Archive for the 'portrait' Category



03
Oct
14

Exhibition: ‘A World of Its Own: Photographic Practices in the Studio’ at the Museum of Modern Art (MoMA), New York Part 2

Exhibition dates: 8th February – 2nd November 2014

The Edward Steichen Photography Galleries, third floor

Curators: Organized by Quentin Bajac, The Joel and Anne Ehrenkranz Chief Curator, with Lucy Gallun, Assistant Curator, Department of Photography

 

Many thankx to MoMA for allowing me to publish four of the photographs in the posting. The rest of the images were sourced from the Internet in order to give the reader a more comprehensive understanding of what this exhibition is actually about – especially if you are thousands of miles away and have no hope of ever seeing it!

Please click on the photographs for a larger version of the image.

 

The exhibition is divided into 6 themes each with its own gallery space:

1. Surveying the Studio

2. The Studio as Stage

3. The Studio as Set

4. A Neutral Space

5. Virtual Spaces

6. The Studio, from Laboratory to Playground

 

 

A Neutral Space

Harry Callahan (American, 1912–1999) 'Eleanor' 1948

 

Harry Callahan (American, 1912–1999)
Eleanor
1948
Gelatin silver print
4 1/2 x 3 1/4″ (11.4 x 8.3 cm)
Gift of the artist

 

Imogen Cunningham (American, 1883-1976) 'Cala Leaves' 1932

 

Imogen Cunningham (American, 1883-1976)
Cala Leaves
1932
Gelatin silver print
9 9/16 x 7 9/16″ (24.3 x 19.2 cm)
Gift of Paul F. Walter

 

Richard Avedon (American, 1923-2004) 'Carl Hoefert, unemployed blackjack dealer, Reno, Nevada', from the series 'In the American West' August 30, 1983

 

Richard Avedon (American, 1923-2004)
Carl Hoefert, unemployed blackjack dealer, Reno, Nevada, from the series In the American West
August 30, 1983
Gelatin silver print, printed 1985
47 1/2 x 37 1/2″ (120.6 x 95.2 cm)
Gift of the artist

 

Peter Hujar (American, 1934-1987) 'David Wojnarowicz' 1981

 

Peter Hujar (American, 1934-1987)
David Wojnarowicz
1981
Gelatin silver print
14 x 14″ (35.6 x 35.6 cm)
The Fellows of Photography Fund

 

Peter Hujar (American, 1934-1987) 'Pascal (Paris)' 1980

 

Peter Hujar (American, 1934-1987)
Pascal (Paris)
1980
Gelatin silver print
14 5/8 x 14 11/16″ (37.1 x 37.3 cm)
Gift of David Wojnarowicz

 

Valérie Belin (French, born 1964) 'Untitled' from the series 'Mannequins' 2003

 

Valérie Belin (French, born 1964)
Untitled from the series Mannequins
2003
Gelatin silver print
61 x 49″ (154.9 x 124.5 cm)
Purchase

 

Laurie Simmons (American, born 1949) Allan McCollum (American, born 1944) 'Untitled' from the series 'Actual Photos' 1985

 

Laurie Simmons (American, born 1949)
Allan McCollum (American, born 1944)
Untitled from the series Actual Photos
1985
Silver dye bleach print
9 5/16 x 6 5/16″ (23.7 x 16.1 cm)
Joel and Anne Ehrenkranz Fund

 

Josephine Meckseper (German, born 1964) 'Blow-Up (Michelli, Knee-Highs)' 2006

 

Josephine Meckseper (German, born 1964)
Blow-Up (Michelli, Knee-Highs)
2006
Chromogenic color print
78 5/8 x 62 5/8″ (199.7 x 159.1 cm)
Fund for the Twenty-First Century

 

Virtual Spaces

Christian Marclay (American and Swiss, born 1955) 'Allover (Genesis, Travis Tritt, and Others)' 2008

 

Christian Marclay (American and Swiss, born 1955)
Allover (Genesis, Travis Tritt, and Others)
2008
Cyanotype
Composition and sheet: 51 1/2 x 97 3/4″ (130.8 x 248.3 cm)
Publisher and printer: Graphicstudio, University of South Florida, Tampa
Acquired through the generosity of Steven A. and Alexandra M. Cohen

 

Thomas Ruff (German, born 1958) 'phg.06' 2012

 

Thomas Ruff (German, born 1958)
phg.06
2012
Chromogenic color print
100 3/8 x 72 13/16″ (255 x 185 cm)
Courtesy David Zwirner, New York/ London

 

Man Ray (American, 1890-1976) 'Rayograph' 1923

 

Man Ray (American, 1890-1976)
Rayograph
1923
Gelatin silver print
9 7/16 x 7″ (23.9 x 17.8 cm)
Purchase

 

György Kepes (American, born Hungary. 1906-2001) 'Abstraction - Surface Tension #2' c. 1940

 

György Kepes (American, born Hungary. 1906-2001)
Abstraction – Surface Tension #2
c. 1940
Gelatin silver print
14 x 11 1/8″ (35.6 x 28.3 cm)
Gift of the artist

 

The Studio, from Laboratory to Playground

Barbara Morgan (American, 1900-1992) 'Pure Energy and Neurotic Man' 1941

 

Barbara Morgan (American, 1900-1992)
Pure Energy and Neurotic Man
1941
Gelatin silver print, printed 1971
19 1/8 x 15 1/2″ (48.6 x 39.3 cm)
Gift of the artist

 

Barbara Morgan (American, 1900-1992) 'Cadenza' 1940

 

Barbara Morgan (American, 1900-1992)
Cadenza
1940
Gelatin silver print, printed 1971
17 7/8 x 15″ (45.4 x 38.2 cm)
Gift of the artist

 

Berenice Abbott (American, 1898-1991) 'Focusing Water Waves, Massachusetts Institute of Technology' 1958-61

 

Berenice Abbott (American, 1898-1991)
Focusing Water Waves, Massachusetts Institute of Technology
1958-61
Gelatin silver print
6 9/16 x 7 15/16″ (16.7 x 20.1 cm)
Gift of Ronald A. Kurtz

 

Berenice Abbott (American, 1898-1991) 'Wave Pattern with Glass Plate, Massachusetts Institute of Technology' 1958-61

 

Berenice Abbott (American, 1898-1991)
Wave Pattern with Glass Plate, Massachusetts Institute of Technology
1958-61
Gelatin silver print
6 9/16 x 7 9/16″ (16.7 x 19.2 cm)
Gift of Ronald A. Kurtz

 

Heinz Hajek-Halke (German, 1898-1983) 'Embrace (Umarmung)' 1947-51

 

Heinz Hajek-Halke (German, 1898-1983)
Embrace (Umarmung)
1947-51
Gelatin silver print
15 5/8 x 11 3/8″ (39.7 x 29.0 cm)
Gift of the artist

 

Harold Edgerton (American, 1903-1990) 'Lead Falling in a Shot Tower' 1936

 

Harold Edgerton (American, 1903-1990)
Lead Falling in a Shot Tower
1936
Gelatin silver print
7 9/16 x 9 1/2″ (19.3 x 24.2 cm)
Gift of Gus and Arlette Kayafas

 

Harold Edgerton (American, 1903-1990) 'Bouncing Ball Bearing' 1962

 

Harold Edgerton (American, 1903-1990)
Bouncing Ball Bearing
1962
Gelatin silver print
9 9/16 x 7 11/16″ (24.3 x 19.5 cm)
Gift of Gus and Arlette Kayafas

 

Harold Edgerton (American, 1903-1990) 'This is Coffee' 1933

 

Harold Edgerton (American, 1903-1990)
This is Coffee
1933
Gelatin silver print
9 7/8 x 12 7/8″ (25.1 x 32.7 cm)
Gift of the artist

 

Roman Signer (Swiss, born 1938) 'Sand Curtain (Sandvorhang)' 1983

 

Roman Signer (Swiss, born 1938)
Sand Curtain (Sandvorhang)
1983
Super 8 film transferred to video (color, silent)
Approximately 2 min.
Committee on Media Funds

 

Roman Signer (Swiss, born 1938) 'Sand Stairs (Sandtreppe)' 1975

 

Roman Signer (Swiss, born 1938)
Sand Stairs (Sandtreppe)
1975
Super 8 film transferred to video (color, silent)
Approximately 2 min.
Committee on Media Funds

 

Roman Signer (Swiss, born 1938) 'Rubber Motor (Gummimotor)' 1983

 

Roman Signer (Swiss, born 1938)
Rubber Motor (Gummimotor)
1983
Super 8 film transferred to video (color, silent)
Approximately 2 min.
Committee on Media Funds

 

Roman Signer (Swiss, born 1938) 'Sand Cone (Sandkegel)' 1984

 

Roman Signer (Swiss, born 1938)
Sand Cone (Sandkegel)
1984
Super 8 film transferred to video (color, silent)
Approximately 2 min.
Committee on Media Funds

 

Roman Signer (Swiss, born 1938) 'Sand Pillar (Sandturm)' 1987

 

Roman Signer (Swiss, born 1938)
Sand Pillar (Sandturm)
1987
Super 8 film transferred to video (color, silent)
Approximately 2 min.
Committee on Media Funds

 

Roman Signer (Swiss, born 1938) 'Sand (Sand)' 1988

 

Roman Signer (Swiss, born 1938)
Sand (Sand)
1988
Super 8 film transferred to video (color, silent)
Approximately 2 min.
Committee on Media Funds

 

Roman Signer (Swiss, born 1938) 'Umbrella (Schirm)' 1989

 

Roman Signer (Swiss, born 1938)
Umbrella (Schirm)
1989
Super 8 film transferred to video (color, silent)
Approximately 2 min.
Committee on Media Funds

 

Roman Signer (Swiss, born 1938) 'Barrel (Fass)' 1985

 

Roman Signer (Swiss, born 1938)
Barrel (Fass)
1985
Super 8 film transferred to video (color, silent)
Approximately 2 min.
Committee on Media Funds

 

Roman Signer (Swiss, born 1938) 'Carriage (Wagen)' 1982

 

Roman Signer (Swiss, born 1938)
Carriage (Wagen)
1982
Super 8 film transferred to video (color, silent)
Approximately 2 min.
Committee on Media Funds

 

Roman Signer (Swiss, born 1938) 'Tube (Schlauch)' 1982

 

Roman Signer (Swiss, born 1938)
Tube (Schlauch)
1982
Super 8 film transferred to video (color, silent)
Approximately 2 min.
Committee on Media Funds

 

Roman Signer (b. 1938 in Appenzell, Switzerland) is principally a visual artist who works in sculpture, installations photography, and video. Signer’s work has grown out of, and has affinities with both land art and performance art, but they are not typically representative of either category.It is often being described as following the tradition of the Swiss engineer-artist, such as Jean Tinguely and Peter Fischli & David Weiss.

