Archive for the 'New York' Category

26
Feb
17

Exhibition: ‘The Camera Exposed’ at the Victoria and Albert Museum, London

Exhibition dates: 23rd July 2016 – 5th March 2017

 

There’s not much to say about this exhibition from afar, except to observe it seems pretty standard fare, with no outstanding revelations or insights into the conditions of the camera’s “becoming” in photographic images or an exploration of the limits of the lens’ seeing. As the Centre for Contemporary Photography notes in their current exhibition, An elegy to apertures, “The camera receives and frames the world through the lens. This aperture is a threshold that demarcates the distinction between the scene and its photographic echo. It is both an entrance and a point of departure.”

So what happens to this threshold when we fuse the photographer’s eye with the “oculus artificialis” of the camera? When we examine the way apertures, shadows and ghosts haunt photographic images long after the shutter has closed? If, as the text for this exhibition states, “Voyeurism is a recurring motif in photography, as the practice often involves observing and recording others,” what does this voyeurism say about the recording of the self as subject and the camera together – the self actualised, self-reflexive selfie?

An insightful text on the Based on truth (and lies) website observes of a 1925 self-portrait by photographer Germaine Krull (1897-1985):

“In 1925, Germaine Krull photographed herself in a mirror with a hand-held camera which half-covered her face. The camera is focused on the foreground of the image, such that the lens and the two hands holding the camera are sharp, while the face behind the camera is blurred. This self-portrait has given rise to many a feminist or professionally critical interpretation, ranging from the female domestication “of the masculinity of technical apparatus” through to the analogy of the camera with a weapon used by the photographer to “reduce the person opposite her […] to an impotent object”. However, if we attempt to interpret the photograph not so much in a figurative sense as in a concrete, phenomenal sense, we arrive at a completely opposite conclusion. By selecting the depth of field in such a way that only the camera and the hands are sharp, Germaine Krull has isolated her act of photographing from her subjectivity and individuality as the photographer. It is the technical apparatus, the camera, which is the focal point of the image and behind which the photographer’s face is blurred beyond recognition. We may assume that this physiognomical retreat behind the camera is less a typical feminine gesture of shyness and reticence than the characteristically ideological approach of a modernist photographer. There is one critical point in Krull’s portrait of herself as a photographer which gives us good reason to make this assumption, namely the fusion of the photographer’s eye with the “oculus artificialis” of the camera. The notion that the camera lens could not only replace the human eye as a means of capturing the world visually but also improve upon its ability to penetrate reality to its invisible depths was paradigmatic of the new, basically positivist photographic aesthetic of the 1920s. It is an aesthetic defined by the Bauhaus theorist László Moholy-Nagy in his manifesto “Painting Photography Film” in 1925 and visualized by countless collages, posters and book covers of the 1920s and 1930s depicting the camera lens as a substitute for the human eye. Germaine Krull’s self-portrait wholly identifies with this new photographic aesthetic, too. Indeed, her influential work “Métal”, a photographic eulogy of modern technology published in 1928, is its embodiment.”

The highlight for me is that always transcendent image by Judy Dater, Imogen and Twinka at Yosemite (1974, below). I would hope in the exhibition there would be images by Diane Arbus, Edward Weston, Vivian Maier, Man Ray, Rodchenko and others. But you never know.

Marcus

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

 

In the age of the mobile phone, the camera as a stand-alone device is disappearing from sight. Yet generations of photographers have captured the tools of their trade, sometimes inadvertently as reflections or shadows, and sometimes as objects in their own right.

Throughout the history of photography the camera has often made an appearance in its own image, from the glint of Eugène Atget’s camera in a Parisian shop window from the 1900s, to the camera that serves as an eye in Calum Colvin’s 1980s photograph of a painted assemblage of objects.

Many images of cameras exploit the instrument’s anthropomorphic qualities. Held up to the face, as in Richard Sadler’s portrait of Weegee, it becomes a mask, the lens a mechanical eye. It conceals the photographer’s features yet reinforces his or her identity. Set on a tripod, it can take on human form, appearing like a body supported by legs, and can stand in for the photographer.

Photographs that include cameras often draw attention to the inherent voyeurism of the medium by turning the instrument towards the viewer. Such images confront the viewer’s gaze, returning it with the cool, mechanical look of the lens. The viewer cannot help but be aware not only of seeing, but of being seen.

Text from the V&A website

 

 

Lady Hawarden. 'Clementina Maude, 5 Princes Gardens; Photographic Study' c. 1862-1863

 

Lady Hawarden (Viscountess, born 1822 – died 1865)
Clementina Maude, 5 Princes Gardens; Photographic Study
c. 1862-1863
Albumen print; Sepia photograph mounted on green card
21.6 cm x 23.2 cm
© Victoria and Albert Museum, London

 

 

Lady Hawarden, a noted amateur photographer  of the 1860s, frequently photographed her children. Here, her second-eldest daughter  Clementina Maude poses next to a mirror, in  which a bulky camera is reflected. The camera  seems to stand in for the photographer, making  this a mother-daughter portrait of sorts.

This photograph gives a good idea of Lady Hawarden’s studio and the way she used it. It was situated on the second floor of her house at 5 Princes Gardens in the South Kensington area of London. Here her daughter Clementina poses beside a mirror. A movable screen has been placed behind it, across the opening into the next room. A side table at the left balances a desk at the right. The figure of the young girl is partially balanced and echoed by the camera reflected in the mirror and the embroidery resting on the table beside it.

Hawarden appears to have worked with seven different cameras. The one seen in the mirror is the largest. Possibly there is a slight suggestion of a hand in the act of removing and/or replacing the lens cap to begin and end the exposure. (Text from the V&A website)

 

Lady Hawarden. 'Clementina Maude, 5 Princes Gardens; Photographic Study' c. 1862-1863 (detail)

 

Lady Hawarden
Clementina Maude, 5 Princes Gardens; Photographic Study (detail)
c. 1862-1863
© Victoria and Albert Museum, London

 

Philippe Halsman. '"Rita Hayworth," Harper's Bazaar Studio' 1943

 

Philippe Halsman
“Rita Hayworth,” Harper’s Bazaar Studio
1943
© Philippe Halsman Archive

 

Laelia Goehr. 'Bill Brandt with his Kodak Wide-Angle Camera' 1945

 

Laelia Goehr
Bill Brandt with his Kodak Wide-Angle Camera
1945
© Alexander Goehr

 

 

Laelia Goehr (1908-2020), learned photography from Bill Brandt, who poses for this portrait with his newly-acquired Wide-Angle Kodak. This model was originally used by police to photograph crime scenes – the lens provides 110 degrees angle of view, equating approximately to a 14/15mm lens on a 35mm camera. Brandt experimented with it to produce his series Perspectives on Nudes, the same year as this portrait was taken. Brandt’s camera, which was made of mahogany and brass with removable bellows, was sold by Christie’s in 1997 for £3450. (Text from the V&A website)

 

John French. 'John French and Daphne Abrams in a tailored suit' 1957

 

John French (born 1907 – died 1966)
John French and Daphne Abrams in a tailored suit
1957, printed October 2009; print made by Jerry Jack
Gelatin silver print
27.8 cm x 38 cm
Published in the TV Times, 1957
© Victoria and Albert Museum, London

 

 

French often left the actual release of the shutter to his assistants. On this occasion however, he inserted himself into the picture, kneeling behind a tripod-mounted Rolleiflex with the shutter release cable in his hand. His crouched, slightly rumpled presence gives a sense of behind-the scenes studio work and contrasts playfully with the polished elegance of the model beside him.

 

Richard Avedon. 'Suzy Parker, dress by Nina Ricci, Champs-Elysée, Paris' 1962

 

Richard Avedon
Suzy Parker, dress by Nina Ricci, Champs-Elysée, Paris
1962
© Richard Avedon Foundation

 

Richard Sadler. "Weegee the Famous" 1963

 

Richard Sadler
“Weegee the Famous”
1963
© Richard Sadler FRPS

 

 

Coventry-based portrait photographer Richard Sadler (b. 1927) photographed the self-proclaimed ‘Weegee the Famous’ in 1963. Weegee was a New York press photographer who gained his nickname – a phonetic spelling of Ouija, the fortune-telling board game – for his reputation for arriving at crime scenes before the police. His fame was international by the time this portrait was taken. Weegee’s visit to Coventry coincided with ‘Russian Camera Week’ at the city’s Owen Owen department store. The camera Weegee holds up to his eye here is the Zenit 3M, a newly-introduced Russian model made by the Krasnogorsk Mechanic Factory between 1962 and 1970.

A few years later Weegee made a comparable self-portrait in which the camera (this time a recent Nikon model) obscures his right eye. (Text from the V&A website)

 

Photographer unknown. 'Camera on black cloth' Date unknown

 

Photographer unknown
Camera on black cloth
Date unknown
© Victoria and Albert Museum, London

 

 

The camera pictured here is a Super Ikonta C 521/2 camera, produced by the German company Zeiss Ikon from about 1936 to 1960. It has been carefully lit and arranged on a velvet cloth as if it were a still-life subject, by an unknown photographer. (Text from the V&A website)

 

Tim Walker. 'Lily Cole with Giant Camera' 2004

 

Tim Walker (born 1970)
Lily Cole with Giant Camera
2004
© Tim Walker

 

 

British fashion photographer Tim Walker (born 1970) has collaborated with the art director and set designer Simon Costin for over a decade, and Costin’s oversized props feature in many of Walker’s sparkling, magical scenes. Costin based the giant camera on Walker’s 35mm Pentax K1000.Walker found inspiration for this shoot in a 1924 fashion illustration by Vogue artist Benito. Benito depicted girls reading a magazine from which the models appear to be coming alive. (Text from the V&A website)

 

 

Every photograph in this display features at least one camera. From formal portraits to casual snapshots, still-lifes to collages, they appear as reflections or shadows, and sometimes as objects in their own right. This summer the V&A displays of over 120 photographs that explore the camera as subject. People are taking more photographs today than ever before, but as they increasingly rely on smartphones, the traditional device is disappearing from sight.

The Camera Exposed showcases works by over 57 known artists as well as many unidentified amateur photographers. From formal portraits to casual snapshots, and from still-lifes to cityscapes, each work features at least one camera. Portraits of photographers such as Bill Brandt, Paul Strand and Weegee, posed with their cameras, are on display alongside self-portraits by Eve Arnold, Lee Friedlander and André Kertész, in which the camera appears as a reflection or a shadow. Other works depict cameras without their operators. In the earliest photograph included in the display, from 1853, Charles Thurston Thompson captures himself and his camera reflected in a Venetian mirror. The most recent works are a pair of 2014 photomontages by Simon Moretti, created by placing fragments of images on a scanner.

The display showcases several new acquisitions, including a recent gift of nine 20th-century photographs. Amongst these are a Christmas card by portrait photographer Philippe Halsman, an image of photojournalist W. Eugene Smith testing cameras and a self-portrait in the mirror by the French photojournalist Pierre Jahan. On display also is a recently donated collection of 50 20th-century snapshots of people holding cameras or in the act of taking photographs. These anonymous photographs attest to the broad social appeal of the camera.

Many of the photographs in the display highlight the anthropomorphic qualities of the camera. Held up to the face like a mask, as in Richard Sadler’s Weegee the Famous, the lens becomes an artificial eye. In Lady Hawarden’s portrait of her daughter, a mirror reflection of the camera on a tripod takes on a human form, a body supported by legs.

Cameras in photographs can also emphasise the inherent voyeurism of the medium. Judy Dater explores this theme in her well-known image of the fully clothed photographer Imogen Cunningham posed as if about to snap nude model Twinka Thiebaud. In other photographs on display, the camera confronts the viewer with its mechanical gaze, drawing attention to the experience not only of seeing, but of being seen.

Press release from the V&A

 

Charles Thurston. 'Thompson Venetian mirror circa 1700' 1853

 

Charles Thurston Thompson (born 1816 – died 1868)
Venetian mirror circa 1700
1853
Albumen print from wet collodion-on-glass negative
22.8 cm x 16.3 cm
© Victoria and Albert Museum, London

 

 

As early as 1853, Charles Thurston Thompson (1816-68), the first official photographer to the South Kensington Museum (as the V&A was then called), recorded his reflection, along with that of his camera, in the glass of an ornate Venetian mirror. Loan objects such as the mirror were photographed so that photographic copies could be sold to designers, craftsmen and students, and also filed in the Museum’s library for study. By recording not only the frame’s intricate carvings but also his reflection and that of his box form camera and tripod, Thompson showed the very process by which he made the image. It gives us a vivid glimpse of a photographer at work outdoors in the early days of the Museum and the profession of Museum Photography. (Text from the V&A website)

 

Eugène Atget. 'Shopfront, Quai Bourbon, Paris, France' c. 1900

 

Eugène Atget (born 1857 – died 1927)
Shopfront, Quai Bourbon, Paris, France
c. 1900
Albumen print from gelatin dry plate negative
21 cm x 17.5 cm
© Victoria and Albert Museum, London

 

 

The reflection of Eugène Atget’s (1857-1927) camera is an appealing detail in this photographic record of Parisian architecture from the turn of the century. Atget’s photographs had a primarily documentary role – this image was purchased by the V&A in 1903 as an illustration of Parisian ironwork. Yet it carries a strangeness which has fascinated 20th-century photographers. His photographs acquired artistic status in the mid-1920s when they were ‘discovered’ by artists associated with Surrealism. (Text from theV&A website)

This photograph is an albumen print, contact printed by Atget from a 24 x 18 glass negative. The dark shapes of two clips which held the negative in place on the right edge of the image are visible. This image was one of many photographs bought by the V&A directly from Atget, in this case, in 1903. This photograph would have been bought as simply an illustration of ironwork in Paris.

The albumen process was almost never used by the early 1900s, so the image can be dated to the 19th century. The use of this developing process also supports the non-art status intended for the photograph. There is, however, an ambiguity in the reading of this image and most strongly in the reflection in the door of the street and Atget with his camera. This is one of a number of Atget images where it is possible to see why his photographs have fascinated 20th-century photographers; it carries, whether intended or not, a strangeness which invests the image with potential meaning beyond its primarily documentary role. (Text from the V&A website)

 

Pierre Jahan. 'Autoportrait à Velo ('Self-portrait on bike') ' 1935

 

Pierre Jahan
Autoportrait à Velo (‘Self-portrait on bike’)
June 1944
Gelatin silver print
© Victoria and Albert Museum, London

 

 

Here, Jahan seems to have paused while cycling through the streets of Paris to snap himself in a mirror. His dangling cigarette and precarious perch on the bicycle suggest spontaneity, but the design of his camera demanded a deliberate approach. A Reflex-Korelle, manufactured in Dresden, it usually required the operator to hold it at waist level and look down into the viewfinder.

 

Unknown. Vernacular photograph c. 1940s

 

 

Unknown
Vernacular photograph
c. 1940s
Gelatin silver print
71 mm x 98 mm
© Victoria and Albert Museum, London

 

 

Vernacular portrait photograph of a woman in front of a fence, using a camera held at chest height. Photographer unknown, c.1940s. Gelatin silver print, from the collection of Peter Cohen, given as part of a group of 50 photographs featuring cameras.

 

Elsbeth Juda. 'Mediterranean Fortnight' 1953

 

Elsbeth Juda 
Mediterranean Fortnight
1953
© Siobhan Davies

 

 

Elsbeth Juda (1911-2014) was a British fashion photographer who worked for more than 20 years as photographer and editor on The Ambassador magazine. This image was shot at an archaeological site in Cyprus for a story on British fashion abroad. The model appears to pose for a local tintype photographer with a homemade looking camera. Tintype, also called ferrotype, was an early photographic process which produced an underexposed negative using a thin metal plate. Tintype photography was around 100 years old when Juda took this shot. (Text from the V&A website)

 

Armet Francis. 'Self-portrait in Mirror' 1964

 

Armet Francis
Self-portrait in Mirror
1964
© Armet Francis

 

 

Armet Francis was born in Jamaica in 1945 and moved to London at the age of ten. His photographic career began in his mid-teens when he worked as an assistant for a West End photographic studio. His early photographs show him experimenting with the camera as a technical device and a tool for self-representation. The camera in this self-portrait is a Yashica-Mat LM twin lens reflex, an all-mechanical model introduced in 1958, with an inbuilt light meter. It records his identity as a professional photographer, while the surrounding scene offers an intimate glimpse into his personal life. (Text from the V&A website)

 

Judy Dater. 'Imogen and Twinka at Yosemite' 1974

 

Judy Dater
Imogen and Twinka at Yosemite
1974
© Judy Dater

 

Cameras in photographs can also emphasise the inherent voyeurism of the medium. Judy Dater explores this theme in her well-known image of the fully clothed photographer Imogen Cunningham posed as if about to snap nude model Twinka Thiebaud.

Dater met Imogen Cunningham, a prominent American photographer, in 1964. Cunningham acted as a mentor to Dater, and the two became close friends. This image is from Dater’s larger series addressing the theme of voyeurism, in particular the idea of someone clothed watching someone nude. Voyeurism is a recurring motif in photography, as the practice often involves observing and recording others.

 

 

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17
Feb
17

Exhibition: ‘Gay Gotham: Art and Underground Culture in New York’ at the Museum of the City of New York, New York City Part 2

Exhibition dates: 7th October 2016 – 26th February 2017

An exhibition showcasing Lesbian, Gay, Bisexual, Transgender, and Queer artistic life in New York City through the social networks of Leonard Bernstein, Mercedes de Acosta, Harmony Hammond,  Bill T. Jones, Lincoln Kirstein, Greer Lankton, George Platt Lynes,  Robert Mapplethorpe, Richard Bruce Nugent, and Andy Warhol.

Curators: Donald Albrecht, MCNY curator of architecture and design, and Stephen Vider, MCNY Mellon Postdoctoral Fellow.

 

 

Part two of this monster posting on the exhibition Gay Gotham: Art and Underground Culture in New York at the Museum of the City of New York.

Highlights include photographs by Carl Van Vechten; art work by and of Andy Warhol; a video of the “Panzy Craze” of the the 1920s and 1930s; a photograph of a very young and skinny Robert Mapplethorpe and some of his early art work; some wonderful subversiveness from Greer Lankton; two glorious photographs from one of my favourite artists, Peter Hujar; and a great selection of book covers and posters, including the ever so sensual, German Expressionist inspired Nocturnes for the King of Naples cover art by Mel Odom.

Marcus

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Many thank to the Museum of the City of New York for allowing me to publish the art work in the posting. Please click on the photographs for a larger version of the image.

 

 

Themes

Printing

Foujita. "Helen Morgan Jr. And Jean Malin at the Smart Club Abbey," 'Vanity Fair' February 1931

 

Foujita
“Helen Morgan Jr. And Jean Malin at the Smart Club Abbey”
Vanity Fair
February 1931
Private collection

 

 

Léonard Tsuguharu Foujita (藤田 嗣治 Fujita Tsuguharu, November 27, 1886 – January 29, 1968) was a Japanese-French painter and printmaker born in Tokyo, Japan, who applied Japanese ink techniques to Western style paintings. He has been called “the most important Japanese artist working in the West during the 20th century”. His Book of Cats, published in New York by Covici Friede, 1930, with 20 etched plate drawings by Foujita, is one of the top 500 (in price) rare books ever sold, and is ranked by rare book dealers as “the most popular and desirable book on cats ever published”.

 

André Tellier. 'Twilight Men' (Greenberg, New York) 1931

 

André Tellier
Twilight Men (Greenberg, New York)
1931
Fales Library and Special Collections, New York University

 

 

First published in 1931, this is an extremely uncommon early novel set in New York City of homosexuality and a young man whose gay tendencies infuriates his father, who attempts to set him upon the “path of normality” by hiring a mistress to seduce him.

“Like many early gay novels, the book does not have a happy ending: the main character becomes addicted to drugs, murders his father, and kills himself. This theme (the gay monster or the gay degenerate) occurs very frequently before the 1960’s. Originally, this was the only way that a book with any kind of gay themes could even be published; that is, it was only palatable – or even legal – to feature a gay protagonist if that person “gets what’s coming to him” in the end.

The February 1934 issue of Chanticleer, a gay literary “magazine,” includes reviews by Henry Gerber of several novels, including Twilight Men. He wrote: “TWILIGHT MEN, by Andre Tellier, deals with a young Frenchman, who comes to America, is introduced into homosexual society in New York, becomes a drug addict for no obvious reason, finally kills his father and commits suicide. It is again excellent anti-homosexual propaganda, although the plot is too silly to convince anyone who has known homosexual people at all.”

Little has been written about the author, Andre Tellier, himself. He wrote other books, including A Woman of Paris, The Magnificent Sin, Vagabond April, and Witchfire; but nothing else is really known about him.” (Text from the Somewhere Books website)

 

Blair Niles. 'Strange Brother' (Horace Liveright, New York) 1931

 

Blair Niles
Strange Brother (Horace Liveright, New York)
1931
Fales Library and Special Collections, New York University

 

 

Strange Brother is a gay novel written by Blair Niles published in 1931. The story is about a platonic relationship between a heterosexual woman and a gay man and takes place in New York City in the late 1920s and early 1930s. Strange Brother provides an early and objective documentation of homosexual issues during the Harlem Renaissance.

Mark Thornton, the story’s protagonist, moves to New York City in hopes of feeling like less of an outsider. At a nightclub in Harlem he meets and befriends June Westbrook. One night they witness a man named Nelly being arrested. June encourages Mark to investigate. This leads Mark to attend Nelly’s trial, where he is found guilty and sentenced to six months’ imprisonment on Welfare Island for his feminine affections and gestures. Next Mark researches the crimes against nature sections of the penal code. Shaken up by his findings and the events, Mark confesses his own homosexuality to June.

Mark and June’s friendship continues to grow, and June introduces Mark to a number of friends in her social circle. Various social interactions ensue including a dinner party for a departing professor, a trip to a nightspot featuring a singer called Glory who sings Creole Love Call and attending a drag ball. Despite reading Walt Whitman’s poetry collection Leaves of Grass, Edward Carpenter’s series of papers Love’s Coming of Age, and Countee Cullen’s poetry, Mark is afraid to come out. Subsequently, Mark is threatened with being outed at work. In response to this threat, Mark commits suicide by shooting himself.

Text from the Wikipedia website

 

Ann Bannon. 'I Am a Woman' (Gold Medal Books, New York) 1959

 

Ann Bannon
I Am a Woman (Gold Medal Books, New York)
1959
Private collection

 

 

The classic 1950s novel from the Queen of Lesbian Pulp. “For contemporary readers the books offer a valuable record of gay and lesbian life in the 1950s. Most are set in Greenwich Village, and Ms. Bannon’s descriptions of bars, clubs and apartment parties vividly evoke a vanished community. Her characters also have historical value. Whereas most lesbians in pulp are stereotypes who get punished for their desires, Beebo and her friends are accessibly human. Their struggles with love and relationships are engrossing today, and half a century ago they were revolutionary.” ~ New York Times “Sex. Sleeze. Depravity. Oh, the twisted passions of the twilight world of lesbian pulp fiction.” ~ Chicago Free Press “Little did Bannon know that her stories would become legends, inspiring countless fledgling dykes to flock to the Village, dog-eared copies of her books in hand, to find their own Beebos and Lauras and others who shared the love they dared not name.” ~ San Francisco Bay Guardian “Ann Bannon is a pioneer of dyke drama.” ~ On Our Backs “When I was young, Bannon’s books let me imagine myself into her New York City neighborhoods of short-haired, dark-eyed butch women and stubborn, tight-lipped secretaries with hearts ready to be broken. I would have dated Beebo, no question.” ~ Dorothy Allison “Bannon’s books grab you and don’t let go.”  ~ Village Voice

 

'The Young Physique' October/November 1964

 

The Young Physique
October/November 1964
Collection of Kelly McKaig

 

 

'Muscleboy' March/April 1965

 

Muscleboy
March/April 1965
Collection of Kelly McKaig

 

Design by Gran Fury for Art Against AIDS/On The Road and Creative Time, Inc. 'Kissing Doesn't Kill: Greed and Indifference Do' 1989

 

Design by Gran Fury for Art Against AIDS/On The Road and Creative Time, Inc.
Kissing Doesn’t Kill: Greed and Indifference Do
1989
Bus poster
Gran Fury, Courtesy The New York Public Library Manuscripts and Archives Division

 

Placemaking: Cruising

Anonymous photographer. 'New York City street photograph' 1960s

 

Anonymous photographer
New York City street photograph
1960s
Collection of Philip Aarons and Shelley Fox Aarons, New York

 

Leonard Fink. 'Charley Inside Ramrod' c. 1976

 

Leonard Fink
Charley Inside Ramrod
c. 1976
Courtesy LGBT Community Center National History Archive

 

 

THE RAMROD, 394 West Street, (between Charles and West 10th Streets). Constructed in the 1850’s this building (actually two, that were attached) housed S. J. Seely & Co., a lime dealer, and C. August, (on the corner) a porter house, and private residence. In the late 70’s it was one of the most popular leather bars in New York. Attracting a large motorcycle clientele, West Street always had a plethora of bikes parked out front. The doorman, Rico, had a long black bushy beard, and an ever present black cowboy hat, also he wore on his hand a glove with sharp stainless steel blades attached to it, (sort of a precursor to Freddie Kruger). The bar, and Rico could be very intimidating, if you were new, or “Brown” as the uninitiated were called… referring to the brown leather they wore.

Greenwich Village: A Gay History

 

In June 1993, the Estate of Leonard Fink donated a photographic collection to The Center in New York City through its executor, Steven E. Bing. The materials in the Fink Estate was willed to four AIDS related organisations who gave all of the rights to the photos to the Center Archive. Some of these were signed “Len Elliot,” which might have ben a pseudonym of Fink’s. The collection consists of over 25,000 negatives and images capturing Greenwich Village and much of the spirit of the late 60s and 70s. Some of the most well known images in the collection are Fink’s work at “The Piers” along the Hudson River. Fink documented over 25 years of gay life in New York City but his photography was never exhibited or published in his lifetime. He was self taught and used an old 35mm camera while working out of a homemade darkroom in his West 92nd Street apartment.

Text from the Gay Cities website

 

Leonard Fink was an amateur photographer who documented over 25 years of gay life in New York including parades, bars, and especially the west side piers. He worked in complete obscurity and was apparently very reclusive. His photographs were seen by only a few close friends and were never exhibited or published in his lifetime. He seems to have taught himself photography using an old 35mm camera and a homemade darkroom in his small apartment on West 92nd street. He lived frugally, spending much of his income on photographic supplies which he bought in bulk and stored in his darkroom and his bedroom. He stored the prints and negatives in a file cabinet. By the time of his death, the photos in the file cabinet covered a period from 1954 to 1992. His photographs of gay life begin with groups of gay men photographed in Greenwich Village in 1967. His photographs of Gay Pride parades begin with the first parade in 1970. His earlier photographs are of friends, trips to Europe, and scenes in New York. Leonard Fink was a colourful and ubiquitous character in the Village and at Pride parades, usually appearing on roller skates in short cut-offs, and a tight t-shirt with cameras always around his neck. He sometimes arrived on a bicycle or a motorcycle. He was born in 1930. His father and older brother were both physicians. He worked for many years as an attorney for the New York Transit Authority. He died of AIDS in 1993.

Text from The Center website

 

Posing

 

James VanDerZee. 'Beau of the Ball' 1926

 

James VanDerZee
Beau of the Ball
1926
Gelatin silver print
Donna Mussenden VanDerZee

 

 

James Van Der Zee (June 29, 1886 – May 15, 1983) was an African-American photographer best known for his portraits of black New Yorkers. He was a leading figure in the Harlem Renaissance. Aside from the artistic merits of his work, Van Der Zee produced the most comprehensive documentation of the period. Among his most famous subjects during this time were Marcus Garvey, Bill “Bojangles” Robinson and Countee Cullen…

Van Der Zee worked predominantly in the studio and used a variety of props, including architectural elements, backdrops, and costumes, to achieve stylized tableaux vivant in keeping with late Victorian and Edwardian visual traditions. Sitters often copied celebrities of the 1920s and 1930s in their poses and expressions, and he retouched negatives and prints heavily to achieve an aura of glamour…

Works by Van Der Zee are artistic as well as technically proficient. His work was in high demand, in part due to his experimentation and skill in double exposures and in retouching negatives of children. One theme that recurs in his photographs was the emergent black middle class, which he captured using traditional techniques in often idealistic images. Negatives were retouched to show glamor and an aura of perfection. This affected the likeness of the person photographed, but he felt each photo should transcend the subject. His carefully posed family portraits reveal that the family unit was an important aspect of Van Der Zee’s life. “I tried to see that every picture was better-looking than the person.” “I had one woman come to me and say ‘Mr.Van Der Zee my friends tell thats a nice picture, But it doesn’t look like you.’ That was my style.” Said Van Der Zee.

