Archive for the 'photography' Category

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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12
Feb
17

Exhibitions: ‘The Rebellious Image: Kreuzberg’s “Werkstatt für Photographie” and the Young Folkwang Scene in the 1980s’ at Museum Folkwang Essen / ‘Kreuzberg – Amerika: Die Berliner Werkstatt für Photographie 1976-86’ at C/O Berlin, Germany

Museum Folkwang Essen exhibition dates: 9th December 2016 – 19th February 2017
C/O Berlin exhibition dates: 10th December 2016 – 12th February 2017

 

It’s so good to see these essential, vital, rebellious images from Germany as a counterpoint and “additional chapter to the history of West German photography of the time beyond that of the Düsseldorf School,” ie. the New Objectivity of Bernd and Hilla Becher with their austere “images of the water towers, oil refineries and silos of the fast-disappearing industrial landscape of the Ruhr valley.”

“A special artistic approach emerged from a dialog between renowned photographers and amateurs, between conceptual approaches and documentary narrations, between technical mediation and substantive critique and altered the styles of many photographers over time thanks to its direct access to their reality.”

I love the rawness and directness of these images. They speak to me through their colour, high contrast, frontality and narrative. A conversation in art and life from people around the world.

Marcus

.
Many thankx to Museum Folkwang Essen and C/O Berlin for allowing me to publish the photographs in the posting. Please click on the photographs for a larger version of the image. All photographs from The Rebellious Image exhibition unless it states differently underneath the photograph.

 

 

Uschi Blume. From the series 'Worauf wartest Du?' (What are you waiting for?) 1980

 

Uschi Blume
From the series Worauf wartest Du? (What are you waiting for?)
1980
Silver gelatine print
27.3 x 40.3 cm
Museum Folkwang, Essen
© Uschi Blume

 

Michael Schmidt. 'Untitled', from 'Portrait' 1983

 

Michael Schmidt
Untitled, from the series Portrait
1983
© Stiftung für Fotografie und Medienkunst, Archiv Michael Schmidt

From the exhibition at C/O Berlin Kreuzberg – Amerika
Die Berliner Werkstatt für Photographie 1976-86
10th December 2016 – 12th February 2017

 

C/O Berlin Kreuzberg America

 

Michael Schmidt. 'Menschenbilder Ausschnite' 1983/97

 

Michael Schmidt
Menschenbilder Ausschnite
1983/97
© Stiftung für Fotografie und Medienkunst, Archiv Michael Schmidt

From the exhibition at C/O Berlin Kreuzberg – Amerika
Die Berliner Werkstatt für Photographie 1976-86
10th December 2016 – 12th February 2017

 

Larry Fink. 'Peter Beard and friends' 1976

 

Larry Fink
Peter Beard and friends
1976
From the series Black Tie
Gelatin silver print
35.8 x 36.4 cm
© Larry Fink

 

Ursula Kelm. 'Self portrait 4' 1983

 

Ursula Kelm
Self portrait 4
1983
© Ursula Kelm

From the exhibition at C/O Berlin Kreuzberg – Amerika
Die Berliner Werkstatt für Photographie 1976-86
10th December 2016 – 12th February 2017

 

Wolfgang Eilmes. From the series 'Kreuzberg' 1979

 

Wolfgang Eilmes
From the series Kreuzberg
1979
© Wolfgang Eilmes

From the exhibition at C/O Berlin Kreuzberg – Amerika
Die Berliner Werkstatt für Photographie 1976-86
10th December 2016 – 12th February 2017

 

Wilmar Koenig. 'Untitled', from the series 'Portraits', 1981-1983

 

Wilmar Koenig
Untitled, from the series Portraits, 1981-1983
© Wilmar Koenig

From the exhibition at C/O Berlin Kreuzberg – Amerika
Die Berliner Werkstatt für Photographie 1976-86
10th December 2016 – 12th February 2017

 

Michael Schmidt. 'Müller-/Ecke Seestraße' 1976-1978

 

Michael Schmidt
Müller-/Ecke Seestraße
1976-1978
from the series Berlin-Wedding
1979
© Foundation for Photography and Media Art with Archive Michael Schmidt

From the exhibition at C/O Berlin Kreuzberg – Amerika
Die Berliner Werkstatt für Photographie 1976-86
10th December 2016 – 12th February 2017

 

Petra Wittmar From the series 'Medebach' 1979-83

 

Petra Wittmar
From the series Medebach
1979-83
Gelatin silver print
Courtesy of the artist
© Petra Wittmar

 

Wendelin Bottländer. 'Untitled' 1980

 

Wendelin Bottländer
Untitled
1980
From the series Stadtlandschaften (City landscapes)
C-Print
24 x 30.2 cm
Courtesy of the artist
© Wendelin Bottländer

 

Andreas Horlitz. 'Essen Frühling' (Essen Spring) 1981

 

Andreas Horlitz
Essen Frühling (Essen Spring)
1981
© Andreas Horlitz

 

 

The exhibition The Rebellious Image (December 9, 2016 – February 19, 2017) – part of the three-part collaborative project Werkstatt für Photographie 1976-1986 , held in association with C/O Berlin and Sprengel Museum Hannover – sheds light on this period of upheaval and generational change within German photography, focusing on the photography scene in Essen.

Towards the end of the 1970s, two developments took place in Essen: the first was a revolt, a search for a new path, for a ‘free’ form of artistic photography beyond the confines of photojournalism and commercial photography; the second was the institutionalisation of photography which occurred with the foundation of the Museum Folkwang’s Photographic Collection. Some 300 photographs and a range of filmic statements and documentary material help to bring this era of change and flux in the medium of photography back to life: showing the evolution of new visual languages which – in contrast to the Düsseldorf School’s aesthetics of distance ‘ placed an emphasis on colour, soft-focus blurring and fragmentation.

The show sets out from the climate of uncertainty that developed in the wake of the death of Otto Steinert in 1978, who, as a photographer, teacher and curator, had been particularly influential in Essen in the field of photojournalism. In the area of teaching, photographic design began to come to the fore, while with the founding of the Photographic Collection at Museum Folkwang under Ute Eskildsen, the institutionalisation of artistic photography began. Young students – among them, Gosbert Adler, Joachim Brohm, Uschi Blume, Andreas Horlitz and Petra Wittmar – developed a form of photography that was divorced from typical clichés and commercial utility. The impulse behind this development was provided by the Berlin-based photographer Michael Schmidt. In 1979 and 1980, he taught in Essen and fostered a close dialogue with the Berlin and American scenes.

Over seven chapters, The Rebellious Image traces the development of photography in the 1980s in Germany: the show presents the early alternative exhibitions of these young photographers and provides an insight into the formative projects of the first recipients of the Stipendium Für Zeitgenössische Deutsche Fotografie (German Contemporary Photography Award) awarded by the Alfried Krupp von Bohlen und Halbach-Stiftung. It shows how these young photographic artists refined topographic and documentary photography through their work with colour and their deliberate adoption of the anti-aesthetics of amateur photography. The Rebellious Image reflects on the debates and themes of the exhibition Reste Des Authentischen: Deutsche Fotobilder der 80er Jahre (The Remains of Authenticity: German Photography in the 80s). The largest and most ambitious photographic exhibition of this era, it took place in 1986 at the Museum Folkwang. This exhibition brought together representatives of the Berlin Werkstatt für Photographie, graduates of the Essen School and artists from the Rhineland who were united by their postmodern conception of reality. As such, The Rebellious Image presents a different, subjective perspective, which developed parallel to the objectivising style of the Düsseldorf School and their aesthetic of the large-format images.

The exhibition brings together important and rarely exhibited groups of works by former students in Essen such as Gosbert Adler, Volker Heinze, Joachim Brohm, Uschi Blume, Andreas Horlitz and Petra Wittmar. References to the American photography of the time – such as Stephen Shore, Larry Fink, Diane Arbus, Larry Clark or William Eggleston – make the preoccupations of this young scene apparent. In addition, with works by Michael Schmidt, Christa Mayer and Wilmar Koenig, members of the Berlin Werkstatt für Photographie are also represented.”

Press release from Museum Folkwang Essen

 

C/O Berlin is presenting the exhibition Kreuzberg – Amerika from December 10th, 2016 to February 12th, 2017.  The exhibition is part of the project about the Werkstatt für Photographie 1976-1986, in which C/O Berlin, the Museum Folkwang Essen and the Sprengel Museum Hannover are presenting the history, influences and effects of the legendary Berlin-based photographic institute and its key players in an intercity cooperation.

“We try to help students to recognise or even find their personality, where photography becomes irrelevant with regard to its commercial applicability.” – Michael Schmidt, 1979

Starting in the 1970s, a unique departure in photography took place in Germany. A younger generation in various initiatives quickly established a new infrastructure for a different perspective on photography and consciously defined the medium as an independent art form – to this very day. The Werkstatt für Photographie (Workshop for Photography), founded in Berlin by Michael Schmidt in 1976, is one of these innovative models and as an institution was completely unique. That’s because it offered an openly accessible cultural production and intensified adult education beyond academic hurdles and without access limitations. A special artistic approach emerged from the unconventional dialog between renowned photographers and amateurs, between technical mediation and substantive critique as well as on the basis of documentary approaches. Its special access to reality defined styles for a long time. The Werkstatt für Photographie reached the international level through exhibitions, workshops and courses and established itself as an important location for the transatlantic photographic dialog between Kreuzberg, Germany and America. A unique and pioneering achievement!