Signer’s “action sculptures” involve setting up, carrying out, and recording “experiments” or events that bear aesthetic results. Day-to-day objects such as umbrellas, tables, boots, containers, hats and bicycles are part of Signer’s working vocabulary. Following carefully planned and strictly executed and documented procedures, the artist enacts and records such acts as explosions, collisions, and the projection of objects through space. Signer advocates ‘controlled destruction, not destruction for its own sake’. Action Kurhaus Weissbad (1992) saw chairs catapulted out of a hotel’s windows; Table (1994) launched a table into the sea on four buckets; Kayak (2000) featured the artist being towed down a road in a canoe. In documenta 8 (1987), he catapulted thousands of sheets of paper into the air to create an ephemeral wall in the room for a brief, but all the more intense moment. As the Swiss representative at the Venice Biennale in 1999, he made 117 steel balls fall from the ceiling on to lumps of clay lying on the ground. Many of his happenings are not for public viewing, and are only documented in photos and film. Video works like Stiefel mit Rakete (Boot with Rocket) are integral to Signer’s performances, capturing the original setup of materials that self-destruct in the process of creating an emotionally and visually compelling event. (Text from Wikipedia website)

 

 

Kiki Smith (American, born Germany 1954) 'My Secret Business' 1993

 

Kiki Smith (American, born Germany 1954)
My Secret Business
1993
Lithograph
23 9/16 • 18 1/8″ (59.8 • 46 cm)
Gift of Howard B. Johnson

 

Adrian Piper (American, born 1948) 'Food for the Spirit #2' 1971, printed 1997

 

Adrian Piper (American, born 1948)
Food for the Spirit #2
1971, printed 1997
Gelatin silver print
14 9/16 x 15″ (37 x 38.1 cm)
The Family of Man Fund

 

Adrian Piper (American, born 1948) 'Food for the Spirit #8' 1971, printed 1997

 

Adrian Piper (American, born 1948)
Food for the Spirit #8
1971, printed 1997
Gelatin silver print
14 9/16 x 14 15/16″ (37 x 38 cm)
The Family of Man Fund

 

Adrian Piper (American, born 1948) 'Food for the Spirit #14' 1971, printed 1997

 

Adrian Piper (American, born 1948)
Food for the Spirit #14
1971, printed 1997
Gelatin silver print
14 9/16 x 15″ (37 x 38.1 cm)
The Family of Man Fund

 

Harold Edgerton (American, 1903-1990) 'Indian Club Demonstration' 1939

 

Harold Edgerton (American, 1903-1990)
Indian Club Demonstration
1939
Gelatin silver print
13 x 10″ (33.0 x 26.0 cm)
Gift of the artist

 

Harold Edgerton (American, 1903-1990) 'Bobby Jones with an Iron' 1938

 

Harold Edgerton (American, 1903-1990)
Bobby Jones with an Iron
1938
Gelatin silver print
9 5/8 x 11 1/2″ (24.4 x 29.2 cm)
Gift of the artist

 

John Divola (American, born 1949) 'Untitled' from the series 'Vandalism' 1974

 

John Divola (American, born 1949)
Untitled from the series Vandalism
1974
Gelatin silver print
7 1/16 x 7 1/16″ (18.0 x 18.0 cm)
Purchase

 

John Divola (American, born 1949) 'Untitled' from the series 'Vandalism' 1974

 

John Divola (American, born 1949)
Untitled from the series Vandalism
1974
Gelatin silver print
7 x 7″ (17.9 x 17.9 cm)
Purchase

 

Robert Frank (American, born Switzerland 1924) 'Boston' (detail) March 20, 1985

 

Robert Frank (American, born Switzerland 1924)
Boston (detail)
March 20, 1985
Color instant prints (Polaroids) with hand-applied paint and collage
each 27 3/4 x 22 1/4″ (70.3 x 56.4 cm)
Acquired through the generosity of Polaroid Corporation

 

Anna Blume (German, born 1937) Bernhard Blume (German, born 1937) 'Kitchen Frenzy (Küchenkoller)' (detail) 1986

 

Anna Blume (German, born 1937)
Bernhard Blume (German, born 1937)
Kitchen Frenzy (Küchenkoller) (detail)
1986
Gelatin silver prints
Each 66 15/16 x 42 1/2″ (170 x 108 cm)
Acquired through the generosity of the Contemporary Arts Council of The Museum of Modern Art

 

 

The Museum of Modern Art
11 West 53 Street
New York, NY 10019
T: (212) 708-9400

Opening hours:
Wednesday – Monday, 10.30 am – 5.30 pm
Friday, 10.30 am – 8.00 pm
Closed Tuesday

MOMA website

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02
Oct
14

Exhibition: ‘A World of Its Own: Photographic Practices in the Studio’ at the Museum of Modern Art (MoMA), New York Part 1

Exhibition dates: 8th February – 2nd November 2014

The Edward Steichen Photography Galleries, third floor

Curators: Organized by Quentin Bajac, The Joel and Anne Ehrenkranz Chief Curator, with Lucy Gallun, Assistant Curator, Department of Photography

 

A bumper two part posting on this fascinating, multi-dimensional subject: photographic practices in the studio, which may be a stage, a laboratory, or a playground. The exhibition occupies all MoMA’s six photography galleries, each gallery with its own sub theme, namely, Surveying the Studio, The Studio as Stage, The Studio as Set, A Neutral Space, Virtual Spaces and The Studio, from Laboratory to Playground.

The review of this exhibition “When a Form Is Given Its Room to Play” by Roberta Smith on the New York Times website (6th February 2014) damns with faint praise. The show is a “fabulous yet irritating survey” which “dazzles but often seems slow and repetitive.” Smith then goes on to list the usual suspects: “And so we get professional portraitists, commercial photographers, lovers of still life, darkroom experimenters, artists documenting performances and a few generations of postmodernists, dead and alive, known and not so, exploring the ways and means of the medium. This adds up to plenty to see: around 180 images from the 1850s to the present by some 90 photographers and artists. The usual suspects here range from Julia Margaret Cameron to Thomas Ruff, with Laszlo Moholy-Nagy, Lucas Samaras, John Divola and Barbara Kasten in between.” There are a few less familiar and postmodern artists thrown in for good measure, but all is “dominated by black-and-white images in an age when colour reigns.” The reviewer then rightly notes the paucity of “postmodern photography of the 1980s, much of it made by women, that did a lot to reorient contemporary photo artists to the studio. It is a little startling for an exhibition that includes so many younger artists dealing with the artifice of the photograph (Ms. Belin, for example) to represent the Pictures Generation artists with only Cindy Sherman, James Casebere and (in collaboration with Allan McCollum) Laurie Simmons” before finishing on a positive note (I think!), noting that the curators “had aimed for a satisfying viewing experience, which, these days, is something to be grateful for.”


SOMETHING TO BE GRATEFUL FOR… OH, TO BE SO LUCKY IN AUSTRALIA!

Just to have the opportunity to view an exhibition of this quality, depth and breadth of concept would be an amazing thing. Even a third of the number of photographs (say 60 works) that address this subject at any one of the major institutions around Australia would be fantastic but, of that, there is not a hope in hell.

Think Marcus, think… when was the last major exhibition, I mean LARGE exhibition, at a public institution in Australia that actually addressed specific ISSUES and CONCEPTS in photography (such as this), not just putting on monocular exhibitions about an artists work or exhibitions about a regions photographs? Ah, well… you know, I can’t really remember. Perhaps the American Dreams exhibition at Bendigo Art Gallery, but that was a GENERAL exhibition about 20th century photography with no strong investigative conceptual theme and its was imported from George Eastman House.

Here in Australia, all we can do is look from afar, purchase the catalogue and wonder wistfully what the exhibition actually looks like and what we are missing out on. MoMA sent me just 10 images media images. I have spent hours scouring the Internet for other images to fill the void of knowledge and vision (and then cleaning those sometimes degraded images), so that those of us not privileged enough to be able to visit New York may gain a more comprehensive understanding of what this exhibition, and this multi-faceted dimension of photography, is all about. It’s a pity that our venerable institutions and the photography curators in them seem to have had a paucity of ideas when it comes to expounding interesting critiques of the medium over the last twenty years or so. What a missed opportunity.

Dr Marcus Bunyan for the Art Blart blog

.
Many thankx to MoMA for allowing me to publish six of the photographs in the posting. The rest of the images were sourced from the Internet. Please click on the photographs for a larger version of the image.