Text from the Wikipedia website

 

Carl Van Vechten. 'Anna May Wong' 1932

 

Carl Van Vechten
Anna May Wong
1932
Gelatin silver print
Museum of the City of New York, Gift of Carl Van Vechten

 

 

Little known today, Carl Van Vechten was a prolific novelist, critic, photographer, and promoter of all things modern, most actively engaged in the city’s cultural life during the 1920s and ’30s. The City Museum is rich in Van Vechten materials; its collections include about 2,200 photographs taken by him and 3,000 Christmas cards sent to him and his wife, film and theater actress Fania Marinoff. Taken together, they chronicle Van Vechten’s influential circles of friends and colleagues – a hybrid mash-up that defines the modern America at the heart of White’s new book. Images and correspondence in the City Museum’s collection range from Harlem Renaissance poet Langston Hughes to writer Zelda Fitzgerald (wife of F. Scott), and playwright Eugene O’Neill.

Around 1920 Van Vechten gave up journalism for fiction and over the next decade wrote hotly debated novels about Jazz Age Manhattan. His 1923 book The Blind Bow-Boy, for example, is a classic of gay camp and a public expression of Van Vechten’s sexual orientation; while he and Marinoff were married from 1914 until Van Vechten’s death in 1964, he had numerous homosexual relationships… Van Vechten’s role in the Harlem Renaissance remains a controversial topic. To some he’s a valuable bridge between white and black New Yorkers, to others he’s an outsider who patronised and exploited his African-American subjects…

Carl Van Vechten abandoned writing altogether in the early 1930s and embraced photography, a field he would pursue until his death. All told, it is estimated that Van Vechten took some 15,000 photographs. Because his inherited wealth offered him financial independence, Van Vechten took pictures for his own pleasure, usually inviting local and visiting celebrities to a studio he set up in his own apartment. While Van Vechten was aware of the stylistic artifice of such contemporary commercial photographers as Edward Steichen and Cecil Beaton, he stood apart from them. He used a small-format camera, and his aesthetic, which included deep and dramatic shadows that sometimes obscured his subjects’ faces, resulted in picture-making that was far more immediate and spontaneous than that of his contemporaries. Using this technique, Van Vechten photographed musicians Billie Holiday and George Gershwin, Hollywood actors Laurence Olivier and Anna May Wong, and writers Sinclair Lewis and Clifford Odets, to name only a few. The sum of Van Vechten’s work, according to photography historian Keith F. Davis, “constitutes the single most integrated vision of American arts and letters produced in his era.”

Donald Albrecht. “Carl Van Vechten and Modern New York,” on the Museum of the City of New York website

 

Anna May Wong (January 3, 1905 – February 3, 1961) was an American actress. She is considered to be the first Chinese American movie star, and also the first Asian American actress to gain international recognition. Her long and varied career spanned silent film, sound film, television, stage and radio…

Wong’s image and career have left a legacy. Through her films, public appearances and prominent magazine features, she helped to humanise Asian Americans to white audiences during a period of overt racism and discrimination. Asian Americans, especially the Chinese, had been viewed as perpetually foreign in U.S. society but Wong’s films and public image established her as an Asian-American citizen at a time when laws discriminated against Asian immigration and citizenship. Wong’s hybrid image dispelled contemporary notions that the East and West were inherently different.

See an excellent short biography on the Wikipedia website

 

Carl Van Vechten. 'Hugh Laing' 1941

 

Carl Van Vechten
Hugh Laing
1941
Gelatin silver print
Museum of the City of New York, Gift of Carl Van Vechten

 

 

Hugh Laing (6 June 1911 – 10 May 1988) was one of the most significant dramatic ballet dancers of the 20th-century. He was the partner of choreographer Antony Tudor. Known for his good looks and the intensity of his stage presence, Laing was never considered a great technician, yet his powers of characterisation and his sense of theatrical timing were considered remarkable. His profile as a significant dancer of his era was almost certainly enhanced by Tudor’s choreographing to his undoubted strengths and Laing is generally regarded as one of the finest dramatic dancers of 20th-century ballet. He remained Tudor’s artistic collaborator and companion until the choreographer’s death in 1987.

 

Carl Van Vechten. 'Alvin Ailey' 1955

 

Carl Van Vechten
Alvin Ailey
1955
Gelatin silver print
Museum of the City of New York, Gift of Carl Van Vechten

 

 

Alvin Ailey (January 5, 1931 – December 1, 1989) was an African-American choreographer and activist who founded the Alvin Ailey American Dance Theater in New York City. He is credited with popularizing modern dance and revolutionizing African-American participation in 20th-century concert dance. His company gained the nickname “Cultural Ambassador to the World” because of its extensive international touring. Ailey’s choreographic masterpiece Revelations is believed to be the best known and most often seen modern dance performance…

Ailey made use of any combination of dance techniques that best suited the theatrical moment. Valuing eclecticism, he created more a dance style than a technique. He said that what he wanted from a dancer was a long, unbroken leg line and deftly articulated legs and feet (“a ballet bottom”) combined with a dramatically expressive upper torso (“a modern top”). “What I like is the line and technical range that classical ballet gives to the body. But I still want to project to the audience the expressiveness that only modern dance offers, especially for the inner kinds of things.”

Ailey’s dancers came to his company with training from a variety of other schools, from ballet to modern and jazz and later hip-hop. He was unique in that he did not train his dancers in a specific technique before they performed his choreography. He approached his dancers more in the manner of a jazz conductor, requiring them to infuse his choreography with a personal style that best suited their individual talents. This openness to input from dancers heralded a paradigm shift that brought concert dance into harmony with other forms of African-American expression, including big band jazz.

Text from the Wikipedia website

 

Larry Rivers. 'O'Hara Nude With Boots' 1954

 

Larry Rivers
O’Hara Nude With Boots
1954
Oil on canvas
Collection of the Larry Rivers Foundation

 

 

“Among Rivers’ portraits of the mid-1950s, the most notable and controversial work for a discussion of the relationship among autobiography, sexuality, and art is O’Hara, which he painted during January 1954 as he re-entered an emotional relationship with the sitter. According to [poet Frank] O’Hara’s biographer, Brad Gooch, Rivers and O’Hara had a relatively short, turbulent romance that began in 1952m but during 1953 the two men became involved in other romantic relationships…. Beginning in 1954, however, Rivers and O’Hara resumed their intimate relationship, which then lasted less than a year…

A nude of a contemporary figure on such a huge scale as O’Hara appeared unusual and even controversial in the 1950s New York art world. Rivers recalled that when the painting was first shown at the Whitney Annual in 1955, a guard often stood in front of it to ensure that the painting would not be defaced or damaged: “There was something about the male nude that seemed to be more of a problem than the female nude.” Some contemporary viewers where shocked by O’Hara, given its depiction of a naked male body with meticulous attention to the genitals.”

Dong-Yeon Koh. Larry Rivers and Frank O’Hara: Reframing Male Sexualities Phd dissertation 2006, pp. 196-198.

 

Beauford Delaney. 'James Baldwin' c. 1957

 

Beauford Delaney
James Baldwin
c. 1957
Oil on canvasboard
Halley K. Harrisburg and Michael Rosenfeld, New York

 

 

Beauford Delaney (December 30, 1901 – March 26, 1979) was an American modernist painter. He is remembered for his work with the Harlem Renaissance in the 1930s and 1940s, as well as his later works in abstract expressionism following his move to Paris in the 1950s.

In his Introduction to the Exhibition of Beauford Delaney opening December 4, 1964 at the Gallery Lambert, James Baldwin wrote, “the darkness of Beauford’s beginnings, in Tennessee, many years ago, was a black-blue midnight indeed, opaque and full of sorrow. And I do not know, nor will any of us ever really know, what kind of strength it was that enabled him to make so dogged and splendid a journey.”

 

James Arthur Baldwin (August 2, 1924 – December 1, 1987) was an American novelist, essayist, playwright, poet, and social critic. His essays, as collected in Notes of a Native Son (1955), explore palpable yet unspoken intricacies of racial, sexual, and class distinctions in Western societies, most notably in mid-20th-century America, and their inevitable if unnameable tensions. Some Baldwin essays are book-length, for instance The Fire Next Time (1963), No Name in the Street (1972), and The Devil Finds Work (1976).

Baldwin’s novels and plays fictionalise fundamental personal questions and dilemmas amid complex social and psychological pressures thwarting the equitable integration not only of black people, but also of gay and bisexual men, while depicting some internalised obstacles to such individuals’ quests for acceptance. Such dynamics are prominent in Baldwin’s second novel, Giovanni’s Room, written in 1956, well before the gay liberation movement.

Text from the Wikipedia website

 

Performing

 

 

New York’s queer cultures gained remarkable visibility on the city’s stages in the 1920 and 1930s. Broadway producers and nightclub owners put on plays and acts exploring gay and lesbian themes. They launched a popular “Panzy Craze,” where minorities where accepted. This period lasted until the mid-1930s when morals and ethics changed because of right-wing pressure. The film code was then in full force to protect society’s “morals” and there was, once more, open hostility towards minorities that latest into the 1970s.

With permission of the Museum of the City of New York for Art Blart

The Museum of the City of New York
Film compiliation
Produced by Cramersound

 

Max Ewing. 'Gallery of Extraordinary Portraits' 1928

 

Max Ewing
Gallery of Extraordinary Portraits
1928
Courtesy Yale University, Beinecke Rare Books and Manuscripts Library

 

 

Max Ewing’s Gallery of Extraordinary Portraits encapsulates the exhibition’s wider exploration of queer communities in 20th-century New York. Ewing was a novelist, composer, pianist, and sculptor who created this gallery in the walk-in closet of his Manhattan studio apartment on West 31st Street. His semi-public closet exhibition paid homage to interracial, gay, and artistic communities with images of friends and celebrities plastered floor to ceiling, corner to corner.

 

Sterling Paige. 'Gladys Bentley at the Ubangi Club in Harlem' early 1930s

 

Sterling Paige
Gladys Bentley at the Ubangi Club in Harlem
early 1930s
Gelatin silver print
Courtesy of the Visual Studies Workshop, Rochester, NY

 

 

1960-1995

Portraits

Andy Warhol

 

Andy Warhol. 'Studies for a Boy Book' exhibition announcement for Bodley Gallery c. 1956

 

Andy Warhol
Studies for a Boy Book exhibition announcement for Bodley Gallery
c. 1956
Offset lithograph Susan Sheehan Gallery, New York

 

Andy Warhol. 'Gee, Merrie Shoes' 1956

 

Andy Warhol
Gee, Merrie Shoes
1956
Hand colored offset lithograph
Susan Sheehan Gallery, New York

 

Andy Warhol. 'Cecil Beaton's Feet' 1961

 

Andy Warhol
Cecil Beaton’s Feet
1961
Black ink on buff wove paper
Philadephia Museum of Art
The Henry P. Mcllhenny Collection in memory of Frances P. Mcllhenny, 1986

 

Cecil Beaton. 'Andy Warhol and Candy Darling, New York' 1969

 

Cecil Beaton
Andy Warhol and Candy Darling, New York
1969
Gelatin silver print
© The Cecil Beaton Studio Archive at Sotheby’s

 

Candy Darling (November 24, 1944 – March 21, 1974) was an American transgender actress, best known as a Warhol Superstar. She starred in Andy Warhol’s films Flesh (1968) and Women in Revolt (1971), and was a muse of the protopunk band The Velvet Underground.

 

 

 

 

Harmony Hammond

 

Liberation News Service #624 July 3, 1974

 

Liberation News Service #624, featuring Harmony Hammond, right, with daughter, Tanya, at the Christopher Street Liberation Day Gay Pride March, photograph by Cidne Hart for Liberation News Service, July 3, 1974
Private collection

 

Harmony Hammond. 'An Oval Braid' 1972

 

Harmony Hammond
An Oval Braid
1972
Charcoal on paper
Courtesy the artist and Alexander Gray Associates, New York

 

Harmony Hammond. 'Fan Lady meets Cactus Lady' 1981

 

Harmony Hammond
Fan Lady meets Cactus Lady
1981
Lithograph
Courtesy the artist and Alexander Gray Associates, New York

 

 

Robert Mapplethorpe

 

Judy Linn. 'Robert Gets Dressed at the Chelsea, #3' 1970

 

Judy Linn
Robert Gets Dressed at the Chelsea, #3
1970
Modern digital print
Courtesy the Artist and Susanne Hilberry Gallery

 

'Gay Power', Volume 1, No 16, April 15, 1970

 

Gay Power, Volume 1, No 16, April 15, 1970
Alternative Press Collection, Archives & Special Collections at the Thomas J. Dodd Research Center, University of Connecticut Libraries

 

Robert Mapplethorpe. 'Light Gallery invitation' 1973

 

Robert Mapplethorpe
Light Gallery invitation
1973
Getty Research Institute, Los Angeles California

 

Ultra Violet modeling Mapplethorpe-designed jewelry, c. 1975

 

Ultra Violet modeling Mapplethorpe-designed jewelry
c. 1975
Gift of the Robert Mapplethorpe Foundation to The J. Paul Getty Trust and the Los Angeles County Museum of Art

 

 

Isabelle Collin Dufresne (stage name Ultra Violet; 6 September 1935 – 14 June 2014) was a French-American artist, author, and both a colleague of Andy Warhol and one of the pop artist’s so-called superstars. Earlier in her career, she worked for and studied with surrealist artist Salvador Dalí. Dufresne lived and worked in New York City, and also had a studio in Nice, France…

In 1954, after a meeting with Salvador Dalí, she became his “muse”, pupil, studio assistant, and lover in both Port Lligat, Spain, and in New York City. Later, she would recall, “I realized that I was ‘surreal’, which I never knew until I met Dalí”. In the 1960s, Dufresne began to follow the progressive American Pop Art scene including Jasper Johns, Robert Rauschenberg and James Rosenquist.

In 1963, Dalí introduced Dufresne to Andy Warhol, and soon she moved into the orbit of his unorthodox studio, “The Factory”. In 1964 she selected the stage name “Ultra Violet” at Warhol’s suggestion, because it was her preferred fashion – her hair color at the time was often violet or lilac. She became one of many “superstars” in Warhol’s Factory, and played multiple roles in over a dozen films between 1965 and 1974…

In the 1980s, she gradually drifted away from the Factory scene, taking a lower profile and working independently on her own art. In her autobiography, published the year after Warhol’s unexpected demise in 1987, she chronicled the activities of many Warhol superstars, including several untimely deaths during and after the Factory years…

In 1990 she opened a studio in Nice and wrote another book detailing her own ideas about art, L’Ultratique. She lived and worked as an artist in New York City, and also maintained a studio in Nice for the rest of her life.

Text from the Wikipedia website

 

Valerie Santagto. 'Robert Mapplethorpe, front, and Jay Johnson in Mapplethorpe designed jewelry' c. 1970-75

 

Valerie Santagto
Robert Mapplethorpe, front, and Jay Johnson in Mapplethorpe designed jewelry
c. 1970-75
Gift of the Robert Mapplethorpe Foundation to The J. Paul Getty Trust and the Los Angeles County Museum of Art

 

Robert Mapplethorpe (American, 1946-1989) 'Jim, Sausalito' 1977

 

Robert Mapplethorpe
X Portfolio with Jim, Sausalito
1978
Black silk clamshell case with gelatin silver print photographs mounted on pure rag board
Designed by John Cheim
Courtesy Yoshi Gallery, New York and Cheim & Read, New York

 

 

Greer Lankton

 

Einsteins installation designed by Paul Monroe for Gay Gotham, 2016

 

Einsteins installation designed by Paul Monroe for Gay Gotham, 2016
Courtesy of Greer Lankton Archives Museum

Greer Lankton
Mini-Einsteins
1987
Cardboard, glass, paint, styrofoam board

Andy Warhol
1990
Fabric, wire, glass, human hair

Teri Toye
1988
Fabric, wire, glass, human hair

Siamese Twins
1988
Paper, wire, fabric

 

Greer Lankton (dolls and photo) 'Einsteins "Circus" window display by Greer Lankton and Paul Monroe' 1986

 

Greer Lankton (dolls and photo)
Einsteins “Circus” window display by Greer Lankton and Paul Monroe
1986
Courtesy Paul Monroe for Greer Lankton Archives Museum

 

 

Greer Lankton (1958 – November 18, 1996) was an American artist known for creating lifelike, sewn dolls that were often modelled on friends and celebrities and posed in elaborate theatrical settings. She was a key figure in the East Village art scene of the 1980s in New York.

Gender and sexuality are recurring themes in Lankton’s art. Her dolls are created in the likeness of those society calls “freaks”, and have often been compared to the surrealist works of Hans Bellmer, who made surreal dolls with interchangeable limbs. She created figures that were simultaneously distressing and glamorous, as if they were both victim and perpetrator of their existence.

In 1981 Lankton was featured in the seminal “New York/New Wave” exhibition at P.S.1 in Long Island City, and began to show her work in the East Village at Civilian Warfare. She gained an almost cult following among East Village residents from her highly theatrical window displays she designed for Einstein’s, the boutique that was run by her husband, Paul Monroe, at 96 East Seventh Street. Besides her more emotionally charged dolls, Lankton also created commissioned portrait dolls. These include a 1989 doll of Diana Vreeland that was commissioned for a window display at Barney’s as well as shrines to her icons, such as Candy Darling.

Critic Roberta Smith described her works in the New York Times as: “Beautifully sewn, with extravagant clothes, make-up and hairstyles, they were at once glamorous and grotesque and exuded intense, Expressionistic personalities that reminded some observers of Egon Schiele. They presaged many of the concerns of 90’s art, including the emphasis on the body, sexuality, fashion and, in their resemblance to puppets, performance.” 

Photographer Nan Goldin said of her work, “Greer was one of the pioneers who blurred the line between folk art and fine art.” She had spots in the prestigious Whitney Biennial and the Venice Biennale, both in 1995, where her busts of Candy Darling, circus fat ladies, and dismembered heads gained her notoriety…

Greer was friends with photographer Nan Goldin, and lived in her apartment in the early 80’s, often posing for her. She also played muse to photographers like David Wojnarowicz and Peter Hujar.

Text from the Wikipedia website

 

“Writing about the wax dolls of German artist Lotte Pritzel (to whom Lankton’s own work bears a strong family resemblance), Rainer Maria Rilke noted: “With the doll we had to assert ourselves, because if we surrendered to it there was nobody there. It made no response, so we got into the habit of doing things for it, splitting our own slowly expanding nature into opposing parts and to some extent using the doll to establish distance between ourselves and the amorphous world pouring into us” [“Dolls: On the Wax Dolls of Lotte Pritzel,” tr. Idris Parry]. This relationship imbues the doll with its “soul,” Rilke writes, arguing that it is the extremity of this attachment that leads us to both desire and reject the doll. Unalterable strangeness: Lankton’s own work is plotted along the rejection-desire axis, granting the work a peculiar levity that hovers between fearsome and friendly…

Lankton’s art is both realistic and unrealistic, a difficult balance that is not unlike Candy Darling’s work as an actor, which often operated at the juncture between self-conscious play and unanticipated reality to evoke, again, unalterable strangeness. Following Douglas Crimp’s description of the superstar as someone whose “self … recognizes otherness already there in itself [and] performs its own self-alienation” [Our Kind of Movie: The Films of Andy Warhol, Cambridge: MIT Press, 2012], Lankton likewise performs the double work of representing bodies (hers and others) while asserting their alienation. Darling rehearsed and played herself in order to be someone else. It might be said that Lankton rehearsed and played others in order to be herself.”

Extract from “Unalterable Strangeness: Andrew Durbin and Paul Monroe on Greer Lankton,” on the Flash Art website, March – April 2015

 

Paul Monroe. 'Chanel No. 5 earrings' 1985

 

Paul Monroe
Chanel No. 5 earrings
1985
Glass (actual miniature Chanel products filled with No. 5), 14k gold wire and glass pearls

Candelabra ring
1986
Metal, chain, glass jewels and wax

Paul Monroe and Greer Lankton
Teri Toye necklace
1985
Clay, acrylic paint, gold metal chain and rhinestones

Einsteins promotional cards 1986-1992
Einsteins business card, 1985

 

Nan Goldin. 'Greer Lankton and Paul Monroe wedding' 1987

 

Nan Goldin
Greer Lankton and Paul Monroe wedding
1987
Greer Lankton Archives Museum

 

 

Bill T. Jones

 

Lois Greenfield. 'Bill T. Jones and Arnie Zane' 1982

 

Lois Greenfield
Bill T. Jones and Arnie Zane
1982
Modern print Courtesy Lois Greenfield Studio

 

Robert Mapplethorpe. 'Studio Portrait (Bill T. Jones and Arnie Zane)' 1986

 

Robert Mapplethorpe
Studio Portrait (Bill T. Jones and Arnie Zane)
1986
Private Collection of Bill T. Jones

 

Tseng Kwong Chi. 'Bill T. Jones Body Painting with Keith Haring' 1983

 

Tseng Kwong Chi
Bill T. Jones Body Painting with Keith Haring
1983
Silver gelatin selenium-toned print
© Muna Tseng Dance Projects, Inc., New York. Body Drawing on Bill T. Jones by Keith Haring
© 1983 Keith Haring Foundation

 

Huck Snyder. Small mask from 'Last Supper at Uncle Tom's Cabin' 1990

 

Huck Snyder
Small mask from Last Supper at Uncle Tom’s Cabin
1990
Painted cardboard and fabric
New York Live Arts

 

 

Huck Snyder was a visual artist and a designer of vivid stage settings for dancers and performance artists. He created sets and stage furniture that were surrealistic yet extremely simple and almost childlike at times. Imaginative and free in their execution and unmistakably his work, his sets often seemed inseparable from the vision of the performers with whom he worked. Huck had designed stage sets for the performance artist John Kelly beginning with sets for Diary of a Somnambulist in 1985…

Mr. Snyder also created sets for dances by Bill T. Jones and Bart Cook, and for theater pieces by Ishmael Houston-Jones. He conceived, directed and designed his own work “Circus,” a performance-art piece presented in 1987 at La Mama E.T.C. Mr. Snyder’s work has been displayed at the Lincoln Center for the Performing Arts, the Brooklyn Academy of Music and the Dance Theater Workshop in New York. His paintings and installations have been exhibited at galleries throughout the United States and in solo and group shows in Europe and Japan.

Text from the Visual AIDS website

 

 

Themes

Downtown

 

'Shazork! invitation, Danceteria' late 1980s

 

Downtown invitations
Shazork! invitation, Danceteria
Late 1980s
Museum of the City of New York, Gift of Carrie Goteiner and Miriam Montaug Ashkenazy in memory of Haoui Montaug

 

Peter Hujar. 'Quentin Crisp' 1982

 

Peter Hujar
Quentin Crisp
1982
Vintage gelatin silver print
© The Peter Hujar Archive; Courtesy Pace/MacGill Gallery, New York and Fraenkel Gallery, San Francisco

 

 

Quentin Crisp was born Denis Charles Pratt in Surrey, England, on December 25, 1908. A self-described flamboyant homosexual, Crisp changed his name in his early 20s as part of his process of reinvention. Teased mercilessly at school as a boy, Crisp left school in 1926. He studied journalism at King’s College London, but failed to graduate. He then moved on to take art classes at Regent Street Polytechnic. Crisp began visiting the cafés of Soho, London, and even worked as a prostitute for six months. Crisp was always true to himself and expressed himself by dying his long hair lavender, polishing his fingernails and toenails, and dressing in an often androgynous style. Despite the ridicule and violence often directed toward him, Crisp carried on. He tried to join the army with the outbreak of World War II, but was rejected by the medical board, who determined that he was suffering from sexual perversion. Instead, Crisp remained in London during the Blitz, entertaining American GIs, whose friendliness inculcated a love for Americans.

Crisp held a number of jobs, including engineer’s tracer, life model, and author. His most famous work, The Naked Civil Servant, detailed his life in a homophobic British society. When the book was adapted for television, Crisp began a new career as a performer and lecturer. He moved to Manhattan in 1981, when he was 72 years old; settling in a studio apartment in the Bowery. Upon meeting and spending time with Crisp, Sting was inspired to pen his hit song, “An Englishman in New York.”

Crisp continued to tour, write, and lecture; including instructions on how to live life with style and the importance of manners. Crisp landed a few roles on American television and the 1990s became his busiest decade as an actor. In 1992, Crisp took on the role of Elizabeth I in the film Orlando.

Quentin Crisp died in November 1999, just shy of his 91st birthday, while touring his one-man show.

Text from the Biography website

 

Peter Hujar. 'Susan Sontag' 1975, printed 2014

 

Peter Hujar
Susan Sontag
1975, printed 2014
Pigmented ink print
© The Peter Hujar Archive; Courtesy Pace/MacGill Gallery, New York and Fraenkel Gallery, San Francisco

 

 

Peter Hujar (born 1934) died of AIDS in 1987, leaving behind a complex and profound body of photographs. Hujar was a leading figure in the group of artists, musicians, writers, and performers at the forefront of the cultural scene in downtown New York in the 1970s and early 80s, and he was enormously admired for his completely uncompromising attitude towards work and life. He was a consummate technician, and his portraits of people, animals, and landscapes, with their exquisite black-and-white tonalities, were extremely influential. Highly emotional yet stripped of excess, Hujar’s photographs are always beautiful, although rarely in a conventional way. His extraordinary first book, Portraits in Life and Death, with an introduction by Susan Sontag, was published in 1976, but his “difficult” personality and refusal to pander to the marketplace insured that it was his last publication during his lifetime.

Text from the Peter Hujar Archive website

 

Susan Sontag (January 16, 1933 – December 28, 2004) was an American writer, filmmaker, teacher, and political activist. She published her first major work, the essay “Notes on ‘Camp'”, in 1964. Her best-known works include On Photography, Against Interpretation, Styles of Radical Will, The Way We Live Now, Illness as Metaphor, Regarding the Pain of Others, The Volcano Lover, and In America.

Sontag was active in writing and speaking about, or travelling to, areas of conflict, including during the Vietnam War and the Siege of Sarajevo. She wrote extensively about photography, culture and media, AIDS and illness, human rights, and communism and leftist ideology. Although her essays and speeches sometimes drew controversy, she has been described as “one of the most influential critics of her generation.” …

It was through her essays that Sontag gained early fame and notoriety. Sontag wrote frequently about the intersection of high and low art and expanded the dichotomy concept of form and art in every medium. She elevated camp to the status of recognition with her widely read 1964 essay “Notes on ‘Camp’,” which accepted art as including common, absurd and burlesque themes.

In 1977, Sontag published the series of essays On Photography. These essays are an exploration of photographs as a collection of the world, mainly by travelers or tourists, and the way we experience it… She became a role-model for many feminists and aspiring female writers during the 1960s and 1970s.

Text from the Wikipedia website

 

 

Printing

 

Liza Cowan (designer) 'DYKE, A Quarterly' c. 1974

 

Liza Cowan (designer)
DYKE, A Quarterly
c. 1974
Flyer
Courtesy Liza Cowan and Penny House

 

'DYKE, A Quarterly Call for poster design flyer' 1976

 

DYKE, A Quarterly Call for poster design flyer
1976
Illustration by Liza Cowan Penny House

 

'Christopher Street' September 1977

 

Christopher Street
September 1977
Private collection

 

'Christopher Street' June 1978

 

Christopher Street
June 1978
Private collection

 

Edmund White. 'Nocturnes for the King of Naples' Paperback edition with cover art by Mel Odom, 1980

 

Edmund White
Nocturnes for the King of Naples
Paperback edition with cover art by Mel Odom, 1980 (originally published 1978)
Private collection

 

'New York Magazine' June 20, 1994

 

New York Magazine
June 20, 1994
1994
Courtesy New York Magazine

 

 

Posing

 

Eva Weiss. 'From left, Lois Weaver, Peggy Shaw, and Deb Margolin performing as Split Britches in 'Upwardly Mobile Home'' 1984

 

Eva Weiss
From left, Lois Weaver, Peggy Shaw, and Deb Margolin performing as Split Britches in ‘Upwardly Mobile Home’
1984
Contemporary archival print
Courtesy Eva Weiss Photography

 

Alice O'Malley. 'Melanie Hope, Clit Club' c. 1992

 

Alice O’Malley
Melanie Hope, Clit Club
c. 1992
Vintage gelatin silver print
Alice O’Malley Photography

 

Tseng Kwong Chi. 'New York, NY (Statue of Liberty)' 1979

 

Tseng Kwong Chi
New York, NY (Statue of Liberty)
1979
Gelatin silver print
Muna Tseng Dance Projects Inc.

 

 

Tseng Kwong Chi, known as Joseph Tseng prior to his professional career (Chinese: 曾廣智; c. 1950 – March 10, 1990), was a Hong Kong-born American photographer who was active in the East Village art scene in the 1980s.

Tseng was part of an circle of artists in the 1980s New York art scene including Keith Haring, Kenny Scharf, and Cindy Sherman. Tseng’s most famous body of work is his self-portrait series, East Meets West, also called the “Expeditionary Series”. In the series, Tseng dressed in what he called his “Mao suit” and sunglasses (dubbed a “wickedly surrealistic persona” by the New York Times), and photographed himself situated, often emotionlessly, in front of iconic tourist sites. These included the Statue of Liberty, Cape Canaveral, Disney Land, Notre Dame de Paris, and the World Trade Center. Tseng also took tens of thousands of photographs of New York graffiti artist Keith Haring throughout the 1980s working on murals, installations and the subway. In 1984, his photographs were shown with Haring’s work at the opening of the Semaphore Gallery’s East Village location in a show titled “Art in Transit”. Tseng photographed the first Concorde landing at Kennedy International Airport, from the tarmac. According to his sister, Tseng drew artistic influence from Brassai and Cartier-Bresson.