In the beginning of the Werkstatt für Photographie, a strict documentary perspective prevailed that was based on the neutral aesthetic of the work of Michael Schmidt and concentrated on the blunt representation of everyday life and reality in a radical denial of common photographic norms. He and the young photographer scene later experimented with new forms of documentary that emphasised the subjective view of the author. They discovered colour as an artistic form of expression and developed an independent, artistic authorship with largely unconventional perspectives.

The Werkstatt für Photographie offered anyone who was interested a free space to develop their artistic talents. In addition to its open, international and communicative character, it was also a successful model for self-empowerment that at the same time was characterised by paradoxes. That‘s because the vocational school set in the local community developed into a lively international network of contemporary photographers. The students were not trained photographers but rather self-taught artists and as such had a freer understanding of the medium than their professional counterparts. Moreover, the majority of teachers had no educational training but were all active in the context of adult education. At that time, there were also no curators for photography in Germany but the Werkstatt für Photographie were already independently hosting exhibitions alternating between unknown and renowned photographers…

On the occasion of the 40th anniversary of the Werkstatt für Photographie, C/O Berlin, the Museum Folkwang Essen and the Sprengel Museum Hannover are presenting a joint exhibition project, which for the first time portrays the history, influences and effects of this institution and its key players divided between three stages. Furthermore, the three stages outline the situation of a changing medium, which focuses on independent, artistic authorship encouraged by consciousness of American photography. As such, they’re designing a lively and multi-perspective presentation of photography in the 1970s and 1980s that adds an additional chapter to the history of West German photography of the time beyond that of the Düsseldorf School.

Text from the C/O Berlin website

 

 

 

 

 

 

Andreas Gursky. 'Düsseldorf, Terrace' 1980

 

Andreas Gursky
Düsseldorf, Terrace
1980
C-Print
43.2 x 49.4 cm
© Andreas Gursky, VG Bild-Kunst, Bonn 2017
Courtesy of the artist + Sprüth Magers

 

Joachim Brohm. 'Revierpark Nienhausen, Gelsenkirchen' (Parking area Nienhausen, Gelsenkirchen) 1982

 

Joachim Brohm
Revierpark Nienhausen, Gelsenkirchen
Parking area Nienhausen, Gelsenkirchen
1982
From the series Ruhr, 1980-83
C-Print
22.2 x 27.2 cm
© Joachim Brohm
© VG Bild-Kunst, Bonn 2017

 

 

Reining in the picture
Joachim Brohm

Born in Dülken, Brohm studied at the Gesamthochschule, Essen and was one of the few photographers who used colour photography in the late 1970s. In his series Ruhr he tries to create a new view of the Ruhr area through the occasional recording of urban space. Brohm’s approach coincides with the claim of the then current “New Topographics” to capture the social reality in the direct environment in a documentary style. In the German-speaking photo landscape here he took a leading role.

 

Larry Fink New. 'York Magazine Party, New York City, October 1977'

 

Larry Fink
New York Magazine Party, New York City, October 1977
1977
From the series Social Graces
1984 © Larry Fink

From the exhibition at C/O Berlin Kreuzberg – Amerika
Die Berliner Werkstatt für Photographie 1976-86
10th December 2016 – 12th February 2017

 

William Eggleston. 'Whitehaven, Mississippi' 1972

 

William Eggleston
Whitehaven, Mississippi
1972
© William Eggleston, Courtesy Laurence Miller Gallery, New York

From the exhibition at C/O Berlin Kreuzberg – Amerika
Die Berliner Werkstatt für Photographie 1976-86
10th December 2016 – 12th February 2017

 

Gosbert Adler from the series 'Ohne Titel' 1982-83

 

Gosbert Adler
from the series Ohne Titel
1982-83
© VG Bild-Kunst, Bonn 2016

 

William Eggleston. 'Memphis' 1970

 

William Eggleston
Memphis
1970
Dye-Transfer
33.5 x 51.5 cm
© Eggleston Artistic Trust, Memphis

 

Wilmar Koenig. 'Floating Chair' 1984

 

Wilmar Koenig
Floating Chair
1984
From the series Die Wege (The Ways)
C-Print
162 x 126.8 cm
Courtesy Berlinische Galerie, Berlin
© Wilmar Koenig

 

 

“The working-class district of Kreuzberg at the end of the 1970s on the outer edge of West Berlin – and yet the lively center of a unique transatlantic cultural exchange. In the midst of the Cold War, the newly founded Werkstatt für Photographie (Workshop for Photography) located near Checkpoint Charlie started an artistic “air lift” in the direction of the USA, a democratic field of experimentation beyond traditional education and political and institutional standards. A special artistic approach emerged from a dialog between renowned photographers and amateurs, between conceptual approaches and documentary narrations, between technical mediation and substantive critique and altered the styles of many photographers over time thanks to its direct access to their reality. The Werkstatt für Photographie reached the highest international standing with its intensive mediation work through exhibitions, workshops, lectures, image reviews, discussions and specialized courses.

In 1976, the Berlin-based photographer Michael Schmidt founded the Werkstatt für Photographie at the adult education center in Kreuzberg. Its course orientation with a focus on a substantive examination of contemporary photography was unique and quickly lead to a profound understanding of the medium as an independent art form. When the institution was closed in 1986, it fell into obscurity.

On the occasion of the 40th anniversary of the Werkstatt für Photographie, C/O Berlin, the Museum Folkwang Essen and the Sprengel Museum Hannover are presenting a joint exhibition project, which for the first time portrays the history, influences and effects of this institution and its key players divided between three stages. Furthermore, the three stages outline the situation of a changing medium, which focuses on independent, artistic authorship encouraged by consciousness of American photography. As such, they’re designing a lively and multi-perspective presentation of photography in the 1970s and 1980s that adds an additional chapter to the history of West German photography of the time beyond that of the Düsseldorf School.

C/O Berlin is addressing the history of the Werkstatt für Photographie in its contribution entitled Kreuzberg – Amerika (December 10, 2016 – February 12, 2017). Within the context of adult education, a unique forum for contemporary photography emerged. A special focus is placed on the exhibitions of the American photographers that were often presented in the workshop for the first time and had an enormous effect on the development of artistic photography in Germany. The exhibition combines the works of faculty, students and guests into a transatlantic dialogue.

The Museum Folkwang in Essen is exploring the reflection of the general change of those years in its own Folkwang history with its work entitled The Rebellious Image (December 9, 2016 – February 19, 2017). After the death of the influential photography teacher Otto Steinerts in 1978, a completely open and productive situation of uncertainty reigned. Essen became more and more of a bridgehead for the exchange with Berlin and a point of crystallization for early contemporary photography in the Federal Republic. Along with Michael Schmidt, who made provocative points during his time as a lecturer at the GHS Essen, Ute Eskildsen counted among the key players at Museum Folkwang as a curator. Early photography based in Essen addressed urbanity and youth culture, discovered color as a mode of artistic expression, asked questions following new documentarian approaches, authentic images and attitudes and contrasted the objective distance of the Düsseldorf School with a research-based and subjective view.

The Sprengel Museum Hannover complements both exhibitions with a perspective in which the focus rests on publications, institutions and exhibitions that encouraged the transatlantic exchange starting in the mid 1960s. Using outstanding examples And Suddenly this Expanse (December 11, 2016 – March 19, 2017) tells of the development of the infrastructure that laid the foundation for and accompanied the context of the documentarian approach. The photo magazine Camera also takes on an equally central role as the founding of the first German photo galleries such as Galerie Wilde in Cologne, Lichttropfen in Aachen, Galerie Nagel in Berlin and the Spectrum Photogalerie initiative in Hanover. The documenta 6 from 1977 and the photo magazines that emerged in the 1970s, particularly Camera Austria, have separate chapters devoted to them.

Werkstatt für Photographie 1976 – 1986
A cooperation between C/O Berlin, Museum Folkwang, Essen, and Sprengel Museum Hannover

Sprengel Museum Hannover
And Suddenly this Expanse
December 11, 2016 – March 19, 2017
www.sprengel-museum.de

C/O Berlin
Kreuzberg – Amerika
Werkstatt für Photographie 1976-86
December 10, 2016 – February 12, 2017
www.co-berlin.org

Text from the Museum Folkwang Essen website

 

Larry Clark. 'Untitled' 1971

 

Larry Clark
Untitled
1971
From the series Tulsa
Silver gelatin print
© Larry Clark, Courtesy of the artist and Luhring Augustine, New York

From the exhibition at  C/O Berlin Kreuzberg – Amerika
Die Berliner Werkstatt für Photographie 1976-86
10th Dezember 2016 – 12th February 2017

 

'Camera Nr. 8, August 1970' 1970

 

Camera Nr. 8, August 1970
1970
C. J. Bucher Verlag Luzern, Schweiz,
Title: John Gossage, Kodak TRI-X
Sprengel Museum Hannover

From the exhibition at Sprengel Museum Hannover And Suddenly this Expanse
December 11, 2016 – March 19, 2017

 

Gosbert Adler. 'Untitled' 1982

 

Gosbert Adler
Untitled
1982
C-Print
38.4 x 29 cm
© Gosbert Adler
© VG-Bild-Kunst, Bonn 2017

 

Volker Heinze. 'Bill Eggleston' 1985

 

Volker Heinze
Bill Eggleston
1985
C-Print
85 x 62 cm
© Volker Heinze

 

Christa Mayer. 'Untitled' 1983

 