 

 

Surveying the Studio

Bruce Nauman (American, born 1941) 'Composite Photo of Two Messes on the Studio Floor' 1967

 

Bruce Nauman (American, born 1941)
Composite Photo of Two Messes on the Studio Floor 
1967
Gelatin silver print
40 1/2″ x 10′ 3″ (102.9 x 312.4 cm)
Gift of Philip Johnson

 

Uta Barth (American, born 1958) 'Sundial (07.13)' 2007

 

Uta Barth (American, born 1958)
Sundial (07.13)
2007
Chromogenic color prints
each 30 x 28 1/4″ (76.2 x 71.8 cm)
The Photography Council Fund

 

Geta Brâtescu (Romanian, born 1926) 'The Studio. Invocation of the Drawing' (L'Atelier. Invocarea desenului) 1979

 

Geta Brâtescu (Romanian, born 1926)
The Studio. Invocation of the Drawing (L’Atelier. Invocarea desenului)
1979
Gelatin silver prints with tempera on paper
33 1/16 x 27 9/16″ (84 x 70 cm)
Modern Women’s Fund

 

Man Ray (American, 1890-1976) 'Laboratory of the Future' 1935

 

Man Ray (American, 1890-1976)
Laboratory of the Future
1935
Gelatin silver print
9 1/16 x 7″ (23.1 x 17.8 cm)
Gift of James Johnson Sweeney

 

Charles Sheeler (American, 1883-1965) 'Cactus and Photographer's Lamp, New York' 1931

 

Charles Sheeler (American, 1883-1965)
Cactus and Photographer’s Lamp, New York
1931
Gelatin silver print
9 1/2 x 6 5/8″ (23.5 x 16.6 cm)
Gift of Samuel M. Kootz

 

 

“Bringing together photographs, films, videos, and works in other mediums, A World of Its Own: Photographic Practices in the Studio examines the ways in which photographers and artists using photography have worked and experimented within the four walls of the studio space, from photography’s inception to today. Featuring both new acquisitions and works from the Museum’s collection that have not been on view in recent years, A World of Its Own includes approximately 180 works, by approximately 90 artists, such as Berenice Abbott, Uta Barth, Zeke Berman, Karl Blossfeldt, Constantin Brancusi, Geta Brătescu, Harry Callahan, Robert Frank, Jan Groover, Barbara Kasten, Man Ray, Bruce Nauman, Paul Outerbridge, Irving Penn, Adrian Piper, Edward Steichen, William Wegman, and Edward Weston.

The exhibition considers the various roles played by the photographer’s studio as an autonomous space; depending on the time period, context, and the individual motivations (commercial, artistic, scientific) and sensibilities of the photographer, the studio may be a stage, a laboratory, or a playground. Organized thematically, the display unfolds in multiple chapters. Throughout the 20th century, artists have explored their studio spaces using photography, from the use of composed theatrical tableaux (in photographs by Julia Margaret Cameron or Cindy Sherman) to neutral, blank backdrops (Richard Avedon, Robert Mapplethorpe); from the construction of architectural sets within the studio space (Francis Bruguière, Thomas Demand) to chemical procedures conducted within the darkroom (Walead Beshty, Christian Marclay); and from precise recordings of time and motion (Eadweard Muybridge, Dr. Harold E. Edgerton) to amateurish or playful experimentation (Roman Signer, Peter Fischli/David Weiss). A World of Its Own offers another history of photography, a photography created within the walls of the studio, and yet as groundbreaking and inventive as its seemingly more extroverted counterpart, street photography.”

Text from the MoMA website

 

The exhibition is divided into 6 themes each with its own gallery space:

1. Surveying the Studio

2. The Studio as Stage

3. The Studio as Set

4. A Neutral Space

5. Virtual Spaces

6. The Studio, from Laboratory to Playground

 

The Studio as Stage

George Platt Lynes (American, 1907-1955) 'Untitled' 1941

 

George Platt Lynes (American, 1907-1955)
Untitled
1941
Gelatin silver print
7 5/8 x 9 5/8″ (19.2 x 24.4 cm)
Anonymous gift

 

Lucas Samaras (American, born Greece 1936) 'Auto Polaroid' 1969-71

 

Lucas Samaras (American, born Greece 1936)
Auto Polaroid
1969-71
Eighteen black-and-white instant prints (Polapan), with hand-applied ink
each 3 3/4 x 2 15/16″ (9.5 x 7.4 cm)
overall 14 5/8 x 24″ (37.2 x 61 cm)
Gift of Robert and Gayle Greenhill

 

Lucas Samaras (American, born Greece 1936) 'Auto Polaroid' 1969-71 (detail)

Lucas Samaras (American, born Greece 1936) 'Auto Polaroid' 1969-71 (detail)

Lucas Samaras (American, born Greece 1936) 'Auto Polaroid' 1969-71 (detail)

 

Lucas Samaras (American, born Greece 1936)
Auto Polaroid (details)
1969-71
Eighteen black-and-white instant prints (Polapan), with hand-applied ink
each 3 3/4 x 2 15/16″ (9.5 x 7.4 cm)
overall 14 5/8 x 24″ (37.2 x 61 cm)
Gift of Robert and Gayle Greenhill

 

Julia Margaret Cameron (British, 1815-1879) 'Madonna with Children' 1864

 

Julia Margaret Cameron (British, 1815-1879)
Madonna with Children
1864
Albumen silver print
10 1/2 x 8 5/8″ (26.7 x 21.9 cm)
Gift of Shirley C. Burden

 

Julia Margaret Cameron (British, 1815-1879) 'Untitled (Mary Ryan?)' c. 1867

 

Julia Margaret Cameron (British, 1815-1879)
Untitled (Mary Ryan?)
c. 1867
Albumen silver print
13 3/16 x 11″ (33.5 x 27.9 cm)
Gift of Shirley C. Burden

 

Nadar (Gaspard-Félix Tournachon) (French, 1820-1910) Adrien Tournachon (French, 1825-1903) 'Pierrot Surprised' 1854-55

 

Nadar (Gaspard-Félix Tournachon) (French, 1820-1910)
Adrien Tournachon (French, 1825-1903)
Pierrot Surprised
1854-55
Albumen silver print
11 1/4 x 8 3/16″ (28.6 x 20.8 cm)
Suzanne Winsberg Collection. Gift of Suzanne Winsberg

 

Maurice Tabard (French, 1897-1984) 'Untitled' 1929

 

Maurice Tabard (French, 1897-1984)
Untitled
1929
Gelatin silver print
6 9/16 x 6 1/2″ (16.7 x 16.5 cm)
Gift of Robert Shapazian

 

Edward Steichen (American, born Luxembourg. 1879-1973) 'Anna May Wong' 1930

 

Edward Steichen (American, born Luxembourg. 1879-1973)
Anna May Wong
1930
Gelatin silver print
16 9/16 x 13 7/16″ (42.1 x 34.1 cm)
Gift of the artist

 

Cindy Sherman (American, born 1954) 'Untitled #131' 1983

 

Cindy Sherman (American, born 1954)
Untitled #131
1983
Chromogenic color print
35 x 16 1/2″ (89 x 41.9 cm)
Joel and Anne Ehrenkranz Fund

 

The Studio as Set

Barbara Kasten (American, born 1936) 'Construct I-F' 1979

 

Barbara Kasten (American, born 1936)
Construct I-F
1979
Color instant print (Polaroid Polacolor)
9 1/2 x 7 1/2″ (24.0 x 19.0 cm)
Acquired through the generosity of Wendy Larsen

 

Barbara Kasten (American, born 1936) 'Construct NYC 17' 1984

 

Barbara Kasten (American, born 1936)
Construct NYC 17
1984
Silver dye bleach print
29 3/8 x 37 1/16″ (74.7 x 94.1 cm)
Gift of Foster Goldstrom

 

James Casebere (American, born 1953) 'Subdivision with Spotlight' 1982

 

James Casebere (American, born 1953)
Subdivision with Spotlight
1982
Gelatin silver print
14 13/16 x 18 15/16″ (37.6 x 48.1 cm)
Purchase

 

Francis Bruguière (American, 1879-1945) 'Light Abstraction' c. 1925

 

Francis Bruguière (American, 1879-1945)
Light Abstraction
c. 1925
Gelatin silver print
9 15/16 x 7 15/16″ (25.2 x 20.2 cm)
Gift of Arnold Newman

 

Paul Outerbridge (American, 1896-1958) 'Images de Deauville' 1936

 

Paul Outerbridge (American, 1896-1958)
Images de Deauville
1936
Tri-color carbro print
15 3/4 x 12 1/4″ (40 x 31.1 cm)
Gift of Mrs. Ralph Seward Allen

 

Elad Lassry (Israeli, born 1977) 'Nailpolish' 2009

 

Elad Lassry (Israeli, born 1977)
Nailpolish
2009
Chromogenic color print
14 1/2 x 11 1/2″ (36.8 x 29.2 cm)
Fund for the Twenty-First Century

 

 

The Museum of Modern Art
11 West 53 Street
New York, NY 10019
T: (212) 708-9400

Opening hours:
Wednesday – Monday, 10.30 am – 5.30 pm
Friday, 10.30 am – 8.00 pm
Closed Tuesday

MOMA website

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30
Sep
14

Exhibition: ‘Lichtbilder. Photography at the Städel Museum from the Beginnings to 1960’ at the Städel Museum, Frankfurt

Exhibition dates: 9th July – 5th October 2014

Curators: Felicity Grobien, curatorial assistant, Modern Art Department, Städel Museum; Dr Felix Krämer, head of the Modern Art Department at the Städel Museum

 

There are some absolutely stunning images in this posting. It has been a great pleasure to put the posting together, allowing me the chance to sequence Roger Fenton’s elegiac London: The British Museum (1857, below) next to Werner Mantz’s minimalist masterpiece Cologne: Bridge (c. 1927, below), followed by Carlo Naya’s serene Venice: View of the Marciana Library (c. 1875, below) and Albert Renger-Patzsch’s sublime but disturbing (because of the association of the place) Buchenwald in November (c. 1954, below). What four images to put together – where else would I get the chance to do that? And then to follow it up with the visual association of the Royal Prussian Institute of Survey Photography’s Cologne: Cathedral (1889, below) with Otto Steinert’s Luminogram (1952, below). This is the stuff that you dream of!

