_nazi-storm-troopers-web.jpg "Roman Vishniac (Russian-American, 1897-1990) 'Untitled [Nazi Storm Troopers marching next to the Arsenal in front of the Berlin Cathedral]' c. 1935")
![Roman Vishniac (Russian-American, 1897-1990) 'Untitled [Beach dwellers in the afternoon, Nice, France]' c. 1939](https://artblart.com/wp-content/uploads/2013/04/vishniac_beach-dwellers-web.jpg "Roman Vishniac (Russian-American, 1897-1990) 'Untitled [Beach dwellers in the afternoon, Nice, France]' c. 1939")
![Roman Vishniac (Russian-American, 1897-1990) 'Untitled [Zionist youth building a school and foundry while learning construction techniques, Werkdorp Nieuwesluis, Wieringermeer, The Netherlands]' 1939](https://artblart.com/wp-content/uploads/2013/04/vishniac_zionist-youth-building-a-school-web.jpg "Roman Vishniac (Russian-American, 1897-1990) 'Untitled [Zionist youth building a school and foundry while learning construction techniques, Werkdorp Nieuwesluis, Wieringermeer, The Netherlands]' 1939")
![Roman Vishniac (Russian-American, 1897-1990) '[Vishniac's daughter Mara posing in front of an election poster for Hindenburg and Hitler that reads "The Marshal and the Corporal: Fight with Us for Peace and Equal Rights," Wilmersdorf, Berlin]' 1933](https://artblart.com/wp-content/uploads/2014/08/icp_vishniac_pressimage_3-web.jpg "Roman Vishniac (Russian-American, 1897-1990) '[Vishniac's daughter Mara posing in front of an election poster for Hindenburg and Hitler that reads \"The Marshal and the Corporal: Fight with Us for Peace and Equal Rights,\" Wilmersdorf, Berlin]' 1933")
![Georges Hugnet (French, 1906-1974) 'Untitled [Surrealist beach collage]' c. 1935](https://artblart.com/wp-content/uploads/2013/04/georges-hugnet-untitled-surrealist-beach-collage.jpg "Georges Hugnet (French, 1906-1974) 'Untitled [Surrealist beach collage]' c. 1935")
Art Blart _ art and cultural memory archive 
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