Christa Mayer
Untitled
1983
From the series Porträts aus einer psychatrischen Langzeitstation/Porträts auf einer Station für psychisch Kranke (Portraits from a long term psychiatric facility)
Gelatin silver print
28.3 x 28.1 cm
© Christa Mayer, VG Bild-Kunst, Bonn 2017

From the exhibition at  C/O Berlin Kreuzberg – Amerika
Die Berliner Werkstatt für Photographie 1976-86
10th Dezember 2016 – 12th February 2017

 

 

Museum Folkwang
Museumsplatz 1, 45128 Essen

Opening hours:
Tue, Wed 10am – 6pm
Thur, Fri 10am – 8pm
Sat, Sun 10am – 6pm
Mon closed

Museum Folkwang website

C/O Berlin
Hardenbergstraße 22-24, 10623 Berlin

Opening hours:
Daily 11 am – 8 pm

C/O Berlin website

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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

.
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

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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 …”

.
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

 

 

The Museum of Modern Art
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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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25
Jan
17

Exhibition: ‘Surveillance’ at the Nelson-Atkins Museum of Art, Kansas City, Missouri

Exhibition dates: 16th September 2016 – 29th January 2017

 

This looks to be a fascinating exhibition on a very interesting subject. It’s such a pity I cannot comment on the exhibition itself due to the small number of media images, and having no idea how the images I do have fit into the themes of the exhibition, although one can make guesses: Henri Cartier-Bresson’s Brussels (1932, below) surveys the watchers; his Hyeres, France (1932, below) is taken by an unseen camera; and Professor Lowe’s balloon Intrepid was used by the Union in the American Civil War to spy on Confederate troop movements. Others I have absolutely no idea.

“Dating from 1864-2014, the works in Surveillance fall under these categories: spying or hidden cameras, photography of the forbidden, military surveillance, areas of heavy surveillance and mapping satellites and drones. There are also examples of counter-surveillance that either prevent watching or surveille the watchers.”

My favourite images in this posting of surreptitious photography are those of Tomas van Houtryve from his series Blue Sky Days. I love the titles play on the ideas of blue sky thinking (original or creative thinking, unfettered by convention and not grounded in reality) and blue skies research (scientific research in domains where “real-world” applications are not immediately apparent) – views of the world that are quantifiable but not grounded in reality, and where the “reality” of the world is not immediately apparent. Such a clever and insightful “point of view” which engages with “the changing nature of surveillance, personal privacy, and war”, a projection on a vertical plane. More intriguing images from this series can be seen on his website.

Dr Marcus Bunyan for Art Blart

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

 

 

Henri Cartier-Bresson (French, 1908-2004) 'Brussels' 1932

 

Henri Cartier-Bresson (French, 1908-2004)
Brussels
1932
Gelatin silver print
9 1/2 × 14 3/16 inches
The Nelson-Atkins Museum of Art, Kansas City, Missouri
Gift of Hallmark Cards, Inc.,
© Henri Cartier-Bresson / Magnum Photos

 

Henri Cartier Bresson (French, 1908-2004) 'Hyeres, France' 1932

 

Henri Cartier Bresson (French, 1908-2004)
Hyeres, France
1932
Gelatin silver print
© Henri Cartier-Bresson/Magnum

 

Tomas van Houtryve (Belgian) Schoolyard From the series 'Blue Sky Days' 2013-2014

 

Tomas van Houtryve (Belgian)
Schoolyard
From the series Blue Sky Days
2013-2014
150×100 cm gelatin-silver print

 

Tomas van Houtryve (Belgian) 'Domestic gathering' 2013-2014

 

Tomas van Houtryve (Belgian)
Domestic gathering
From the series Blue Sky Days
2013-2014

 

 

“The images captured from the drone’s perspective engage with the changing nature of surveillance, personal privacy, and war.” ~ Tomas van Houtryve

 

“In October 2012, a drone strike in northeast Pakistan killed a 67-year-old woman picking okra outside her house. At a briefing held in 2013 in Washington, the woman’s 13-year-old grandson, Zubair Rehman, spoke to a group of five lawmakers. “I no longer love blue skies,” said Rehman, who was injured by shrapnel in the attack. “In fact, I now prefer gray skies. The drones do not fly when the skies are gray.”

Over the past decade, drones have become the weapon of the United States military and the CIA for strikes overseas. Their use for surveillance and commercial purposes is also rapidly expanding both at home and abroad.

Tomas van Houtryve attached his camera to a small drone and traveled across America to photograph the very sorts of gatherings that have become habitual targets for foreign air strikes – weddings, funerals, groups of people praying or exercising. He also flew his camera over settings in which drones are used to less lethal effect, such as prisons, oil fields, industrial feedlots, and stretches of the U.S.-Mexico border.”

Text from the Pulitzer Center website

 

Mishka Henner (Belgian, b. 1976) 'Staphorst Ammunition Depot' 2011

 

Mishka Henner (Belgian, b. 1976)
Staphorst Ammunition Depot
2011
Inkjet print
31 1/4 × 35 1/8 inches
The Nelson-Atkins Museum of Art, Kansas City, Missouri
Gift of the Hall Family Foundation

 

 

British photographer Mishka Henner, in his series Dutch Landscapes, uses Google satellite views of locations that have been censored by the Dutch government because of concerns about the visibility of political, economic and military locations. Many countries blur, pixilate or whiten sensitive sites. The Dutch method, however, employs bold, multi-colored polygons. The resulting photograph is an artistic, visual contrast between secret sites and the surrounding rural environment, providing an unsettling reflection on surveillance and the contemporary landscape.

 

Unknown maker (American) 'Rochester, New York' 1886

 

Unknown maker (American)
Rochester, New York
1886
Albumen print, 5 5/8 × 5 5/16 inches
The Nelson-Atkins Museum of Art, Kansas City, Missouri
Gift of Hallmark Cards, Inc.,

 

 

“Surveillance cameras in the 21st century are practically everywhere – on street corners, in shops, in public buildings, silently recording our every movement. Yet this is not a construct of modern times. As soon as cameras were introduced in the 1880s, anyone could be unknowingly photographed at any time. It was an unfortunate fact of life. The exhibition Surveillance opened at The Nelson-Atkins Museum of Art in Kansas City September 16, examining the role of surreptitious photography from the mid-19th century to the present day.

“This body of work represents a sign of our times,” said Julián Zugazagoitia, Menefee D. and Mary Louise Blackwell CEO and Director of the Nelson-Atkins. “Cameras have been recording our movements, many times secretly, since photography began. But it was the tragedy of 9/11 that increased our awareness of this constant presence and brought a new and chilling meaning to the art, and the intention, of surveillance.”

Dating from 1864-2014, the works in Surveillance fall under these categories: spying or hidden cameras, photography of the forbidden, military surveillance, areas of heavy surveillance and mapping satellites and drones. There are also examples of counter-surveillance that either prevent watching or surveille the watchers.

“Twenty-first century technology – like Google Earth View and drone photography – have provided photographers with a treasure trove of surveillance images,” said Jane L. Aspinwall, Associate Curator, Photography. “This work provokes uneasy questions about who is looking at whom and the limits of artistic expression.”

Photographer Roger Schall, formerly a French news reporter, secretly recorded the Nazi occupation of Paris beginning in June 1940. His photographs document his daily routine and illustrate how completely the Nazis permeated every facet of Parisian life.

British photographer Mishka Henner, in his series Dutch Landscapes, uses Google satellite views of locations that have been censored by the Dutch government because of concerns about the visibility of political, economic and military locations. Many countries blur, pixilate or whiten sensitive sites. The Dutch method, however, employs bold, multi-colored polygons. The resulting photograph is an artistic, visual contrast between secret sites and the surrounding rural environment, providing an unsettling reflection on surveillance and the contemporary landscape.

Other photographers employ techniques to circumvent surveillance. Adam Harvey creates “looks” that block online facial recognition software [CV Dazzle]. The contours of the face are manipulated in such a way that a computer is not able to identify a person, which can be a useful tool for social media sites like Facebook, in which users can search an entire archive for one particular face.”

Press release from the Nelson-Atkins Museum of Art

 

Brady Studio (American active c. 1843-1885) 'Professor Lowe inflating balloon Intrepid' 1862

 

Brady Studio (American, active c. 1843-1885)
Professor Lowe inflating balloon Intrepid
1862
Albumen print
3 1/4 × 2 3/16 inches
The Nelson-Atkins Museum of Art, Kansas City, Missouri
Gift of Hallmark Cards, Inc.,

 

Intrepid being cross-inflated from Constitution in a spur-of-the-moment attempt to get the larger balloon in the air to overlook the imminent Battle of Seven Pines. The balloon Intrepid, one of six to eventually be constructed by Thaddeus Lowe and the Union Army Balloon Corps.

 

 

Peninsula Campaign

The battlefront turned toward Richmond in the Peninsula Campaign. The heavy forestation inhibited the use of balloons, so Lowe and his Balloon Corps, with the use of three of his balloons, the Constitution, the Washington, and the larger Intrepid, used the waterways to make its way inland. In mid May 1862, Lowe arrived at the White House on the Pamunkey River. This is the first home of George and Martha Washington, after which the Washington presidential residence is named. At this time, it was the home of the son of Robert E. Lee, whose family fled at the arrival of Lowe. Lowe was met by McClellan’s Army a few days later, and by 18 May, he had set up a balloon camp at Gaines’ Farm across the Chickahominy River north of Richmond, and another at Mechanicsville. From these vantage points, Lowe, his assistant James Allen, and his father Clovis were able to overlook the Battle of Seven Pines. 