Text from the Wikipedia website

 

Chantal Regnault. 'From left, Whitney Elite, Ira Ebony, Stewart and Chris LaBeija, Ian and Jamal Adonis, Ronald Revlon, House of Jourdan Ball, New Jersey' 1989

 

Chantal Regnault
From left, Whitney Elite, Ira Ebony, Stewart and Chris LaBeija, Ian and Jamal Adonis, Ronald Revlon, House of Jourdan Ball, New Jersey
1989
Gelatin silver print
© Chantal Regnault

 

 

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08
Feb
17

Exhibition: ‘Gay Gotham: Art and Underground Culture in New York’ at the Museum of the City of New York, New York City Part 1

Exhibition dates: 7th October 2016 – 26th February 2017

An exhibition showcasing Lesbian, Gay, Bisexual, Transgender, and Queer artistic life in New York City through the social networks of Leonard Bernstein, Mercedes de Acosta, Harmony Hammond,  Bill T. Jones, Lincoln Kirstein, Greer Lankton, George Platt Lynes,  Robert Mapplethorpe, Richard Bruce Nugent, and Andy Warhol.

Curators: Donald Albrecht, MCNY curator of architecture and design, and Stephen Vider, MCNY Mellon Postdoctoral Fellow.

 

 

#POD

This is part 1 of a monster, two-part posting on this fabulous extravaganza: Gay Gotham: Art and Underground Culture in New York at the Museum of the City of New York, “a groundbreaking exhibition that explores New York’s role as a beacon for lesbian, gay, bisexual, and transgender (LGBT) artists seeking freedom, acceptance, and community.”

Freedom. Acceptance. Community. A tripartite motto to which we could add equality (different from acceptance), echoing the Brotherhood of man of the Third Republic of France. In these days of Lumpism, we do have an idea how important these concepts are – for our civil liberties, for our sexual freedom, and for our right, our write, to choose and voice an opinion which is different from that of the oligarchy. We know we have to stand up to these bigots.

Freedom to be ourselves has always been at the core of GLBTQI identity. Our Point of Difference (#POD).

While I came out in London six short years after Stonewall, and was wearing silver hair, eye shadow, rings on every hand and pink and cream satin bomber jackets in London in the 1970s, many of the people pictured in this posting had no doubt endured numerous persecutions for who they were many years before it was acceptable to be GLBTQI. And still today in many parts of the world (Russia, Papua New Guinea, South America, and Africa) GLBTQI people face discrimination and death.

But do you know what?

The world would be a much poorer, less creative place without all of the GLBTQI people who have lived over all of the centuries of human existence… continuing to be themselves in the face of adversity and resentment. Continuing to enrich the lives of themselves and other human beings.

Are we going away? Hell no!

I have spent hours researching the people in this posting, adding sound and video provided by the Museum of the City of New York. Because this information deserves to be out there on the WWW.

As we still strive for equality or even just existence in the world, our #POD, in New York or wherever – not our assimilation into the main stream – is what makes us relevant and interesting and emotional in this world. Long may it remain so.

Dr Marcus Bunyan for Art Blart

PS The dancing in the Audio and video excerpts from Filling Station (1938) and Billy the Kid (1938), especially the latter, are a joy to behold!

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Many thank to the Museum of the City of New York for allowing me to publish the art work in the posting. Please click on the photographs for a larger version of the image.

 

 

1910 – 1960: Portraits

Richard Bruce Nugent

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Richard Bruce Nugent
(July 2, 1906 – May 27, 1987), aka Richard Bruce and Bruce Nugent, was a writer and painter in the Harlem Renaissance. (The Harlem Renaissance, a cultural, social, and artistic explosion that took place in Harlem, New York spanned from about 1918 until the mid-1930s). One of many gay artists of the Harlem Renaissance, he was one of few who was out publicly. Recognized initially for the few short stories and paintings that were published, Nugent had a long productive career bringing to light the creative process of gay and black culture. …

During his career in Harlem, Nugent lived with writer Wallace Thurman from 1926 – 1928 which led to the publishing of “Smoke, Lilies, and Jade” in Thurman’s publication “Fire!!!”. The short story was written in a modernist stream-of-consciousness style, its subject matter was bisexuality and more specifically interracial male desire. Many of his illustrations were featured in publications, such as “Fire!!!” along with his short story. Four of his paintings were included in the Harmon Foundation’s exhibition of Negro artists, which was one of the few venues available for black artists in 1931. His only stand-alone publication, “Beyond Where the Stars Stood Still,” was issued in a limited edition by Warren Marr II in 1945. …

Nugent’s aggressive and honest approach to homoerotic and interracial desire was not necessarily in the favor of his more discreet homosexual contemporaries. Alain Locke chastised the publication “Fire!!!” for its radicalism and specifically Nugent’s “Smoke, Lilies, and Jade” for promoting the effeminacy and decadence associated with homosexual writers.

Nugent bridged the gap between the Harlem Renaissance and the black gay movement of the 1980s and was a great inspiration to many of his contemporaries… As one of the last survivors of the Harlem Renaissance, Nugent was a sought-after interview subject in his old age, consulted by numerous biographers and writers on both black and gay history. He was interviewed in the 1984 gay documentary, “Before Stonewall,” and his work was featured in Isaac Julien’s 1989 film, Looking for Langston.

Text from the Wikipedia website

 

Richard Bruce Nugent. 'Lucifer' 1930

 

Richard Bruce Nugent
Lucifer
1930
From the Salome series
Watercolor on cardstock
Art & Artifacts Division, Schomburg Center for Research in Black Culture, The New York Public Library, Astor, Lenox and Tilden Foundations

 

Richard Bruce Nugent. 'Drawing from Alexander Gumby's scrapbook' 1920s

 

Richard Bruce Nugent
Drawing from Alexander Gumby’s scrapbook
1920s
Ink on paper Alexander Gumby Collection of Negroiana, Rare Book and Manuscript Library, Columbia University

 

Richard Bruce Nugent. '"Drawings for Mulattoes" Number 2' 1927

 

Richard Bruce Nugent. '"Drawings for Mulattoes" Number 3' 1927

 

Richard Bruce Nugent
“Drawings for Mulattoes” Numbers 2 and 3
1927
Illustration in Ebony and Topaz: A Collectanea
Fales Library and Special Collections, New York University

 

Richard Bruce Nugent. 'Self-portrait' 1930s

 

Richard Bruce Nugent
Self-portrait
1930s
Pencil on paper
Art & Artifacts Division, Schomburg Center for Research in Black Culture, The New York Public Library, Astor, Lenox and Tilden Foundations

 

Richard Bruce Nugent. 'Smoke, Lilies and Jade' c. 1925

 

Richard Bruce Nugent
Smoke, Lilies and Jade
c. 1925
Mixed-media work
Howard University Gallery of Art, Washington, DC

 

 

Richard Bruce Nugent poems and prose read by Rodney Evans, director of the 2004 film Brother to Brother. Audio produced for the exhibition by Tim Cramer.

 

 

 

 

 

 

 

 

Mercedes de Acosta

Mercedes de Acosta (March 1, 1893 – May 9, 1968) was an American poet, playwright, and novelist. Four of de Acosta’s plays were produced, and she published a novel and three volumes of poetry. …

De Acosta was involved in numerous lesbian relationships with Broadway’s and Hollywood’s elite and she did not attempt to hide her sexuality; her uncloseted existence was very rare and daring in her generation. In 1916 she began an affair with actress Alla Nazimova and later with dancer Isadora Duncan. Shortly after marrying Abram Poole in 1920, de Acosta became involved in a five-year relationship with actress Eva Le Gallienne. De Acosta wrote two plays for Le Gallienne, Sandro Botticelli and Jehanne de Arc. After the financial failures of both plays they ended their relationship.

Over the next decade she was involved with several famous actresses and dancers including Greta Garbo, Marlene Dietrich, Ona Munson, and Russian ballerina Tamara Platonovna Karsavina. Additional unsubstantiated rumors include affairs with Pola Negri, Eleonora Duse, Katherine Cornell, and Alice B. Toklas.

An ardent liberal, de Acosta was committed to several political causes. Concerned about the Spanish Civil War, which began in 1936, for example, she supported the loyalist Republican government that opposed the fascist Franco regime. A tireless advocate for women’s rights, she wrote in her memoir, “I believed… in every form of independence for women and I was… an enrolled worker for women’s suffrage.” …

De Acosta’s best-known relationship was with Greta Garbo. When Garbo’s close friend, author Salka Viertel, introduced them in 1931, they quickly became involved. As their relationship developed, it became erratic and volatile with Garbo always in control. The two were very close sporadically and then apart for lengthy periods when Garbo, annoyed by Mercedes’ obsessive behaviour, coupled with her own neuroses, ignored her. In any case, they remained friends for thirty years during which time Garbo wrote de Acosta 181 letters, cards, and telegrams. About their friendship, Cecil Beaton, who was close to both women, recorded in his 1958 memoir, “Mercedes is [Garbo’s] very best friend and for 30 years has stood by her, willing to devote her life to her”.

De Acosta was described in 1955 by Garbo biographer, John Bainbridge, as “a woman of courtly manners, impeccable decorative taste and great personal elegance… a woman with a passionate and intense devotion to the art of living… and endowed with a high spirit, energy, eclectic curiosity and a varied interest in the arts.”

Text from the Wikipedia website

 

“After Cecil Beaton accompanied her to the theater one night in 1930, he wrote in his diary that he sensed people looking at him and questioning why he associated with “that furious lesbian.” She often boasted of her sexual prowess, saying “I can get any woman from any man.” There was perhaps justification for Alice B. Toklas’s observation, “Say what you will about Mercedes de Acosta, she’s had the most important women of the twentieth century.” …

Even though she avoided direct representation of same-sex eroticism in her writing, she freely “smuggled in” ideas and issues common to those of us in the homosexual community but she put them in a heterosexual setting. It is what one scholar calls “queening.”

Mercedes de Acosta was not hugely famous. Her contributions to the theater were minimal. Yet her story reveals a woman who stood up courageously for her beliefs and values. She seldom stumbled, even when her friends and peers turned against her. She lived her desire and paid the price. Her love for other women and her struggle for acceptance were certainly sources of her originality and fueled her writing. Perhaps the description of her as “that furious lesbian” should become an admirable attribute rather than a scornful slur.”

Robert A Schanke. “Mercedes de Acosta.”

 

Abram Poole. 'Mercedes de Acosta' 1923

 

Abram Poole
Mercedes de Acosta
1923
Oil on canvas
Santa Barbara Museum of Art, Gift of Mercedes de Acosta in honor of Ala Story

 

Abram Poole. 'Mercedes de Acosta' 1923 (detail)

 

Abram Poole
Mercedes de Acosta (detail)
1923
Oil on canvas
Santa Barbara Museum of Art, Gift of Mercedes de Acosta in honor of Ala Story

 

Anonymous photographer. 'Eva Le Gallienne in 'Jehanne d'Arc'' 1925

 

Anonymous photographer
Eva Le Gallienne in Jehanne d’Arc
1925
Museum of the City of New York
Gift of Mercedes De Acosta

 

Anonymous photographer. 'Effie Shannon as Marie-Louise (left) and Michael Strange in the title role of 'L'Aiglon'' 1927

 

Anonymous photographer
Effie Shannon as Marie-Louise (left) and Michael Strange in the title role of L’Aiglon
1927
Gelatin silver print
Museum of the City of New York, Gift of Mr and Mrs Spencer Merriam Berger

 

Janet Flanner. 'Letter in the shape of a tulip from Janet Flanner to Mercedes de Acosta' 1928

 

Janet Flanner
Letter in the shape of a tulip from Janet Flanner to Mercedes de Acosta
1928
The Rosenbach, Philadelphia

 

George Platt Lynes. 'Cecil Beaton' Undated

 

George Platt Lynes
Cecil Beaton
Undated
Inscribed by Beaton to Mercedes de Acosta
The Rosenbach, Philadelphia

 

George Hoyningen-Huene. 'Mercedes de Acosta' 1934

 

George Hoyningen-Huene
Mercedes de Acosta
1934
Modern print
Courtesy The Rosenbach, Philadelphia

 

Cecil Beaton. 'From left, Alfred Stieglitz, Mercedes de Acosta, and Georgia O'Keeffe' c. 1943

 

Cecil Beaton
From left, Alfred Stieglitz, Mercedes de Acosta, and Georgia O’Keeffe
c. 1943
Gelatin silver print
The Rosenbach, Philadelphia

 

 

Works by Mercedes de Acosta works read by performers Moe Angelos and Carmelita Tropicana. Audio produced for the exhibition by Tim Cramer.

 

 

 

 

 

 

 

 

“The Museum of the City of New York presents Gay Gotham: Art and Underground Culture in New York, a groundbreaking exhibition that explores New York’s role as a beacon for lesbian, gay, bisexual, and transgender (LGBT) artists seeking freedom, acceptance, and community.

The first exhibition of its kind to be presented by a New York City cultural institution in terms of depth and scope, Gay Gotham peels back the layers of New York City’s LGBT, or queer, life that thrived even in the shadows to reveal an often-hidden side of the city’s history and underscore the power of artistic collaboration to transcend oppression. The exhibition, which runs through February 26, 2017, will examine the worlds of New York’s famous LGBT cultural innovators, as well as those of ordinary citizens. The exhibition will also identify historical trends that led to the increased visibility of LGBT artists over the course of the 20th century.

“New York City, an international source of creativity throughout its history, provided the canvas, stage, and backdrop for LGBT artists and cultural innovators, and helped make it possible for them to transcend oppression and discrimination,” says Whitney Donhauser, Ronay Menschel Director of the Museum of the City of New York. “Gay Gotham not only exhibits, but also celebrates the vibrant lives of artists who were suffering from injustice, and offers optimism for tomorrow.”

Gay Gotham brings to life the queer networks that sprang up in the city from the early-20th century through the mid-1990s – a series of artistic subcultures whose radical ideas had lasting effects on the mainstream. It explores the artistic achievements and creative networks of ten individuals, as well as four key ways that such networks are made: place-making (making places to meet and work together); posing (creating portraits of friends and artists); printing (creating publications); and performing (representing LGBT life in theater and film). The show is also organized into three chronological sections, dividing LGBT art and underground culture in 20th century New York:

  • Visible Subcultures: 1910 – 1930
  • Open Secrets: 1930 – 1960
  • Out New York: 1960 – 1995

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Occupying two full galleries, Gay Gotham features 225 works from a mix of iconic and lesser-known LGBT artists, whose work will be presented chronologically to reveal the trajectory of queer life in 20th century New York: composer Leonard Bernstein; playwright, poet and novelist Mercedes de Acosta; activist Harmony Hammond; dancer and choreographer Bill T. Jones; arts impresario Lincoln Kirstein; artist Greer Lankton; photographer George Platt Lynes; artist and photographer Robert Mapplethorpe; artist and author Richard Bruce Nugent; and artist Andy Warhol. Each of these individuals will be examined within the overlapping networks of numerous fellow artists and colleagues who advanced their professional careers, sustained their social lives, and propelled them into the city and nation’s cultural mainstream.

Gay Gotham, curated by Donald Albrecht, MCNY curator of architecture and design, and Stephen Vider, MCNY Mellon Postdoctoral Fellow, includes paintings, drawings, photographs, sound recordings, and films that explore queer artistic achievements in music, the visual arts and theater during the 20th century. Ephemera such as correspondence and scrapbooks are also displayed, illuminating the artists’ personal bonds and revealing secrets that were scandal provoking in their time and remain largely unknown today.

On the impetus behind the show, Curator Donald Albrecht explained: “While exploring New York City’s gay artistic communities in past shows here at the Museum, I found them to be consistently hidden in plain sight and thought an exhibition ‘un-hiding’ these queer networks would be a revelation. Gay Gotham is the result, and I hope visitors gain an understanding of the cultural communities that formed as a response to injustice.”

Some of the works that will be featured in the show are: Bernstein’s own annotated copy of Romeo and Juliet, the inspiration for the 1957 Broadway musical West Side Story, alongside original drawings of the production’s sets and costumes; a circa 1970 handmade, collaged scrapbook by Robert Mapplethorpe that includes images of friends and lovers like Patti Smith; Arnie Zane’s video of Keith Haring hand painting the body of Zane’s partner, dancer and choreographer Bill T. Jones – a collaboration of three leaders of the 1980s queer downtown art scene;  several of artist Greer Lankton’s dolls, including a life-size one of Diana Vreeland made in 1989 for a Barneys display window.

Joel Sanders Architects designed the exhibition to give spatial expression to the show’s two main themes: the people and places that allowed queer artistic life to flourish in New York City. On both floors of the exhibition, the perimeter gallery walls are painted a deep purple, the color traditionally associated with queer culture. The center of both galleries will feature maps setting artistic explorations against the evolving backdrops of LGBT life in New York City, including gay neighborhoods and nightspots, as well as activist groups and key social and cultural events, such as protests and parades.

Gay Gotham will be accompanied by a 304-page book, Gay Gotham: Art and Underground Culture in New York, by Donald Albrecht, with Stephen Vider and published by Skira Rizzoli. It includes more than 350 images, illustrations and background essays on the social and cultural themes of the LGBT artistic underground, as well as portraits of the show’s iconic artistic figures.”

Press release from the Museum of the City of New York

 

George Platt Lynes. 'Lincoln Kirstein' 1940s-50s

 

George Platt Lynes
Lincoln Kirstein
1940s-50s
Gelatin silver print
The Metropolitan Museum of Art, Gift of Lincoln Kirstein, 1985

 

 

Lincoln Kirstein

Lincoln Edward Kirstein (May 4, 1907 – January 5, 1996) was an American writer, impresario, art connoisseur, philanthropist, and cultural figure in New York City, noted especially as co-founder of the New York City Ballet. He developed and sustained the company with his organizing ability and fundraising for more than four decades, serving as the company’s General Director from 1946 to 1989. …

Beginning in 1919, Kirstein kept a diary continuing through the practice until the late 1930s. In a 2007 biography of Kirstein, The Worlds of Lincoln Kirstein, Martin Duberman drew on his diaries, as well as Kirstein’s numerous letters. Kirstein wrote about enjoying sex with various men including Harvard undergraduates, sailors, street boys, and casual encounters in the showers at the 63rd St. YMCA. He had longer affairs with Pete Martinez, a dancer, Dan Maloney, an artist, and Jensen Yow, a conservator. Kirstein had both platonic relationships and many that started as casual sex and developed into long-term friendships…

Kirstein’s eclectic interests, ambition and keen interest in high culture, funded by independent means, drew a large circle of creative friends from many fields of the arts. These included: Glenway Wescott, George Platt Lynes, Jared French, Bernard Perlin, Pavel Tchelitchev, Katherine Anne Porter, Barbara Harrison, Gertrude Stein, Donald Windham, Cecil Beaton, Jean Cocteau, W. H. Auden, George Tooker, Margaret French Cresson, Walker Evans, Sergei Eisenstein and others. 

In his later years, Kirstein struggled with bipolar disorder – mania, depression, and paranoia. He destroyed the studio of friend Dan Maloney. He sometimes had to be constrained in a straitjacket for weeks at a psychiatric hospital. His illness did not generally affect his professional creativity until the end of his life.

Text from the Wikipedia website

 

Ballet in America

After seeing ballets by George Balanchine, including Prodigal Son (the first Balanchine work he was to experience) in 1929 and Les Ballets 1933 in Paris, Kirstein met the choreographer for the first time in London in 1933 and immediately invited him to work in the United States where together they would build an American ballet tradition. Balanchine’s response, “But, first a school.” is now part of ballet history. In 1934, the School of American Ballet opened its doors on Madison Avenue with Kirstein as president, a post he held until his retirement in 1989.

Together, Balanchine and Kirstein embarked on the creation of a permanent company to realize their vision. There would be four such enterprises before the establishment of New York City Ballet in 1948. The first of these, American Ballet Company, toured in the eastern United States and was the resident ballet troupe for the Metropolitan Opera (performing under the name American Ballet Ensemble) from 1935-1938. A second company, Ballet Caravan was founded in 1936 to tour and produced notably, among other American works, Lew Christensen’s Filling Station and Eugene Loring’s Billy the Kid with libretti by Kirstein. It was succeeded by American Ballet Caravan which made a much-acclaimed tour of South America in 1941 before disbanding. Upon Kirstein’s return to the States from military service in World War II, Ballet Society was founded in 1946 to present performances for a subscription audience. Following a 1948 performance of Orpheus, the invitation came from City Center’s then-Chairman of the Executive Committee, Morton Baum, to establish a resident company to be known as New York City Ballet as part of the City Center of Music and Drama. Kirstein became the Company’s General Director and served in that capacity until relinquishing the post in 1989. …

The distinguished English critic Clement Crisp has written, “Lincoln Kirstein was a man of protean gifts and immense intellectual and organizational energy. He was one of those rare talents who touched the entire artistic life of their time: ballet, film, literature, theater, paintings, sculpture, photography – all occupied his attention. These many and other seemingly disparate concerns were united by a guiding intelligence which was uncompromising and uncompromisingly generous and served as the artistic conscience of his era. This was the essentially American quality of his work: that desire to ameliorate and inspire a society to the goal of a more humane and imaginatively rich world. To a grand extent his work was as intermediary between the arts and a vast public who benefited from his genius.”

Classical dance amplified by Balanchine’s own genius, expressed perfectly Lincoln’s immovable conviction that each human being contains the seeds of perfectibility. When he was 28, a significant year, he wrote that ballet provided the means for the human body in heightened capability, to set a poetic standard for each person’s ideal capacity. And he wrote and worked toward that standard in connection with everything he cared for all his life. Lincoln’s unending personal struggles, and searching and learning, led him in turn to give so much of himself to others. With uncanny intuition he understood who each one of us was: artists, students, friends, supporters alike were woven into a family with common cause.

Text from the New York City Ballet website

 

Lincoln Kirstein. 'Blast at Ballet: A Corrective for the American Audience' (Marstin Press, New York) 1938

 

Lincoln Kirstein
Blast at Ballet: A Corrective for the American Audience (Marstin Press, New York)
1938
Private collection

 

George Platt Lynes. 'From left, Michael Kidd, Beatrice Tomkins, and Ruby Asquith in 'Billy the Kid'' 1938, printed c. 1953

 

George Platt Lynes
From left, Michael Kidd, Beatrice Tomkins, and Ruby Asquith in Billy the Kid
1938, printed c. 1953
Gelatin silver print
The Metropolitan Museum of Art, Gift of Lincoln Kirstein, 1985

 

Paul Cadmus. '"Ray" costume design for the ballet 'Filling Station'' 1937

 

Paul Cadmus
“Ray” costume design for the ballet Filling Station
1937
Gouache, pencil, and ink on paper
The Museum of Modern Art, New York. Gift of Lincoln Kirstein, 1941

 

 

Paul Cadmus

In the gorgeous, occasionally garish, always gratifying works of the great American artist Paul Cadmus, sailors and sunbathers, models and mannequins, nitwits and nudes all are suffused with a sensuality born equally of idyllic splendor and urban squalor, natural grace and graceful artifice. Active since the 1930s as a renderer of pretty boys and ugly ploys, Cadmus has spent many remarkable decades honing a singularly complex style of idealized sexuality and vivid displeasure in justly celebrated paintings, drawings and etchings of nude figures, fantastical scenes and supercharged allegories.

While often working quite deliberately in the genres of social satire and community critique, Cadmus is just as compelling when exploring the personal and political proclivities of bodies in rest and motion. Male bodies, that is. More than most artists of his substantial stature, Cadmus has detailed with exquisite tenderness and unblinking bluntness the manner in which gay males – and the gay male gaze – represent the polemics of aesthetics. …

As much as some younger artists would like to see Cadmus adopt the persona of nonagenarian poster boy for Gay Y2K, he’s generally content to let his images speak for themselves. That’s his choice to make; more perplexing, frankly, is the majority of critical writing on Cadmus that blatantly ignores his gay perspective and homoerotic imagery. Lincoln Kirstein, founding director of the New York City Ballet and the artist’s self-defined bisexual brother-in-law (married to Cadmus’s sister, Fidelma), wrote the “definitive” Cadmus monograph with nary a mention of the artist’s crucial homoeroticism, preferring to tiptoe around the truth with statements like, “As for sexual factors, he has without ostentation or polemic long celebrated somatic health in boys and young men for its symbolic range of human possibility. His addiction to aspects of physical splendor has never been provocative, sly, nor ambitious to proselytize.”

I wish Kirstein had taken a more careful look at the slender lad sporting a box kite and a noticeable bulge in “Aviator,” or the mine’s-bigger-than-yours posturing and relentless cruising on display in “Y.M.C.A. Locker Room” … Even more telling is “Manikins,” in which two small artist’s models lovingly do the nasty atop a copy of Corydon, André Gide’s plea for queer rights.

Steven Jenkins. “Paul Cadmus: The Body Politic,” on the Queer Arts Resource website

 

 

Excerpts from Filling Station, a seminal ballet with an American theme and setting, choreographed and performed by Lew Christensen with Ballet Caravan (1938). Perhaps the most enduring and popular work by Christensen, the comic ballet combined classical dancing with vaudevillian antics.

And excerpts from Billy the Kid (1938) a ballet written by the American composer Aaron Copland on commission from Lincoln Kirstein. It was choreographed by Eugene Loring for Ballet Caravan. Along with Rodeo and Appalachian Spring, it is one of Copland’s most popular and widely performed pieces.

With permission of the Museum of the City of New York for Art Blart.

 

 

George Platt Lynes

The greatest photographer of the male nude the world has ever seen – George Platt Lynes (American, April 15, 1907 – December 6, 1955).

Lynes worked as a fashion photographer in his own studio in New York (which he opened in 1932) before moving to Hollywood in 1946 where he took the post of Chief Photographer for the Vogue studios. Although an artistic success the sojourn was a financial failure and he returned to New York in 1948. Although continuing his commercial work he became disinterested in it, concentrating his energies on photographing the male nude. He began a friendship with Dr Alfred Kinsey of the Kinsey Institute in Bloomington, Indiana and helped with his sex research. Between 1949 and 1955, Lynes sold and donated much of his erotic nudes to Kinsey.1 By May 1955 he had been diagnosed terminally ill with lung cancer. He closed his studio. He destroyed much of his print and negative archives particularly his male nudes. However, it is now known that he had transferred many of these works to the Kinsey Institute. After a final trip to Europe, Lynes returned to New York City where he died.

See my full text George Platt Lynes and the male nude including many photographs and another text by Associate Professor Elspeth H. Brown (University of Toronto).

 

George Platt Lynes. 'Self-Portrait, in Tights' 1948

 

George Platt Lynes
Self-Portrait, in Tights
1948
Gelatin silver print
Solomon R. Guggenheim Museum, New York
Gift, Anonymous and In Kind
Canada, 1998

 

George Platt Lynes. 'Marsden Hartley' 1942

 

George Platt Lynes
Marsden Hartley
1942
Gelatin silver print
Marsden Hartley Memorial Collection, Bates College Museum of Art

 

George Platt Lynes. 'George Tooker at 5 St. Luke's Place, New York, with Paul Cadmus and Jared French in Mirror' c. 1940

 

George Platt Lynes
George Tooker at 5 St. Luke’s Place, New York, with Paul Cadmus and Jared French in Mirror
c. 1940
Vintage silver print
Estate of George Tooker, Courtesy of DC Moore Gallery, New York

 

 

George Tooker

George Clair Tooker, Jr. (August 5, 1920 – March 27, 2011) was an American figurative painter. His works are associated with Magic realism, Social realism, Photorealism and Surrealism. His subjects are depicted naturally as in a photograph, but the images use flat tones, an ambiguous perspective, and alarming juxtapositions to suggest an imagined or dreamed reality. He did not agree with the association of his work with Magic realism or Surrealism, as he said, “I am after painting reality impressed on the mind so hard that it returns as a dream, but I am not after painting dreams as such, or fantasy.” …

His most well known paintings carry strong social commentary, and are often characterized as his “public” or “political” pieces. Some of these include: The Subway (1950), Government Bureau (1955-1956), The Waiting Room (1956-1957), Lunch (1964), Teller (1967), Waiting Room II (1982), Corporate Decision (1983), and Terminal (1986). These works are particularly influential, because they draw from universal experiences of modern, urban life. Many portray visually literal depictions of social withdrawal and isolation. In many ways, these images reveal the negative side of the subject matter celebrated in Impressionism. Modernity’s anonymity, mass-production, and fast pace are cast under an unforgiving, bleak, shadow-less light that conveys a sense of foreboding and isolation…

While Tooker’s “public” imagery is hostile and solemn, his “private” images are often more intimate and positive. Some of these include the ten images of the Windows series (1955-1987), Doors (1953), Guitar (1957), Toilette (1962), and the Mirror series (1962-1971). Many of these images juxtapose beauty and ugliness, youth and age, in the analysis of the female body. The space is often compressed by a curtain or close-up wall, so that the viewer is confronted by the symbolic identity of the protagonist.