The more I study photography, the more I am impressed by the depth of relatively unknown Eastern European photographers from countries such as Hungary, Romania, Czechoslovakia, Poland, Bulgaria and Turkey. In this posting I have included what details I could find on the artists Václav Jíru, Václav Chochola and the well known Czech photographer František Drtikol. The reproduction of his image Crucified (before 1914. below) is the best that you will find of this image on the web.

I would love to do more specific postings on these East European photographers if any museum has collections that they would like to advertise more widely.

Dr Marcus Bunyan for the Art Blart blog

PS. Lichtbilder = light images.

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

 

 

Installation view of the exhibition 'Lichtbilder. Photography at the Städel Museum from the Beginnings to 1960'

Installation view of the exhibition 'Lichtbilder. Photography at the Städel Museum from the Beginnings to 1960'

Installation view of the exhibition 'Lichtbilder. Photography at the Städel Museum from the Beginnings to 1960'

Installation view of the exhibition 'Lichtbilder. Photography at the Städel Museum from the Beginnings to 1960'

Installation view of the exhibition 'Lichtbilder. Photography at the Städel Museum from the Beginnings to 1960'

Installation view of the exhibition 'Lichtbilder. Photography at the Städel Museum from the Beginnings to 1960'

Rudolf Koppitz. 'Head of a Man with Helmet' c. 1929. Installation view of the exhibition 'Lichtbilder. Photography at the Städel Museum from the Beginnings to 1960'

 

Rudolf Koppitz (1884-1936)
Head of a Man with Helmet
c. 1929
Carbon print, printed c. 1929
49.8 × 48.4 cm
Städel Museum, Frankfurt a. M., donated by Annette and Rudolf Kicken 2013

 

Installation view of the exhibition 'Lichtbilder. Photography at the Städel Museum from the Beginnings to 1960'

 

Installation views of the exhibition Lichtbilder. Photography at the Städel Museum from the Beginnings to 1960 at the Städel Museum, Frankfurt

 

 

In 1845, the Frankfurt Städel was the first art museum in the world to exhibit photographic works. The invention of the new medium had been announced in Paris just six years earlier, making 2014 the 175th anniversary of that momentous event. In keeping with the tradition it thus established, the Städel is now devoting a comprehensive special exhibition to European photo art – Lichtbilder. Photography at the Städel Museum from the Beginnings to 1960 – presenting the photographic holdings of the museum’s Modern Art Department, which have recently undergone significant expansion. From 9 July to 5 October 2014, in addition to such pioneers as Nadar, Gustave Le Gray, Roger Fenton and Julia Margaret Cameron, the show will feature photography heroes of the twentieth century such as August Sander, Albert Renger-Patzsch, Man Ray, Dora Maar or Otto Steinert, while moreover highlighting virtually forgotten members of the profession. While giving an overview of the Städel’s early photographic holdings and the acquisitions of the past years, the exhibition will also shed light on the history of the medium from its beginnings to 1960.

“Even if we think of the presentation of artistic photography in an art museum as something still relatively new, the Städel already began staging photo exhibitions in the mid 1840s. We take special pleasure in drawing attention to this pioneering feat and – with the Lichtbilder exhibition – now, for the first time, providing insight into our collection of early photography, which has been decisively expanded over the past years through new purchases and generous gifts,” comments Städel director Max Hollein. Felix Krämer, one of the show’s curators, explains: “With Lichtbilder we would like to stimulate a more intensive exploration of the multifaceted history of a medium which, even today, is often still underestimated.”

The first mention of a photo exhibition at the Städel Museum dates from all the way back to 1845, when the Frankfurt Intelligenz Blatt – the official city bulletin – ran an ad. This is the earliest known announcement of a photography show in an art museum worldwide. The 1845 exhibition featured portraits by the photographer Sigismund Gerothwohl of Frankfurt, the proprietor of one of the city’s first photo studios who has meanwhile all but fallen into oblivion. Like many other institutions at the time, the Städel Museum had a study collection which also included photographs: then Städel director Johann David Passavant began collecting photos for the museum in the 1850s. In addition to reproductions of artworks, the photographic holdings comprised genre scenes, landscapes and cityscapes by such well-known pioneers in the medium as Maxime Du Camp, Wilhelm Hammerschmidt, Carl Friedrich Mylius or Giorgio Sommer. An 1852 exhibition showcasing views of Venice launched a tradition of presentations of photographic works from the Städel’s own collection.

Whereas the photos exhibited in the Städel in the nineteenth century were contemporary works, the show Lichtbilder will focus on the development of artistic photography. The point of departure will be the museum’s own photographic holdings, which were significantly expanded through major acquisitions from the collections of Uta and Wilfried Wiegand in 2011 and Annette and Rudolf Kicken in 2013, and which continue to grow today through new purchases. The exhibition’s nine chronologically ordered sections will span the history of the medium from the beginnings of paper photography in the 1840s to the photographic experiments of the fotoform Group in the 1950s. …

 

Édouard Baldus (1813-1889) 'Orange: The Wall of the Théâtre antique' 1858

 

Édouard Baldus (1813-1889)
Orange: The Wall of the Théâtre antique
1858
Albumen print mounted on cardboard
43.4 x 33.4 cm
Städel Museum, Frankfurt am Main
Photo: Städel Museum – ARTOTHEK

 

Roger Fenton (1819-1869) 'London: The British Museum' 1857

 

Roger Fenton (1819-1869)
London: The British Museum
1857
Albumen print mounted on cardboard
32.2 x 43 cm
Städel Museum, Frankfurt am Main
Photo: Städel Museum – ARTOTHEK

 

Werner Mantz (1901-1983) 'Cologne: Bridge' c. 1927

 

Werner Mantz (1901-1983)
Cologne: Bridge
c. 1927
Gelatin silver print on baryta paper
16.7 x 22.5 cm
Städel Museum, Frankfurt am Main
Photo: Städel Museum – ARTOTHEK
© VG Bild-Kunst, Bonn 2014

 

Werner Mantz began his career as a portrait and advertising photographer, later becoming known for his architectural photographs of the modernist housing projects in Cologne during the 1920s. This portfolio of photographs was selected by the artist towards the end of his life as representative of his finest work. These rare prints reveal Mantz’s mastery in still-life and architecture photography, and are considered some of the most influential works created in the period. (Text from the Tate website)

 

Carlo Naya (1816-1882) 'Venice: View of the Marciana Library, the Campanile and the Ducal Palace' c. 1875

 

Carlo Naya (1816-1882)
Venice: View of the Marciana Library, the Campanile and the Ducal Palace
c. 1875
Albumen print mounted on cardboard
41.3 x 54.1 cm
Städel Museum, Frankfurt am Main
Photo: Städel Museum – ARTOTHEK

 

Carlo Naya (1816, Tronzano Vercellese – 1882, Venice) was an Italian photographer known for his pictures of Venice including its works of art and views of the city for a collaborative volume in 1866. He also documented the restoration of Giotto’s frescoes at the Scrovegni Chapel in Padua. Naya was born in Tronzano di Vercelli in 1816 and took law at the University of Pisa. An inheritance allowed him to travel to major cities in Europe, Asia, and northern Africa. He was advertising his services as portrait photographer in Istanbul in 1845, and opened his studio in Venice in 1857. He sold his work through photographer and optician Carlo Ponti. Following Naya’s death in 1882, his studio was run by his wife, then by her second husband. In 1918 it was closed and publisher Osvaldo Böhm bought most of Naya’s archive. (Text from Wikipedia website)

 

Albert Renger-Patzsch (1897-1966) 'Buchenwald in November' c. 1954

 

Albert Renger-Patzsch (1897-1966)
Buchenwald in November
c. 1954
Gelatin silver print
16.5 x 22.4 cm
Städel Museum, Frankfurt am Main
Photo: Städel Museum – ARTOTHEK
© VG Bild-Kunst, Bonn 2014

 

Royal Prussian Institute of Survey Photography (est. 1885) 'Cologne: Cathedral' 1889

 

Royal Prussian Institute of Survey Photography (est. 1885)
Cologne: Cathedral
1889
Gelatin silver prints mounted on cardboard
79.8 x 64.5 cm
Städel Museum, Frankfurt am Main
Photo: Städel Museum – ARTOTHEK

 

Otto Steinert (1915-1978) 'Luminogram' 1952

 

Otto Steinert (1915-1978)
Luminogram
1952
Gelatin silver print on baryta paper mounted on cardboard
41.5 x 59.5 cm
Städel Museum, Frankfurt am Main
Photo: Städel Museum – ARTOTHEK
© Nachlass Otto Steinert, Museum Folkwang, Essen

 

Otto Steinert (1915-1978) 'Ein-Fuß-Gänger' 1950

 

Otto Steinert (1915-1978)
Ein-Fuß-Gänger
1950
Gelatin silver print
28.5 × 39 cm
Städel Museum, Frankfurt am Main
Photo: Städel Museum – ARTOTHEK

 

Paul Outerbridge (1896-1958) 'Egg on Block' 1923

 

Paul Outerbridge (1896-1958)
Egg on Block
1923
Platinum print
11.9 x 9.4 cm
Städel Museum, Frankfurt am Main
Photo: Städel Museum – ARTOTHEK
© Paul Outerbridge, Jr., © 2014 G. Ray Hawkins Gallery, Beverly Hills, CA

 

Albert Renger-Patzsch (1897-1966) 'Untitled (Close-up of a Zip Fastener)' 1928-1933

 

Albert Renger-Patzsch (1897-1966)
Untitled (Close-up of a Zip Fastener)
1928-1933
Gelatin silver print
23 x 16.9 cm
Städel Museum, Frankfurt am Main
Photo: Städel Museum – ARTOTHEK
© VG Bild-Kunst, Bonn 2014

 

 

“In the entrance area to the show, the visitor will be greeted by a selection of Raphael reproductions presented by the Städel in exhibitions in 1859 and 1860. They feature full views and details of the cartoons executed by Raphael to serve as reference images for the Sistine Chapel tapestries. The art admirer was no longer compelled to travel to London to marvel at the Raphael cartoons at Hampton Court, but could now examine these masterworks in large-scale photographs right at the Städel. The following exhibition room is devoted to the pioneers of photography of the 1840s to ’60s. No sooner had the invention of the new medium been announced in 1839 than enthusiasts set about conquering the world with the photographic image. The aspiration of the bourgeoisie for self-representation in accordance with aristocratic conventions soon rendered photographic portraiture a lucrative business; to keep up with the growing demand, the number of photo studios in the European metropolises steadily increased. Works of architecture and historical monuments, art treasures and celebrities were all recorded on film and made available to the public. Quite a few photographers – for example Édouard Baldus, the Bisson brothers, Frances Frith, Wilhelm Hammerschmidt and Charles Marville – set out on travels to take pictures of the cultural-historical sites of Europe and the Near East, and thus to capture these testimonies to the past on film.