A small contingent from Gen. Samuel P. Heintzelman’s corps crossed the river toward Richmond and was slowly being surrounded by elements of the Confederate Army. McClellan felt that the Confederates were simply feigning an attack. Lowe could see, from his better vantage point, that they were converging on Heintzelman’s position. Heintzelman was cut off from the main body because the swollen river had taken out all the bridges. Lowe sent urgent word of Heintzelman’s predicament and recommended immediate repair of New Bridge and reinforcements for him. 

At the same time, he sent over an order for the inflation of the Intrepid, a larger balloon that could take him higher with telegraph equipment, in order to oversee the imminent battle. When Lowe arrived from Mechanicsville to the site of the Intrepid at Gaines’ Mill, he saw that the aerostat’s envelope was an hour away from being fully inflated. He then called for a camp kettle to have the bottom cut out of it, and he hooked the valve ends of the Intrepid and the Constitution together. He had the gas of the Constitution transferred to the Intrepid and was up in the air in 15 minutes. From this new vantage point, Lowe was able to report on all the Confederate movements. McClellan took Lowe’s advice, repaired the bridge, and had reinforcements sent to Heintzelman’s aid. An account of the battle was being witnessed by the visiting Count de Joinville who at day’s end addressed Lowe with: “You, sir, have saved the day!”

Text from the Union Army Balloon Corps Wikipedia entry

 

Paul Strand (American 1890-1976) 'Blind woman, New York' 1916

 

Paul Strand (American, 1890-1976)
Blind woman, New York
1916
Photogravure
8 13/16 × 6 9/16 inches
The Nelson-Atkins Museum of Art, Kansas City, Missouri
Gift of Hallmark Cards, Inc.,

 

Roger Schall (French, 1904-1985) 'Taking the subway' c. 1941

 

Roger Schall (French, 1904-1985)
Taking the subway
c. 1941
Gelatin silver print
7 7/16 × 7 1/16 inches
The Nelson-Atkins Museum of Art, Kansas City, Missouri
Gift of Jeffrey and Polly Kramer

 

 

Born in 1904, Roger Schall was one of the most renowned photographers of the 1930s and 1940s. He worked in all photographic disciplines from fashion, portraits, nudes, still lives and reporting. He began working with his father, a portrait photographer in 1918. 10 years later he would be one of the first reporters to work with a Leica or Rolleiflex. In 1939, he closed the studio-agency he had opened with his brother. From June 1940 to August 1944 he photographed German occupied Paris – hiding the negatives so they would not be seen by the censors. When the occupation was over his brother, Raymond Schall, published a book: A Paris sous la botte des Nazis (Paris under the heel of the Nazis) that was illustrated with the photographs of Roger Schall, Parry, Doisneau, the Seeberger brothers and many others. He then continued working in fashion, doing commercial and publicity work instead of news reporting. From 1970 until his death in 1995, he would manage his archive of some 80,000 images. (Text from the Real Life is Elsewhere blog)

His work covered a number of topics, especially Parisian everyday life, his favourite subject, which he photographed before, during and after the German occupation. Formed in 1931, Le Studio in Montmartre was the first agency to publish his work in leading international magazines, such as Vu, Vogue, L’illustration, Life, and Paris-Match. 150 covers and 10,000 shots were published in his lifetime. (Text from the Yellow Korner website)

 

Henri Cartier-Bresson. 'An Attentive Cat' 1953

 

Henri Cartier-Bresson
An Attentive Cat
1953
Gelatin silver print
© Henri Cartier-Bresson/Magnum

 

Raphaël Dallaporta (French b. 1980) 'Kafir Qala Citadel, Balkh Province, Afghanistan, from the Achaemenid period (6th-4th century BC) to the Ghorid period (12th-13th century AD)' 2010

 

Raphaël Dallaporta (French b. 1980)
Kafir Qala Citadel, Balkh Province, Afghanistan, from the Achaemenid period (6th-4th century BC) to the Ghorid period (12th-13th century AD)
2010
Inkjet print
59 × 47 1/4 × 1 5/8 inches
The Nelson-Atkins Museum of Art, Kansas City, Missouri
Gift of the Hall Family Foundation

 

 

The Nelson-Atkins Museum of Art
4525 Oak Street
Kansas City, MO 64111

Opening hours:
Wed, 10 am – 5 pm
Thurs, Fri, 10 am – 9 pm
Sat, 10 am – 5 pm
Sun, 10 am – 5 pm

The Nelson-Atkins Museum of Art website

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22
Jan
17

Exhibition: ‘Recent Acquisitions in Focus: Latent Narratives’ at the J. Paul Getty Museum, Getty Centre, Los Angeles

Exhibition dates: 13th September 2016 – 29th January 2017

 

Again, telling stories with pictures…

Lyrical, ambiguous juxtapositions abound.

Hand, clock, motel, scream, bird, body, river, stairs, hand.

Latent = (of a quality or state) existing but not yet developed or manifest; hidden or concealed.

Unresolved. Interchangeable.

Marcus

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

 

 

“This exhibition features multipart photographic works by four contemporary artists: William Leavitt, Liza Ryan, Fazal Sheikh, and Whitney Hubbs. Juxtaposing images of people, places, and things, the works present fragmentary, enigmatic narratives that nonetheless establish a powerful, almost palpable atmosphere or mood. When sequenced by the artist in a specific order, the images recall storyboards used for motion pictures. When excerpted from a larger series, they suggest a stream-of-consciousness meditation on a theme.

By providing the visual cues or markers of stories still to be played out, these photographs encourage visitors to participate in completing the narratives. On view for the first time at the Getty, all the works in the exhibition are recent acquisitions drawn from the Museum’s permanent collection. Several were donated or purchased with funds provided by our donors, whom we would like to thank for their generosity.”

Text from the J. Paul Getty Museum

 

A painting of a motel in East Los Angeles. A primal scream. A funeral bier. A woman crouching in a bed of shrubs. These ambiguous images are each components within larger photographic works that juxtapose images of people, places, and things to present fragmentary, enigmatic narratives. Recent Acquisitions in Focus: Latent Narratives, on view September 13, 2016 – January 29, 2017 at the J. Paul Getty Museum, Getty Center, presents works by contemporary artists William Leavitt (American, born 1941), Liza Ryan (American, born 1965), Fazal Sheikh (American, born 1964), and Whitney Hubbs (American, born 1977). By providing the visual cues or markers of stories still to be played out, the works in the exhibition establish a powerful atmosphere and mood, and encourage viewers to take part in completing the narrative. On view at the Getty Museum for the first time since acquired, many of the works in the exhibition were donated or purchased with funds provided by donors.

“The Museum’s ‘In Focus’ gallery has generally been used to provide a thematic cross section of our photographs collection. This exhibition represents a slight departure in that it covers several recent acquisitions by artists of different generations, all of whom share an interest in telling stories with pictures,” explains Timothy Potts, director of the J. Paul Getty Museum. “These works are mostly non-linear narratives that require close attention to symbolism, mood, and seemingly insignificant details that create an overall story. In much the same way as pieces of a puzzle create a complete image, these multi-part works are reminiscent of storyboards used in motion pictures to provide an outline of a visual narrative that still needs to be played out.”

Press release from the J. Paul Getty Museum

 

William Leavitt

Based in Los Angeles, Leavitt is closely tied to West Coast Conceptualism, and frequently references L.A.’s entertainment industry and vernacular culture in his work, which includes performance, installation, sculpture, painting, and photography. Spectral Analysis (1977) is a triptych of photographs based on his one-act play of the same name, which featured a man and woman in conversation within a set furnished with a starburst light fixture, a sofa, a side table with a portable television, and a long beige curtain into which a rainbow of color is projected. The four photographs of Innuendo (1995) depict the lobby of an apartment building, a painting of a fountain, a painting of a motel in East L.A., and a circular UFO-like construction made of PVC pipe. These images provide the loose structure of a narrative that moves unseen actors from one location to the next, suggesting the atmosphere of film noir.

 

William Leavitt (American, born 1941) 'Spectral Analysis' Negative 1977; print about 2008

 

William Leavitt (American, born 1941)
Spectral Analysis
Negative 1977; print about 2008
Chromogenic print
Framed: 42.9 × 154.6 cm (16 7/8 × 60 7/8 in.)
The J. Paul Getty Museum, Los Angeles
© William Leavitt

 

William Leavitt (American, born 1941) 'Innuendo' Negative 1995; print about 2008

 

William Leavitt (American, born 1941)
Innuendo
Negative 1995; print about 2008
Gelatin silver print
Image: 27.9 × 35.5 cm (11 × 14 in.)
The J. Paul Getty Museum, Los Angeles
© William Leavitt

 

 

Liza Ryan

Working primarily in photography and video, Ryan often incorporates references from literature, poetry, and film to introduce additional layers of meaning. By cutting, collaging, and grouping her photographs and installing them in a manner that borrows from sculpture, she establishes evocative associative relationships between multiple images. Measuring thirty feet in length, Spill (2009) is a running band of cinematic narrative that alternates images of the human body and nature. Ryan poured India ink onto the surface of the prints, coaxing the pigment into a continuous, organic line that links the 23 frames as it wends its way from a primal scream at far left to an intimate touch at right.