Text from the Wikipedia website

“Mr. Cadmus’s exuberant use of homosexual themes in his work also encouraged Mr. Tooker to address that aspect of his identity in paintings like the terrifying, Bruegel-esque “Children and Spastics” (1946), in which a group of leering sadists torment three frail, effeminate men.

Equally influential was Jared French, part of Mr. Cadmus’s intimate circle, whose interest in Jungian archetypes and in the frigid, inscrutable forms of archaic Greek and Etruscan art inspired Mr. Tooker to take a more symbolic, mythic approach to his subject matter.”

William Grimes. “George Tooker, Painter Capturing Modern Anxieties, Dies at 90,” on The New York Times website, March 29, 2011

 

George Platt Lynes. 'Jared French' 1938

 

George Platt Lynes
Jared French
1938
Gelatin silver print
The Metropolitan Museum of Art, David Hunter McAlpin Fund, 1941

 

 

Jared French

Born in Ossining, New York, French received a Bachelor of Arts degree from Amherst College in 1925. Soon after this he met and befriended Paul Cadmus (1904-1999) in New York City, who became his lover. French persuaded Cadmus to give up commercial art for what he deemed, “serious painting”.

Jungian psychology is thought to have played an important influence upon the dream-like imagery in the paintings of French’s maturity. The highly stylized, archaic-looking figures in his paintings suggest that they are representative of the ancestral memory of all mankind, what Carl Jung called “the collective unconscious”. French himself was never explicit about the sources of his imagery, although on a stylistic level, the influence of early Italian Renaissance paintings by such masters as Mantegna and Piero della Francesca is evident, as it is also in the work of both Tooker and Cadmus. On the level of content, he made only one, short, public statement regarding his intentions:

“My work has long been concerned with the representation of diverse aspects of man and his universe. At first it was mainly concerned with his physical aspect and his physical universe. Gradually I began to represent aspects of his psyche, until in ‘The Sea’ (1946) and ‘Evasion’ (1947), I showed quite clearly my interest in man’s inner reality.” …

In 1938, French and Cadmus posed for a series photographs with the noted photographer George Platt Lynes (1907-1955). These photographs were not published or exhibited while Lynes was living and show the intimacy and relationship of the two. In the photographs, 14 of which survive today, the subjects, Cadmus and French, vacillate between exposure and concealment, with French generally being the more exhibitionist of the two. Cadmus stated that French was the model for all four male figures in his 1935 painting, Gilding the Acrobats, as well as his 1931 painting, Jerry.

Text from the Wikipedia website

 

Jared French. 'Billy the Kid costume sketch for "Billy's Last Act"' 1938

 

Jared French
Billy the Kid costume sketch for “Billy’s Last Act”
1938
Watercolour and pencil on printed paper on cardboard with ink and pencil
The Metropolitan Museum of Art, David Hunter McAlpin Fund, 1941

 

Jared French. 'Billy the Kid costume sketch for "Billy's Last Act"' 1938 (detail)

 

Jared French
Billy the Kid costume sketch for “Billy’s Last Act” (detail)
1938
Watercolour and pencil on printed paper on cardboard with ink and pencil
The Metropolitan Museum of Art, David Hunter McAlpin Fund, 1941

 

Jared French. 'Billy the Kid costume sketch for "Alias as Drunken Cowboy"' 1938

 

Jared French
Billy the Kid costume sketch for “Alias as Drunken Cowboy”
1938
Watercolour on paper on cardboard with felt-tip pen
The Museum of Modern Art, New York, Gift of Lincoln Kirstein, 1941

 

Jared French. 'Billy the Kid costume sketch for "Alias as Drunken Cowboy"' 1938 (detail)

 

Jared French
Billy the Kid costume sketch for “Alias as Drunken Cowboy” (detail)
1938
Watercolour on paper on cardboard with felt-tip pen
The Museum of Modern Art, New York, Gift of Lincoln Kirstein, 1941

 

George Platt Lynes. 'Fidelma Cadmus Kirstein' 1941

 

George Platt Lynes
Fidelma Cadmus Kirstein
1941
Gelatin silver print
George Platt Lynes Collection, Harry Ransom Center, The University of Texas at Austin

 

George Platt Lynes. 'Orpheus (Nicholas Magallanes and Francisco Moncion)' 1950

 

George Platt Lynes
Orpheus (Nicholas Magallanes and Francisco Moncion)
1950
Modern print
Courtesy ClampArt, New York

 

George Platt Lynes. 'Jimmie Daniels' Undated

 

George Platt Lynes
Jimmie Daniels
Undated
Gelatin silver print
George Platt Lynes Collection, Harry Ransom Center, The University of Texas at Austin

 

 

A fresh-faced teenager, Jimmie Daniels arrived in Harlem sometime during the mid-1920’s. He was lithe, delicate, and had an engaging, infectious smile that he would soon learn to use to his advantage. Singer Alberta Hunter, a lifelong friend, remembered the time well. “This one was just a little one” she said. “Handsome? Oh, was he handsome! He had hair as red as fire, and his folks had money.” Dare anyone have said that they thought the young, refined singer with the impeccable style, grace and proper enunciation was just a little snobbish and pretentious too?

It wouldn’t have mattered! It certainly would not have stopped the young, attractive Daniels from enjoying the ride of his youth, and becoming one of the most popular cafe singers and masters of ceremonies of the Harlem Renaissance. In demand from New York to Paris, these accomplishments were but stepping stones toward bigger and better things. Fortunately, the journey was documented by some of the leading photographers and artists of the time like George Platt Lynes, Carl Van Vechten and Richmond Barthe. And having several high profile, rich white boyfriends didn’t hurt him not one bit!

Text from the Fire Island Pines History website

 

 

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03
Feb
17

Exhibition: ‘Nan Goldin: The Ballad of Sexual Dependency’ at the Museum of Modern Art, New York

Exhibition dates: 11th June 2016 – 12th February 2017

 

This “seminal” body of work by Nan Goldin allegedly changed the course of photography. In my opinion, not for the better.

There is little love and tenderness here, little magic or generosity of spirit. Goldin’s attitude to the world at the time seems to be one of hostility and resentment. It’s all very well portraying the underbelly of society – the depravity, violence and degradation – but if your point of departure is one of anger and animosity, this is always going to be reflected in your art. I remember going out with my friends partying in the 1980s, the drugs, the sex, the pushing it to the edge, but you know what – we cared about each other. Nothing could be further from the truth in Goldin’s hedonistic (not heuristic) approach to her aura.

Shooting indiscriminately, hoping to find the rough diamond of an image, cuts both ways. In the arbitrary voyeurism of this work – do I snap now or a second later, what is happening outside of the frame – you never know what you are missing. Often you get nothing, or you get a reflection of yourself that is not very appealing. (Today is a very different world from the 1980s, we just snap and upload everything. These images are very of their time). There is so much more that could have been said other than through this controlling, diaristic approach to the subject matter.

I repeat, there seems to be a less than generous spirit captured in this work, of how Goldin looked at the world at that time, and it is reflected back to us in her images. Nothing to do with HIV/AIDS, nothing to do with bohemianism – everything to do with the spirit of the artist.

Dr Marcus Bunyan

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

 

 

“Since David Armstrong and I were young he always referred to photography as “diving for pearls.” If you took a million pictures you were lucky to come out with one or two gems. … I never learned control over my machines. I made every mistake in the book. But the technical mistakes allowed for magic. … Random psychological subtexts that I never would have thought to intentionally create. The subconscious made visible – though whether mine or the camera’s I don’t know …”

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Nan Goldin. “Diving for Pearls,” quoted in Hilton Als. “Nan Goldin’s Life in Progress,” on The New Yorker website, July 4, 2016

 

 

 

Nan Goldin (American, born 1953) 'Trixie on the Cot, New York City' 1979

 

Nan Goldin (American, born 1953)
Trixie on the Cot, New York City
1979
Silver dye bleach print, printed 2008
15 1/2 x 23 1/8″ (39.4 x 58.7 cm)
The Museum of Modern Art, New York
Acquired through the generosity of Marian and James H. Cohen in memory of their son Michael Harrison Cohen
© 2016 Nan Goldin

 

Nan Goldin (American, born 1953) 'Buzz and Nan at the Afterhours, New York City' 1980

 

Nan Goldin (American, born 1953)
Buzz and Nan at the Afterhours, New York City
1980
Silver dye bleach print, printed 2008
15 1/2 x 23 1/4″ (39.4 x 59 cm)
The Museum of Modern Art, New York
Purchase
© 2016 Nan Goldin

 

Nan Goldin (American, born 1953) 'Nan and Dickie in the York Motel, New Jersey' 1980

 

Nan Goldin (American, born 1953)
Nan and Dickie in the York Motel, New Jersey
1980
Silver dye bleach print, printed 2008
15 1/2 x 23 1/8″ (39.4 x 58.7 cm)
The Museum of Modern Art, New York
Purchase
© 2016 Nan Goldin

 

Nan Goldin (American, born 1953) 'Self-Portrait in Blue Bathroom, London' 1980

 

Nan Goldin (American, born 1953)
Self-Portrait in Blue Bathroom, London
1980
Silver dye bleach print, printed 2016
20 x 24″ (50.8 x 61 cm)
The Museum of Modern Art, New York
Gift of Nan Goldin
© 2016 Nan Goldin

 

Nan Goldin (American, born 1953) 'Heart-Shaped Bruise, New York City' 1980

 

Nan Goldin (American, born 1953)
Heart-Shaped Bruise, New York City
1980
Silver dye bleach print, printed 2006
20 x 24″ (50.8 x 61 cm)
The Museum of Modern Art, New York
Gift of Nan Goldin
© 2016 Nan Goldin

 

Nan Goldin (American, born 1953) 'David and Butch Crying at Tin Pan Alley, New York City' 1981

 

Nan Goldin (American, born 1953)
David and Butch Crying at Tin Pan Alley, New York City
1981
Silver dye bleach print, printed 2009, 15 1/2 x 23 1/8″ (39.4 x 58.7 cm)
The Museum of Modern Art, New York
Purchase
© 2016 Nan Goldin

 

Nan Goldin (American, born 1953) 'Nan on Brian's Lap, Nan's Birthday, New York City' 1981

 

Nan Goldin (American, born 1953)
Nan on Brian’s Lap, Nan’s Birthday, New York City
1981
Silver dye bleach print, printed 2008
15 1/2 x 23 1/8″ (39.3 x 58.7 cm)
The Museum of Modern Art, New York
Purchase
© 2016 Nan Goldin

 

Nan Goldin (American, born 1953) 'Rise and Monty Kissing, New York City' 1980

 

Nan Goldin (American, born 1953)
Rise and Monty Kissing, New York City
1980
Silver dye bleach print, printed 2008
15 1/2 x 23 1/8″ (39.4 x 58.7 cm)
The Museum of Modern Art, New York
Purchase
© 2016 Nan Goldin

 

Nan Goldin (American, born 1953) 'Philippe H. and Suzanne Kissing at Euthanasia, New York City' 1981

 

Nan Goldin (American, born 1953)
Philippe H. and Suzanne Kissing at Euthanasia, New York City
1981
Silver dye bleach print, printed 2008
15 1/2 x 23 1/8″ (39.4 x 58.7 cm)
The Museum of Modern Art, New York
Purchase
© 2016 Nan Goldin

 

Nan Goldin (American, born 1953) 'Max and Richard, New York City' 1983

 

Nan Goldin (American, born 1953)
Max and Richard, New York City
1983
Silver dye bleach print, printed 2006
15 9/16 x 23 1/16″ (39.6 x 58.5 cm)
The Museum of Modern Art, New York. The Family of Man Fund
© 2016 Nan Goldin

 

Nan Goldin (American, born 1953) 'Nan and Brian in Bed, New York City' 1983

 

Nan Goldin (American, born 1953)
Nan and Brian in Bed, New York City
1983
Silver dye bleach print, printed 2006
15 1/2 x 23 3/16″ (39.4 x 58.9 cm)
The Museum of Modern Art, New York
Acquired through the generosity of Jon L. Stryker
© 2016 Nan Goldin

 

Nan Goldin (American, born 1953) 'Nan One Month After Being Battered' 1984

 

Nan Goldin (American, born 1953)
Nan One Month After Being Battered
1984
Silver dye bleach print, printed 2008
15 1/2 x 23 1/8″ (39.4 x 58.7 cm)
The Museum of Modern Art, New York
Purchase
© 2016 Nan Goldin

 

Nan Goldin (American, born 1953) 'The Parents' Wedding Photo, Swampscott, Massachusetts' 1985

 

Nan Goldin (American, born 1953)
The Parents’ Wedding Photo, Swampscott, Massachusetts
1985
Silver dye bleach print, printed 2006
15 1/2 x 23 1/8″ (39.4 x 58.7 cm)
The Museum of Modern Art, New York
Acquired through the generosity of Richard O. Rieger
© 2016 Nan Goldin

 

 

Comprising almost 700 snapshot-like portraits sequenced against an evocative music soundtrack, Nan Goldin’s The Ballad of Sexual Dependency is a deeply personal narrative, formed out of the artist’s own experiences around Boston, New York, Berlin, and elsewhere in the late 1970s, 1980s, and beyond. Titled after a song in Bertolt Brecht and Kurt Weill’s The Threepenny Opera, Goldin’s Ballad is itself a kind of downtown opera; its protagonists – including the artist herself – are captured in intimate moments of love and loss. They experience ecstasy and pain through sex and drug use; they revel at dance clubs and bond with their children at home; and they suffer from domestic violence and the ravages of AIDS.

The Ballad of Sexual Dependency is the diary I let people read,” Goldin wrote. “The diary is my form of control over my life. It allows me to obsessively record every detail. It enables me to remember.”

The Ballad developed through multiple improvised live performances, for which Goldin ran through the slides by hand and friends helped prepare the soundtrack – from Maria Callas to The Velvet Underground – for an audience not unlike the subjects of the pictures. The Ballad is presented in its original 35mm format, along with photographs from the Museum’s collection that also appear as images in the slide show. Introducing the installation is a selection of materials from the artist’s archive, including posters and flyers announcing early iterations of The Ballad. Live performances will periodically accompany The Ballad during the course of the Museum’s presentation; performance details will be announced during the course of the exhibition presentation.

Press release from MoMA

 

Nan Goldin (American, born 1953) 'C.Z. and Max on the Beach, Truro, Massachusetts' 1976

 

Nan Goldin (American, born 1953)
C.Z. and Max on the Beach, Truro, Massachusetts
1976
Silver dye bleach print, printed 2006
23 1/8 x 15 1/2″ (58.7 x 39.4 cm)
The Museum of Modern Art, New York
Acquired through the generosity of Jon L. Stryker
© 2016 Nan Goldin

 

Nan Goldin (American, born 1953) 'The Hug, New York City' 1980

 

Nan Goldin (American, born 1953)
The Hug, New York City
1980
Silver dye bleach print, printed 2008
23 1/8 x 15 1/2″ (58.7 x 39.4 cm)
The Museum of Modern Art, New York. Purchase
© 2016 Nan Goldin

 

Janet Stein (designer) 'Poster for 'The Ballad of Sexual Dependency', slide show by Nan Goldin, with 'Desperate Living', a film by John Waters' O.P. Screening Room, New York, March 29, 1982

 

Janet Stein (designer)
Poster for ‘The Ballad of Sexual Dependency’, slide show by Nan Goldin, with ‘Desperate Living’, a film by John Waters
O.P. Screening Room, New York, March 29, 1982
Photocopy
11 × 8 1/2″ (27.9 × 21.6 cm)
Collection Nan Goldin

 

 

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New York, NY 10019
T: (212) 708-9400

Opening hours:
Monday – Thursday, Saturday – Sunday 10.30 am – 5.30 pm
Friday, 10.30 am – 8.00 pm

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06
Jan
17

Exhibition: ‘Soulèvements / Uprisings’ at Jeu de Paume, Paris

Exhibition dates: 18th October 2016 – 15th January 2017

Curator: Georges Didi-Huberman, philosopher and art historian

 

 

soulèvement m ‎(plural soulèvements)

  1. the act of raising, the act of lifting up
  2. revolt, uprising

 

I believe this to be one of the most complex, original and important exhibitions of 2016. Conceptually, intellectually, ethically and artistically, the exhibition “Soulèvements / Uprisings” seems to stand head and shoulders above most others I posted on during 2016.

Through the profound curatorship of philosopher and art historian Georges Didi-Huberman (a man whose writing I admire), Soulèvements e/merges as a “trans-disciplinary exhibition on the theme of human gestures that raise up the world or rise up against it: collective or individual gestures, actions or passions, works or thoughts” actioned through five themes: Elements (Unleashed); Gestures (Intense); Words (Exclaimed); Conflicts (Flared up); and Desires (Indestructibles), evidenced across mediums: paintings, drawings, prints, video installations, photographs, fiction films, documentary images, writers’ manuscripts, tracts, posters, etc., without hierarchies. Unlike the earlier posting, Intersections: Photographs and Videos from the National Gallery of Art and the Corcoran Gallery of Art at the National Gallery of Art, Washington, where I noted that the self-contained themes of that exhibition seemed purely illusory, here the themes are active and engaging, fluid in meaning and representation (the choice of laterally aligned art works to the themes – dust breeding, waves, sea concertos, banners and capes, red tape, montages, posters etc…), which emphasis resistance, the raising up, the uprising as a desirous and joyful act, one that is performative (hence the wonderful video elements in the exhibition) and transgressive.

As one of the most important mediums of the twentieth century in terms of documenting, promoting, obscuring and forgetting “uprisings” – gestures of resistance and joy of any kind – photography is capable of concealing, denying and sustaining the social context in which we are living … obscuring the ethics and morals of dubious political positions; reinforcing or obscuring the issues behind revolution, rebellion, and revolt; or, through collective amnesia and inertia, through the millions of forgettable images produced each day, overwhelming the authenticity of living that leads to “uprisings” in the first place. Photographs, as people do, cross borders: they are transnational and multidisciplinary. They are global thought patterns that can, in skilled hands, document and sustain alternative ways of seeing the world through a “rising up” of feeling – the “soul” of soulèvement – the act of raising up, the act of lifting ones eyes and one’s spirit from the dire circumstances of oblivion to the hope of a future redemption.

Through photographs, we witness Insurgents killed during bloody week of the Commune (1871, below), where “the exposure of these bodies is transformed by the photographic act. The latter confers on the rebels a particular aura, passing thus from figures of guilty to those of martyrs.” The political act, although a failure in reality in this case, is sustained through time and space by the performance of the documentary image. Their monstration [the act of demonstrating; proof] – the insurgents act of demonstrating; the photograph as an act of demonstrating their death for judicial purposes; and also a certain monstration (proof) that these mostly young, skinny men died for a belief in a better world – is an evidentiary act of transubstantiation. Is the camera looking down on these bodies in cheap coffins from above, or are the coffins propped up against a wall? How do we feel about these people we do not know, who existed in past time now made present, without being that person who tucked a wreath into the hands of the man at bottom right, someone’s brother, father or son.

In “uprisings” (as the hands raise the camera to the face), there is also an acknowledgment of a certain despair at the death of an innocent. In Manuel Álvarez Bravo’s Striking worker, assassinated (1934, below) the young, handsome youth has been killed with a blow to the head. He lies prostrate on the ground, arm outstretched, hand curled, his body and clothes spattered with his own blood his eyes, open, staring at the now invisible sky. A flow of dried blood has discharged from his mouth and nose, coating and matting his thick long hair and running away in rivulets, soaking into the parched d/earth. Bits of dust and earth are still stuck to his arm through the viscosity of his blood. Earlier, he had dressed for the day in a white singlet, put on his trousers and fastened them with an embossed belt, then put on a crisp, stripped shirt and neatly rolled up the sleeves to his elbows. He might have had breakfast before heading of to a meeting outside where he worked. This day he died, protesting his rights – striking worker, assassinated! Assassinated – executed, eliminated, liquidated (to which the congealing blood attests) … slaughtered. For his right to strike, to protest, the conditions of his being. Any human “being”.

And, mortally, I comment on that one photograph, that one evidence of human beings transcending their own lives (knowing they were going to die) for the greater good – the anonymous photograph taken by members of the Sonderkommando of Auschwitz-Birkenau death camp that documents AS PROOF of the reality of the Final Solution: Women pushed towards the gas chamber of crematorium V of Birkenau (1944, below). The risks that these people took to capture this photograph speaks to the power of photography to transcend even the most barbaric of circumstances, to prove to the world what was happening in this place. As Georges Didi-Huberman affirms, “in the depths of this fundamental despair, the “solicitation to resist” has probably detached itself from the beings themselves, who have been promised to disappear, to fix themselves on signals to be emitted beyond the boundaries of the camp.” Among others, the image, this “eye of history”, is then invested with the only hope still possible: to make the hell of Auschwitz visible and therefore imaginable.”

In other words, the solicitation to resist is not singular or human, but collective and eternal, embodied and embedded in cultural thoughts and actions. Even though they knew they were going to die (almost none of the 2,000 prisoners placed in these Sonderkommando units survived to the camp’s liberation), because the have been “promised to disappear”, their spirit flowed beyond the boundaries of the camp into the ether of history, into the elemental upper air, the raising up of spirits: as an observation and representation of the difference between right and wrong. As the world enters a renewed period of right wing promulgation we must resist the rump of bigotry and oppression. Not just for ourselves but for all those that have passed before.

This is why this exhibition is so important. It speaks to the need for vigilance and protest against discrimination and dictatorship, against the persecution of the less fortunate in society. It also speaks to our desire as human beings that our actions and the actions of others be held to account. Intrinsically uprisings are all about desire, the desire to be stand up and be counted, to put your reputation (as Oscar Wilde did) or your life on the line for what you believe in. The courage of your convictions. As Edmund Burke said, “The only thing necessary for the triumph of evil is for good men to do nothing.”

Dr Marcus Bunyan

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Addendum

Thank goodness for Google translate because otherwise I would have had no text to put under most of these images. This becomes problematic for weak images such as Dennis Adams’ Patriot (2002, below). Without text to support the image you would have absolutely no idea what this image is about… it’s just a plastic bag floating in the air against the azure sky.

The text states: “… considering the serenity that emanates from the photographs of this series, to imagine that they refer to a dramatic event: the attack of the World Trade Center. Located in Lower Manhattan, Dennis Adams’ studio is very close to the twin towers that were destroyed on September 11, 2001. However, rather than rushing to witness the catastrophe, Dennis Adams photographed for three months the roof of his building, the newspapers and the rubbish that fly away from the ruins.”

Who would have thunk it! From a plastic bag floating in the sky!

Such insight proffered months after the event by any plastic bag floating in the air. The image does not invite reverie and meditation because there is nothing to meditate on. It is an example of contemporary photography as graphic art THAT MEANS ABSOLUTELY NOTHING! If an image cannot stand on its own two feet, without the help of reams of text to support its substance, its contention, then no wonder there are millions of vacillating images in this world. Including contemporary art.

Outdamned spot! the stain of thy blood cannot be exacted from your feeble representation.

 

Word count: 1,451

Translations of soulèvement

noun
uprising soulèvement, révolte
rising soulèvement, hausse (rise), insurrection, montant, lever, élévation
insurrection insurrection, soulèvement, émeute (riot), rébellion
uplift soulèvement
upheaval bouleversement, soulèvement, agitation, perturbation, séisme, renversement

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

 

 

 

 

Foreword

“For almost a decade, the Jeu de Paume’s exhibition program has been conceived with the conviction that twenty-first century museums and cultural institutions cannot be detached from the social and political challenges of the society of which they are part. To us, this approach is a matter of simple common sense.

The program it has shaped does not monitor market trends or seek complacent legitimacy within the field of contemporary art. Rather, we have chosen to work with artists whose poetic and political concerns are attuned to the need to critically explore the models of governance and practices of power that mold much of our perceptual and emotional experience, and thus, the social and political world we live in.

Because the Jeu de Paume is a center for images, we are aware of the urgent necessity – in line with our societal responsibilities – to revise the analysis of the historical conditions in which photography and the moving image developed in modernity and, subsequently, in postmodernity, with all its alternatives, provocations, and challenges.

Thankfully, the history of images and our ways of seeing and understanding the world through them is neither linear nor unidirectional. These are the sources of our fascination with images that don’t tell everything they show and with images affected by the vicissitudes of the human condition.

Photography, and images in general, represent not only reality, but things that the human eye cannot see; like us, photography is capable of concealing, denying and sustaining. It is only waiting for someone to listen to its joys and its sorrows.

The Jeu de Paume’s programming sites its oblique look at history and contemporaneity in this oscillation between the visible and the invisible in the life of images, creating a space for encounter and the clashing of ideas, emotions, and knowledge, accepting that the coexistence of conflict and antagonism are an essential part of community building.

For these reasons, and from this position, in the superb proposal by the philosopher and art historian Georges Didi-Huberman to form an exhibition from his research on the theme of “uprisings,” we found the ideal intellectual, artistic, and museological challenge.

While the notion of revolution, rebellion, and revolt isn’t alien in contemporary society’s vocabulary, the object of its action is replete with collective amnesia and inertia. That is why analyzing the representations of “uprisings” – from the etchings Goya, to contemporary installations, paintings photographs, documents, videos, and films – demonstrates an unequivocal relevance to the social context in which we are living in 2016. […]

Marta Gili, “Foreword,” in Uprisings, catalogue of the exhibition, p. 7-10.

 

 

 

Enrique Ramirez
Cruzar un muro [Franchir un mur] (Crossing a wall)
2013
Vidéo HD couleur, son, 5’15”
Courtesy de l’artiste et galerie Michel Rein, Paris/Brussels

 

A series of images of people in a waiting room is in an unusual place, perhaps in our imagination, or perhaps anywhere. The short by Enrique Ramirez addresses article number 13 of the Universal Declaration of Human Rights: “Everyone has the right to leave any country, including his own, and to return to his country”.

 

Giles Caron. 'Anticatholic protests, Londonderry, Northern Ireland' August 1969

 

Gilles Caron
Manifestations anticatholiques à Londonderry
Anticatholic protests, Londonderry, Northern Ireland
August 1969
© Gilles Caron / Fondation Gilles Caron / Gamma Rapho

 

 

Known for his wartime photoreports, fascinated by liberating acts and the figure of the insurgent, photographer Gilles Caron carried throughout the 1960s an interest in the social conflicts that marked his time. At first he is led to cover is a peasant revolt which takes place in Redon in 1967. Anxious to produce an image which appears to him as a formal translation of the anger of these peasants, he seizes the gesture of a demonstrator sending a projectile in the direction of the forces of order. Photogenic, this suspended gesture gives the insurrections a choreographic dimension and testifies to the violence of the social demands that animate the demonstrators. The “figure of the pitcher” then reappears on the occasion of the events of May 1968 and then of the conflicts that took place in Northern Ireland in 1969. This archetype is part of the tradition of the representation of David against Goliath: the symbol of the power carried by the faith of one who is thought weak in the face of brute force. If there is no question of faith in the images of Caron, it is nonetheless an irrepressible form of desire that animates those bodies which revolt: no matter the imbalance of forces, the insurgents are carried by a feeling of invulnerability and of power in the face of the forces of order objectively much more armed. (Text from the Jeu de Paume website translated by Google translate)

 

 

Introduction

by Georges Didi-Huberman, curator of the exhibition

What makes us rise up? It is forces: mental, physical, and social forces. Through these forces we transform immobility into movement, burden into energy, submission into revolt, renunciation into expansive joy. Uprisings occur as gestures: arms rise up, hearts beat more strongly, bodies unfold, mouths are unbound. Uprisings are never without thoughts, which often become sentences: we think, express ourselves, discuss, sing, scribble a message, create a poster, distribute a tract, or write a work of resistance.

It is also forms: forms through which all of this will be able to appear and become visible in the public space. Images, therefore; images to which this exhibition is devoted. Images of all times, from Goya to today, and of all kinds: paintings, drawings, sculptures, films, photographs, videos, installations, documents, etc. They interact in dialogue beyond the differences of their times. They are presented according to a narrative in which there will appear, in succession, unleashed elements, when the energy of the refusal makes an entire space rise up; intense gestures, when bodies can say “No!”; exclaimed words, when barricades are erected and when violence becomes inevitable; and indestructible desires, when the power of uprisings manages to survive beyond their repression or their disappearance.

In any case, whenever a wall is erected, there will always be “people arisen” to “jump the wall”, that is, to cross over borders. If only by imagining. As though inventing images contributed – a little here, powerfully there – to reinventing our political hopes.