Among the most successful exponents of this genre was Georg Sommer, a native of Frankfurt who emigrated to Italy in 1856 and made a name for himself there as Giorgio Sommer. The second section of the show will revolve around the image of Italy as a kind of paradise on Earth characterized by the Mediterranean landscape and the legacy of antiquity. That image, however, would not be complete without views of the simple life of the Italian population. These genre scenes – often posed – were popular as souvenirs because they fulfilled the travellers’ expectations of encountering a preindustrial, and thus unspoiled, way of life south of the Alps. Faced with the challenges presented by the climate, the long exposure times and the complex photographic development process, photographers were constantly in search of technical improvements – as illustrated in the third section of the presentation. Léon Vidal and Carlo Naya, for example, experimented with colour photography, Eadweard Muybridge with capturing sequences of movement, and the Royal Prussian Photogrammetric Institute with large-scale “mammoth photographs.”

While the pictorial language of professional photography hardly advanced, increasing emphasis was placed over the years on its technical aspects. The section of the show on artistic photography demonstrates how, at the end of the nineteenth century, enthusiastic amateur photographs worked to develop the medium with regard to aesthetics as well. Whereas until that time, professional photographers had given priority to genre scenes and other motifs popular in painting, the so-called Pictorialists set out to strengthen photography’s value as an artistic medium in its own right. Atmospheric landscapes, fairy-tale scenes and stylized still lifes were captured as subjective impressions. While Julia Margaret Cameron very effectively staged dialogues between sharp and soft focus, Heinrich Kühn employed the gum bichromate and bromoil techniques to create painterly effects.

After World War I, a new generation of photographers emerged who questioned the standards established by the Pictorialists. Their works are highlighted in the following room. Rather than intervening in the photographic development process, the adherents to this new current – who pursued interests analogous to those of the New Objectivity painters – devoted themselves to austere pictorial design and sought to establish a “new way of seeing.” The gaze was no longer to wander yearningly into the distance, but be confronted directly and immediately with the realities of society. The prosaic and rigorous images of August Sander and Hugo Erfurth satisfy the demands of this artistic creed. The exhibition moreover directs its attention to early photojournalism and the development of the mass media. Apart from documentary photographs by the autodidact Erich Salomon, Heinrich Hoffmann’s portraits of Adolf Hitler – purchased for the Städel collection in 2013 – will also be on view. Although it was Hitler himself who had commissioned them, he later prohibited the portraits’ reproduction. For in actuality, Hoffmann’s images expose the hollowness of the dictator’s demeanour. The show devotes a separate room to the work of Albert Renger-Patzsch, whose formally rigorous scenes are distinguished by uncompromising objectiveness in the depiction of nature and technology.

The photographers inspired by Surrealism pursued interests of a wholly different nature, as did the representatives of the Czech photo avant-garde – the focusses of the following two exhibition rooms. In the section on Surrealist photography, the works oscillate between fiction and reality, and photographic experiments unveil the world’s bizarre sides. Employing strange effects or unexpected motif combinations, artists such Brassaï, André Kertész, Dora Maar, Paul Outerbridge and Man Ray sought the unusual in the familiar. The Czech photographers of the interwar period, for their part, explored the possibilities of abstract and constructivist photography. Their works, many of which exhibit a symbolist tendency, are concerned with the aestheticization of the world.

The final section of the show is dedicated to Otto Steinert and the fotoform Group. It sheds light on how Steinert and the members of the artists’ group took their cues from the experiments of the photographic vanguard of the 1920s, while at the same time dissociating themselves from the propagandistic and heroizing use of photography during the National Socialist era. The six photographers who joined to found the fotoform Group in 1949 – Peter Keetman, Siegfried Lauterwasser, Wolfgang Reisewitz, Toni Schneiders, Otto Steinert and Ludwig Windstosser – coined the term “subjective photography” and emphasized the photographer’s individual perspective.

The show augments the joint presentation of photography, painting and sculpture practised at the Städel Museum since its reopening in 2011 and also to be continued during and after Lichtbilder. The aim of this exhibition mode is to convey the decisive role played by photography in art-historical pictorial tradition since the medium’s very beginnings. The presentation is being accompanied by a catalogue which – like the exhibition architecture – foregrounds the specific “palette” of photography as a medium conducted in black and white. The subtle tones of grey are mirrored not only in the works’ reproductions, but also in the colour design of the individual catalogue sections. When the visitor enters the exhibition space, he is surrounded by an architecture that is grey to the core, while at the same time making clear that no one shade of grey is like another. In the words of curator Felicity Grobien: “The exhibition reveals how multi-coloured the prints are, for in them – contrary to what we expect from black-and-white photography – we discover a vast range of subtle colour nuances that emphasize the prints; distinctiveness.”

Press release from the Städel Museum

 

Julia Margaret Cameron (1815-1879) 'Mrs Herbert Duckworth' 1867

 

Julia Margaret Cameron (1815-1879)
Mrs Herbert Duckworth
1867
Albumen print mounted on cardboard
35 x 27.1 cm
Städel Museum, Frankfurt am Main
Photo: Städel Museum – ARTOTHEK

 

Giorgio Sommer (1834-1914) 'Naples: Delousing' c. 1870

 

Giorgio Sommer (1834-1914)
Naples: Delousing
c. 1870
Albumen print mounted on cardboard
25.5 x 20.6 cm
Städel Museum, Frankfurt am Main
Photo: Städel Museum – ARTOTHEK

 

Lewis Carroll (1832-1898) 'Alexandra "Xie" Kitchin as Chinese "Tea-Merchant" (on Duty)' 1873

 

Lewis Carroll (1832-1898)
Alexandra “Xie” Kitchin as Chinese “Tea-Merchant” (on Duty)
1873
Albumen print
19.8 x 15.2 cm
Städel Museum, Frankfurt am Main
Photo: Städel Museum – ARTOTHEK

 

Dora Maar (1907-1997) 'Mannequin With Perm' 1935

 

Dora Maar (1907-1997)
Mannequin With Perm
1935
Gelatin silver print on baryta paper mounted on cardboard, 23.4 x 17.7 cm
Städel Museum, Frankfurt am Main
Photo: Städel Museum – ARTOTHEK
© VG Bild-Kunst, Bonn 2014

 

August Sander (1876-1964) 'Country Girls' 1925 (print 1980 von by Gunther Sander)

 

August Sander (1876-1964)
Country Girls
1925 (print 1980 von by Gunther Sander)
Gelatin silver print
27.4 x 20 cm
Städel Museum, Frankfurt am Main
Photo: Städel Museum – ARTOTHEK
© VG Bild-Kunst, Bonn 2014

 

Otto Steinert (1915-1978) 'La Comtesse de Fleury' 1952

 

Otto Steinert (1915-1978)
La Comtesse de Fleury
1952
Gelatin silver print on baryta paper mounted on hardboard
39.2 x 29.1 cm
Städel Museum, Frankfurt am Main
Photo: Städel Museum – ARTOTHEK
© Nachlass Otto Steinert, Museum Folkwang, Essen

 

Additional images

Albert Renger-Patzsch (1897-1966) 'Tropical Orchis, cattleya labiata' c. 1930

 

Albert Renger-Patzsch (1897-1966)
Tropical Orchis, cattleya labiata
c. 1930
Gelatin silver print, printed c. 1930
Städel Museum, Frankfurt am Main
Photo: Städel Museum – ARTOTHEK

 

Man Ray (1890–1976) 'Schwarz und Weiß' 1926

 

Man Ray (1890-1976)
Schwarz und Weiß (Black and white)
1926 (printed 1993 by Pierre Gassmann)
Silver gelatin print
24.8 x 35.3 cm
Städel Museum, Frankfurt am Main
Photo: Städel Museum – ARTOTHEK
© VG Bild-Kunst, Bonn 2014

 

Man Ray. 'Retour à la Raison' 1923

 

Man Ray
Retour à la Raison (Return to Reason)
1923 (printed c. 1979 from Pierre Gassmann)
Gelatin silver print
Städel Museum, Frankfurt am Main
Acquired in 2013 as a gift from Annette and Rudolf Kicken
© VG Bild-Kunst, Bonn 2013

 

Václav Jíru. 'Untitled (Sunbath)' 1930s

 

Václav Jíru
Untitled (Sunbath)
1930s
Gelatin silver print
Städel Museum, Frankfurt am Main
Acquired in 2013 as a gift from Annette and Rudolf Kicken

 

Jíru started to shoot as an amateur photographer, and since 1926 published photos and articles. He first exhibited in 1933 and collaborated with the Theatre Vlasta Burian, photographed in the Liberated Theatre, was devoted to advertising photography, and became well known in the international press (London News, London Life, Picture Post, Sie und Er, Zeit im Bild).