 

Liza Ryan (American, born 1965) 'Spill' 2009

 

Liza Ryan (American, born 1965)
Spill
2009
Inkjet print
Panel: 30.8 × 175.3 × 4.4 cm (12 1/8 × 43 3/4 × 1 3/4 in.)
The J. Paul Getty Museum, Los Angeles
Gift of Manfred Heiting in honor of Hanna Wise Heiting
© Liza Ryan

 

Liza Ryan (American, born 1965) 'Spill' 2009

 

Liza Ryan (American, born 1965)
Spill
2009
Inkjet print
Panel: 30.8 × 161.6 × 4.4 cm (12 1/8 × 63 5/8 × 1 3/4 in.)
The J. Paul Getty Museum, Los Angeles
Gift of Manfred Heiting in honor of Hanna Wise Heiting
© Liza Ryan

 

Liza Ryan (American, born 1965) 'Spill' 2009

 

Liza Ryan (American, born 1965)
Spill
2009
Inkjet print
Panel: 30.8 × 111.1 × 4.4 cm (12 1/8 × 69 × 1 3/4 in.)
The J. Paul Getty Museum, Los Angeles
Gift of Manfred Heiting in honor of Hanna Wise Heiting
© Liza Ryan

 

Liza Ryan (American, born 1965) 'Spill' 2009

 

Liza Ryan (American, born 1965)
Spill
2009
Inkjet print
Panel: 30.8 × 184.2 × 4.4 cm (12 1/8 × 61 1/2 × 1 3/4 in.)
The J. Paul Getty Museum, Los Angeles
Gift of Manfred Heiting in honor of Hanna Wise Heiting
© Liza Ryan

 

Liza Ryan (American, born 1965) 'Spill' 2009

 

Liza Ryan (American, born 1965)
Spill
2009
Inkjet print
Panel: 30.8 × 156.2 × 4.4 cm (12 1/8 × 51 3/8 × 1 3/4 in.)
The J. Paul Getty Museum, Los Angeles
Gift of Manfred Heiting in honor of Hanna Wise Heiting
© Liza Ryan

 

Liza Ryan (American, born 1965) 'Spill' 2009

 

Liza Ryan (American, born 1965)
Spill
2009
Inkjet print
Panel: 30.8 × 130.5 × 4.4 cm (12 1/8 × 51 3/8 × 1 3/4 in.)
The J. Paul Getty Museum, Los Angeles
Gift of Manfred Heiting in honor of Hanna Wise Heiting
© Liza Ryan

 

 

Fazal Sheikh

Fazal Sheikh is best-known for documenting displaced communities all over the world. Executed in black and white with a large-format camera, his photographs typically portray the victims of human rights violations and social injustices, serving as a call to action. For the series Ether (2008-2011), Sheikh traveled to Varanasi (also known as Benares, Banaras, or Kashi), a city located on the banks of the Ganges River in northern India. Hindu pilgrims bring their deceased to this holy site for cremation, believing that the soul will ascend to heaven and be freed from the eternal cycle of reincarnation. Rendered in luminous, jewel-like tones, these photographs (his first images in color) highlight the vulnerability of subjects captured in the still of night or during early morning hours. Excerpted from the larger series, the four images presented – a sleeping man, sleeping dogs, a funeral bier, and burning embers – suggest the narrative progression of a pilgrimage. Collectively they can be seen as a meditation on the cyclical nature of life, as well as on the universal yet elusive experience of dreams.

 

Fazal Sheikh (American, born 1964) 'Ether' 2008 - 2011

 

Fazal Sheikh (American, born 1964)
Ether
2008 – 2011
Inkjet print
Image: 13.3 × 20 cm (5 1/4 × 7 7/8 in.)
Mount: 39.4 × 28 cm (15 1/2 × 11 in.)
The J. Paul Getty Museum, Los Angeles
Purchased with funds provided by Joseph Cohen
© Fazal Sheikh

 

Fazal Sheikh (American, born 1964) 'Ether' 2008 - 2011

 

Fazal Sheikh (American, born 1964)
Ether
2008 – 2011
Inkjet print
Image: 13.3 × 20 cm (5 1/4 × 7 7/8 in.)
Mount: 39.4 × 28 cm (15 1/2 × 11 in.)
The J. Paul Getty Museum, Los Angeles
Purchased with funds provided by Joseph Cohen
© Fazal Sheikh

 

 

Whitney Hubbs

Hubbs’s installations of richly detailed gelatin silver prints in various sizes create lyrical but ambiguous juxtapositions. Citing music as an important influence, Hubbs is more interested in establishing a mood than in conveying a clear-cut narrative. The five images in the exhibition – a rock formation, a building entry, a set of stairs, a woman crouching in a bed of shrubs, and a baby lying on a blanket – are taken from the series The Song Itself Is Already a Skip (2012). The title of the work was inspired by a passage of text by French philosopher Gilles Deleuze (1925-1995) that discusses the oscillation between order and chaos. The deep blacks of Hubbs’s meticulously printed photographs lend ominous overtones to her dreamlike imagery.
“The idea of a latent narrative is particularly pertinent to photographic images, which remain invisible to us between the moment of exposure and the moment of development,” says Virginia Heckert, head of the Getty Museum’s Department of Photographs and curator of the exhibition. “As much as we might want to know what the artist intended by bringing together diverse images, it is equally interesting to see how viewers interpret the relationship between images and bring to life their own narratives.”

Press release from the J. Paul Getty Museum

 

Whitney Hubbs (American, born 1977) 'Untitled (Hair)' 2012

 

Whitney Hubbs (American, born 1977)
Untitled (Hair)
2012
Gelatin silver print
Sheet: 50.8 × 60.9 cm (20 × 24 in.)
Framed: 51.1 × 61.3 cm (20 1/8 × 24 1/8 in.)
The J. Paul Getty Museum, Los Angeles
Purchased in part with funds provided by Leslie, Judith, and Gabrielle Schreyer
© Whitney Hubbs

 

Whitney Hubbs (American, born 1977) 'Untitled (Stairs)' 2012

 

Whitney Hubbs (American, born 1977)
Untitled (Stairs)
2012
Gelatin silver print
Sheet: 47 × 59.7 cm (18 1/2 × 23 1/2 in.)
Framed: 48 × 60.7 cm (18 7/8 × 23 7/8 in.)
The J. Paul Getty Museum, Los Angeles
Purchased in part with funds provided by Leslie, Judith, and Gabrielle Schreyer
© Whitney Hubbs

 

Whitney Hubbs (American, born 1977) 'Untitled (Baby)' 2012

 

Whitney Hubbs (American, born 1977)
Untitled (Baby)
2012
Gelatin silver print
Sheet: 50.8 × 60.9 cm (20 × 24 in.)
Framed: 51.4 × 61.6 cm (20 1/4 × 24 1/4 in.)
The J. Paul Getty Museum, Los Angeles
Gift of the artist and M+B, Los Angeles
© Whitney Hubbs

 

Whitney Hubbs (American, born 1977) 'Untitled (Entryway)' 2012

 

Whitney Hubbs (American, born 1977)
Untitled (Entryway)
2012
Gelatin silver print
Sheet: 34.3 × 27 cm (13 1/2 × 10 5/8 in.)
Framed: 35.6 × 27.9 cm (14 × 11 in.)
The J. Paul Getty Museum, Los Angeles
Purchased in part with funds provided by Leslie, Judith, and Gabrielle Schreyer
© Whitney Hubbs

 

 

The J. Paul Getty Museum
1200 Getty Center Drive
Los Angeles, California 90049

Opening hours:
Tues – Friday 10 am – 5.30 pm
Saturday 10 am – 9 pm
Sunday 10 am – 5.30 pm
Monday closed

The J. Paul Getty Museum website

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18
Jan
17

Exhibition: ‘Haunted Screens: German Cinema in the 1920s’ at the Milwaukee Art Museum, Milwaukee

Exhibition dates: 21st October 2016 – 22nd January 2017

 

The interwar years of the European avant-garde are some of the most creative years in the history of the human race.

Whether because of political and social instability – the aftershocks of the First World War, the hardships, the looming fight between Communism and Fascism, the Great Depression – or the felt compression and compaction of time and space taking place all over Europe (as artists fled Russia, as artists fled Germany for anywhere but Germany, as though time was literally running out…. as it indeed was), these years produced a frenzy of creativity in writing, film, design, architecture and all the arts.

The “avant-garde” produced new and experimental ideas and methods in art, music, and literature, the avant-garde literally being the “vanguard” of an army of change, producing for so very brief an instant, a bright flowering of camp, cabaret, and kitsch paralleled? intertwined with a highly charged emotionalism which, in German Expressionist film, “employed geometrically skewed set designs, dramatic lighting, off-kilter framing, strong shadows and distorted perspectives to express a sense of uneasiness and discomfort.”

Here we find the catalyst for subsequent film genres, most notably science fiction, horror and film noir. Here we find dark fantasies, desire, love and redemption. All to be swept away with the rushing rushing rushing tide of prejudice and persecution, of death and destruction that was to envelop the world during the Second World War.

The creative legacy of this period, however, is still powerful and unforgettable. I just have to look at the photographic stills of Metropolis to recognise what a visionary period it was, and how that film and others have stood the test of passing time (as the hands of the workers move the clock hands to their different positions in Metropolis). The feeling and aesthetic of the art remains as fresh as the day it was created.