 

Man Ray (American, Philadelphia, Pennsylvania 1890-1976 Paris) 'Dust Breeding' 1920

 

Man Ray (American, Philadelphia, Pennsylvania 1890-1976 Paris)
Dust Breeding (Duchamp’s Large Glass with Dust Motes)
1920
Gelatin silver print
23.9 x 30.4 cm (9 7/16 x 12 in.)
© 2016 Artists Rights Society (ARS), New York

 

 

One of Duchamp’s close friends and a member of the New York Dada scene, the American photographer and painter Man Ray (1890-1976) was also one of Duchamp’s collaborators. His photograph Dust Breeding (Duchamp’s Large Glass with Dust Motes) from 1920 is a document of The Large Glass after it had collected a year’s worth of dust while Duchamp was in New York. The photograph was taken with a two-hour-long exposure that beautifully captures the complex texture and diversity of materials that lay atop the glass surface. Dust Breeding marks a pivotal phase in the development of Duchamp’s masterpiece. After the photograph was taken, Duchamp wiped The Large Glass almost entirely clean, leaving a section of the cones covered with dust, which he permanently affixed to the glass plate with a diluted cement. (Text from The Met website)

 

Hiroji Kubota. 'Black Panthers in Chicago, Illinois' 1969

 

Hiroji Kubota
Black Panthers in Chicago, Illinois
1969
Gelatin silver print
© Hiroji Kubota/Magnum Photos

 

 

Claude Cattelain
Vidéo Hebdo 46
2009-2010
Vidéo pal, 4/3, couleur, son, 6 min 30 s
Collection de l’artiste
© Claude Cattelain

 

 

Entitled Vidéo Hebdo 46, this work by Claude Cattelain is part of a series of short films made between January 2009 and March 2010, following a weekly rhythm. If many of the films in this corpus play with the conditions of video recording (shooting conditions, sensitivity of the sensor, editing …), the forty-sixth is more like the return of a performance. Executed with great economy of means, its performances follow a precise protocol whose action often resembles an absurd experience of which the body of the artist is the subject. Here, Claude Cattelain tries to raise a chair by interposing one by one the wooden battens – which look singularly like slices of books – under the feet of the said chair without ever going down or putting a foot on the ground. This progressive uprising of the foundation leads inexorably to its overthrow and thus to the fall of the artist. The uselessness of this exercise is commensurate with the concentration and attention with which it applies to try to get to the maximum of its possibilities. Each performance of Claude Cattelain is thus an experience of limits: those of his balance, his strength, his concentration and gravity. By voluntarily avoiding the logics of productivity and productivity, Claude Cattelain invites the viewer to observe a poetic action, a possible metaphor of existential or historical situations. (Text from the Jeu de Paume website translated by Google translate)

 

 

The exhibition

“Soulèvements / Uprisings” is a trans-disciplinary exhibition on the theme of human gestures that raise up the world or rise up against it: collective or individual gestures, actions or passions, works or thoughts.

They are gestures which say no to a state of history that is considered too “heavy” and that therefore needs to be “lifted” or even sent packing. They are also gestures that say yes to something else: to a desired better world, an imagined or adumbrated world, a world that could be inhabited and conceived differently.

These figures of uprising and up-raising will range freely across mediums: paintings, drawings, prints, video installations, photographs, fiction films, documentary images, writers’ manuscripts, tracts, posters, etc., without hierarchies.

The exhibition sequence will follow a sensitive, intuitive path along which the gaze can focus on exemplary “cases” treated with a precision that prevents any kind of generalisation. We will be mindful not to conclude, not to dogmatically foreclose anything. The sequence will comprise five main parts:

  • ELEMENTS (UNLEASHED)
  • GESTURES (INTENSE)
  • WORDS (EXCLAIMED)
  • CONFLICTS (FLARED UP)
  • DESIRES (INDESTRUCTIBLES)

 

 

“All the uprisings failed, but taken together, they succeeded.”

“They rise, but they do not simply stand up – they rise up.”

.
Judith Butler, “Uprisings” catalogue of the exhibition Uprisings

 

 

ELEMENTS (UNLEASHED)

The elements become unleashed, time falls out of joint. – And if the imagination made mountains rise up?

To rise up, as when we say “a storm is rising.” To reverse the weight that nailed us to the ground. So it is the laws of the atmosphere itself that will be contradicted. Surfaces – sheets, draperies, flags – fly in the wind. Lights that explode into fireworks. Dust that rises up from nooks and crannies. Time that falls out of joint. The world upside down. From Victor Hugo to Eisenstein and beyond, uprisings are often compared to hurricanes or to great, surging waves. Because then the elements (of history) become unleashed.

We rise up first of all by exercising our imagination, albeit through our “caprichos” (whims or fantasies) or “disparates” (follies) as Goya said. The imagination makes mountains rise up. And when we rise up from a real “disaster,” it means that we meet what oppresses us, and those who seek to make it impossible for us to move, with the resistance of forces that are desires and imaginations first of all, that is to say psychical forces of unleashing and of reopening possibilities.

Dennis Adams, Francis Alÿs, Léon Cogniet, Marcel Duchamp, Francisco de Goya, William Hogarth, Victor Hugo, Leandro Katz, Eustachy Kossakowski, Man Ray, Jasmina Metwaly, Henri Michaux, Tina Modotti, Robert Morris, Saburô Murakami, Hélio Oiticica, Roman Signer, Tsubasa Kato, Jean Veber, French anonymous.

 

Francisco de Goya. 'Los Caprichos' 1799

 

Francisco de Goya
Los Caprichos
1799
Eau-forte, aquatinte et burin, 2e édition de 1855.
Collection Sylvie et Georges Helft
Photo: Jean de Calan

 

 

Between 1797 and 1799, Francisco de Goya composed a collection of engravings, Los Caprichos [Les Caprices], in which he portrayed in a satirical way the behavior of his Spanish fellow citizens. “Y aun no se van!” (“And yet they do not go away!”) is the 59th engraving of a set of 80. Each time the title constitutes an ironic commentary on the image. This one refers to the group of people represented on the engraving, with the bodies emaciated, folded on themselves, praying, looking scared. One of them tries to prevent the tombstone from falling on them, but all seem helpless, destitute of strength, unable to resist this final ordeal. The use of chiaroscuro, which produces a dramatic effect, as well as the thick slice of the slab that forms the diagonal of the composition, accentuates the desperate character of the scene. Finally, the massive aspect and the weight of the stone, opposed to fragile and denuded bodies, complete their inexorable destiny. This engraving thus seems to illustrate the absolute dejection felt by individuals under certain circumstances. For Georges Didi-Huberman, degradation is one of the conditions conducive to the uprising. The imagination and the critical eye of the artist – a fervent supporter of the Enlightenment – can constitute a force of resistance and struggle for the oppressed. (Text from the Jeu de Paume website translated by Google translate)

 

Léon Cogniet. 'Les Drapeaux' 1830

 

Léon Cogniet
Les Drapeaux (The flags)
1830
Huile sur toile
Musée des Beaux-Arts, Orléans
Photo: François Lauginie

 

 

The Revolution of 1830 led to the overthrow of the government of King Charles X. After the publication of several ordinances, including a restriction on freedom of the press, this episode, which failed to restore the Republic, The tricolor flag, abandoned by the Restoration for the benefit of the white flag, symbol of royalty. This is evidenced by Leon Cogniet’s study of a painting that will never see the light of day.

These revolutionary days, also called the Three Glorious Days, are symbolically represented by three flags caught in the turmoil. The first, white, overhung by a menacing sky, is hoisted on a mast adorned with a fleur-de-lis. The second tears apart and reveals the blue sky as a promise of freedom. Finally, the third, torn and covered with blood, allows the reconstruction of the tricolor emblem created during the Revolution of 1789. Thus the blood poured during these days allows the people to reconnect with the revolutionary ideals. The unleashing of elements, a metaphor for the tempestuous popular revolt, accompanies the transformation of the banished flag of royalty to the national flag. This sketch is repeated and widely circulated at the time, accompanied by an anonymous poem: “To the darkness finally succeeds the clarity / And pale shreds of the flag of the slaves / And of the azure sky and the blood of our brave / The brilliant standard of our freedom is born. ” (Text from the Jeu de Paume website translated by Google translate)

 

Victor Hugo. 'La vague ou Ma destinée (The wave or My destiny)' 1857

 

Victor Hugo
La vague ou Ma destinée (The wave or My destiny)
1857
Plume et lavis d’encre brune, gouache, papier vélin
Maison de Victor Hugo
© Maisons de Victor Hugo / Roger-Viollet

 

This drawing is the witness of Victor Hugo’s fascination with the sea. His pen marries the movements of the ocean, which then becomes the symbol of his exile: “It is the image of my current destiny stranded in abandonment and solitude,” he says. On the drawing he calls ‘My destiny’, it is not known whether the ship, alone in front of the monster of the sea, enveloped by its foam, is carried or precipitated by the immense wave. It is a figure of his destiny, but also of the human condition.

 

Man Ray. "Sculpture mouvante" ou "La France" ("Moving Sculpture" or "France") 1920

 

Man Ray
“Sculpture mouvante” ou “La France” (“Moving Sculpture” or “La France”)
1920
Musée national d’Art moderne, Centre Pompidou, Paris, dation en 1994
Negative gelatin-silver on glass plate
9 x 12 cm
Photo © Centre Pompidou, MNAM-CCI, Dist. RMN-Grand Palais / image Centre Pompidou, MNAM-CCI
Image obtenue par inversion des valeurs du scan du négatif
© Man Ray Trust / ADAGP, Paris, 2016

 

 

An active member of the Dada group in New York with Marcel Duchamp, Man Ray joined the surrealists in Paris in 1921. He was interested in questioning the conventions of the world of art and considered photography as a means of expression. It explores all potentialities: experiments, diversions, portraits, advertising applications … The fixation of an element in movement constitutes one of the specificities of photography that fascinates the surrealists because the object thus grasped by the apparatus appears in an unexpected light: the linen which dries, inflated under the effect of the wind, becomes a moving sculpture as the title of the work suggests. This way the title can guide the reception of the passionate photography of Man Ray. This image is also published on the cover of the sixth issue of La Révolution Surréaliste in 1926, accompanied by the legend “La France”. This enigmatic title, rather than helping to understand photography, multiplies the possible interpretations and attests to Man Ray’s desire to subvert the use and meaning of the images. Thus this wind which “transforms” linen into sculpture, appears as a metaphor for the surrealist project, which makes the photographic medium the operator of a true conversion of the gaze. By this image of the “uprising”, Man Ray thus gives a visual form to the aesthetic and political revolution that the members of the Surrealist group called for. (Text from the Jeu de Paume website translated by Google translate)

 

Eustachy Kossakowski. 'Le "Panoramic Sea Happening - Sea Concerto, Osieki" de Tadeusz Kantor (extrait d'une série)' 1967

 

Eustachy Kossakowski
Le “Panoramic Sea Happening – Sea Concerto, Osieki” de Tadeusz Kantor (extrait d’une série)
The “Panoramic Sea Happening – Sea Concerto, Osieki” by Tadeusz Kantor (from a series)
1967
Inkjet pigment print
Owner of negatives and slides: Musée d’Art Moderne de Varsovie
© Collection Anka Ptaszkowska

 

 

In 1967 Tadeusz Kantor with a group of other Polish avant-garde artists delivered Panoramic Sea Happening. They were working in frames of artistic plain-air in Osieki (near Koszalin) organized there every year since 1963. This complex action was in a way a preface to Kantor’s theatre. But it was also parallel to actions of Western artists, which led to the birth of performance art. In this important moment Kantor formulated a category of impossible. It derived from the night dream but as this one was compromised Kantor wanted to use a new word: ‘impossible’. At the same time the very essence of the happening, as he was saying, was to make impossible real. How did he do it? By reenactment, repetition and documentation.

Dorota Sosnowska. From the abstract for “Impossible is Real: Tadeusz Kantor at the seashore” 2016

 

Hélio Oiticica and Leandro Katz. 'Parangolé - Encuentros de Pamplona' 1972

 

Hélio Oiticica and Leandro Katz
Parangolé – Encuentros de Pamplona (Parangolé – Encounters of Pamplona)
1972
Impression chromogène (sur papier et carton)
Museo Nacional Centro de Arte Reina Sofía, Madrid
Photo: Archives Museo Nacional Centro de Arte Reina Sofía
© Projeto Hélio Oiticica / © Leandro Katz

 

 

“At the time when he was producing his first Penetrables, Oticica started to design Parangolés, banners and capes printed in a great variety of colors and designs, and occasionally inscribed with mottoes, advertisement lines, or found phrases. Oiticica premiered his (anti)fashion statements in 1965 in what he called a Parangolé Coletivo, in which he distributed his creations among friends and members of the Mangueira samba school – he had joined in 1964 – who paraded wearing them while dancing to samba… He would continue making Parangolés and staging Parangolé events throughout the rest of his life, at times through friends who acted as intermediaries, as in the Pamplona encounters of 1972 in Spain when Argentinean artist Leandro Katz ran a Parangolé event on Oiticica’s behalf.”

Juan A. Suárez. “Jack Smith, Hélio Oiticica, Tropicalism,” in Criticism Vol. 56, No. 2, Jack Smith: Beyond the Rented World (Spring 2014) pp. 310-311.

 

Henri Michaux. 'Untitled' 1975

 

Henri Michaux
Untitled
1975
Acrylic on paper
Private collection
© ADAGP, Paris, 2016
Photo: Jean-Louis Losi

 

Dennis Adams. 'Patriot' 2002

 

Dennis Adams
Patriot
2002
From the series Airborne
C-Print contrecollé sur aluminium.
Prêt du Centre national des Arts Plastiques, Paris, inv. FNAC 03.241.
© Dennis Adams / CNAP / Courtesy Galerie Gabrielle Maubrie

 

 

A plastic bag stands out on the azure sky and floats in the air. Difficult, considering the serenity that emanates from the photographs of this series, to imagine that they refer to a dramatic event: the attack of the World Trade Center. Located in Lower Manhattan, Dennis Adams’ studio is very close to the twin towers that were destroyed on September 11, 2001. However, rather than rushing to witness the catastrophe, Dennis Adams photographed for three months the roof of his building, the newspapers and the rubbish that fly away from the ruins. These images, although directly related to this highly publicized event have nothing of the “shock” images that then invade the press.

They carry neither sensationalism nor exaggerated patriotism, but rather invite reverie and meditation. By adopting this attitude to the antipodes of the media and political enthusiasm that follows September 11, Dennis Adams questions the relationship to temporality in the face of this type of event. He denounces the “greed of politicians and military men who have a definite opinion on moments of history”* and questions the imperative of hyperreactivity not conducive to the analysis and the constitution of a historical consciousness. (Text from the Jeu de Paume website translated by Google translate)

*Dennis Adams quoted by Michel Guerrin, “In Madrid, photographers face history”, in Le Monde, June 15, 2004, p. 30.

 

Roman Signer. 'Rotes Band / Red Tape' 2005

 

Roman Signer
Rotes Band / Red Tape
2005
Vidéo couleur, son, 2’07’”.
Caméra: Aleksandra Signer
Courtesy de l’artiste et d’Art: Concept, Paris

 

Tsubasa Kato. 'Break it before it’s broken' 2015

Tsubasa Kato. 'Break it before it’s broken' 2015

 

Tsubasa Kato
Break it before it’s broken
2015
Video: color, sound, 4:49 min
© Tsubasa Kato / caméraman: Taro Aoishi

 

 

On March 11, 2011, a tsunami struck the Japanese coast and caused a nuclear accident at the Fukushima Daiichi plant. The disastrous environmental and social consequences are still impossible to evaluate and the inhabitants, partly neglected by the public authorities, have to face an unprecedented crisis. Many of them have been displaced and most of their income from fishing is reduced to nothing because of the contamination of the ocean. Tsubasa Kato then decides to get involved with them by accompanying them daily in this difficult period. In addition to this support, he decided on November 3rd (03/11) – the day of the celebration of culture in Japan (Bunka no Hi) and date whose numerical writing is the inverse of that of the tsunami (11/03) – to achieve a strongly symbolic performance.

Entitled Break it before it’s broken, the video of this action shows residents of the region invited to overthrow the structure of a house washed away by the tsunami and destroy it definitively. Becoming actors of destruction and no longer passive observers, participants can then transform the event undergone into action. This festival of culture, for Tsubasa Kato, is an opportunity to initiate a unifying artistic moment that testifies to the strength of collective movements and the mobilization necessary to reverse the course of events. He will then reiterate this performance in other parts of the world, which are often subject to delicate social situations. (Text from the Jeu de Paume website translated by Google translate)

 

Mari Kourkouta. 'Remontages' 2016

Mari Kourkouta. 'Remontages' 2016

 

Mari Kourkouta
Remontages
2016
16 mm sur vidéo (en boucle), noir et blanc, silencieux, 4’ 10.
© Maria Kourkouta. Production : Jeu de Paume, Paris

 

 

“Body, mind and soul are uplifted by the divine energy of desire”

.
Marie-José Mondzain, “To those who sail the sea…” catalogue of the exhibition Uprisings

 

“To make the world rise up we need gestures, desires, and depths.”

.
Georges Didi-Huberman, “By the desires (Fragments on What Makes Us Rise Up)” catalogue of the exhibition Uprisings

 

 

GESTURES (INTENSE)

From burden to uprising. – With hammer blows. – Arms rise up. – The pasión. – When bodies say no. – Mouths for exclaiming.

Rising up is a gesture. Before even attempting to carry out a voluntary and shared “action,” we rise up with a simple gesture that suddenly overturns the burden that submission had, until then, placed on us (be it through cowardice, cynicism, or despair). To rise up means to throw off the burden weighing down on our shoulders, keeping us from moving. It is to break a certain present – be it with hammer blows as Friedrich Nietzsche and Antonin Artaud sought to do – and to raise your arms towards the future that is opening up. It is a sign of hope and of resistance.

It is a gesture and it is an emotion. The Spanish Republicans – whose visual culture was shaped by Goya and Picasso, but also by all the photographers on the field who collected, the gestures of freed prisoners, of voluntary combatants, of children and of the famous La Pasionaria, Dolores Ibárruri – fully assumed this. In the gesture of rising up, each body protests with all of its limbs, each mouth opens and exclaims its no-refusal and its yes-desire.

Paulo Abreu, Art & Language, Antonin Artaud, Taysir Batniji, Joseph Beuys, Désiré-Magloire Bourneville, Gilles Caron, Claude Cattelain, Agustí Centelles, Chim, Pascal Convert, Gustave Courbet, Élie Faure, Michel Foucault, Leonard Freed, Gisèle Freund, Marcel Gautherot, Agnès Geoffray, Jochen Gerz, Jack Goldstein, Käthe Kollwitz, Alberto Korda, Germaine Krull, Hiroji Kubota, Annette Messager, Lisette Model, Tina Modotti, Friedric Nietzsche, Willy Römer, Willy Ronis, Graciela Sacco, Lorna Simpson, Wolf Vostell, anonymes catalans, français, italiens.

 

Gustave Courbet. 'Home en blouse debout sur une barricade (projet de frontispice pour Le Salut public)' 1848

 

Gustave Courbet
Home en blouse debout sur une barricade (projet de frontispice pour Le Salut public)
Man in a smock standing on a barricade (frontispiece for Le Salut public project)

1848
Fusain sur papier
Musée Carnavalet – Histoire de Paris
© Musée Carnavalet / Roger-Viollet

 

Germaine Krull. 'The Dancer Jo Mihaly, danse "Révolution"' 1925

 

Germaine Krull
The Dancer Jo Mihaly, danse “Révolution”
1925
Gelatin silver print
Museum Folkwang, Essen
© Estate Germaine Krull, Folkwang Museum, Essen

 

 

Pioneer and adventurous, Germaine Krull is one of those women photographers of the inter-war period who contributed largely to the emergence of a nervous and dynamic photographic approach, in step with a modern world in constant acceleration. In photographing Jo Mihaly, she portrays a dancer who shares this avant-garde sensibility. Indeed, a pupil of Mary Wigman, this singular figure of dance participates in the German expressionist movement and contributes to the development of a modern choreographic art: the unconstrained body emancipates itself from the conventions of classical dance, the gesture of the dancer is released and regains its vitality. The movement then becomes the result of the personal expression of the dancer whose photographer has the burden of seizing the fulgurance [dazzling speed]. Stretched arm, smoky eyes and feverish eyes, Jo Mihaly – who has always claimed her commitment to the Communist Party – realizes a gesture that resonates with her time but also with the youth of Germaine Krull, marked by its proximity to the Republic of the Soviets of Berlin in 1919. Thus, it is as much for these artists to participate in an aesthetic revolution in their respective artistic fields as to echo the social and political uprisings that have taken place throughout Europe since the the advent of the industrial era. (Text from the Jeu de Paume website translated by Google translate)

 

 

Alberto Korda. 'Don Quixote of the streetlamp, Plaza de la Revolución, Havana, Cuba' 1959

 

Alberto Korda
El Quijote de la Farola, Plaza de la Revolución, La Habana, Cuba
Don Quixote of the streetlamp, Plaza de la Revolución, Havana, Cuba

1959
Vintage gelatin silver print on baryta paper
Leticia et Stanislas Poniatowski collection
© ADAGP, Paris, 2016

 

Kitai Kazuo. 'Resistance' (book) 1965

 

Kitai Kazuo
Resistance (book)
1965
BAL
© Kitai Kazuo/ Collection privée

 

With a manifesto both aesthetic and philosophical, the Japanese publication Provoke proposed a radical break in only three issues, published in 1968 and 1969. Provoke (photographers Takuma Nakahira, Yutaka Takanashi and Daidō Moriyama, critic Kōji Taki and poet Takahiko Okada) proposes a new visual language – rough, grainy and blurred – that captures the complexity of the experience and the paradoxes of modernity suffered by all.

 

Wolf Vostell. 'Dutschke' 1968

 

Wolf Vostell
Dutschke
1968
Peinture polymère sur toile
Haus der Geschichte der Bundensrepublik Deutschland, Bonn
© ADAGP, Paris, 2016

 

Art and Language. 'Shouting Men' (details) 1975

Art and Language. 'Shouting Men' (details) 1975

Art and Language. 'Shouting Men' (details) 1975

 

Art and Language
Shouting Men (details)
1975
Screenprint and felt pen on paper
Museu d’Art Contemporani de Barcelona collection
Photo: Àngela Gallego
© Art and Language

 

Patrick Zachmann 'The army blocked by the crowd at the gates of the capital' 1989

 

Patrick Zachmann
L’armée bloquée par la foule aux portes de la capitale
The army blocked by the crowd at the gates of the capital
1989
Gelatin-silver bromide print on baryta paper
50.4 x 60.9 cm
Musée du quai Branly – Jacques Chirac
© Patrick Zachmann

 

From the early 1980s, Patrick Zachmann carried out an in-depth investigation into the Chinese diaspora. Present in China at the time of the events in Tiananmen Square, he photographed particularly symbolic episodes. This picture, taken on 20 May, is located just after the beginning of the hunger strikes, and before the massive repression known as the Tiananmen massacre. The nocturnal atmosphere and the gestures of the orator confer on this “moment before” a dramatic theatricality.

 

Annette Messager. '47 Piques (47 Pikes)' 1992

 

Annette Messager
47 Piques (47 Pikes)
1992
Soft toys, colored pencils on paper, various materials, and 47 metal pikes
270 x 570 x 70 cm
Annette Messager and Marin Karmitz collection/Marian Goodman Gallery, Paris
© ADAGP, Paris, 2016

 

Graciela Sacco. from the "Bocanada" (A breath of fresh air) series 1992-1993

 

Graciela Sacco
from the “Bocanada” (A breath of fresh air) series
1992-1993
Posters in the streets of Rosario, Argentina
© Graciela Sacco

 

 

This series of photographs of open mouths was immediately considered by Graciela Sacco as being intended to circulate in the public space on various supports (stamps, spoons, stickers, posters …). It is however in the form of a wild display that the artist has most often given to see this set. The first of these displays took place in 1993, during a strike, in public school canteens in the town of Rosario. It was then a question of questioning the impossibility of the municipal staff to make their claims heard and the consequences of this movement knowing that for the majority of the children, this meal was the only one of the day. Graciela Sacco then continues to post these posters in cities like Buenos Aires, São Paulo or New York, often during election campaigns or close to advertising images. Are they hungry mouths? Cries of claims? Of suffering? Or even breathing as the title suggests? Be that as it may, this repeated but inaudible message tends to become oppressive. By exposing them in public space, the artist seems to give visibility to those anonymous calls that we do not want or can not hear. (Text from the Jeu de Paume website translated by Google translate)

 

 

WORDS (EXCLAIMED)

Poetic insurrections. – The message of the butterflies. – Newspapers. – Making a book of resistance. – The walls speak up.

Arms have been raised, mouths have exclaimed. Now, what are needed are words, sentences to say, sing, think, discuss, print, transmit. That is why poets place themselves “at the forefront” of the action itself, as Rimbaud said at the time of the Paris Commune. Upstream the Romantics, downstream the Dadaists, Surrealists, Lettrists, Situationists, etc., all undertook poetic insurrections.

“Poetic” does not mean “far from history,” quite the contrary. There is a poetry of tracts, from the protest leaflet written by Georg Büchner in 1834 to the digital resistance of today, through René Char in 1943 and the “cine-tracts,” from 1968. There is a poetry particular to the use of newspapers and social networks. There is a particular intelligence – attentive to the form – inherent in the books of resistance or of uprising. Until the walls themselves begin to speak and occupy the public space, the sensible space in its entirety.

Antonin Artaud, Ever Astudillo, Ismaïl Bahri, Artur Barrio, Georges Bataille, Charles Baudelaire, Joseph Beuys, Enrique Bostelmann, André Breton, Marcel Broodthaers, Cornelius Castoriadis, Champfleury, Dada, Armand Dayot, Guy Debord, Carl Einstein, Jean-Luc Fromanger, Federico García Lorca, Jean-Luc Godard, Groupe Dziga Vertov, Raymond Hains, Raoul Hausmann, John Heartfield, Bernard Heidsieck, Victor Hugo, Asger Jorn, Jérôme Lindon, Rosa Luxemburg, Man Ray, Germán Marín, Chris Marker, Cildo Meireles, Henri Michaux, Tina Modotti, Pier Paolo Pasolini, Pablo Picasso, Sigmar Polke, Jacques Rancière, Alain Resnais, Armando Salgado, Álvaro Sarmiento, Philippe Soupault, Félix Vallotton, Gil Joseph Wolman, German, Chilean, Cuban, Spanish, French, Italian, Mexican, Russian unknowns.

 

Raoul Hausman. 'Portrait of Herwarth Walden at Bonset' 1921

 

Raoul Hausman
Portrait of Herwarth Walden at Bonset
1921
Postcard sent by Raoul Hausmann to Theo van Doesburg
Archives Theo and Nelly van Doesburg
Photo: collection RKD – Netherlands Institute for Art History
© ADAGP, Paris, 2016

 

 

Herwarth Walden (actual name Georg Lewin, 16 September 1879 in Berlin – 31 October 1941 in Saratov, Russia) was a German Expressionist artist and art expert in many disciplines. He is broadly acknowledged as one of the most important discoverers and promoters of German avant-garde art in the early twentieth century (Expressionism, Futurism, Dadaism, Magic Realism).

From 1901 to 1911 Walden was married to Else Lasker-Schüler, the leading female representative of German Expressionist poetry. She invented for him the pseudonym “Herwarth Walden”, inspired by Henry Thoreau’s novel Walden, or Life in the Woods (1854). In 1912 he married Swedish painter Nell Roslund. In 1919 he became a member of the Communist Party. In 1924 he was divorced from his second wife.

With the economic depression of the 1930s and the subsequent rise of National Socialism, his activities were compromised. In 1932 he married again and left Germany shortly later because of the threat of the Gestapo. He went to Moscow, where he worked as a teacher and publisher. His sympathies for the avant-garde soon aroused the suspicion of the Stalinist Soviet government, and he had to repeatedly defend against the equation of avant-garde and fascism. Walden died in October 1941 in a Soviet prison in Saratov. (Text from the Wikipedia website)

 

 

John Heartfield. 'Use photography as a weapon !' 1929

 

John Heartfield
Benütze Foto als Waffe ! 
Utilise la photo comme une arme !
Use photography as a weapon !

AIZ, année VIII, no 37, Berlin, 1929, p. 17
Revue
37.8 x 27.5 cm
Akademie der Künste, Berlin, Kunstsammlung, Inv.-Nr.: JH 2265
© The Heartfield Community of Heirs/ADAGP, Paris, 2016

 

 

In the late 1910s, members of the Dada movement practiced the first collages using images from cheap publications. The iconoclastic dimension of these heterogeneous juxtapositions allows them to open up the critical potential of images. Then, in the 1920s in Berlin, the Dada movement became politicized and the idea that the affiliated artists of the Communist Party were to serve the proletarian cause was strengthened. Few artists felt as committed to this mission as John Heartfield (his real name was Helmut Herzfeld). From the end of the 1920s, he developed a practice of satirical photomontage for the press, and in particular of the Communist journal AIZ (Arbeiter Illustrierte Zeitung) for which he worked until 1938. He then produced 237 photomontages denouncing Fascist ideology, the financing of the Nazi party by the industrialists and the extreme violence of the national socialist program. Invited to the Film und Foto exhibition in 1929 in Stuttgart, he had inscribed above the section devoted to him the slogan found in AIZ the same year: “Use photography as a weapon!”. Through the massive dissemination of his photomontages, he wants to mobilize public opinion and incite him to rise up against the rise of the fascisms that threaten Europe. (Text from the Jeu de Paume website translated by Google translate)

Heartfield lived in Berlin until April 1933, when the National Socialists took power. On Good Friday, the SS broke into his apartment, and the 5’2″ Heartfield escaped by jumping from his balcony and hiding in a trash bin. He left Germany by walking over the Sudeten Mountains to Czechoslovakia. In Czechoslovakia, John Heartfield rose to number-five on the Gestapo’s most-wanted list.