In 1940 he was arrested by the Gestapo for resistance activities, and sentenced to life in prison by the end of the war. In the book Six Spring, where there are pictures taken shortly after liberation, he described his experience of prison and concentration camps. After the war he became a member of the Union of Czechoslovak Journalists and in 1948 a member of the Association of Czechoslovak Artists. He continued shooting, but also looking for new talented photographers. In 1957, he founded and led four languages ​​photographic Revue Photography. By the end of his life he organized a photographic exhibition and served on the juries of photographic competitions.

The photographs of Václav Jírů, especially in the pre-war stage, was very wide: sports photography, theatrical portrait, landscape, nude, social issues, report. After the war he concentrated on the cycles of nature, landscapes and cities. A frequent theme of his photographs was Prague, which unlike many other photographers he photographed in its unsentimental everyday life (Prague mirrors, walls Poetry Prague, Prague ghosts). (Text translated from Czech Wikipedia)

 

Werner Mantz (1901-1983) 'Förderturm – Im Auftrag der Staatsmijnen Heerlen/Niederlande' 1937

 

Werner Mantz (1901-1983)
Förderturm – Im Auftrag der Staatsmijnen Heerlen/Niederlande (Headframe – On behalf of the States Mine Heerlen / Netherlands)
1937
Gelatin silver bromide print
22.6 x 16.7 cm
Städel Museum, Frankfurt am Main
© VG Bild-Kunst, Bonn 2013

 

Václav Chochola. 'Kolotoc-Konieci' (merry-go-round horse) c. 1958

 

Václav Chochola
Kolotoc-Konieci (merry-go-round horse)
c. 1958
Gelatin silver print
Städel Museum, Frankfurt am Main
Acquired in 2013 as a gift from Annette and Rudolf Kicken

 

Chochola (January 31, 1923 in Prague – August 27, 2005) was a Czech photographer, known for classic Czech art and portrait photography. He began photography while studying at grammar school in Prague-Karlin. After leaving the photographer taught and studied at the School of Graphic Arts. He was a freelance photographer, photographed at the National Theatre and has collaborated with many other scenes. Chochol created a series of images using non-traditional techniques, creating photograms, photomontage and roláže.

In his extensive work Chochol was devoted to candid photographs, portraits of celebrities (famous for his portrait of Salvador Dali), acts or sports photography. His documentary images from the Prague uprising in May 1945 are invaluable. In 1970 Chochol spent a month in custody for photographing the grave of Jan Palach. He died after a brief serious illness in Motol Hospital in Prague. (Text translated from Czech Wikipedia)

Jde užasle světem, o kterém jako kluk na předměstí snil a od něhož byl vždy oddělen červenou šňůrou, a do něhož má najednou přístup. Skutečnost, že v tomto světě nikdy nebyl úplně doma, dokázal proměnit v nepřehlédnutelnou přednost: zbystřilo mu to oko a zahlédl detaily, které my oslněni jinými cíli ani nevidíme.

It astonished world that as a kid in the suburbs and dreamed of which was always separated by a red cord, and which suddenly has access. The fact that in this world was never quite at home, he could turn into immense advantages: it sharpened his eye and saw the details that dazzled my other goals can not even see.

 

Frantisek Drtikol (1883-1961) 'Crucified' before 1914

 

Frantisek Drtikol (1883-1961)
Crucified
before 1914 (printed before 1914)
Gelatin silver print
22.7 x 17.3 cm
Städel Museum, Frankfurt am Main
Acquired in 2013 as a gift from Annette and Rudolf Kicken
© VG Bild-Kunst, Bonn 2013

 

František Drtikol (3 March 1883, Příbram – 13 January 1961, Prague) was a Czech photographer of international renown. He is especially known for his characteristically epic photographs, often nudes and portraits.

From 1907 to 1910 he had his own studio, until 1935 he operated an important portrait photostudio in Prague on the fourth floor of one of Prague’s remarkable buildings, a Baroque corner house at 9 Vodičkova, now demolished. Jaroslav Rössler, an important avant-garde photographer, was one of his pupils. Drtikol made many portraits of very important people and nudes which show development from pictorialism and symbolism to modern composite pictures of the nude body with geometric decorations and thrown shadows, where it is possible to find a number of parallels with the avant-garde works of the period. These are reminiscent of Cubism, and at the same time his nudes suggest the kind of movement that was characteristic of thefuturism aesthetic.

He began using paper cut-outs in a period he called “photopurism”. These photographs resembled silhouettes of the human form. Later he gave up photography and concentrated on painting. After the studio was sold Drtikol focused mainly on painting, Buddhist religious and philosophical systems. In the final stage of his photographic work Drtikol created compositions of little carved figures, with elongated shapes, symbolically expressing various themes from Buddhism. In the 1920s and 1930s, he received significant awards at international photo salons. (Text from Wikipedia)

 

August Sander. 'Ret Bearbeitet' 1927

 

August Sander (1876-1964)
Ret Bearbeitet
1927
Städel Museum, Frankfurt am Main
Photo: Städel Museum – ARTOTHEK
© VG Bild-Kunst, Bonn 2014

 

 

Städel Museum
Schaumainkai 63
60596 Frankfurt

Opening hours:
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Wednesday and Thursday 10.00 am – 9.00 pm

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27
Sep
14

Exhibition: ‘The Museum of Photography. A Revision’ at Museum Ludwig, Cologne

Exhibition dates: 28th June – 5th October 2014

 

The ghost of the photography museum. The ghost of the machine.

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

 

 

Installation view of the exhibition 'The Museum of Photography. A Revision' at Ludwig Museum of Contemporary Art, Budapest

Installation view of the exhibition 'The Museum of Photography. A Revision' at Ludwig Museum of Contemporary Art, Budapest

Installation view of the exhibition 'The Museum of Photography. A Revision' at Ludwig Museum of Contemporary Art, Budapest

 

Installation views of the exhibition The Museum of Photography. A Revision at Ludwig Museum of Contemporary Art, Budapest

 

Marcus A. Root. 'Daguerreotype of a Mother and Child' 1840

 

Marcus A. Root
Daguerreotype of a Mother and Child
1840
Museum Ludwig
Photo: © Rhenish image archive

 

Gustave Le Gray. 'Pier and lighthouse at Le Havre' 1856

 

Gustave Le Gray
Pier and lighthouse at Le Havre
1856
Museum Ludwig
Photo: © Rhenish image archive

 

Hermann Wilhelm Vogel. 'Three-color printing process by Bird Ulrich. Uptake by oil paintings and natural butterflies' 1892

 

Hermann Wilhelm Vogel
Three-color printing process by Bird Ulrich. Uptake by oil paintings and natural butterflies
1892
Museum Ludwig
Photo: © Rhenish image archive

 

 

“A ghost has been haunting podiums, periodicals, and arts pages for decades: the ghost of the photography museum. “We need one,” say advocates; “really?” counter opponents. Chemist Erich Stenger (1878-1957), a passionate collector of photographs, viewed them not as art, but as technological evidence. Yet the way he envisaged presenting them was in a museum. At an early date he called for the establishment of a (technology-based) museum of photography, accumulating items for it and drawing up a display plan. Among the first collectors of photography, he amassed holdings of nineteenth-century landscapes, portraits, photographs taken by airmen in World War I, portraits framed as decorative items, prizewinning pictures of animals from the first half of the twentieth century, caricatures about photography, and much else besides. As a scientist, Stenger collected data and represented it in the form of tables and diagrams. That is also how he ordered everything relating to photography that he could lay his hands on. He distinguished some one hundred categories, from architecture photography to trick photography. His museum was to resemble an encyclopedia of photography, and in that sense he was very much a man of the nineteenth century. He showed his collection at most major photography exhibitions held during his lifetime, including Pressa in Cologne in 1928.

Stenger’s collection is now integrated into the Agfa collection, which in turn forms an important part of the photography holdings at the Museum Ludwig. The items amassed by Stenger now therefore constitute a museum within a museum – within an art museum, in fact. How is an art museum to deal with a collection of this kind? Individual items and sections from it have been exhibited since the early years of the twentieth century. At the Museum Ludwig it has been represented in Facts (2006), Silber und Salz (Silver and Salt; 1988), An den süssen Ufern Asiens (On the Sweet Shores of Asia; 1989), and many other shows. Stenger’s ideas about his collection are now being spotlighted and presented under one roof. This seems appropriate at a time when museums and archives are the subject of heated debates and intensive self-examination. As institutions, they shape and regulate cultural memory; and photography in museums, in particular, influences our view of the past and the present. This function of the Stenger collection acquired semi-official status in 2005, when it was named a national cultural treasure. That is reason enough to subject it to a reappraisal, re-examining its contents, the criteria governing its accumulation, and the ways in which an art museum might want to approach it today.

The exhibition comprises approximately 250 photographs and objects.”