Marcus

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

 

 

 

Unknown photographer(s). 'Set photograph from Fritz Lang's "The Nibelungen: The Death of Siegfried (Die Nibelungen: Siegfrieds Tod)"' 1923

 

Unknown photographer(s)
Set photograph from Fritz Lang’s “The Nibelungen: The Death of Siegfried (Die Nibelungen: Siegfrieds Tod)”
1923
Gelatin silver prints
BiFi, Collection of La Cinémathèque française, Paris
Photo courtesy Collection of La Cinémathèque française, Paris

 

Unknown photographer(s). 'Set photograph from Fritz Lang's "The Nibelungen: The Death of Siegfried (Die Nibelungen: Siegfrieds Tod)"' 1923

 

Unknown photographer(s)
Set photograph from Fritz Lang’s “The Nibelungen: The Death of Siegfried (Die Nibelungen: Siegfrieds Tod)”
1923
Gelatin silver prints
BiFi, Collection of La Cinémathèque française, Paris
Photo Collection of La Cinémathèque française, Paris

 

Unknown photographer(s). 'Set photograph from Fritz Lang's "The Nibelungen: The Death of Siegfried (Die Nibelungen: Siegfrieds Tod)"' 1923

 

Unknown photographer(s)
Set photograph from Fritz Lang’s “The Nibelungen: The Death of Siegfried (Die Nibelungen: Siegfrieds Tod)”
1923
Gelatin silver prints
BiFi, Collection of La Cinémathèque française, Paris
Photo Collection of La Cinémathèque française, Paris

 

 

Fritz Lang

… In this first phase of his career, Lang alternated between films such as Der Müde Tod (“The Weary Death”) and popular thrillers such as Die Spinnen (“The Spiders”), combining popular genres with Expressionist techniques to create an unprecedented synthesis of popular entertainment with art cinema.

In 1920, he met his future wife, the writer and actress Thea von Harbou. She and Lang co-wrote all of his movies from 1921 through 1933, including Dr. Mabuse, der Spieler (Dr. Mabuse the Gambler; 1922), which ran for over four hours in two parts in the original version and was the first in the Dr. Mabuse trilogy, the five-hour Die Nibelungen (1924), the famous 1927 film Metropolis, the science fiction film Woman in the Moon (1929), and the 1931 classic, M, his first “talking” picture.

Considered by many film scholars to be his masterpiece, M is a disturbing story of a child murderer (Peter Lorre in his first starring role) who is hunted down and brought to rough justice by Berlin’s criminal underworld. M remains a powerful work; it was remade in 1951 by Joseph Losey, but this version had little impact on audiences, and has become harder to see than the original film. During the climactic final scene in M, Lang allegedly threw Peter Lorre down a flight of stairs in order to give more authenticity to Lorre’s battered look. Lang, who was known for being hard to work with, epitomized the stereotype of the tyrannical German film director, a type embodied also by Erich von Stroheim and Otto Preminger. His wearing a monocle added to the stereotype.

In the films of his German period, Lang produced a coherent oeuvre that established the characteristics later attributed to film noir, with its recurring themes of psychological conflict, paranoia, fate and moral ambiguity. At the end of 1932, Lang started filming The Testament of Dr. Mabuse. Adolf Hitler came to power in January 1933, and by March 30, the new regime banned it as an incitement to public disorder. Testament is sometimes deemed an anti-Nazi film as Lang had put phrases used by the Nazis into the mouth of the title character.

Lang was worried about the advent of the Nazi regime, partly because of his Jewish heritage, whereas his wife and screenwriter Thea von Harbou had started to sympathize with the Nazis in the early 1930s and joined the NSDAP in 1940. They soon divorced. Lang’s fears would be realized following his departure from Austria, as under the Nuremberg Laws he would be identified as a Jew even though his mother was a converted Roman Catholic, and he was raised as such.

Shortly afterwards, Lang left Germany. According to Lang, propaganda minister Joseph Goebbels called Lang to his offices to inform him that The Testament of Dr Mabuse was being banned but that he was nevertheless so impressed by Lang’s abilities as a filmmaker (especially Metropolis), he was offering Lang a position as the head of German film studio UFA. Lang had stated that it was during this meeting that he had decided to leave for Paris – but that the banks had closed by the time the meeting was over. Lang has stated that he fled that very evening. …

In Hollywood, Lang signed first with MGM Studios. His first American film was the crime drama Fury, which starred Spencer Tracy as a man who is wrongly accused of a crime and nearly killed when a lynch mob sets fire to the jail where he is awaiting trial. Lang became a naturalized citizen of the United States in 1939. He made twenty-three features in his 20-year American career, working in a variety of genres at every major studio in Hollywood, and occasionally producing his films as an independent. Lang’s American films were often compared unfavorably to his earlier works by contemporary critics, but the restrained Expressionism of these films is now seen as integral to the emergence and evolution of American genre cinema, film noir in particular. Lang’s film titled in 1945 as Scarlet Street is considered a central film in the genre.

One of his most famous films noir is the police drama The Big Heat (1953), noted for its uncompromising brutality, especially for a scene in which Lee Marvin throws scalding coffee on Gloria Grahame’s face. As Lang’s visual style simplified, in part due to the constraints of the Hollywood studio system, his worldview became increasingly pessimistic, culminating in the cold, geometric style of his last American films, While the City Sleeps (1956) and Beyond a Reasonable Doubt (1956).

Text from the Wikipedia website

 

Otto Hunte and Fritz Lang. 'Set design drawing for "The Nibelungen: The Death of Siegfried (Die Nibelungen: Siegfrieds Tod)"' 1923

 

Otto Hunte and Fritz Lang
Set design drawing for “The Nibelungen: The Death of Siegfried (Die Nibelungen: Siegfrieds Tod)”
1923
BiFi, Collection of La Cinémathèque française, Paris
Photo Collection of La Cinémathèque française, Paris

 

Otto Hunte and Fritz Lang. 'Set design drawing for "The Nibelungen: The Death of Siegfried (Die Nibelungen: Siegfrieds Tod)"' 1923

 

Otto Hunte and Fritz Lang
Set design drawing for “The Nibelungen: The Death of Siegfried (Die Nibelungen: Siegfrieds Tod)”
1923
BiFi, Collection of La Cinémathèque française, Paris
Photo Collection of La Cinémathèque française, Paris

 

Caspar David Friedrich. 'Two Men Contemplating the Moon' c. 1825-30

 

Caspar David Friedrich
Two Men Contemplating the Moon
c. 1825-30
The Metropolitan Museum of Art, Wrightsman Fund, 2000
Photo: courtesy The Metropolitan Museum of Art

 

Erich Kettelhut and Fritz Lang. 'Set design drawing for "The Nibelungen: The Death of Siegfried (Die Nibelungen: Siegfrieds Tod)"' 1923

 

Erich Kettelhut and Fritz Lang
Set design drawing for “The Nibelungen: The Death of Siegfried (Die Nibelungen: Siegfrieds Tod)”
1923
BiFi, Collection of La Cinémathèque française, Paris
Photo courtesy Collection of La Cinémathèque française, Paris

 

 

“In the wake of WWI, while Hollywood and the rest of Western cinema were focused mostly on adventure, romance and comedy, German filmmakers explored the anxiety and emotional turbulence that dominated life in Germany. They took their inspiration from Expressionist art and employed geometrically skewed sets, dramatic lighting, off-kilter framing, strong shadows and distorted perspectives.

The impact of this aesthetic has lasted nearly a century, inspiring directors from Alfred Hitchcock to Tim Burton. Its influence is reflected to this day in the dark, brooding styles of film noir, the unsettling themes of horror, and the fantastic imagery of sci-fi. From Blade Runner to The Godfather, from Star Wars to The Hunger Games – our modern blockbusters owe much to these German masters and the visions they created.

Haunted Screens: German Cinema in the 1920s explores masterworks of German Expressionist cinema, from the stylized fantasy of The Cabinet of Dr. Caligari to the chilling murder mystery M. Featured are production design drawings, photographs, posters, documents, equipment and film clips from more than 20 films. The exhibition ends with a contemporary 3-channel projection work – Kino Ektoplamsa, 2012 – by filmmaker Guy Maddin, which was inspired by German Expressionist cinema.”

Text from the Milwaukee Art Museum website

 

Designed by USC architecture professor Amy Murphy and architect Michael Maltzan, “Haunted Screens” has been grouped by theme: “Madness and Magic,” “Myths and Legends,” “Cities and Streets” and “Machines and Murderers.” The latter contains a subsection, “Stairs,” that includes drawings from films that feature stairs as both a visual and psychological theme. Two darkened tunnels will feature excerpts from the movies highlighted in the exhibit.

“The core of the show is the collection from La Cinémathèque française,” said Britt Salvesen, LACMA’s curator of both the department of prints and drawings and the department of photography.

The 140 drawings from the Cinémathèque were acquired by noted German film historian Lotte Eisner, who wrote the 1952 book “The Haunted Screen.”

 

Josef Fenneker (Germany, 1895-1956) 'Reissue of original poster for The Burning Soil (Der brennende acker)' c. 1922

 

Josef Fenneker (Germany, 1895-1956)
Reissue of original poster for The Burning Soil (Der brennende acker)
c. 1922
Director: Friedrich Wilhelm Murnau (Germany, 1888-1931)
Offset lithograph
Collection of La Cinémathèque française, Paris

 

 

Friedrich Wilhelm Murnau

Friedrich Wilhelm “F. W.” Murnau (born Friedrich Wilhelm Plumpe; December 28, 1888 – March 11, 1931) was a German film director. Murnau was greatly influenced by Schopenhauer, Nietzsche, Shakespeare and Ibsen plays he had seen at the age of 12, and became a friend of director Max Reinhardt. During World War I he served as a company commander at the eastern front and was in the German air force, surviving several crashes without any severe injuries.