 

Federico. 'García Lorca Mierda (Shit)' 1934

 

Federico García Lorca
Mierda (Shit)
1934
Calligram, Indian ink
Federico García Lorca foundation, Madrid
© Federico García Lorca foundation, Madrid / VEGAP

 

Réseau Buckmaster (Buckmaster Network) 'Tract clandestin (Clandestine Tract)' 1942

reseau-buckmaster-tract-clandestin-1942-b-web

 

Réseau Buckmaster (Buckmaster Network)
Tract clandestin (Clandestine Tract)
1942
Papier
17 x 25 cm
Collection particulière
Courtesy des éditions de L’échappée

 

 

This satirical tract was realized and distributed in 1942 by the network of the Resistance Buckmaster, during the German occupation in France. The flying leaf, given from hand to hand or slipped into a mailbox, the leaflet or the butterfly (smaller) is at the same time the expression of a refusal – that of yielding – and of an imperious desire to act and call for a start. Intended to mark the minds and to attract the adhesion, they can be formed of short and poetic texts, slogans or images. Open, it presents a caricature drawing of four pigs and, in the center, an inscription in capital letters which apostrophes the reader and invites him to look for the fifth … Indeed, if the recipient folds the sheet according to the dotted lines, he makes Hitler’s acrimonious face! Thus, like any clandestine message, the meaning of the leaflet is not given immediately. The system of folding conceals and intrigues before revealing, but also accentuates the critical and percussive nature of the subject. Opening and closing like two wings, this butterfly is an anonymous, ephemeral and fragile missive ready to fly in the air to carry its message of rising. Like a firefly gleaming in the night of war, “an indication of a desire that flies, goes where it wants, insists, persists, resists in spite of everything”*, in the words of Georges Didi-Huberman, this image constitutes a weapon at the same time frail and powerful. (Text from the Jeu de Paume website translated by Google translate)

*Georges Didi-Huberman, “Through desires (fragments on what raises us)”, in Soulèvements, Paris, Jeu de Paume, 2016, p. 372.

 

Raymond Hains. 'OAS. Fusillez les plastiqueurs (OAS. Shoot the bombers)' 1961

 

Raymond Hains
OAS. Fusillez les plastiqueurs (OAS. Shoot the bombers)
1961
Torn poster on canvas backing
Private collection
© ADAGP, Paris, 2016
Photo: Michel Marcuzzi

 

 

By the end of the 1940s, Raymond Hains paced the streets of Paris and sought out surprising agglomerates of torn posters that he picked up before painting them on canvas. The artist, flâneur, is the catalyst of a new form of urban poetry that gives rise to impromptu entanglements of words and images. This practice of hijacking posters largely echoed the world of art and French society after the Second World War. These torn posters formally evoke the canvases of “action painting” in vogue at the time, which Hains enjoys by calling himself “inaction painter”. The proliferation of these posters accompanies the rise of consumption but also the many political debates that agitate France. Thus futile advertisements co-exist promoting an eternally joyful world and political posters whose subjects are sometimes dramatic. In 1961, Raymond Hains realized an exhibition entitled “La déchirée France” [The Torn France] which presents itself as a sounding board of contemporary French history, marked by the decomposition of the Fourth Republic and what is not yet called the war of Algeria. The work OAS. Shoot the bombers testifies to the violence of the positions taken with regard to this organization favorable to the maintenance of French Algeria, but also to the reality of the attacks they commit. (Text from the Jeu de Paume website translated by Google translate)

 

Sigmar Polke. 'Against the two superpowers - for a red Switzerland' (1st version) 1976

 

Sigmar Polke
Gegen die zwei Supermächte – für eine rote Schweiz (1e version)
(Against the two superpowers – for a red Switzerland) (1st version)
1976
Spray paint and stencil on paper
Ludwig Forum für internationale Kunst, Aachen
© The Estate of Sigmar Polke, Cologne /ADAGP, Paris, 2016

 

Henri Michaux. 'Untitled' 1975

 

Henri Michaux
Untitled
1975
Indian ink, acrylic on paper
50 x 65 cm
Private collection
© ADAGP, Paris, 2016 / Photo : Jean-Louis Losi

 

 

The poet Henri Michaux has endeavored to combine writing and drawing. Already in his invention of a new graphic alphabet in 1927, and then in his hallucinogenic experiments by absorption of mescaline from 1955, Henri Michaux sought to liberate, unbind language and drawing and thus to explore “the space within”. This ink on paper presents an entanglement of disorderly spots more or less energetic or impregnated. Just as his poems try to lift the tongue, this drawing seems to express what he calls “trembling in images”. Traces of liberating gestures, this expressive “new language”, noisy, made of floods of forms and collisions of signs, becomes the image of the disorderly world and the claimed insubordination of its author. In 1971, Michaux always seems to be looking for what he calls in the turbulent infinity “a confidence of a child, a confidence that goes ahead, hopes, raises you, confidence which, entering into the tumultuous universe … becomes a greater upheaval, a prodigiously great uprising, an extraordinary uprising, an uprising never known, a rising above itself, above all, a miraculous uprising which is at the same time an acquiescence, an unbounded, calming and exciting acquiescence, an overflow and a liberation.” Thus Michaux considered drawing as a movement, the very rise of thought and bodies. (Text from the Jeu de Paume website translated by Google translate)

 

 

“Uprising transforms consciousness and in this movement it reconstitutes it. It gathers needs together and turns them into demands, it turns affects into desires and wills, it positions them in a tension towards liberty.”

.
Antonio Negri, “Uprisings” catalogue of the exhibition Uprisings

 

 

CONFLICTS (FLARED UP)

To go on strike is not to do nothing. – Demonstrating, showing oneself. – Vandal joys. – Building barricades. – Dying from injustice.

And so everything flares up. Some see only pure chaos. Others witness the sudden appearance of the forms of a desire to be free. During strikes, ways of living together are invented. To say that we “demonstrate,” is to affirm – albeit to be surprised by it or even not to understand it—that something appeared that was decisive. But this demanded a conflict. Conflict: an important motif of modern historical painting (from Manet to Polke), and of the visual arts in general (photography, cinema, video, digital arts).

It happens sometimes that uprisings produce merely the image of broken images: vandalism, those kinds of celebrations in negative format. But on these ruins will be built the temporary architecture of uprisings: paradoxical, moving, makeshift things that are barricades. Then, the police suppress the demonstration, when those who rise up had only the potency of their desire (potency: not power). And this is why there are so many people in history who have died from having risen up.

Manuel Álvarez Bravo, Hugo Aveta, Ruth Berlau, Malcolm Browne, Henri Cartier-Bresson, Agustí Centelles, Chen Chieh-Jen, Armand Dayot, Honoré Daumier, Adolphe-Eugène Disdéri, Robert Filliou, Jules Girardet, Arpad Hazafi, John Heartfield, Dmitri Kessel, Herbert Kirchhorff, Héctor López, Édouard Manet, Ernesto Molina, Jean-Luc Moulène, Voula Papaioannou, Sigmar Polke, Willy Römer, Pedro G. Romero, Jésus Ruiz Durand, Armando Salgado, Allan Sekula, Thibault, Félix Vallotton, Jean Veber, German, Catalan, French, Mexican, South African unknowns.

 

Thibault. 'The Barricade of the Rue Saint-Maur-Popincourt before the attack by the troops of General Lamoriciere' Sunday, June 25, 1848

 

Thibault
La Barricade de la rue Saint-Maur-Popincourt avant l’attaque par les troupes du général Lamoricière
The Barricade of the Rue Saint-Maur-Popincourt before the attack by the troops of General Lamoriciere
Sunday, June 25, 1848
Daguerréotype
11.7 x 15 cm
Musée d’Orsay, Paris
Photo © RMN-Grand Palais (musée d’Orsay) / Hervé Lewandowski

 

 

This daguerreotype is part of a series of two exceptional views of the barricades taken during the popular insurrection of June 1848. Disseminated in the form of woodcuts in the newspaper L’Illustration at the beginning of the following July, these photographs were realized by an amateur named Thibault, from a point of view overlooking the Rue Saint-Maur-Popincourt, June 25 and 26, before and after the assault. The first photographs reproduced in the press, they show the value of proof given to the medium in the processing of information since the middle of the nineteenth century, well before the development of photomechanical reproduction techniques. The inaccuracies and ghostly traces caused by a long exposure time limit the accuracy lent to the medium. Also the engraver allowed himself to “rectify” the views for the newspaper, adding clouds here and there and specifying the posture or the detail of the silhouettes. The remarkable interest of these daguerreotypes, however, resides in their indeterminate aspect. In fact, they reveal the singular temporality of these events: both short (since each second counts during the confrontations) and at the same time extended (in the moments of preparation and waiting). The temporalities proper to events and photography are thus combined in order to offer the perennial image of an invisible uprising and therefore always in potentiality. (Text from the Jeu de Paume website translated by Google translate)

 

Édouard Manet. 'Guerre civile (Civil war)' 1871

 

Édouard Manet
Guerre civile (Civil war)
1871
Two-tone lithograph on thick paper
Musée Carnavalet – Histoire de Paris
© Musée Carnavalet / Roger-Viollet

 

André Adolphe Eugène Disdéri. 'Insurgents killed during bloody week of the Commune' 1871

 

André Adolphe Eugène Disdéri (attribué à)
Insurgés tués pendant la Semaine sanglante de la Commune
Insurgents killed during bloody week of the Commune
1871
Albumen photograph
21 x 27 cm
Musée Carnavalet – Histoire de Paris, Paris
© André A.E. Disdéri / Musée Carnavalet / Roger-Viollet

 

 

This photograph was taken at the end of the tragic Bloody Week which concluded the Commune of Paris in May 1871. It shows the corpses of Communards shot by the Versailles troops, presented in their coffins at the public exhibition of their bodies. This image is imprinted with brutality: that of the authors of the massacre of these young men struggling for the independence of Paris, that of the monstration [The act of demonstrating; proof] and, that of photography, in its realization, its frontality and its precision. Why did one of the most famous portraitists of the Second Empire record the image of these inanimate bodies? We know today that photography has played an important role in anti-communard propaganda, the aim of which was to show the “exactions” of the insurgents (barricades, vandalism, assassinations …) and to present this event not as a revolution but as a civil war. It was also used for identification purposes, used for judicial proceedings and repression. The value of this image, however, is due to the fact that the exposure of these bodies is transformed by the photographic act. The latter confers on the rebels a particular aura, passing thus from figures of guilty to those of martyrs. Gathered for the occasion and set up facing us, they form, through photography, the image of an inseparable community. Even if the revolution has failed and power has failed, its power remains and continues to nourish the memory of political uprisings. (Text from the Jeu de Paume website translated by Google translate)

 

Allan Hughan. 'Installations de la colonie pénitentiaire (Installations of the penal colony)' May 1874

 

Allan Hughan
Installations de la colonie pénitentiaire (Installations of the penal colony)
May 1874
Tirage sur papier albuminé
14.7 x 19.6 cm
Musée du quai Branly – Jacques Chirac

 

The legend of the image, written in the thirties, states: “In the foreground the tribe of rebels of 1878”, while that handwritten on the original negative says “tribe of Atai revolted.” These elements drag the meaning of this image realized by the first photographer present in New Caledonia. The photographs he takes of kanaks, villages, but also of the prison and mining facilities in 1874, take on a new retrospective significance after the great Kanak revolt of 1878.

 

Félix Vallotton. 'La Charge (The Charge)' 1893

 

Félix Vallotton
La Charge (The Charge)
1893
Proof, woodcut on paper
Musée national d’Art moderne, Centre Pompidou, Paris
Gift of Adèle et Georges Besson en 1963. On loan to Musée des Beaux-Arts et d’Archéologie de Besançon
© Centre Pompidou / MNAM / Cliché Pierre Guenat, Besançon, Musée des Beaux-Arts et d’Archéologie

 

 

Felix Vallotton made this engraving on wood in 1893 as part of his critical contributions to social violence for newspapers and magazines of his time. Composed with great economy of means, La Charge represents the brutal repression of a demonstration by the forces of the order. The diving point of view testifies to the influence of photography on his work and reinforces the voyeur character of the viewer as well as his feeling of helplessness. The formal repetition of the uniform of the “guardians of the peace” and the resemblance of their faces, all wedged between their mustache and their kepi, translates well the impression of mechanical unleashing of a blind violence. By contrasting black and white, Vallotton refers to the physical confrontation between civilians and policemen. The centrifugal force which animates the composition gives the impression that the wounded bodies shatter like an explosion. By distorting the characteristic perspective of the Nabi aesthetic, the victims’ bodies seem to be abandoned. Through the eyes of man in the foreground, the artist denounces the abuse of force but also takes the spectator to witness and invites him to rise up against this injustice. The artist, known for his anarchist positions, broke as much with the traditional principles of composition as with the established order. At the charge against the protesters, he responds by his own charge against the authorities. (Text from the Jeu de Paume website translated by Google translate)

 

Joseph Marie Ernest Prud'Homme. 'Submission of Rabezavana and Rainibetsimisaraka' 1897

 

Joseph Marie Ernest Prud’Homme
Submission of Rabezavana and Rainibetsimisaraka
1897
Print on aristotype paper
12 x 17 cm
Musée du quai Branly – Jacques Chirac

 

On July 29, 1897, Rabezavana and Rainibetsimisaraka, two of the greatest leaders of the Menalamba insurrection, which began after the abdication of Queen Ranavalona III and the establishment of the protectorate in October 1895, publicly knelt before Governor General Joseph Gallieni to signify their submission. This ceremony is the theatrical acme of the policy of “pacification” carried out in Madagascar by Gallieni, since his arrival in September 1896.

 

Anonymous. 'The Habés send a parliamentarian to make their submission to Major Pognio' 17 March 1910

 

Anonymous
Les Habés envoient un parlementaire pour faire leur soumission au commandant Pognio
The Habés send a parliamentarian to make their submission to Major Pognio
17 March 1910
Print on baryta paper
10.9 x 16.7 cm
Musée du quai Branly – Jacques Chirac

 

The French colonial conquest of West Africa, begun in 1854, stops with the unification of its possessions within French West Africa in 1895. It was mainly carried out by the infantry which had to face populations hostile to colonization. The Habés (Dogons) of the Bandiagara region (present-day Mali) resisted the French soldiers from 1894 to 1910.

 

José Clemente Orozco (1883-1949) 'Les Femmes des soldats (The Women Soldiers)' 1926

 

José Clemente Orozco (1883-1949)
Les Femmes des soldats (The Women Soldiers)
1926
Huile sur toile
México, INBA, Collection Museo de Arte Moderno
Photo © Francisco Kochen
© Adagp, Paris 2016

 

Tina Modotti (1896-1942) 'Guitare, cartouchière et faucille (Guitar, cartridge belt and sickle)' 1st June 1929

 

Tina Modotti (1896-1942)
Guitare, cartouchière et faucille (Guitar, cartridge belt and sickle)
1st June 1929
Illustration de l’annonce pour la chanteuse communiste Concha Lichel, publiée dans el machete, no 168, 1
Illustration of the announcement for the communist singer Concha Lichel, published in El Machete, no 168, 1
Gelatin silver print
México, INBA, Museo Nacional de Arte
Donation de la famille Maples Arce, 2015
© Francisco Kochen

 

 

The Mexican Revolution profoundly changed the structure of society: since men had gone to war or to search for work and livelihoods, women took on new tasks, first in armed struggle and then in rebuilding culture and education within society. Thus, the image of the soldiaderas, those women who followed the revolutionary troops, acquired a special significance and was symbolically compared to the “strong women” of the Bible. In the artistic field, women also played a decisive role, sometimes called “proto-feminism”: patrons of valuable artists or artists themselves, they participated in the quest for an aesthetic language capable of expressing their doubts and questioning. (Text from the Jeu de Paume website translated by Google translate)

Concha Michel (1899-1990) was a singer-songwriter, political activist, playwright, and a researcher who published several projects on the culture of indigenous communities. She was one of the few women who performed in the corrido style. She created the Institute of Folklore in Michoacan and was one of the first collectors of folklore and preservers of the traditions of the Mexican people. She was a cultural icon having relationships with two presidents, and a broad range of Mexico’s most prominent artists including Diego Rivera, Frida Kahlo, Guadalupe Marín, Tina Modotti, Elena Poniatowska, Anita Brenner and others. (Text from the Wikipedia website)

 

Ruth Berlau. 'Grévistes américains (American warriors)' 1941

 

Ruth Berlau
Grévistes américains (American warriors)
1941
Gelatin silver print
10 x 15 cm
Akademie der Künste, Berlin, Bertolt Brecht Archiv
© by R. Berlau/Hoffmann

 

 

Ruth Berlau, actress, director and photographer of Danish origin realizes this photograph shortly after his arrival in the United States. She fled Nazi Germany with the writer and playwright Bertolt Brecht and accompanied him during much of his exile. In line with her commitment to the Spanish war and her communist ideas, she photographed American social movements and showed the actors of the struggle and the victims of oppression. This series on strikes highlights the workforce of the workers, with the desire to get their faces out of anonymity. It is in keeping with the documentary use of photography undertaken by social programs such as the New Deal and in particular the path traced by Walker Evans, initiator of the “documentary style”. It chooses a frontal point of view, apt to reveal with precision and clarity the faces of the strikers. In doing so, it applies itself to restoring their dignity while producing the documents of a social history. The counter-drive gives the strikers a particular scope and strength, just as the framing, which ostensibly divides the group, suggests that they belong to a powerful and determined group. The photographic practice of Ruth Berlau seems to embody a democratic ideal, revealing both the unity and the singularity of each and a common political commitment, which is reflected here through the exchange of views. (Text from the Jeu de Paume website translated by Google translate)

 

Manuel Álvarez Bravo. 'Ouvrier en grève, assassiné (Striking worker, assassinated)' 1934

 

Manuel Álvarez Bravo
Ouvrier en grève, assassiné (Striking worker, assassinated)
1934
Gelatin silver print
Musée d’Art moderne de la Ville de Paris
© Musée d’Art Moderne de la Ville de Paris / Roger Viollet
© Estate Manuel Álvarez Bravo

 

Inconnu 'Contestation around the construction of Narita airport' 1969

Inconnu 'Contestation around the construction of Narita airport' 1969

 

Inconnu
Contestation autour de la construction de l’aéroport de Narita
Contestation around the construction of Narita airport

1969
Gelatin silver prints
© Collection Art Institute of Chicago

 

In parallel with the dazzling rise of a consumer society on the Western model, for ten years (from 1960 to 1970) Japan went through a major identity crisis that unfolded on multiple fronts: American military bases in Okinawa, construction of Narita airport, occupation of universities by students …

 

Chieh-Jen Chen. 'The Route' 2006

Chieh-Jen Chen. 'The Route' 2006

 

Chieh-Jen Chen
The Route
2006
35 mm film transferred onto DVD: color and black and white, silent, 16:45 min.
© Chieh-Jen Chen, courtesy galerie Lily Robert

 

 

“To rise up is to break a history that everyone believed to have been heard. It is to break the foreseeability of history, to refute the rule that presided, as we thought, over its development or its preservation.”

.
Georges Didi-Huberman, “By the desires (Fragments of What Makes Us Rise Up)” catalogue of the exhibition Uprisings

 

 

DESIRES (INDESTRUCTIBLES)

The hope of one condemned to death. – Mothers rise up. – They are your own children. – They who go through walls.

But potency outlives power. Freud said that desire was indestructible. Even those who knew they were condemned – in the camps, in the prisons – seek every means to transmit a testimony or call out. As Joan Miró evoked in a series of works titled “The Hope of a Condemned Man,” in homage to the student anarchist Salvador Puig i Antich, executed by Franco’s regime in 1974.

An uprising can end with mothers’ tears over the bodies of their dead children. But these tears are merely a burden: they can still provide the potencies of uprising, like in the “resistance marches” of mothers and grandmothers in Buenos Aires. It is our own children who rise up: “Zero for Conduct!” was Antigone not almost a child herself? Whether in the Chiapas forests or on the Greece – Macedonia border, somewhere in China, in Egypt, in Gaza, or in the jungle of computerized networks considered as a vox populi, there will always be children to jump the wall.

Francisca Benitez, Ruth Berlau, Bruno Boudjelal, Agustí Centelles, Eduardo Gil, Mat Jacob, Ken Hamblin, Maria Kourkouta, Joan Miró, Pedro Motta, Voula Papaioannou, Estefania Peñafiel Loaiza, Enrique Ramirez, Argentinian, Greek, Mexican unknowns.

 

Denis Foyatier. 'Spartacus' 1830

 

Denis Foyatier
Spartacus
1830
Marble
Commande de Charles X, 1828
Département des Sculptures
© 2011 Musée du Louvre, dist. RMN – Grand Palais / Thierry Ollivier

 

Victor Hugo. 'Le Pendu (The hanged man)' 1854

 

Victor Hugo
Le Pendu (The hanged man)
1854
Plume et lavis d’encre brune, encre noire, fusain, pierre noire, gouache sur papier
Paris, Maison de Victor Hugo
© Maisons de Victor Hugo / Roger-Viollet

 

While in exile in Jersey, Victor Hugo is deeply moved by the death sentence in Guernsey of John Charles Tapner, a condemnation against which he protests and asks for a pardon that he will not get. Hugo then makes four drawings depicting a gaunt hanged man at his gallows. The museum preserves two (Ecce and Ecce Lex). Hugo had hung them in his room in Marine Terrace in Jersey, and in his study under the roof of Hauteville House in Guernsey.

 

Voula Papaioannou 'Graffiti of prisoners on the walls of the German prison in Merlin Street, Athens' 1944

 

Voula Papaioannou
Graffitis de prisonniers sur les murs de la prison allemande de la rue Merlin à Athènes
Graffiti of prisoners on the walls of the German prison in Merlin Street, Athens
1944
Gelatin-silver print, modern print
24 x 30 cm
Benaki Museum Photographic Archive, Athènes

 

 

Voula Papaioannou is a major figure in Greek documentary photography. Born in 1898, she made numerous photographs of landscapes, monuments and archaeological sites in the 1930s. The Second World War led her to wonder about her practice and she was committed to covering the realities of the conflict. Her apparatus then becomes a tool to testify and publicize the misery and suffering of the Greek population during the German occupation. It reflects the difficulties of everyday life, the departure of the military in combat and the famines that strike civilians. During the liberation, she made a few shots of street fights as well as these images of the walls of the prison of Athens held until then by the Germans. It shows the graffiti (inscriptions and drawings) left by the detainees, most of them awaiting execution. Many say their names and send a message to their families (“I want my relatives to be proud of me”) or claim their political convictions (“Vive le KKE”, Greek Communist Party) for the sake of transmitting until the day before their deaths the reasons for their struggle and the conditions of their disappearance. These photographic recordings are similar to archaeological documents bearing the traces of the imprisonment of the Greek Resistance fighters and their hope that these messages will one day be read in a Greece freed from the Nazi occupation. (Text from the Jeu de Paume website translated by Google translate)

 

Anonymous. 'Women pushed towards the gas chamber of crematorium V of Birkenau' 1944

 

Anonyme (membre du Sonderkommando d’Auschwitz-Birkenau)
Femmes poussées vers la chambre à gaz du crématoire V de Birkenau
Women pushed towards the gas chamber of crematorium V of Birkenau
1944
Contact plate with two images
12 x 6 cm
Archival collection of the State Museum Auschwitz-Birkrenau, Oświęcim
Photo: Archival collection of the State Museum Auschwitz-Birkrenau, Oświęcim

 

 

This photograph was taken by a member of the Sonderkommando Auschwitz-Birkenau, a special unit of Jewish inmates commissioned by the SS to carry out the final solution. It belongs to a set of four photographs carried out clandestinely on a piece of film, using a photographic camera infiltrated in the camp and then concealed at the bottom of a bucket. Hidden near crematory furnace V, the author of these photographs was assisted by other members of the Sonderkommando. To do such an act was indeed extremely dangerous. The sloping framing and the blur reflect the perilous conditions in which the photographer was then placed. This picture, however, clearly shows a convoy of naked women pushed by the special unit to the gas chamber, located off-field. The film was then filtered from the camp into a tube of toothpaste to join the Polish Resistance, accompanied by an explanatory letter. These photographs therefore have an informative aim and constitute the only photographic documents on the gas chambers. As Georges Didi-Huberman affirms, “in the depths of this fundamental despair, the “solicitation to resist” has probably detached itself from the beings themselves, who have been promised to disappear, to fix themselves on signals to be emitted beyond the boundaries of the camp.*” Among others, the image, this “eye of history”, is then invested with the only hope still possible: to make the hell of Auschwitz visible and therefore imaginable.

*Georges Didi-Huberman, Images malgré tout, (Images despite everything), Paris, Les Editions de Minuit, 2003, p. 14.

 

Sonderkommandos were work units made up of German Nazi death camp prisoners. They were composed of prisoners, usually Jews, who were forced, on threat of their own deaths, to aid with the disposal of gas chamber victims during the Holocaust. The death-camp Sonderkommandos, who were always inmates, should not be confused with the SS-Sonderkommandos which were ad hoc units formed from various SS offices between 1938 and 1945. The term itself in German means “special unit”, and was part of the vague and euphemistic language which the Nazis used to refer to aspects of the Final Solution (cf. Einsatzkommando units of the Einsatzgruppen death squads).

About 120 SS personnel were assigned to the gas chambers and lived on site at the crematoria. Several SS personnel oversaw the killings at each gas chamber, while the bulk of the work was done by the mostly Jewish prisoners known as Sonderkommandos (special squads). Sonderkommando responsibilities included guiding victims to the gas chambers and removing, looting, and cremating the corpses.

The Sonderkommado were housed separately from other prisoners, in somewhat better conditions. Their quality of life was further improved by access to the goods taken from murdered prisoners, which Sonderkommandos were sometimes able to steal for themselves and to trade on Auschwitz’s black market. Hungarian doctor Miklós Nyiszli reported that the Sonderkommando numbered around 860 prisoners when the Hungarian Jews were being killed in 1944. Many Sonderkommandos committed suicide due to the horrors of their work; those who did not generally were shot by the SS in a matter of weeks, and new Sonderkommando units were then formed from incoming transports. Almost none of the 2,000 prisoners placed in these units survived to the camp’s liberation.

Text from the Wikipedia website

 

Ken Hamblin. 'Beaubien Street' 1971

 

Ken Hamblin
Beaubien Street
1971
Modern gelatin silver print
Fifth Estate photo
Joseph A. Labadie Collection, Special Collections Library, University of Michigan

 

Joan Miró 'Prisoner's Hope, Preparatory Drawing for The Hope of the Dead Man I, II and III' 1973

 

Joan Miró
L’Espoir du prisonnier, dessin préparatoire pour L’Espoir du condamné à mort I, II et III
Prisoner’s Hope, Preparatory Drawing for The Hope of the Dead Man I, II and III
1973
Crayons de couleur et stylo sur papier (bloc-notes)
7.7 x 12.5 cm
Fundació Joan Miró, Barcelone
© Successió Miró / ADAGP, Paris, 2016
Photo: Fundació Miró, Barcelone

 

 

This sketch is part of a series of preparatory studies for a triptych entitled The Hope of the Condemned to Death, completed in March 1974. It is already possible to guess the overall design (three horizontal compositions of primary colors formed of sinuous lines) and the title seems to be clarified with the addition of these words: “the hope of the prisoner”. Sensitive to the death sentence of the anarchist and anti-fascist militant Salvador Puig i Antich, a member of the Movimiento Ibérico de Liberación, Joan Miró claims that he completed his triptych on the day of his execution on 2 March 1974. Thus the artwork – initially imagined in an abstract and metaphorical way – then encounters history. This triptych executed in very large format so as to address the greatest number, as Miró wished that the painting would be, thus constitutes a real monument to the memory of one of the last victims of Francoism. Judged “prophetic” by the artist, he presents a series of black lines that he interpreted as an image of the tourniquet used for execution. Struggling or playing as much with the void as with the spots of vivid colors, these dark lines on a light background also seem to be distended and open like a permitted hope. From his first studies, Joan Miró managed to preserve intact, by the energy of the gesture and the vivacity of the keys, the “indestructible desire” to hope and resist, which culminated the following year in the fall of the Franco regime.  (Text from the Jeu de Paume website translated by Google translate)

 

Eduardo Gil. 'Niños desaparecidos. Secunda Marcha de la Resistancia (Murdered children. Second Resistance March)' December 9-10 1982

 

Eduardo Gil
Niños desaparecidos. Secunda Marcha de la Resistancia (Murdered children. Second Resistance March)
December 9-10 1982
Modern gelatin silver print
Eduardo Gil collection
© Eduardo Gil

 

 

Eduardo Gil was born in 1948 in Buenos Aires, Argentina. After studying sociology, he became a photographer. Self-taught and sensitive to social struggles, his commitment was linked to the establishment of the military dictatorship following the coup d’état of 24 March 1976. Working for the press and as an independent author, he made a series of reports on the political situation and social life of his country. He photographed in particular the second March for the Resistance in Buenos Aires on 9 and 10 December 1982. Organized at the call of the Mothers of the Place de Mai in tribute to the missing children during the dictatorship, the First march of the Resistance in 1981 ‘Is then reproduced every year until 2006, involving the entire society, including after the end of the dictatorship. Faced with the march, Eduardo Gil records the determined faces of the women, mothers and grandmothers of the children of Argentina, demonstrating to obtain answers on the fate of the disappeared. The use of black and white flattened the composition and accentuated the juxtaposition of the women’s faces with the banners and placards. The photographs of the children brandished by the demonstrators thus seem to merge in the procession. All appear in this sense more united than ever, stretched out towards us, as towards politics. Eduardo Gil seems to prove here that by recording the image of the missing among the living, photography itself is a force of uprising. (Text from the Jeu de Paume website translated by Google translate)

 

Francisca Benítez. 'Garde l'Est' 2005

 

Francisca Benítez
Garde l’Est
2005
Still frame
Francisca Benitez collection
© Francisca Benítez

 

Gohar Dashti. From the series 'Today's Life and War' 2008

 

Gohar Dashti
From the series Today’s Life and War
2008
Institut des Cultures d’Islam

 

The photographs of the Iranian artist Gohar Dashti’s Today’s Life and War show the daily life of a young couple against a background of war. Surrounded by tanks, bunkers and armed soldiers, the spouses live in the middle of the fields of ruins and continue to go about their occupations. Between impassivity and disillusionment, their attitudes show perseverance and unwavering determination to simply continue living. With these surreal scenes, the artist is witnessing a generation caught between the memories of ten years of war against Iraq and the permanent threat of conflict.