Press release from Museum Ludwig website

 

Unknown photographer. 'Portrait Erich Stenger' 1906

 

Unknown photographer
Portrait Erich Stenger
1906
Museum Ludwig
Photo: © Rhenish image archive

 

Henry Traut. 'Portrait, Munich' 1932

 

Henry Traut
Portrait, Munich
1932
Museum Ludwig
Photo: © Rhenish image archive

 

Franz Schensky. 'Möwenpaar' 1930

 

Franz Schensky
Möwenpaar
1930
Museum Ludwig
Photo: © Rhenish image archive

 

Franz Grainer. 'Portrait' 1920

 

Franz Grainer
Portrait
1920
Museum Ludwig
Photo: © Rhenish image archive

 

Unknown artist. 'Template for a photomontage (Royal Bavarian Infantry Regiment)' 2nd half of the 19th century

 

Unknown artist
Template for a photomontage (Royal Bavarian Infantry Regiment)
2nd half of the 19th century
Museum Ludwig
Photo: © Rhenish image archive

 

 

Museum Ludwig 
Hein­rich-Böll-Platz
50667 Köln
Phone +49 221 221 26165

Opening hours:
Tues­day to Sun­day (in­cl. holi­days): 10.00 am – 6.00 pm
Ev­ery first Thurs­day of the month: 10.00 am – 10.00 pm
Closed Mon­days

Museum Ludwig website

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20
Sep
14

Exhibition: ‘Christina Broom’ at the Museum of London

Exhibition dates: 4th April – 28th September 2014

 

Look at the portrait of Christina Bloom at the bottom of the posting. Now there is a formidable human being. The look in the eyes shows determination and toughness, toughness to survive and succeed in a male dominated world. Broom taught herself photography at the age of 40 – “to create and sell photographic postcards – a trade which was thriving. At work between 1903 and 1939, she gained exclusive access to leading London events from suffragette processions to King George V’s coronation and became photographer to the Household Brigade, forging a unique relationship with the Guards” – and became the UK’s first female press photographer. She must have had something special … and then you look at her photographs and you realise what: spontaneity, structure, spirit and the rest. Her tableaux vivant in this posting are almost sculptural in their construction, the photographer ordering the elements, posing the people but then evincing from them a warmth and intimacy in their engagement with the camera that is quite remarkable.

In terms of structure you need look no further than The 1st Life Guards prepare to leave Hyde Park Barracks (1914, top photo below) or Captain Greer of the 1st Irish Guards and his machine gun team (Nd, below) to see how Broom arranges her subject matter. In the 1st Life Guards photograph the man standing at left, the man seated on the horse and the man second right stare directly at the camera forming strong triangular sight lines. This triangle is then crossed by the man third from left who gazes out of the picture perpendicular to the camera’s gaze. His gaze is then “crossed” by the soldier standing at right staring away into the distance at 45 degree angle away from the camera. This image is a masterclass in sight lines and positioning, complemented by the intimacy of the gaze of the soldier second from the right staring directly into the camera (see detail), and the women positioned on the staircase in the background. Magic is happening here.

Again, in the second image of the machine gun team the photograph is eloquently and formally constructed – the symmetry of the twin doors and white squares behind echoed by the horseshoe arrangement of the men with the machine guns pointing in opposite directions. The stoic words ‘MACHINE GUN SHED. EAST’ are emblazoned above the men as though to press home their purpose, but upon detailed inspection the character of the men shines through – the stiff upper lip, the wicked sense of humour and the cheeky chappy can all be seen in this otherwise formally posed photograph. Added poignancy comes with the knowledge that every single person in the photograph was killed soon afterwards on the battlefields of the Western Front. Evidence of the stress of the war can be seen in the photograph King George V and Queen Mary host a tea party for wounded soldiers and sailors (1916, below). Gone are the jovial bonhomie smiles and comradeship, to be replaced by bandages and bouquets, and gaunt-looking, wary, young, scared looking soldiers staring out at the camera. Terrific photographs from a skilled and intuitive artist.

Dr Marcus Bunyan for the Art Blart blog

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

 

 

Christina Bloom. 'The 1st Life Guards prepare to leave Hyde Park Barracks and head to war, on 15 August 1914'

 

Christina Bloom
The 1st Life Guards prepare to leave Hyde Park Barracks and head to war, on 15 August 1914. They were destined for the devastating Battle of Mons.
1914
Christina Broom/Museum of London

 

Christina Bloom. 'The 1st Life Guards prepare to leave Hyde Park Barracks and head to war, on 15 August 1914' (detail)

 

Christina Bloom
The 1st Life Guards prepare to leave Hyde Park Barracks and head to war, on 15 August 1914 (detail)
1914
Christina Broom/Museum of London

 

Christina Bloom. 'The 3rd Battalion Grenadier Guards prepare for war at the Wimbledon Common training camp in 1914'

 

Christina Bloom
The 3rd Battalion Grenadier Guards prepare for war at the Wimbledon Common training camp in 1914. Lieutenant HRH the Prince of Wales can be seen inspecting the field kitchen, having marched there from Wellington Barracks.
1914
Christina Broom/Museum of London

 

Christina Bloom. 'The 3rd Battalion Grenadier Guards prepare for war at the Wimbledon Common training camp in 1914' (detail)

 

Christina Bloom
The 3rd Battalion Grenadier Guards prepare for war at the Wimbledon Common training camp in 1914 (detail)
1914
Christina Broom/Museum of London

 

Christina Bloom. 'Wounded patients from King Edward VII’s Hospital for Officers visit the Royal Mews in 1915'

 

Christina Bloom
Wounded patients from King Edward VII’s Hospital for Officers visit the Royal Mews in 1915. Originally set up after the Boer War by two sisters, the hospital treated injured officers during the First World War at its premises in Grosvenor Gardens.
1915
Christina Broom/Museum of London

 

Christina Bloom. 'The 'Bermondsey B'hoys' from the 2nd Grenadier Guards' c. 1914 - 1915

 

Christina Bloom
The ‘Bermondsey B’hoys’ from the 2nd Grenadier Guards appear at ease for this informal photograph taken inside their base at Wellington Barracks sometime during 1914 or 1915
c. 1914 – 1915
Christina Broom/Museum of London

 

Christina-Broom-5-DETAIL

 

Christina Bloom
The ‘Bermondsey B’hoys’ from the 2nd Grenadier Guards appear at ease for this informal photograph taken inside their base at Wellington Barracks sometime during 1914 or 1915 (detail)
c. 1914 – 1915
Christina Broom/Museum of London

 

 

“Today, the Museum of London announces a major new acquisition – the remaining photography collections of Christina Broom – the UK’s first female press photographer. The collection includes wartime photo of Rudyard Kipling’s son, Jack, who tragically died in the Battle of Loos, 1915.

Aged 40, Broom taught herself photography to create and sell photographic postcards – a trade which was thriving. At work between 1903 and 1939, she gained exclusive access to leading London events from suffragette processions to King George V’s coronation and became photographer to the Household Brigade, forging a unique relationship with the Guards.

Museum of London’s Curator of Photographs, Anna Sparham, said: “At over 2,500 photographs strong, this acquisition sees the museum add to its already significant collection of suffragette images by Christina Broom, with scenes documenting key moments of early 20th century London life. It also brings to light Broom’s diverse photographic oeuvre, traversing subjects such as royal celebration and occasion, the Oxford and Cambridge Boat Races, women’s work and predominantly London’s military activities before, during and in the aftermath of war. Whilst Broom’s images exude strength and relevance on their own, for me, it is the photographer’s own fascinating story of determination and entrepreneurialism that makes them truly come alive.”

The collection also includes a snapshot of Jungle Book writer, Rudyard Kipling’s son Jack, taken by Broom in 1915. Jack tragically died in the Battle of Loos later that year.

From Friday 4 April, highlights from this remarkable collection will be on show as part of a new, free display – Christina Broom. In this centenary year of the outbreak of the First World War, the display focuses on Broom’s portrayal of London’s military life. On show is a small, yet poignant selection of stills depicting soldiers in London mobilising for war and leaving for the Western Front. A major exhibition focused on Broom’s life and photography will follow in the near future.”

Press release from the Museum of London

 

Christina Bloom. 'Captain Greer of the 1st Irish Guards and his machine gun team' Nd

 

Christina Bloom
Captain Greer of the 1st Irish Guards and his machine gun team group together for this rather formal photograph, just prior to leaving for the war. They were all killed in battle soon afterwards.
Nd
Christina Broom/Museum of London

 

Eric Beresford Greer was the son of Sir Joseph Henry Greer and Olivia Mary Beresford of Grange, Moy. He was born in April 1892 at the Curragh, Co. Kildare. He was raised by his Grandmother Agnes Isabella Greer in Moy, County Tyrone. He was educated at Eton College from 1906-1910 and joined the Irish Guards in 1911. Eric B Greer married Pamela Fitzgerald around 13 Feb 1917. Lieutenant Colonel Eric Beresford Greer was commanding the 2nd Battalion of the Irish Guards when he was killed in action on 31 July 1917. Lieutenant Colonel Eric Beresford Greer was awarded the Military Cross.

His death near the village of Boezinghe on 31st July 1917 is recorded in Rudyard Kipling’s ‘The Irish Guards in the Great War’.

He had been in every battle in which the Guards were engaged since the opening of the war, including the fighting at Cuinchy, when Michael O’Leary performed the valorous deeds which won him, on the recommendation of Colonel Greer, the Victoria Cross. Enthusiastic in everything he took up, he interested himself much in athletics, and was the quarter mile champion of the army, and winner of the Irish Guards Cup each year from the time that he joined the regiment. While at Eton he also distinguished himself at the different sporting fixtures. He was awarded the Military Cross for conspicuous gallantry and devotion to duty in the field and was also mentioned in dispatches. His younger brother, Lieutenant Francis St Leger Greer, M.C., fell in action in February last, having previously been decorated for conspicuous gallant in action. The late Colonel Greer was married a few months ago to the younger daughter of the Honourable Eustace and Mrs Fitzgerald of 2 Manson Place, Queens Gate, London S.W.