One of Murnau’s acclaimed works is the 1922 film Nosferatu, an adaptation of Bram Stoker’s Dracula. Although not a commercial success due to copyright issues with Stoker’s novel, the film is considered a masterpiece of Expressionist film. He later directed the 1924 film The Last Laugh, as well as a 1926 interpretation of Goethe’s Faust. He later emigrated to Hollywood in 1926, where he joined the Fox Studio and made three films: Sunrise (1927), 4 Devils (1928) and City Girl (1930). The first of these three is widely regarded as one of the greatest films ever made.

In 1931 Murnau travelled to Bora Bora to make the film Tabu (1931) with documentary film pioneer Robert J. Flaherty, who left after artistic disputes with Murnau, who had to finish the movie on his own. A week prior to the opening of the film Tabu, Murnau died in a Santa Barbara hospital from injuries he had received in an automobile accident that occurred along the Pacific Coast Highway near Rincon Beach, southeast of Santa Barbara.

Of the 21 films Murnau directed, eight are considered to be completely lost. One reel of his feature Marizza, genannt die Schmuggler-Madonna survives. This leaves only 12 films surviving in their entirety.

Text from the Wikipedia website

 

Hermann Warm and Henrik Galeen. 'Drawing for "Der Student von Prag" (The Student of Prague)' 1926

Hermann Warm and Henrik Galeen. 'Drawing for "Der Student von Prag" (The Student of Prague)' 1926

 

Hermann Warm and Henrik Galeen
Drawing for “Der Student von Prag” (The Student of Prague)
1926
Pastel
Collection of La Cinémathèque française, Paris/LACMA

 

Andrei Andrejew (Russia, 1887-1966) 'Set design drawing for Crime and Punishment (Raskolnikow)' 1923

 

Andrei Andrejew (Russia, 1887-1966)
Set design drawing for Crime and Punishment (Raskolnikow)
1923
Director: Robert Wiene (Germany, 1873-1938)
Ink and ink wash
Collection of La Cinémathèque française, Paris

 

 

Raskolnikow is a 1923 German silent drama film directed by Robert Wiene. The film is based on the novel Crime and Punishment by Fyodor Dostoyevsky, whose protagonist is Rodion Raskolnikov. The film’s art direction is by André Andrejew. The film is characterised by Jason Buchanan of Allmovie as a German expressionist view of the story: a “nightmarish” avante-garde or experimental psychological drama.

Robert Wiene (German, 27 April 1873 – 17 July 1938) was a film director of the German silent cinema. He is particularly known for directing the German silent film The Cabinet of Dr. Caligari and a succession of other expressionist films. Wiene also directed a variety of other films of varying styles and genres. Following the Nazi rise to power in Germany, Wiene fled into exile.

Four months after the Nazis took power Wiene’s latest film, “Taifun,” was banned on May 3, 1933. A Hungarian film company had been inviting German directors to come to Budapest to make films in simultaneous German/Hungarian versions, and given his uncertain career prospects under the new German regime Wiene took up that offer in September to direct “One Night in Venice” (1934). Wiene went later to London, and finally to Paris where together with Jean Cocteau he tried to produce a sound remake of The Cabinet of Dr. Caligari. …

Wiene died in Paris ten days before the end of production of a spy film, Ultimatum, after having suffered from cancer. The film was finished by Wiene’s friend Robert Siodmak.

Text from the Wikipedia website

 

Otto Erdmann and Georg Wilhelm Pabst. 'Die Freudlose Gasse (The Joyless Street)' 1923

 

Otto Erdmann and Georg Wilhelm Pabst
Die Freudlose Gasse (The Joyless Street)
1923
Gouache and watercolor
Photo courtesy Collection of La Cinémathèque française, Paris/LACMA

 

Otto Erdmann and Georg Wilhelm Pabst. 'Die Freudlose Gasse (The Joyless Street)' 1923

 

Otto Erdmann and Georg Wilhelm Pabst
Die Freudlose Gasse (The Joyless Street)
1923
Director: Georg Wilhelm Pabst
Gouache and watercolor
Photo courtesy Collection of La Cinémathèque française, Paris/LACMA

 

Boris Bilinsky (Russia, 1900-1948) 'Poster for The Joyless Street (Die freudlose Gasse)' c. 1925

 

Boris Bilinsky (Russia, 1900-1948)
Poster for The Joyless Street (Die freudlose Gasse)
c. 1925
Director: Georg Wilhelm Pabst (Austria, 1885-1967)
Lithograph
Collection of La Cinémathèque française, Paris

 

Walter Röhrig and Friedrich Wilhelm Murnau. 'Faust' 1926

 

Walter Röhrig and Friedrich Wilhelm Murnau
Faust
1926
BiFi, Collection of La Cinémathèque française, Paris
© 2014 Artists Rights Society (ARS), New York
Photo courtesy Collection of La Cinémathèque française, Paris

 

Robert Herlth and Friedrich Wilhelm Murnau. 'Faust' 1926

 

Robert Herlth and Friedrich Wilhelm Murnau
Faust
1926
Director: Friedrich Wilhelm Murnau
BiFi, Collection of La Cinémathèque française, Paris
Photo courtesy Collection of La Cinémathèque française, Paris

 

Robert Herlth and Friedrich Wilhelm Murnau. 'Faust' 1926

 

Robert Herlth and Friedrich Wilhelm Murnau
Faust
1926
BiFi, Collection of La Cinémathèque française, Paris
Photo courtesy Collection of La Cinémathèque française, Paris

 

Robert Herlth and Friedrich Wilhelm Murnau. 'Faust' 1926

 

Robert Herlth and Friedrich Wilhelm Murnau
Faust
1926
BiFi, Collection of La Cinémathèque française, Paris
Photo courtesy Collection of La Cinémathèque française, Paris

 

'Drawing for "Faust"' 1926

 

Drawing for “Faust”
1926
Collection of La Cinémathèque française, Paris

 

Unknown photographer. 'Set photograph from The Cabinet of Dr. Caligari (Das Kabinett des Dr. Caligari)' 1919

 

Unknown photographer
Set photograph from The Cabinet of Dr. Caligari (Das Kabinett des Dr. Caligari)
1919
Director: Robert Wiene (German, 1873-1938)
Los Angeles County Museum of Art, Robert Gore Rifkind Center for German Expressionist Studies

 

Hermann Warm. 'Robert Wiene's "Das Kabinett des Dr Caligari"' 1919

 

Hermann Warm
Robert Wiene’s “Das Kabinett des Dr Caligari”
1919
Watercolor and ink
BiFi, Collection of La Cinémathèque française, Paris

 

'Set drawing for the"Das Kabinett des Dr Caligari" (The Cabinet of Dr Caligari)' 1920

 

Set drawing for the”Das Kabinett des Dr Caligari” (The Cabinet of Dr Caligari)
1920
Collection of La Cinémathèque française, Paris

 

Ernst Stern. 'Paul Leni's "Das Wachfigurenkabinett (Le cabinet des figures de cire)"' (Wax Works) 1924

 

Ernst Stern
Paul Leni’s “Das Wachfigurenkabinett (Le cabinet des figures de cire)” (Wax Works)
1924
Director: Paul Leni
Watercolor and charcoal
Collection of La Cinémathèque française, Paris/LACMA

 

Ernst Stern and Paul Leni. '"Das Wachfigurenkabinett (Le cabinet des figures de cire)"' (Wax Works) 1924

 

Ernst Stern and Paul Leni
“Das Wachfigurenkabinett (Le cabinet des figures de cire)” (Wax Works)
1924
Watercolor, gouache, and graphite
34.6 x 24.8 cm
Collection of La Cinémathèque française, Paris/LACMA

 

Unknown photographer. 'Set photograph from "The Blue Angel" (Der blaue Engel)' 1930

 

Unknown photographer
Set photograph from “The Blue Angel” (Der blaue Engel)
1930
Director: Josef von Sternberg (Austria, 1894-1969)
Gelatin silver print
Collection of La Cinémathèque française, Paris

 

Karl Struss. 'Set photograph from "Sunrise: A Song of Two Humans" (Sonnenaufgang: Ein Lied zweier Menschen)' (detail) 1927, printed 2014

 

Karl Struss
Set photograph from “Sunrise: A Song of Two Humans” (Sonnenaufgang: Ein Lied zweier Menschen) (detail)
1927, printed 2014
Directed by Friedrich Wilhelm Murnau
Courtesy of Academy of Motion Picture Arts and Sciences’ Margaret Herrick Library

 

Emil Hasler. 'Drawing for Fritz Lang's "Das Testament des Dr Mabuse"' 1932

 

Emil Hasler
Drawing for Fritz Lang’s “Das Testament des Dr Mabuse” (The Testament of Dr Mabuse)
1932
Pastel, graphite, and gouache
Collection of La Cinémathèque française, Paris/LACMA

 

Paul Scheurich. 'Poster design for Fritz Lang's "Das Testament des Dr Mabuse"' 1932

 

Paul Scheurich
Poster design for Fritz Lang’s “Das Testament des Dr Mabuse” (The Testament of Dr Mabuse)
1932
Ink, gouache, and graphite
BiFi, Collection of La Cinémathèque française, Paris

 

Emil Hasler. 'Drawing for Fritz Lang's "M," le Maudit' (Cursed) 1931

 

Emil Hasler
Drawing for Fritz Lang’s “M,” le Maudit (Cursed)
1931
Charcoal, gouache, and colored pencil
Collection of La Cinémathèque française, Paris/LACMA

 

Unknown artist. 'Poster for "M"' 1931

 

Unknown artist
Poster for “M”
1931
Director: Fritz Lang (Austria, 1890-1976)
Collection of La Cinémathèque française

 

Unknown artist. 'Poster for "M"' 1933

 

Unknown artist
Poster for “M”
1933
Made for Paramount release in Los Angeles
Director: Fritz Lang (Austria, 1890-1976)
Courtesy of Academy of Motion Picture Arts and Sciences’ Margaret Herrick Library

 

 

“The Milwaukee Art Museum is excited for visitors to experience its newest exhibition, Haunted Screens: German Cinema in the 1920s on view from Oct. 21 through Jan. 22. Organized by La Cinémathèque française, Paris, the exhibition examines the groundbreaking period in film history that occurred in Germany during the Weimar era after World War I, through more than 150 objects, including set design drawings, photographs, posters, documents, equipment, cameras and film clips from more than 20 films.