 

Pedro Motta. 'Natureza das coisas #024, (The nature of things #024)' 2013

 

Pedro Motta
Natureza das coisas #024, (The nature of things #024)
From the “Natureza das coisas” series
2013
Mineral print on cotton paper
Private collection
Courtesy of the artist and gallery Bendana Pinel

 

Maria Kourkouta. 'Idomeni, 14 mars 2016. Frontière gréco-macédonienne, (Idomeni, March 14, 2016. Greek-Macedonian border)' 2016

Maria Kourkouta. 'Idomeni, 14 mars 2016. Frontière gréco-macédonienne, (Idomeni, March 14, 2016. Greek-Macedonian border)' 2016

 

Maria Kourkouta
Idomeni, 14 mars 2016. Frontière gréco-macédonienne, (Idomeni, March 14, 2016. Greek-Macedonian border)
2016
HD video loop: color, sound, 36:00 min.
© Maria Kourkouta. Production: Jeu de Paume, Paris

 

 

Jeu de Paume
1, Place de la Concorde
75008 Paris
métro Concorde
Tel: 01 47 03 12 50

Opening hours:
Tuesday: 11.00 – 21.00
Wednesday – Sunday: 11.00 – 19.00
Closed Monday

Jeu de Paume website

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02
Jan
17

Exhibition: ‘Thomas Ruff: New Works’ at David Zwirner, New York

Exhibition dates: 18th November 2016 – 5th January 2017

 

The first posting of a new year and we are off to a cracking start.

In my opinion, Thomas Ruff is one of the most creative contemporary photo-media artists working today. Since the early 1980s, Ruff has constantly pushed the boundaries of both photography and its representation of space time, culture and identity. From the early interiors, through hyperrealist portraiture, haunting night vision photographs, stereoscopesnudes based on internet pornography and my particular favourites, the “jpegs” series, the artist has a wonderful self-effacing way of interrogating contemporary culture. Ruff turns the world on its head by looking at things from a different point of view. Through the use of scale, colour, manipulation and the digital layering of information, he proposes an acknowledgment of the strangeness of the world in which we live and the fracturing of seemingly holistic identities.

The artist is at his probing best again in his new series, press++, which features photomontages of the back and front of press images of various subjects including film stars, car crashes, bank robbers, car advertisements and, most notably, planes and space exploration. “Interested equally in the subject matter (and any touch-ups) on the front of the paper and the words, stamps, signatures, and smudges on the back, he thus created seamless montages of image and text, in the process compromising the integrity of the former as well as adding relevant context. The overlap causes each side to lose its intended information and merge into a new image altogether.” As the press release continues, “press++ continues Ruff’s long-standing interest in the deconstruction of the image and the new structures of photography following digital technology…. As layers of information coexist seamlessly, the idea of a source becomes increasingly obsolescent and the image acquires even greater agency. The information of the press image is lost in favor of an image of its own artistic value.”

In this sense, that the press image is lost in favour of an image that radiates it own artistic value, the strongest images in this new series are the plane and space exploration ones, and for this reason I have concentrated on them in this posting. The images of film stars, car advertisements, car crashes and bank robbers are much less successful – the film stars because the original image is already laden with cultural semiotics (beauty and the surreality of star power) that cannot be so easily broken down/overwritten; the car advertisements because of the prosaic nature of the original image and the box-like design of the cars; and the car crashes (Warhol) and bank robbers because of the strong verisimilitude of the original image, the photographs relationship to its referent, which does not allow the images to be transformed so easily into new artistic works.

Only in the works of planes and space exploration does the new series take flight – a flight of fancy if you like – through the deconstruction of the original image. Here, layers of information coexist seamlessly and the idea of a singular source becomes increasingly obsolescent. Here, aerodynamic planes soar “Beyond Earth”; Gloster “Meteor” aircraft strike vertically through the clouds surrounded by a spiralling blue line, as though the plane were breaking through the limits of the Earth; bursting Aerobee rockets are excised by thick black lines; Snark guided missiles engage Associated Press Wirephoto Notices of reproduction intent (in which, now, the rocket cannot be used for the purposes of trade); and a Little Joe rocket roars skyward through a space “3 cols full deep” on the PICTURE PAGE on November 5th 1959. The day of the week was a Thursday.

Only in these photomontages is the series really successful in its goal… to produce images with their own artistic value beyond that of the original document. But what a triumph these plane and space exploration images are. They take the picture away from its origins, the rockets and planes away from the Earth, and the viewer away from the stable ground on which they stand. Conceptually they are tight and inventive, subverting known taxonomies of pictorial construction. Spiritually, they take the viewer away from themselves into another world, into Barthes’ extended form of punctum: time. These vertiginous images are indeed “the vertigo of time defeated.” Full deep.

Dr Marcus Bunyan for Art Blart

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

 

Thomas Ruff (born 1958) is a German photographer, known for his blown up passport-like photo large scale portrait, executed between 1981 and 1985. In 2003 he published a series of nudes based on internet pornography, which were digitally processed and obscured without using any camera or traditional photographic device. Ruff’s “Substrat” series (2002-03), continued to explore digitally altered Web-based pictures, this time based on Japanese manga and anime cartoons, although the source material was altered and manipulated so the had no visual memory of the original image. In 2009, he produced “jpegs”, another large-scale series of photographs exclusively using downloaded images, which bared lots of jpeg compression artefacts.

 

 

press++28.19, 2016. Chromogenic print, 72 7/8 x 93 3/4 inches (185 x 238 cm) Installation view of <em>Thomas Ruff New Works at David Zwirner New York, November 18 – December 23, 2016

 

press++30.18, 2016. Chromogenic print, 87 1/2 x 72 1/2 inches (222.3 x 184 cm) (right)
Installation view of Thomas Ruff New Works at David Zwirner New York, 18 November 2016 – 05 January, 2017

 

press++28.19, 2016. Chromogenic print, 72 7/8 x 93 3/4 inches (185 x 238 cm) Installation view of Thomas Ruff New Works at David Zwirner New York, November 18 – December 23, 2016

 

press++70.01, 2016. Chromogenic print, 72 1/2 x 88 3/4 inches (184 x 225.5 cm) (left)
Installation view of Thomas Ruff New Works at David Zwirner New York, 18 November 2016 – 05 January, 2017

 

press++28.19, 2016. Chromogenic print, 72 7/8 x 93 3/4 inches (185 x 238 cm) Installation view of Thomas Ruff’s New Works at David Zwirner New York, November 18 – December 23, 2016

 

press++22.01, 2015. Chromogenic print, 88 15/16 x 72 7/8 inches (226 x 185 cm) (left)
press++28.04,
2016. Chromogenic print, 92 1/2 x 72 1/2 inches (235 x 184 cm) (right)
Installation view of Thomas Ruff New Works at David Zwirner New York, 18 November 2016 – 05 January, 2017

 

press++28.19, 2016. Chromogenic print, 72 7/8 x 93 3/4 inches (185 x 238 cm) Installation view of Thomas Ruff’s New Works at David Zwirner New York, November 18 – December 23, 2016

 

press++09.26, 2016. Chromogenic print, 72 1/2 x 92 5/8 inches (184 x 235.3 cm) (left)
Installation view of Thomas Ruff New Works at David Zwirner New York, 18 November 2016 – 05 January, 2017

 

press++28.19, 2016. Chromogenic print, 72 7/8 x 93 3/4 inches (185 x 238 cm) Installation view of Thomas Ruff’s New Works at David Zwirner New York, November 18 – December 23, 2016

 

press++28.19, 2016. Chromogenic print, 72 7/8 x 93 3/4 inches (185 x 238 cm) (left)
press++21.11, 2016. Chromogenic print, 102 x 72 1/2 inches (259.1 x 184 cm) (right)
Installation view of Thomas Ruff New Works at David Zwirner New York, 18 November 2016 – 05 January, 2017

 

press++28.19, 2016. Chromogenic print, 72 7/8 x 93 3/4 inches (185 x 238 cm) Installation view of Thomas Ruff’s New Works at David Zwirner New York, November 18 – December 23, 2016

 

press++21.11, 2016. Chromogenic print, 102 x 72 1/2 inches (259.1 x 184 cm) (left)
Installation view of Thomas Ruff New Works at David Zwirner New York, 18 November 2016 – 05 January, 2017

 

Thomas Ruff. 'press++28.19' 2016

 

Thomas Ruff
press++28.19
2016
Chromogenic print
72 1/2 x 93 1/2 inches (184 x 237.5 cm)
Courtesy the artist and David Zwirner, New York/London

 

Thomas Ruff. 'press++28.04' 2016

 

Thomas Ruff
press++28.04
2016
Chromogenic print
92 1/2 x 72 1/2 inches (235 x 184 cm)
Courtesy the artist and David Zwirner, New York/London

 

Thomas Ruff. 'press++70.01' 2016

 

Thomas Ruff
press++70.01
2016
Chromogenic print
72 7/8 x 89 inches (185 x 226 cm)
Courtesy the artist and David Zwirner, New York/London

 

Thomas Ruff. 'press++32.10' 2016

 

Thomas Ruff
press++32.10
2016
Chromogenic print
15 x 11 7/8 inches (38.1 x 30 cm)
Courtesy the artist and David Zwirner, New York/London

 

Thomas Ruff. 'press++65.33' 2016

 

Thomas Ruff
press++65.33
2016
Chromogenic print
11 7/8 x 14 7/8 inches (30 x 37.6 cm)
Courtesy the artist and David Zwirner, New York/London

 

Thomas Ruff. 'press++65.21' 2016

 

Thomas Ruff
press++65.21
2016
Chromogenic print
11 7/8 x 14 7/8 inches (30 x 37.6 cm)
Courtesy the artist and David Zwirner, New York/London

 

 

“David Zwirner is pleased to present press++, a new series of works by Thomas Ruff on view at 533 West 19th Street in New York.

Working in distinct series since the late 1970s, Ruff has approached different genres of photography, including portraiture, architecture, astronomy, the nude, surveillance footage, reportage, and photograms. Using a wide range of technological approaches, and often pushing the limits of photographic representation in the process, he has reinvented historical conventions and expectations of the medium. In his considered approach to the means and possibilities of photography, Thomas Ruff explores a breadth of themes that is reflected in the range of techniques he employs: analogue and digital exposures taken by the artist exist in his practice alongside computer generated imagery, photographs from scientific archives, and pictures culled and manipulated from newspapers, magazines, and the Internet.

Shown here for the first time, press++ features large-scale photographs of archival media clippings from American newspapers that relate to the theme of space exploration. Ruff scanned the front and back of the original documents, which he has been collecting over several years, and combined the two sides in Adobe Photoshop. Interested equally in the subject matter (and any touch-ups) on the front of the paper and the words, stamps, signatures, and smudges on the back, he thus created seamless montages of image and text, in the process compromising the integrity of the former as well as adding relevant context. The overlap causes each side to lose its intended information and merge into a new image altogether. As such, the often disrespectful treatment of press pictures by newspaper editors becomes obvious, as text, cropping, and retouching can all fundamentally change the original document.

press++ continues Ruff’s long-standing interest in the deconstruction of the image and the new structures of photography following digital technology. It relates to earlier series by the artist including Newspaper Photographs (1990-1991), in which images were sourced from analog newspaper prints, and jpegs (2004-2007), where he used digitally disseminated photographs. The new works further recall the emergence of photomontage in Germany in the 1920s, where it was employed by Dada artists as a potent and subversive political tool. Ruff’s digital composites, however, are not concerned with the often fragmented and surrealistic effects produced by these art historical precedents, but with the treatment of the photographic image when it is redistributed and re-archived. As layers of information coexist seamlessly, the idea of a source becomes increasingly obsolescent and the image acquires even greater agency. The information of the press image is lost in favor of an image of its own artistic value.”

Press release from David Zwirner

 

Thomas Ruff. 'press++01.38' 2015

 

Thomas Ruff
press++01.38
2015
Chromogenic print
11 1/4 x 14 7/8 inches (30 x 37.8 cm)
Courtesy the artist and David Zwirner, New York/London

 

Thomas Ruff. 'press++09.27' 2016

 

Thomas Ruff
press++09.27
2016
Chromogenic print
14 1/2 x 11 7/8 inches (36.9 x 30 cm)
Courtesy the artist and David Zwirner, New York/London

 

Thomas Ruff. 'press++20.56' 2016

 

Thomas Ruff
press++20.56
2016
Chromogenic print
14 1/2 x 11 7/8 inches (36.7 x 30 cm)
Courtesy the artist and David Zwirner, New York/London

 

Thomas Ruff. 'press++21.11' 2016

 

Thomas Ruff
press++21.11
2016
Chromogenic print
102 x 72 1/2 inches (259.1 x 184 cm)
Courtesy the artist and David Zwirner, New York/London

 

Thomas Ruff. 'press++22.01' 2015

 

Thomas Ruff
press++22.01
2015
Chromogenic print
88 15/16 x 72 7/8 inches (226 x 185 cm)
Courtesy the artist and David Zwirner, New York/London

 

Thomas Ruff. 'press++01.64' 2016

 

Thomas Ruff
press++01.64
2016
Chromogenic print
15 1/4 x 11 1/4 inches (38.5 x 30 cm)
Courtesy the artist and David Zwirner, New York/London

 

Thomas Ruff. 'press++24.75' 2016

 

Thomas Ruff
press++24.75
2016
Chromogenic print
14 7/8 x 11 7/8 inches (37.6 x 30 cm)
Courtesy the artist and David Zwirner, New York/London

 

Thomas Ruff. 'press++25.05' 2015

 

Thomas Ruff
press++25.05
2015
Chromogenic print
88 7/8 x 72 7/8 inches (226 x 185 cm)
Courtesy the artist and David Zwirner, New York/London

 

Thomas Ruff. 'press++02.20' 2015

 

Thomas Ruff
press++02.20
2015
Chromogenic print
15 3/8 x 11 7/8 inches (39 x 30 cm)
Courtesy the artist and David Zwirner, New York/London

 

 

David Zwirner
519, 525 and 533 West 19th Street
New York, NY 10011
Tel: 212 727 2070

Opening hours:
Tuesday – Saturday, 10am – 6pm

David Zwirner website

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28
Dec
16

Exhibition: ‘Intersections: Photographs and Videos from the National Gallery of Art and the Corcoran Gallery of Art’ at the National Gallery of Art, Washington

Exhibition dates: 29th May 2016 – 2nd January 2017

Curators: Sarah Greenough, senior curator, department of photographs, and Philip Brookman, consulting curator, department of photographs, both National Gallery of Art, are the exhibition curators.

 

 

The last posting of a fruitful year for Art Blart.  I wish all the readers of Art Blart a happy and safe New Year!

The exhibition is organized around five themes – movement, sequence, narrative, studio, and identity – found in the work of Muybridge and Stieglitz, themes then developed in the work of other artists. While there is some interesting work in the posting, the conceptual rationale and stand alone nature of the themes and the work within them is a curatorial ordering of ideas that, in reality, cannot be contained within any one boundary, the single point of view.

Movement can be contained in sequences; narrative can be unfolded in a sequence (as in the work of Duane Michals); narrative and identity have a complex association which can also be told through studio work (eg. Gregory Crewdson), etc… What does Roger Mayne’s Goalie, Street Football, Brindley Road (1956, below) not have to do with identity, the young lad with his dirty hands, playing in his socks, in a poverty stricken area of London; why has Hiroshi Sugimoto’s Oscar Wilde (1999, below) been included in the studio section when it has much more to do with the construction of identity through photography- “Triply removing his portrait from reality – from Oscar Wilde himself to a portrait photograph to a wax sculpture and back to a photograph” – which confounds our expectations of the nature of photography. Photography is nefariously unstable in its depiction of an always, constructed reality, through representation(s) which reject simple causality.

To isolate and embolden the centre is to disclaim and disavow the periphery, work which crosses boundaries, is multifaceted and multitudinous; work which forms a nexus for networks of association beyond borders, beyond de/lineation – the line from here to there. The self-contained themes within this exhibition are purely illusory.

Marcus

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

 

 

“We can no longer accept that the identity of a man can be adequately established by preserving and fixing what he looks like from a single viewpoint in one place.”

.
John Berger. “No More Portraits,” in New Society August 1967

 

 

“Intersections: Photographs and Videos from the National Gallery of Art and the Corcoran Gallery of Art explores the connections between the two newly joined photography collections. On view from May 29, 2016, through January 2, 2017, the exhibition is organized around themes found in the work of the two pioneers of each collection: Eadweard Muybridge (1830-1904) and Alfred Stieglitz (1864-1946). Inspired by these two seminal artists, Intersections brings together more than 100 highlights of the recently merged collections by a range of artists from the 1840s to today.

Just as the nearly 700 photographs from Muybridge’s groundbreaking publication Animal Locomotion, acquired by the Corcoran Gallery of Art in 1887, became the foundation for the institution’s early interest in photography, the Key Set of more than 1,600 works by Stieglitz, donated by Georgia O’Keeffe and the Alfred Stieglitz Estate, launched the photography collection at the National Gallery of Art in 1949.”

Press release from the National Gallery of Art

 

Exhibition highlights

The exhibition is organized around five themes – movement, sequence, narrative, studio, and identity – found in the work of Muybridge and Stieglitz.

Movement

Works by Muybridge, who is best known for creating photographic technologies to stop and record motion, anchor the opening section devoted to movement. Photographs by Berenice Abbott and Harold Eugene Edgerton, which study how objects move through space, are included, as are works by Roger Mayne, Alexey Brodovitch, and other who employed the camera to isolate an instant from the flux of time.

Wall text

Intersections wall text

 

Eadweard Muybridge. 'Horses. Running. Phyrne L. No. 40, from The Attitudes of Animals in Motion' 1879

 

Eadweard Muybridge
Horses. Running. Phyrne L. No. 40, from The Attitudes of Animals in Motion
1879
Albumen print
Image: 16 x 22.4 cm (6 5/16 x 8 13/16 in.)
Sheet: 25.7 x 32.4 cm (10 1/8 x 12 3/4 in.)
National Gallery of Art, Washington, Gift of Mary and Dan Solomon

 

 

In order to analyze the movement of racehorses, farm animals, and acrobats, Muybridge pioneered new and innovative ways to stop motion with photography. In 1878, he started making pictures at railroad magnate Leland Stanford’s horse farm in Palo Alto, California, where he developed an electronic shutter that enabled exposures as fast as one-thousandth of a second. In this print from Muybridge’s 1881 album The Attitudes of Animals in Motion, Stanford’s prized racehorse Phryne L is shown running in a sequential grid of pictures made by 24 different cameras with electromagnetic shutters tripped by wires as the animal ran across the track. These pictures are now considered a critical step in the development of cinema.

 

Eadweard Muybridge. 'Internegative for Horses. Trotting. Abe Edgington. No. 28, from The Attitudes of Animals in Motion' 1878

 

Eadweard Muybridge
Internegative for Horses. Trotting. Abe Edgington. No. 28, from The Attitudes of Animals in Motion
1878
Collodion negative
Overall (glass plate): 15.3 x 25.4 cm (6 x 10 in.)
National Gallery of Art, Washington, Gift of Mary and Dan Solomon and Patrons’ Permanent Fund

 

 

This glass negative shows the sequence of Leland Stanford’s horse Abe Edgington trotting across a racetrack in Palo Alto, California – a revolutionary record of the changes in the horse’s gait in about one second. Muybridge composed the negative from photographs made by eight different cameras lined up to capture the horse’s movements. Used to print the whole sequence together onto albumen paper, this internegative served as an intermediary step in the production of Muybridge’s 1881 album The Attitudes of Animals in Motion.

 

Étienne Jules Marey. 'Chronophotograph of a Man on a Bicycle' c. 1885-1890

 

Étienne Jules Marey
Chronophotograph of a Man on a Bicycle
c. 1885-1890
Glass lantern slide
Image: 4 x 7.5 cm (1 9/16 x 2 15/16 in.)
Plate: 8.8 x 10.2 cm (3 7/16 x 4 in.)
National Gallery of Art, Washington, Gift of Mary and David Robinson

 

 

A scientist and physiologist, Marey became fascinated with movement in the 1870s. Unlike Muybridge, who had already made separate pictures of animals in motion, Marey developed in 1882 a means to record several phases of movement onto one photographic plate using a rotating shutter with slots cut into it. He called this process “chronophotography,” meaning photography of time. His photographs, which he published in books and showed in lantern slide presentations, influenced 20th-century cubist, futurist, and Dada artists who examined the interdependence of time and space.

 

William Henry Fox Talbot. 'The Boulevards of Paris' 1843

 

William Henry Fox Talbot
The Boulevards of Paris
1843
Salted paper print
Image: 16.6 × 17.1 cm (6 9/16 × 6 3/4 in.)
Sheet: 19 × 23.2 cm (7 1/2 × 9 1/8 in.)
National Gallery of Art, Washington, New Century Fund

 

As soon as Talbot announced his invention of photography in 1839, he realized that its ability to freeze time enabled him to present the visual spectacle of the world in an entirely new way. By capturing something as mundane as a fleeting moment on a busy street, he could transform life into art, creating a picture that could be savored long after the event had transpired.

 

David Octavius Hill and Robert Adamson. 'Colinton Manse and weir, with part of the old mill on the right' 1843-1847

 

David Octavius Hill and Robert Adamson
Colinton Manse and weir, with part of the old mill on the right
1843-1847
Salted paper print
Image: 20.7 x 14.6 cm (8 1/8 x 5 3/4 in.)
National Gallery of Art, Washington, Paul Mellon Fund

 

 

In 1843, only four years after Talbot announced his negative/positive process of photography, painter David Octavius Hill teamed up with engineer Robert Adamson. Working in Scotland, they created important early portraits of the local populace and photographed Scottish architecture, rustic landscapes, and city scenes. Today a suburb southwest of Edinburgh, 19th-century Colinton was a mill town beside a river known as the Water of Leith. Because of the long exposure time required to make this photograph, the water rushing over a small dam appears as a glassy blur.

 

Thomas Annan. 'Old Vennel, Off High Street' 1868-1871

 

Thomas Annan
Old Vennel, Off High Street
1868-1871
Carbon print
Image: 26.9 x 22.3 cm (10 9/16 x 8 3/4 in.)
Sheet: 50.8 x 37.9 cm (20 x 14 15/16 in.)
National Gallery of Art, Washington, Patrons’ Permanent Fund

 

 

In 1868, Glasgow’s City Improvements Trust hired Annan to photograph the “old closes and streets of Glasgow” before the city’s tenements were demolished. Annan’s pictures constitute one of the first commissioned photographic records of living conditions in urban slums. The collodion process Annan used to make his large, glass negatives required a long exposure time. In the dim light of this narrow passage, it was impossible for the photographer to stop the motion of the restless children, who appear as ghostly blurs moving barefoot across the cobblestones.

 

Thomas Annan. 'Old Vennel, Off High Street' 1868-1871 (detail)

 

Thomas Annan
Old Vennel, Off High Street (detail)
1868-1871
Carbon print
Image: 26.9 x 22.3 cm (10 9/16 x 8 3/4 in.)
Sheet: 50.8 x 37.9 cm (20 x 14 15/16 in.)
National Gallery of Art, Washington, Patrons’ Permanent Fund

 

Alfred Stieglitz. 'Going to the Post, Morris Park' 1904

 

Alfred Stieglitz
Going to the Post, Morris Park
1904
Photogravure
Image: 30.8 x 26.4 cm (12 1/8 x 10 3/8 in.)
Sheet: 38.5 x 30.3 cm (15 3/16 x 11 15/16 in.)
National Gallery of Art, Washington, Alfred Stieglitz Collection

 

 

In the 1880s and 1890s, improvements in photographic processes enabled manufacturers to produce small, handheld cameras that did not need to be mounted on tripods. Faster film and shutter speeds also allowed practitioners to capture rapidly moving objects. Stieglitz was one of the first fine art photographers to exploit the aesthetic potential of these new cameras and films. Around the turn of the century, he made many photographs of rapidly moving trains, horse-drawn carriages, and racetracks that capture the pace of the increasingly modern city.

 

Harold Eugene Edgerton. 'Wes Fesler Kicking a Football' 1934

 

Harold Eugene Edgerton
Wes Fesler Kicking a Football
1934
Gelatin silver print
Image: 11 1/2 x 9 5/8 in.
Sheet: 13 15/16 x 11 in.
National Gallery of Art, Washington, Corcoran Collection (Museum Purchase with the aid of funds from the National Endowment for the Arts, Washington, D.C., a Federal Agency, and The Polaroid Corporation)

 

 

A professor of electrical engineering at the Massachusetts Institute of Technology, Edgerton in the early 1930s invited the stroboscope, a tube filled with gas that produced high-intensity bursts of light at regular and very brief intervals. He used it to illuminate objects in motion so that they could be captured by a camera. At first he was hired by industrial clients to reveal flaws in their production of materials, but bt the mid-1930s he began to photography everyday events… Edgerton captured phenomena moving too fast for the naked eye to see, and revealed the beauty of people and objects in motion.

 

Alexey Brodovitch. 'Untitled from "Ballet" series' 1938

 

Alexey Brodovitch
Untitled from “Ballet” series
1938
Gelatin silver print
Overall: 20.4 x 27.5 cm (8 1/16 x 10 13/16 in.)
National Gallery of Art, Washington, Diana and Mallory Walker Fund

 

 

A graphic artist, Russian-born Brodovitch moved to the United States from Paris in 1930. Known for his innovative use of photographs, illustrations, and type on the printed page, he became art director for Harper’s Bazaar in 1934, and photographed the Ballets Russes de Monte Carlo during their American tours from 1935 to 1939. Using a small-format, 35 mm camera, Brodovitch worked in the backstage shadows and glaring light of the theater to produce a series of rough, grainy pictures that convey the drama and action of the performance. This photograph employs figures in motion, a narrow field of focus, and high-contrast effects to express the stylized movements of Léonide Massine’s 1938 choreography for Beethoven’s Seventh Symphony.

 

Harry Callahan. 'Detroit' 1943

 

Harry Callahan
Detroit
c. 1943
Dye imbibition print, printed c. 1980
Overall (image): 18 x 26.7 cm (7 1/16 x 10 1/2 in.)
Sheet: 27.31 x 36.83 cm (10 3/4 x 14 1/2 in.)
National Gallery of Art, Washington, Gift of the Callahan Family

 

Harry Callahan. 'Camera Movement on Neon Lights at Night' 1946

 

Harry Callahan
Camera Movement on Neon Lights at Night
1946
Dye imbibition print, printed 1979
Image: 8 3/4 x 13 5/8 in.
Sheet: 10 3/8 x 13 15/16 in.
National Gallery of Art, Washington, Corcoran Collection (Gift of Richard W. and Susan R. Gessner)

 

Louis Stettner. 'Times Square, New York City' 1952-1954

 

Louis Stettner
Times Square, New York City
1952-1954
Gelatin silver print
Sheet (trimmed to image): 42.1 x 27.5 cm (16 9/16 x 10 13/16 in.)
National Gallery of Art, Washington, Patrons’ Permanent Fund

 

Frank Horvat. 'Paris, Gare Saint-Lazare' 1959

 

Frank Horvat
Paris, Gare Saint-Lazare
1959
Gelatin silver print
Overall: 39.3 x 26.2 cm (15 1/2 x 10 5/16 in.)
National Gallery of Art, Washington, Patrons’ Permanent Fund

 

 

Gare Saint-Lazare is one of the principal railway stations in Paris. Because of its industrial appearance, steaming locomotives, and teeming crowds, it was a frequent subject for 19th-century French painters – including Claude Monet, Édouard Manet, and Gustave Caillebotte – who used it to express the vitality of modern life. 20th-century artists such as Horvat also depicted it to address the pace and anonymity that defined their time. Using a telephoto lens and long exposure, he captured the rushing movement of travelers scattered beneath giant destination signs.