 

Christina Bloom. 'Captain Greer of the 1st Irish Guards and his machine gun team group together for this rather formal photograph, just prior to leaving for the war' (detail) Nd

 

Christina Bloom
Captain Greer of the 1st Irish Guards and his machine gun team group together for this rather formal photograph, just prior to leaving for the war (detail)
Nd
Christina Broom/Museum of London

 

Christina Bloom. 'Soldiers from the Household Battalion leaving for the Front' 1916

 

Christina Bloom
Soldiers from the Household Battalion leaving for the Front bid farewell to their families from a platform at Waterloo Station in 1916. Broom made several similar photographs. For many relatives, they served as final mementos.
1916
Christina Broom/Museum of London

 

Christina Bloom. 'King George V and Queen Mary host a tea party for wounded soldiers and sailors' 1916

 

Christina Bloom
King George V and Queen Mary host a tea party for wounded soldiers and sailors at the Royal Mews in March 1916. The wounded, including many from British colonies, were brought to Buckingham Palace from nine London hospitals.
1916
Christina Broom/Museum of London

 

Jack-Kipling-1-by-Christina-Broom-WEB

Jack-Kipling-2-by-Christina-Broom-WEB

 

Jack Kipling suffered from incredibly poor eye-sight, and had to wear very thick glasses to be able to see anything at all. When the First World War broke out in August 1914, Jack (then only aged 17) was desperate to join up. When he tried to volunteer, he was turned down because of his poor vision. He turned to his father for help. Rudyard Kipling pulled strings amongst his military friends and Jack was enlisted as a trainee officer, still under age. (Officers were supposed to be at least 18 years old, in order legally to join up). Tragically, Jack was killed in the Battle of Loos in 1915 at the age of 18. Kipling felt the loss of his son keenly, harbouring a tremendous amount of guilt for the part he played in Jack’s journey to the Western Front.

On the back of the photographic postcard, the words “Rudyard Kipling’s son – centre with glasses” are written in pencil.

Christina Broom/Museum of London

 

Christina Bloom. 'A lieutenant from the 1st Life Guards poses for the camera in August 1914'

 

Christina Bloom
A lieutenant from the 1st Life Guards poses for the camera in August 1914. He was later recorded as missing presumed killed during the War. Christina Broom’s stall can be seen in the distance just beneath the clock.
1914
Christina Broom/Museum of London

 

Christina Bloom. 'A trio of soldiers' Nd

 

Christina Bloom
A trio of soldiers, including an Irish Guard on the left and a Scots Guard on the right, stand together with their hopeful message.
Nd
Christina Broom/Museum of London

 

Anonymous. 'Portrait of photographer, Christina Broom' Nd

 

Anonymous
Portrait of photographer, Christina Broom
Nd
Christina Broom/Museum of London

 

 

Museum of London
150 London Wall
London EC2Y 5HN

Opening hours:
Mon – Sun: 10 am – 6 pm

Museum of London website

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18
Sep
14

Exhibition: ‘Portraits of War: The Crown Studios Project’ at the State Library of New South Wales, Sydney

Exhibition dates: 28th June – 21st September 2014

 

They were so young

for Australians

to die

under the Rising Sun

 

Marcus

.
Many thankx to the State Library of New South Wales for allowing me to publish the photographs in the posting. Please click on the photographs for a larger version of the image.

 

 

Crown Street Studios 'Reginald Gardiner' c. 1918

 

Crown Street Studios
Reginald Gardiner
c. 1918
Date of Birth: 20.9.1898
Date of Enlistment: 17.5.1918
Trade or Calling: Book keeper
Born in or near what Town: Orange

Reginald Gardiner was born on the 21st of September 1898, and was recognised as a trade book keeper. Besides that, not much is known about him.

 

Crown Street Studios. 'Eric Hughes' c. 1918

 

Crown Street Studios
Eric Hughes
c. 1918
Date of Birth: 4.5.1900
Date of Enlistment: 5.8.1918
Trade or Calling: Labourer
Born in or near what Town: Newtown

 

Crown Street Studios. 'Alfred Duroux' c. 1918

 

Crown Street Studios
Alfred Duroux
c. 1918
Date of Birth: 11.8.1892
Date of Enlistment: 12.6.1918
Born in or near what Town: Cangai via Copmanhurst

 

Crown Street Studios. 'Jack Hodgson' Nd

 

Crown Street Studios
Jack Hodgson
Nd

Jack Hodgson was left blind after he was wounded in Gallipoli around 1915. He served in the 4th Battalion and is pictured here showing his service medals to his son.

 

Crown Street Studios. 'William Joseph Langworthy' c. 1918

 

Crown Street Studios
William Joseph Langworthy
c. 1918
Date of Birth: unknown
Date of Enlistment: 19.2.1918
Trade or Calling: Driver
Born in or near what Town: Canley Vale
Address prior to Enlistment: Prospect Rd Canley Vale

William Joseph Langworthy from Canley Vale returned to Australia on July 7, 1919. He served as a private in the 34th Battalion after enlisting on February 19, 1918.

 

 

For the first time in nearly a century an extraordinary and haunting collection of over 230 photographic portraits of WWI soldiers from NSW will go on show in a free exhibition at the State Library of NSW, from 28 June 2014. Produced as part of the Library’s WWI centenary program, Portraits of War: The Crown Studios Project reveals the fascinating story behind the creation of the portraits and delivers a moving experience that bears witness to the individual faces of Aussie soldiers who served their country and faced a hostile and deadly conflict far from home.

The pocket-sized images on show are drawn from the Library’s collection of some 1,600 portraits taken in 1918 – prior to the soldiers heading overseas – by Sydney’s largest photographic studio at the time, the Crown Street Studios, as part of an ambitious WWI collecting project. According to NSW State Librarian & Chief Executive, Alex Byrne: “When the project began it encountered a storm of newspaper criticism and monopoly accusations by Sydney photographers however, thanks to the tenacity and support of the Principal Librarian at the time, William Ifould, the project continued and he secured the portraits for future generations.”

The project was initiated through a generous proposal made by Sydney’s Crown Studio’s proprietor Mark Blow in 1918. Blow’s idea was to compile a portrait collection of all WWI soldiers from NSW by photographing the men in his studio or by asking relatives of soldiers to forward existing images for copying. The entire collection would be donated ‘free of charge’ to the Mitchell Library [now part of the State Library]. Ifould addressed the monopoly concerns by inviting all photographers to supply photo-portraits as long as they met the required size and quality conditions. Unfortunately, the project was never completed.

A damaging fire at the Studio in December 1918 hindered the collection process and while copies of the portraits were protected in a fireproof safe, the Studio did not re-open again until 1 July 1919. Exhibition curator Louise Tegart says “the information on the back of each print is just as compelling as the portraits themselves with personal details handwritten, including whether soldiers made it home or not.”

“The exhibition features a portrait of Sgt Gates, a Sydney-based plumber before enlisting in 1917 and who was killed in action in 1918, aged 24. His only brother, Private Frank Gates, was killed in action just the day before,” says MsTegart. “The portraits capture the faces of men of all ages set against different backgrounds and sadly, it could be the only photograph families had of their sons, brothers or uncles.”

Press release from The State Library of New South Wales

 

“They’re very intimate photographs,” says the exhibition’s curator, Louise Tegart. “What really strikes me is the diversity of the soldiers… You get a wide variety of ages, backgrounds, and religions.” The photos were taken by Mark Blow at Sydney’s Crown Street Studios from June 1918, after he approached the NSW Premier wanting to document the soldiers from across the state that were going off to war. His only condition in doing this was that the photos were kept at the Mitchell Library (now the NSW State Library).

“Photography had been around for probably 70 or 80 years at that stage, but not a lot of people could afford their own cameras,’ says Louise. “Going in and having your photo taken in a studio context was still a very special and quite expensive experience. “Another part of the project was if people couldn’t come in to the studio to have their photo taken, or if they’d been part of the war prior to 1918, family members sent in their photographs and had them copied.”

In December 1918, a fire ravaged the studios, bringing an end to the project. “It’s really only a small sample of what could’ve been a much larger project.”

Robert Virtue. ” Release of war hero’s portrait triggers hunt for information,” on the ABC Central West NSW website, 25th June 2014

 

Crown Street Studios. 'Claude James Hunt' c. 1918

 

Crown Street Studios
Claude James Hunt
c. 1918
Date of Birth: 8.3.1899
Date of Enlistment: 3.7.1918
Trade or Calling: Grazier
Born in or near what Town: Inverell
Address prior to Enlistment: “Como” Frazer St West Narrabri

 

Crown Street Studios. 'Roy Henderson Robertson' c. 1914-15

 

Crown Street Studios
Roy Henderson Robertson
c. 1914-15
Date of Birth: ca. Feb 1899 at Scarborough NSW
School: Clifton NSW
Other military training: Compulsory cadets
Date of Enlistment: 14.6.1915 at Scarborough NSW
Trade or Calling: Grocer’s assistant
Born in or near what Town: Scarborough NSW
Address prior to Enlistment: Scarborough NSW

 

He was just a fresh-faced 16-year-old when he was killed fighting with Australian troops in Gallipoli on November 7, 1915. Roy Henderson Robertson, from Scarborough in NSW, enlisted with the Australian Imperial Force’s 20th Infantry Battalion just four months before he was killed. A portrait of the grocer’s assistant, who rests at Gallipoli’s Walker’s Ridge Cemetery, has been in a collection owned by the State Library of NSW for almost a century.

 

Crown Street Studios. 'Louis Robert Bromham' c. 1918

 

Crown Street Studios
Louis Robert Bromham
c. 1918
Date of Birth: 9.8.1899
Date of Enlistment: 2.2.1918
Trade or Calling: Schoolteacher
Born in or near what Town: Coolamon
Address prior to Enlistment: Tooyal Nth, Coolamon

 

Crown Street Studios. 'Roy Wilfred Williams' c. 1918

 

Crown Street Studios
Roy Wilfred Williams
c. 1918
Date of Birth: 18.3.1900
Date of Enlistment: 24.4.1918
Trade or Calling: Carter
Born in or near what Town: Lithgow
Address prior to Enlistment: Pottery Estate Lithgow

 

 

State Library of New South Wales
Macquarie Street, Sydney
NSW 2000 Australia
T: +61 2 9273 1414

Opening hours:
Monday – Friday 9 am – 5 pm
Saturday – Sunday 10 am – 5 pm

State Library of New South Wales 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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