The Expressionist movement introduced a highly charged emotionalism to the artistic disciplines of painting, photography, theater, literature and architecture, as well as film, in the early part of the 20th century. German filmmakers employed geometrically skewed set designs, dramatic lighting, off-kilter framing, strong shadows and distorted perspectives to express a sense of uneasiness and discomfort. These films reflected the mood of Germany during this time, when Germans were reeling from the death and destruction of WWI and were enduring hyperinflation and other hardships.

“We’re thrilled to present Haunted Screens at the Milwaukee Art Museum this fall, and to offer our visitors a glimpse into a unique and revolutionary time in film and art history,” said Margaret Andera, the Museum’s adjunct curator of contemporary art. “This exhibition represents a tremendous period of creativity, and allows visitors a fascinating look at the nuanced aesthetics of German Expressionist cinema through a wealth of diverse objects.”

The exhibition is grouped into five sections by theme: Nature, Interiors, The Street, Staircases and The Expressionist Body. From the dark fantasy of The Cabinet of Dr. Caligari to the chilling murder mystery M, the exhibition explores masterworks of German Expressionist cinema in aesthetic, psychological and technical terms. More than 140 drawings are complemented by some 40 photographs, eight projected film clip sequences, numerous film posters, three cameras, one projector, and a resin-coated, life-size reproduction of the Maria robot from Metropolis.

German Expressionist cinema was the first self-conscious art cinema, influencing filmmakers throughout the world at the time and continuing to inspire artists today. It served as a catalyst for subsequent film genres, most notably science fiction and horror. The conflicting attitudes about technology and the future that are the cornerstones of science fiction, and the monsters and villains that form the basis of horror, appear often in Expressionist films. The influence of Expressionist cinema undoubtedly extends to the work of contemporary filmmakers, including Tim Burton, Martin Scorsese and Guy Maddin, whose 3-channel projection work, Kino Ektoplamsa, appears at the end of the exhibition.

The Museum is taking a unique approach to the exhibition’s installation design, one that mirrors the mood of the time and the objects on display. Walls intersecting at unexpected angles and even breaking through the exhibition space into Windhover Hall give visitors an engaging experience.

The Milwaukee Art Museum’s permanent collection includes extensive holdings in the German Expressionist area, including a significant collection of paintings from the period, as well as one of the most important collections of German Expressionist prints in the nation, the Marcia and Granvil Specks Collection. This collection includes more than 450 prints by German masters. Visitors are encouraged to stroll through the collection galleries after seeing Haunted Screens.”

Press release from the Milwaukee Art Museum

 

 

 

Synopsis of Metropolis

Metropolis is ruled by the powerful industrialist Joh Fredersen. He looks out from his office in the Tower of Babel at a modern, highly technicised world. Together with the children of the workers, a young woman named Maria reaches the Eternal Gardens where the sons of the city’s elite amuse themselves and where she meets Freder, Joh Fredersen’s son. When the young man later goes on a search for the girl, he witnesses an explosion in a machine hall, where numerous workers lose their lives. He then realizes that the luxury of the upper class is based on the exploitation of the proletariat. In the Catacombs under the Workers’ City Freder finally finds Maria, who gives the workers hope with her prophecies for a better future. His father also knows about Maria’s influence on the proletariat and fears for his power. In the house of the inventor Rotwang, Joh Fredersen learns about his experiments to create a cyborg based on the likeness of Hel, their mutual love and Freder’s mother. Fredersen orders Rotwang to give Maria’s face to the robot in order to send it to the underground city to deceive and stir up its inhabitants.

After the robot Maria has succeeded, a catastrophe ensues. The riotous workers destroy the Heart Machine and as a result the Workers’ City, where only the children have remained, is terribly flooded. The real Maria brings the children to safety along with Freder. When they learn about the disaster, the rebelling masses stop. Their rage is now aimed at the robot Maria, who is captured and burned at the stake. At the same time Rotwang, driven by madness, pursues the genuine Maria across the Cathedral’s rooftop, where he ultimately falls to his death. Freder and Maria find each other again. The son devotes himself to his father, mediating between him and the workers. As a consequence, Maria’s prophecy of reconciliation between the ruler and those who are mastered (head and hands) triumphs – through the help of the mediating heart.

 

Horst von Harbou. 'Set photograph from "Metropolis"' 1927

 

Horst von Harbou (Germany, 1879-1953)
Set photograph from “Metropolis”
1927
Director: Fritz Lang (Austria, 1890-1976)
Gelatin silver print
Collection of La Cinémathèque française

 

Horst von Harbou. 'Set photograph from "Metropolis"' 1927

 

Horst von Harbou (Germany, 1879-1953)
Set photograph from “Metropolis”
1927
Director: Fritz Lang (Austria, 1890-1976)
Gelatin silver print
Collection of La Cinémathèque française

 

Horst von Harbou. 'Set photograph from "Metropolis"' 1927

 

Horst von Harbou (Germany, 1879-1953)
Set photograph from “Metropolis”
1927
Director: Fritz Lang (Austria, 1890-1976)
Gelatin silver print
Collection of La Cinémathèque française

 

Horst von Harbou. 'Set photograph from "Metropolis"' 1927

 

Horst von Harbou (Germany, 1879-1953)
Set photograph from “Metropolis”
1927
Director: Fritz Lang (Austria, 1890-1976)
Gelatin silver print
Collection of La Cinémathèque française

 

Horst von Harbou. 'Set photograph from "Metropolis"' 1927

Horst von Harbou. 'Set photograph from "Metropolis"' 1927

 

Horst von Harbou (Germany, 1879-1953)
Set photograph from “Metropolis”
1927
Director: Fritz Lang (Austria, 1890-1976)
Gelatin silver print
Collection of La Cinémathèque française

 

Horst von Harbou. 'Set photograph from "Metropolis"' 1927

 

Horst von Harbou (Germany, 1879-1953)
Set photograph from “Metropolis”
1927
Director: Fritz Lang (Austria, 1890-1976)
Gelatin silver print
Collection of La Cinémathèque française

 

Horst von Harbou. 'Set photograph from "Metropolis"' 1927

 

Horst von Harbou (Germany, 1879-1953)
Set photograph from “Metropolis”
1927
Director: Fritz Lang (Austria, 1890-1976)
Gelatin silver print
Collection of La Cinémathèque française

 

 

Fritz Lang’s Metropolis (1927) is a defining film of the silent era and science fiction genre. But the work of the film’s still photographer Horst von Harbou has remained obscure. Von Harbou, brother of Thea von Harbou, Lang’s then wife and co-screenwriter of Metropolis, photographed filmed scenes as well as off-camera action, and made an album of thirty-five photographs which he gave to the film’s young star Brigitte Helm. The book Metropolis is a careful reconstruction of this album, showing the photographs and some of their backsides which feature hand-written notes. Von Harbou’s photographs not only offer a rare insight into Lang’s film, but have been crucial in reconstructing missing scenes from it.

Horst von Harbou was born in 1879 in Hutta, Posen, and died in 1953 in Potsdam-Babelsberg. Very little is known about von Harbou, except for the films on which he worked as a still photographer: these include Mensch ohne Namen (1932), Starke Herzen im Sturm (1937) and Augen der Liebe (1951).

Text from the Steidl Books website

 

Horst von Harbou. 'Set photograph from "Metropolis"' 1927 (detail)

 

Horst von Harbou (Germany, 1879-1953)
Set photograph from “Metropolis” (detail)
1927
Director: Fritz Lang (Austria, 1890-1976)
Gelatin silver print
Collection of La Cinémathèque française

 

Otto Hunte. 'Set design drawing for "Metropolis"' 1923

 

Otto Hunte
Set design drawing for “Metropolis”
1923
Director: Fritz Lang
Collection of La Cinémathèque française, Paris

 

 

Otto Hunte (9 January 1881 – 28 December 1960) was a German production designer, art director and set decorator. Hunte is considered as one of the most important artists in the history of early German cinema, mainly for his set designs on the early silent movies of Fritz Lang. His early career was defined by a working relationship with fellow designers Karl Vollbrecht and Erich Kettelhut. Hunte’s architectural designs are found in many of the most important films of the period including Dr. Mabuse the Gambler, Die Nibelungen (1924), Metropolis (1927) and Der blaue Engel. Hunte subsequently worked as one of the leading set designers during the Nazi era. Post-Second World War he was employed by the East German studio DEFA.

 

 

Paramount
Trade advertisement
1927
Lithograph

 

 

Milwaukee Art Museum
700 N Art Museum Dr,
Milwaukee WI 53202

Opening hours:
Open Tuesday-Sunday, 10am – 5pm
Fri until 8pm

Milwaukee Art Museum website

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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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