 

Roger Mayne. 'Goalie, Street Football, Brindley Road' 1956

 

Roger Mayne
Goalie, Street Football, Brindley Road
1956
Gelatin silver print
Image: 34.7 × 29.1 cm (13 11/16 × 11 7/16 in.)
National Gallery of Art, Washington, Patrons’ Permanent Fund

 

 

From 1956 to 1961, Mayne photographed London’s North Kensington neighborhood to record its emergence from the devastation and poverty caused by World War II. This dramatic photograph of a young goalie lunging for the ball during an after-school soccer game relies on the camera’s ability to freeze the fast-paced and unpredictable action. Because the boy’s daring lunge is forever suspended in time, we will never know its outcome.

 

Shōmei Tōmatsu. 'Rush Hour, Tokyo' (detail) 1981

 

Shōmei Tōmatsu
Rush Hour, Tokyo (detail)
1981
Gelatin silver print
Sheet: 11 5/16 x 9 7/16 in. (28.73 x 23.97 cm)
National Gallery of Art, Washington, Corcoran Collection (Gift of Michael D. Abrams)

 

 

Best known for his expressive documentation of World War II’s impact on Japanese culture, Tomatsu was one of Japan’s most creative and influential photographers. Starting in the early 1960s, he documented the country’s dramatic economic, political, and cultural transformation. This photograph – a long exposure made with his camera mounted on a tripod – conveys the chaotic rush of commuters on their way through downtown Tokyo. Tomatsu used this graphic description of movement, which distorts the faceless bodies of commuters dashing down a flight of stairs, to symbolize the dehumanizing nature of work in the fast-paced city of the early 1980s.

 

Sequence

Muybridge set up banks of cameras and used electronic shutters triggered in sequence to analyze the motion of people and animals. Like a storyteller, he sometimes adjusted the order of images for visual and sequential impact. Other photographers have also investigated the medium’s capacity to record change over time, express variations on a theme, or connect seemingly disparate pictures. In the early 1920s, Stieglitz began to create poetic sequences of cloud photographs meant to evoke distinct emotional experiences. These works (later known as Equivalents) influenced Ansel Adams and Minor White – both artists created specific sequences to evoke the rhythms of nature or the poetry of time passing.

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Alfred Stieglitz. 'From My Window at An American Place, Southwest' March 1932

 

Alfred Stieglitz
From My Window at An American Place, Southwest
March 1932
Gelatin silver print
Sheet (trimmed to image): 23.8 x 18.4 cm (9 3/8 x 7 1/4 in.)
National Gallery of Art, Washington, Alfred Stieglitz Collection

 

Alfred Stieglitz. 'From My Window at An American Place, Southwest' April 1932

 

Alfred Stieglitz
From My Window at An American Place, Southwest
April 1932
Gelatin silver print
Sheet (trimmed to image): 23.8 x 18.8 cm (9 3/8 x 7 3/8 in.)
National Gallery of Art, Washington, Alfred Stieglitz Collection

 

Alfred Stieglitz. 'Water Tower and Radio City, New York' 1933

 

Alfred Stieglitz
Water Tower and Radio City, New York
1933
Gelatin silver print
Sheet: 23.7 x 18.6 cm (9 5/16 x 7 5/16 in.)
National Gallery of Art, Washington, Alfred Stieglitz Collection

 

 

Whenever Stieglitz exhibited his photographs of New York City made in the late 1920s and early 1930s, he grouped them into series that record views from the windows of his gallery, An American Place, or his apartment at the Shelton Hotel, showing the gradual growth of the buildings under construction in the background. Although he delighted in the formal beauty of the visual spectacle, he lamented that these buildings, planned in the exuberance of the late 1920s, continued to be built in the depths of the Depression, while “artists starved,” as he said at the time, and museums were “threatened with closure.”

 

Ed Ruscha. 'Every Building on Sunset Strip' 1966

Ed Ruscha. 'Every Building on Sunset Strip' 1966

Ed Ruscha. 'Every Building on Sunset Strip' 1966

 

Ed Ruscha
Every Building on the Sunset Strip
1966
Offset lithography book: 7 x 5 3/4 in. (17.78 x 14.61 cm) unfolded (open flat): 7 x 276 in.
National Gallery of Art, Washington, Corcoran Collection (Gift of Philip Brookman and Amy Brookman)

 

Vito Acconci. 'Step Piece' 1970

 

Vito Acconci
Step Piece
1970
Five gelatin silver prints and four sheets of type-written paper, mounted on board with annotations in black ink
Sheet: 76.2 x 101.6 cm (30 x 40 in.)
National Gallery of Art, Washington, Dorothy and Herbert Vogel Collection

 

 

Acconci’s Step Piece is made up of equal parts photography, drawing, performance, and quantitative analysis. It documents a test of endurance: stepping on and off a stool for as long as possible every day. This performance-based conceptual work is rooted in the idea that the body itself can be a medium for making art. To record his activity, Acconci made a series of five photographs spanning one complete action. Like the background grid in many of Muybridge’s motion studies, vertical panels in Acconci’s studio help delineate the space. His handwritten notes and sketches suggest the patterns of order and chaos associated with the performance, while typewritten sheets, which record his daily progress, were given to people who were invited to observe.

 

Narrative

The exhibition also explores the narrative possibilities of photography found in the interplay of image and text in the work of Robert Frank, Larry Sultan, and Jim Goldberg; the emotional drama of personal crisis in Nan Goldin’s image grids; or the expansion of photographic description into experimental video and film by Victor Burgin and Judy Fiskin.

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Alfred Stieglitz. 'Judith Being Carted from Oaklawn to the Hill. The Way Art Moves' 1920

 

Alfred Stieglitz
Judith Being Carted from Oaklawn to the Hill. The Way Art Moves
1920
Gelatin silver print
Image: 24.1 x 18.8 cm (9 1/2 x 7 3/8 in.)
Sheet: 25.2 x 20.1 cm (9 15/16 x 7 15/16 in.)
National Gallery of Art, Washington, Alfred Stieglitz Collection

 

 

In 1920, Stieglitz’s family sold their Victorian summerhouse on the shore of Lake George, New York, and moved to a farmhouse on a hill above it. This photograph shows three sculptures his father had collected – two 19th-century replicas of ancient statues and a circa 1880 bust by Moses Ezekiel depicting the Old Testament heroine Judith – as they were being moved in a wooden cart from one house to another. Stieglitz titled it The Way Art Moves, wryly commenting on the low status of art in American society. With her masculine face and bared breast, Judith was much maligned by Georgia O’Keeffe and other younger family members. In a playful summer prank, they later buried her somewhere near the farmhouse, where she remained lost, despite many subsequent efforts by the perpetrators themselves to find her.

 

Dan Graham. 'Homes for America' 1966-1967

 

Dan Graham
Homes for America
1966-1967
Two chromogenic prints
Image (top): 23 x 34 cm (9 1/16 x 13 3/8 in.)
Image (bottom): 27.8 x 34 cm (10 15/16 x 13 3/8 in.)
Mount: 101 x 75 cm (39 3/4 x 29 1/2 in.)
Framed: 102 x 76.2 x 2.8 cm (40 3/16 x 30 x 1 1/8 in.)
National Gallery of Art, Washington, Glenstone in honor of Eileen and Michael Cohen

 

 

Beginning in the mid-1960s, conceptual artist Dan Graham created several works of art for magazine pages and slide shows. When Homes for America was designed for Arts magazine in 1966, his accompanying text critiqued the mass production of cookie-cutter homes, while his photographs – made with an inexpensive Kodak Instamatic camera – described a suburban world of offices, houses, restaurants, highways, and truck stops. With their haphazard composition and amateur technique, Graham’s pictures ironically scrutinized the aesthetics of America’s postwar housing and inspired other conceptual artists to incorporate photographs into their work. Together, these two photographs link a middle-class family at the opening of a Jersey City highway restaurant with the soulless industrial landscape seen through the window.

 

Larry Sultan. 'Thanksgiving Turkey' 1985

Larry Sultan. 'Business Page' from the series 'Pictures from Home' 1985

 

Larry Sultan
Thanksgiving Turkey/Newspaper (detail)
1985-1992
Two plexiglass panels with screenprinting
Framed (Thanksgiving Turkey): 76 × 91 cm (29 15/16 × 35 13/16 in.)
Framed (Newspaper): 76 × 91 cm (29 15/16 × 35 13/16 in.)
Other (2 text panels): 50.8 × 76.2 cm (20 × 30 in.) overall: 30 x 117 in.
National Gallery of Art, Washington, Corcoran Collection (Gift of the FRIENDS of the Corcoran Gallery of Art)

 

 

From 1983 to 1992, Sultan photographed his parents in retirement at their Southern California house. His innovative book, Pictures from Home, combines his photographs and text with family album snapshots and stills from home movies, mining the family’s memories and archives to create a universal narrative about the American dream of work, home, and family. Thanksgiving Turkey/Newspaper juxtaposes photographs of his mother and father, each with their face hidden and with adjacent texts where they complain about each other’s shortcomings. “I realize that beyond the rolls of film and the few good pictures … is the wish to take photography literally,” Sultan wrote. “To stop time. I want my parents to live forever.”

 

Shimon Attie. 'Mulackstrasse 32: Slide Projections of Former Jewish Residents and Hebrew Reading Room, 1932, Berlin' 1992

 

Shimon Attie
Mulackstrasse 32: Slide Projections of Former Jewish Residents and Hebrew Reading Room, 1932, Berlin
1992
Chromogenic print
Unframed: 20 x 24 in. (50.8 x 60.96 cm)
National Gallery of Art, Washington, Corcoran Collection (Gift of Julia J. Norrell in honor of Hilary Allard and Lauren Harry)

 

 

Attie projected historical photographs made in 1932 onto the sides of a building at Mulackstrasse 32, the site of a Hebrew reading room in a Jewish neighborhood in Berlin during the 1930s. Fusing pictures made before Jews were removed from their homes and killed during World War II with photographs of the same dark, empty street made in 1992, Attie has created a haunting picture of wartime loss.

 

Nan Goldin. 'Relapse/Detox Grid' 1998-2000

 

Nan Goldin
Relapse/Detox Grid
1998-2000
Nine silver dye bleach prints
Overall: 42 1/2 x 62 1/8 in. (107.95 x 157.8 cm)
National Gallery of Art, Washington, Corcoran Collection (Museum Purchase with funds donated by the FRIENDS of the Corcoran Gallery of Art)

 

 

Goldin has unsparingly chronicled her own community of friends by photographing their struggles, hopes, and dreams through years of camaraderie, abuse, addiction, illness, loss, and redemption. Relapse/Detox Grid presents nine colorful yet plaintive pictures in a slide show-like narrative, offering glimpses of a life rooted in struggle, along with Goldin’s own recovery at a detox center, seen in the bottom row.

 

Nan Goldin. 'Relapse/Detox Grid' 1998-2000 (detail)

 

Nan Goldin
Relapse/Detox Grid (detail)
1998-2000
Nine silver dye bleach prints
Overall: 42 1/2 x 62 1/8 in. (107.95 x 157.8 cm)
National Gallery of Art, Washington, Corcoran Collection (Museum Purchase with funds donated by the FRIENDS of the Corcoran Gallery of Art)

 

Victor Burgin. 'Watergate' 2000

 

Victor Burgin
Watergate
2000
Video with sound, 9:58 minutes
National Gallery of Art, Washington, Corcoran Collection (Museum Purchase, with funds from the bequest of Betty Battle to the Women’s Committee of the Corcoran Gallery of Art)

 

 

An early advocate of conceptual art, Burgin is an artist and writer whose work spans photographs, text, and video. Watergate shows how the meaning of art can change depending on the context in which it is seen. Burgin animated digital, 160-degree panoramic photographs of nineteenth-century American art hanging in the Corcoran Gallery of Art and in a hotel room. While the camera circles the gallery, an actor reads from Jean-Paul Satre’s Being and Nothingness, which questions the relationship between presence and absence. Then a dreamlike pan around a hotel room overlooking the nearby Watergate complex mysteriously reveals Niagara, the Corcoran’s 1859 landscape by Frederic Church, having on the wall. In 1859, Niagara Falls was seen as a symbol of the glory and promise of the American nation, yet when Church’s painting is placed in the context of the Watergate, an icon of the scandal that led to Richard Nixon’s resignation, it assumes a different meaning and suggests an ominous sense of disillusionment.

 

Studio

Intersections also examines the studio as a locus of creativity, from Stieglitz’s photographs of his gallery, 291, and James Van Der Zee’s commercial studio portraits, to the manipulated images of Wallace Berman, Robert Heinecken, and Martha Rosler. Works by Laurie Simmons, David Levinthal, and Vik Muniz also highlight the postmodern strategy of staging images created in the studio.

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Nadar. 'Self-Portrait with Wife Ernestine in a Balloon Gondola' c. 1865

 

Nadar
Self-Portrait with Wife Ernestine in a Balloon Gondola
c. 1865
Gelatin silver print, printed c. 1890
Image: 8.6 × 7.7 cm (3 3/8 × 3 1/16 in.)
National Gallery of Art, Washington, Horace W. Goldsmith Foundation through Robert and Joyce Menschel

 

 

Nadar (a pseudonym for Gaspard-Félix Tournachon) was not only a celebrated portrait photographer, but also a journalist, caricaturist, and early proponent of manned flight. In 1863, he commissioned a prominent balloonist to build an enormous balloon 196 feet high, which he named The Giant. The ascents he made from 1863 to 1867 were widely covered in the press and celebrated by the cartoonist Honoré Daumier, who depicted Nadar soaring above Paris, its buildings festooned with signs for photography studios. Nadar made and sold small prints like this self-portrait to promote his ballooning ventures. The obviously artificial construction of this picture – Nadar and his wife sit in a basket far too small for a real ascent and are posed in front of a painted backdrop – and its untrimmed edges showing assistants at either side make it less of the self-aggrandizing statement that Nadar wished and more of an amusing behind-the-scenes look at studio practice.

 

Alfred Stieglitz. 'Self-portrait' 1907, printed 1930

 

Alfred Stieglitz
Self-Portrait
probably 1911
Platinum print
Image: 24.2 x 19.3 cm (9 1/2 x 7 5/8 in.)
Sheet: 25.3 x 20.3 cm (9 15/16 x 8 in.)
National Gallery of Art, Washington, Alfred Stieglitz Collection

 

 

Unlike many other photographers, Stieglitz made few self-portraits. He created this one shortly before he embarked on a series of portraits of the artists who frequented his New York gallery, 291. Focusing only on his face and leaving all else in shadow, he presents himself not as an artist at work or play, but as a charismatic leader who would guide American art and culture into the 20th century.

 

Alfred Stieglitz. '291 - Picasso-Braque Exhibition' 1915

 

Alfred Stieglitz
291 – Picasso-Braque Exhibition
1915
Platinum print
Image: 18.5 x 23.6 cm (7 5/16 x 9 5/16 in.)
Sheet: 20.1 x 25.3 cm (7 15/16 x 9 15/16 in.)
National Gallery of Art, Washington, Alfred Stieglitz Collection

 

 

291 was Stieglitz’s legendary gallery in New York City (its name derived from its address on Fifth Avenue), where he introduced modern European and American art and photography to the American public. He also used 291 as a studio, frequently photographing friends and colleagues there, as well as the views from its windows. This picture records what Stieglitz called a “demonstration” – a short display of no more than a few days designed to prompt a focused discussion. Including two works by Picasso, an African mask from the Kota people, a wasps’ nest, and 291’s signature brass bowl, the photograph calls into question the relationship between nature and culture, Western and African art.

 

James Van Der Zee. 'Sisters' 1926

 

James Van Der Zee
Sisters
1926
Gelatin silver print
Sheet (trimmed to image): 17.6 x 12.5 cm (6 15/16 x 4 15/16 in.)
National Gallery of Art, Washington, Horace W. Goldsmith Foundation through Robert and Joyce Menschel

 

 

James Van Der Zee was a prolific studio photographer in Harlem during a period known as the Harlem Renaissance, from the end of World War I to the middle of the 1930s. He photographed many of Harlem’s celebrities, middle-class residents, and community organizations, establishing a visual archive that remains one of the best records of the era. He stands out for his playful use of props and retouching, thereby personalizing each picture and enhancing the sitter’s appearance. In this portrait of three sisters, clasped hands show the tender bond of the two youngest, one of whom holds a celebrity portrait, revealing her enthusiasm for popular culture.

 

Wallace Berman. 'Silence Series #7' 1965-1968

 

Wallace Berman
Silence Series #7
1965-1968
Verifax (wet process photocopy) collage
Actual: 24 1/2 x 26 1/2 in. (62.23 x 67.31 cm)
National Gallery of Art, Washington, Corcoran Collection (Museum Purchase, William A. Clark Fund)

 

 

An influential artist of California’s Beat Generation during the 1950s and 1960s, Berman was a visionary thinker and publisher of the underground magazine Semina. His mysterious and playful juxtapositions of divers objects, images, and texts were often inspired by Dada and surrealist art. Silence Series #7 presents a cinematic sequence of his trademark transistor radios, each displaying military, religious, or mechanical images along with those of athletes and cultural icons, such as Andy Warhol. Appropriated from mass media, reversed in tone, and printed backward using an early version of a photocopy machine, these found images, pieced together and recopied as photomontages, replace then ew transmitted through the radios. Beat poet Robert Duncan once called Berman’s Verify collages a “series of magic ‘TV’ lantern shows.”

 

Mike and Doug Starn. 'Double Rembrandt with Steps' 1987-1991

 

Doug and Mike Starn
Double Rembrandt (with steps)
1987-1991
Gelatin silver prints, ortho film, tape, wood, plexiglass, glue and silicone
2 interlocking parts:
Part 1 overall: 26 1/2 x 13 7/8 in.
Part  2 overall: 26 3/8 x 13 3/4 in.
Overall: 26 1/2 x 27 3/4 in.
National Gallery of Art, Washington, Gift of Susan and Peter MacGill

 

 

Doug and Mike Starn, identical twins who have worked collaboratively since they were thirteen, have a reputation for creating unorthodox works. Using take, wood, and glue, the brothers assembles sheets of photographic film and paper to create a dynamic composition that includes an appropriated image of Rembrandt van Rijn’s Old Man with a Gold Chain (1631). Double Rembrandt (with steps) challenges the authority of the austere fine art print, as well as the aura of the original painting, while playfully invoking the twins’ own double identity.

 

Martha Rosler. 'Cleaning the Drapes', from the series, 'House Beautiful: Bringing the War Home' 1967-1972

 

Martha Rosler
Cleaning the Drapes, from the series, House Beautiful: Bringing the War Home
1967-1972
Inkjet print, printed 2007
Framed: 53.5 × 63.3 cm (21 1/16 × 24 15/16 in.)
National Gallery of Art, Washington, Gift of the Collectors Committee and the Pepita Milmore Memorial Fund

 

 

A painter, photographer, video artist, feminist, activist writer, and teacher, Martha Rosler made this photomontage while she was a graduate student in the late 1960s and early 1970s. Frustrated by the portrayal of the Vietnam War on television and in other media, she wrote: “The images were always very far away and of a place we couldn’t imagine.” To bring “the war home,” as she announced in her title, she cut out images from Life magazine and House Beautiful to make powerfully layered collages that contrast American middle-class life with the realities of the war. She selected color pictures of the idealized American life rich in the trappings of consumer society, and used black-and-white pictures of troops in Vietnam to heighten the contrast between here and there, while also calling attention to stereotypical views of men and women.

 

Sally Mann. 'Self-Portrait' 1974

 

Sally Mann
Self-Portrait
1974
Gelatin silver print
Image: 17 × 14.9 cm (6 11/16 × 5 7/8 in.)
Sheet: 35 × 27.2 cm (13 3/4 × 10 11/16 in.)
National Gallery of Art, Washington, Corcoran Collection (Gift of Olga Hirshhorn)

 

 

Sally Mann, who is best known for the pictures of her children she made in the 1980s and 1990s, began to photograph when she was a teenager. In this rare, early, and intimate self-portrait, the artist is reflected in a mirror, clasping her loose shirt as she stands in a friend’s bathroom. Her thoughtful, expectant expression, coupled with her finger pointing directly at the lens of the large view camera that towers above her, foreshadows the commanding presence photography would have in her life.

 

David Levinthal. 'Untitled (from the series Hitler Moves East)' 1975

 

David Levinthal
Untitled (from the series Hitler Moves East)
1975
Gelatin silver print
Sheet: 15 15/16 x 20 in. (40.48 x 50.8 cm)
Image: 10 9/16 x 13 7/16 in. (26.83 x 34.13 cm)
National Gallery of Art, Washington, Corcoran Collection (Gift of the artist)

 

 

Levinthal’s series of photographs Hitler Moves East was made not during World War II, but in 1975, when the news media was saturated with images of the end of America’s involvement in the Vietnam War. In this series, he appropriates the grainy look of photojournalism and uses toy soldiers and fabricated environments to stage scenes from Germany’s brutal campaign on the Eastern Front during World War II. His pictures are often based on scenes found in television and movies, further distancing them from the actual events. A small stick was used to prop up the falling soldier and the explosion was made with puffs of flour. Hitler Moves East casts doubt on the implied authenticity of photojournalism and calls attention to the power of the media to define public understanding of events.

 

Hiroshi Sugimoto. 'Oscar Wilde' 1999

 

Hiroshi Sugimoto
Oscar Wilde
1999
Gelatin silver print
Image: 148.59 × 119.6 cm (58 1/2 × 47 1/16 in.)
Framed: 182.25 × 152.4 cm (71 3/4 × 60 in.)
National Gallery of Art, Washington, Corcoran Collection (Gift of The Heather and Tony Podesta Collection)

 

Hiroshi Sugimoto. 'Oscar Wilde' 1999 (detail)

 

Hiroshi Sugimoto
Oscar Wilde (detail)
1999
Gelatin silver print
Image: 148.59 × 119.6 cm (58 1/2 × 47 1/16 in.)
Framed: 182.25 × 152.4 cm (71 3/4 × 60 in.)
National Gallery of Art, Washington, Corcoran Collection (Gift of The Heather and Tony Podesta Collection)

 

 

While most traditional portrait photographers worked in studios, Sugimoto upended this practice in a series of pictures he made at Madame Tussaud’s wax museums in London and Amsterdam, where lifelike wax figures, based on paintings or photographs, as is the case with Oscar Wilde, are displayed in staged vignettes. By isolating the figure from its setting, posing it in a three-quarter-length view, illuminating it to convey the impression of a carefully lit studio portrait, and making his final print almost six feet tall, Sugimoto renders the artificial as real. Triply removing his portrait from reality – from Oscar Wilde himself to a portrait photograph to a wax sculpture and back to a photograph – Sugimoto collapses time and confounds our expectations of the nature of photography.

 

Vik Muniz. 'Alfred Stieglitz (from the series Pictures of Ink)' 2000

 

Vik Muniz
Alfred Stieglitz (from the series Pictures of Ink)
2000
Silver dye bleach print
Image: 152.4 × 121.92 cm (60 × 48 in.)
Framed: 161.29 × 130.81 × 5.08 cm (63 1/2 × 51 1/2 × 2 in.)
National Gallery of Art, Washington, Corcoran Collection (Museum Purchase with funds provided by the FRIENDS of the Corcoran Gallery of Art)

 

 

Muniz has spent his career remaking works of art by artists as varied as Botticelli and Warhol using unusual materials – sugar, diamonds, and even junk. He has been especially interested in Stieglitz and has re-created his photographs using chocolate syrup and cotton. Here, he refashioned Stieglitz’s celebrated self-portrait using wet ink and mimicking the dot matrix of a halftone reproduction. He then photographed his drawing and greatly enlarged it so that the dot matrix itself becomes as important as the picture it replicates.

 

Identity

Historic and contemporary works by August Sander, Diane Arbus, Lorna Simpson, and Hank Willis Thomas, among others, make up the final section, which explores the role of photography in the construction of identity.”

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Stanislaw Ignacy Witkiewicz. 'Self-Portrait (Collapse by the Lamp/Kolaps przy lampie)' c. 1913

 

Stanislaw Ignacy Witkiewicz
Self-Portrait (Collapse by the Lamp/Kolaps przy lampie)
c. 1913
Gelatin silver print
Image: 12.86 x 17.78 cm (5 1/16 x 7 in.)
National Gallery of Art, Washington, Foto Fund and Robert Menschel and the Vital Projects Fund

 

 

A writer, painter, and philosopher, Witkiewicz began to photograph while he was a teenager. From 1911 to 1914, while undergoing psychoanalysis and involved in two tumultuous relationships (one ending when his pregnant fiancée killed herself in 1914), he made a series of startling self-portraits. Close-up, confrontational, and searching, they are pictures in which the artist seems to seek understanding of himself by scrutinizing his visage.

 

August Sander. 'The Bricklayer' 1929

 

August Sander
The Bricklayer
1929
Gelatin silver print, printed c. 1950
Sheet (trimmed to image): 50.4 x 37.5 cm (19 13/16 x 14 3/4 in.)
National Gallery of Art, Washington, Gift of Gerhard and Christine Sander, in Honor of the 50th Anniversary of the National Gallery of Art

 

 

In 1911, Sander began a massive project to document “people of the twentieth century.” Identifying them by their professions, not their names, he aimed to create a typological record of citizens of the Weimar Republic. He photographed people from all walks of life – from bakers, bankers, and businessmen to soldiers, students, and tradesmen, as well as gypsies, the unemployed, and the homeless. The Nazis banned his project in the 1930s because his pictures did not conform to the ideal Aryan type. Although he stopped working after World War II, he made this rare enlargement of a bricklayer for an exhibition of his photographs in the early 1950s.

 

Walker Evans. 'Photographer's Display Window, Birmingham, Alabama' 1936

 

Walker Evans
Photographer’s Display Window, Birmingham, Alabama
1936
Gelatin silver print
Image: 24.1 x 19.3 cm (9 1/2 x 7 5/8 in.)
Sheet: 25.2 x 20.3 cm (9 15/16 x 8 in.)
National Gallery of Art, Washington, Gift of Mr. and Mrs. Harry H. Lunn, Jr. in honor of Jacob Kainen and in Honor of the 50th Anniversary of the National Gallery of Art

 

Diane Arbus. 'Triplets in their Bedroom, N.J.,' 1963

 

Diane Arbus
Triplets in their Bedroom, N.J.,
1963
Gelatin silver print
Image: 37.7 x 37.8 cm (14 13/16 x 14 7/8 in.)
Sheet: 50.4 x 40.4 cm (19 13/16 x 15 7/8 in.)
National Gallery of Art, Washington, R. K. Mellon Family Foundation

 

 

Celebrated for her portraits of people traditionally on the margins of society – dwarfs and giants – as well as those on the inside – society matrons and crying babies – Arbus was fascinated with the relationship between appearance and identity. Many of her subjects, such as these triplets, face the camera, tacitly aware of their collaboration in her art. Rendering the familiar strange and the strange familiar, her carefully composed pictures compel us to look at the world in new ways. “We’ve all got an identity,” she said. “You can’t avoid it. It’s what’s left when you take away everything else.”

 

Lorna Simpson. 'Untitled (Two Necklines)' 1989

 

Lorna Simpson
Untitled (Two Necklines)
1989
Two gelatin silver prints with 11 plastic plaques
Overall: 101.6 x 254 cm (40 x 100 in.)
National Gallery of Art, Washington, Gift of the Collectors Committee

 

 

From the mid-1980s to the present, Simpson has created provocative works that question stereotypes of gender, identity, history, and culture, often by combining photographs and words. Two Necklines shows two circular and identical photographs of an African American woman’s mouth, chin, neck, and collarbone, as well as the bodice of her simple shift. Set in between are black plaques, each inscribed with a single word: “ring, surround, lasso, noose, eye, areola, halo, cuffs, collar, loop.” The words connote things that bind and conjure a sense of menace, yet when placed between the two calm, elegant photographs, their meaning is at first uncertain. But when we read the red plaque inscribed “feel the ground sliding from under you” and note the location of the word “noose” adjacent to the two necklines, we realize that Simpson is quietly but chillingly referring to the act of lynching.

 

Hank Willis Thomas. 'And One' 2011

 

Hank Willis Thomas
And One
2011
Digital chromogenic print
Framed: 248.29 × 125.73 × 6.35 cm (97 3/4 × 49 1/2 × 2 1/2 in.)
National Gallery of Art, Washington, Corcoran Collection (Gift of the artist and Jack Shainman Gallery, New York)

 

 

And One is from Thomas’s Strange Fruit series, which explores the concepts of spectacle and display as they relate to modern African American identity. Popularized by singer Billie Holiday, the series title Strange Fruit comes from a poem by Abel Meeropol, who wrote the infamous words “Black bodies swinging in the southern breeze; Strange fruit hanging from the poplar trees” after seeing a photograph of a lynching in 1936. In And One, a contemporary African American artist reflects on how black bodies have been represented in two different contexts: lynching and professional sports. Thomas ponders the connections between these disparate forms through his dramatic photograph of two basketball players frozen in midair, one dunking a ball through a hanging noose.

 

 

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Dr Marcus Bunyan

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

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