PLEASE NOTE: THIS POSTING CONTAINS ART PHOTOGRAPHS OF FEMALE NUDITY – IF YOU DO NOT LIKE PLEASE DO NOT LOOK, FAIR WARNING HAS BEEN GIVEN
Philip-Lorca diCorcia (American, b. 1951) Norfolk 1979 Fujicolor Crystal Archive print 16 x 20 inches (40.6 x 50.8cm) Courtesy the artist and David Zwirner, New York/London
This is (our) reality.
Many thankx to the De Pont museum of contemporary art for allowing me to publish the photographs in the posting. Please click on the photographs for a larger version of the image.
Philip-Lorca diCorcia (American, b. 1951) Eddie Anderson, 21 years old, Houston, Texas, $ 20 1990-1992 Fujicolor Crystal Archive print 30 x 40 inches (76.2 x 101.6cm) Courtesy the artist and David Zwirner, New York/London
Philip-Lorca diCorcia (American, b. 1951) New York 1993 Ektacolor print 30 x 40 inches (76.2 x 101.6cm) Courtesy the artist and David Zwirner, New York/London
Philip-Lorca diCorcia (American, b. 1951) Hong Kong 1996 Ektacolor print 25 x 37 1/2 inches (63.50 x 95.25cm) Courtesy the artist, and David Zwirner, New York/London
Starting October 5, 2013 De Pont museum of contemporary art is hosting the first European survey of the oeuvre of US photographer Philip-Lorca diCorcia. Born in 1951, diCorcia is one of the most important and influential contemporary photographers. His images oscillate between everyday elements and arrangements that are staged down to the smallest detail. In his works, seemingly realistic images that are taken with an ostensibly documentary eye are undermined by their highly elaborate orchestration. This exhibition is organised in collaboration with Schirn Kunsthalle Frankfurt.
One of the primary issues that diCorcia addresses is the question of whether it is possible to depict reality, and this is what links his photographs, most of which he creates as series. For Hustlers (1990-1992), for example, he took pictures of male prostitutes in meticulously staged settings, while in what is probably his most famous series, Heads (2000-2001), he captured an instant in the everyday lives of unsuspecting passers‐by. Alongside the series Streetwork (1993-1999), Lucky 13 (2004) and A Storybook Life (1975-1999), the exhibition at the Schirn, which was organised in close collaboration with the artist, will also present works from his new and ongoing East of Eden (2008-) project for the first time.
In addition, the work Thousand (2007) will also be on show in Tilburg. This installation consisting of 1,000 Polaroid’s, which are considered one complete work, offers a distinctive vantage point into the artist’s sensibility and visual preoccupations. Seen alongside Polaroid’s from some of diCorcia’s most recognised bodies of work and distinctive series – Hustlers, Streetwork, Heads, Lucky Thirteen – are intimate scenes with friends, family members, and lovers; self portraits; double-exposures; test shots from commercial and fashion shoots; the ordinary places of everyday life, such as airport lounges, street corners, bedrooms; and still life portraits of common objects, including clocks and lamps.
For the Hustlers series (1990-1992), diCorcia shot photographs of male prostitutes along Santa Monica Boulevard in Hollywood. The artist carefully staged the protagonists’ positions as well as the setting and the accompanying lighting. The titles of the respective photographs make reference to the name, age, and birthplace of the men as well as the amount of money diCorcia paid them for posing and which they typically receive for their sexual services. Staged in Tinseltown, the Hollywood district of Los Angeles, the hustlers become the touching performers of their own lost dreams.
The streets of New York, Tokyo, Paris, London, Mexico City, or Los Angeles are the setting for diCorcia’s Streetwork series. Produced between 1993 and 1999, passers-by walk into the artist’s photo trap on their way home, to work, to the gym, or to the grocery store, unsuspectingly passing through diCorcia’s arranged photoflash system. The photographer releases the shutter at a certain moment, “freezing” it in time. DiCorcia has time stand still in the hustle and bustle of big-city life and shifts individuals and groups of people into the centre of events. In much the same way as in Hustlers, what counts here is not the documentary character of the work; instead, diCorcia poses the question: What is reality?
The artist heightens this focus on the individual in his subsequent series, Heads (2000-2001), for which he selected seventeen heads out of a total of some three thousand photographs. The viewer’s gaze is directed toward the face of the passer-by, who is moved into the centre of the image by means of the lighting and the pictorial detail. The rest remains in shadowy darkness. The individuals – a young woman, a tourist, a man wearing a suit and tie – seem strangely isolated, almost lonely, their gazes otherworldly. DiCorcia turns the inside outward and for a brief moment elevates the individual above the crowd. The artist produces a profound intimacy.
With Streetwork and Heads, diCorcia treads a very individual path of street photography, which in America looks back at a long tradition established by artists such as Walker Evans, Robert Frank, or Diane Arbus. He reinvents the seemingly chance moment and transfers it into the present.
The painterly quality of diCorcia’s photographs, which is produced by means of dramatic lighting, becomes particularly evident in the series Lucky 13 (2004). The artist captures the athletic, naked bodies of pole dancers in the midst of a falling motion. The women achieve a sculptural plasticity by means of the strong lighting and the almost black background, and seem to have been chiselled in stone. Although the title of the series, an American colloquialism used to ward off a losing streak, makes reference to the seamy milieu of strip joints, the artist is not seeking to create a milieu study or celebrate voyeurism. Instead, the performers become metaphors for impermanence, luck, or the moment they begin to fall, suggesting the notion of “fallen angels.”
DiCorcia also includes a religious element in his most recent works, the series East of Eden, a work in progress that is being published for the first time in the catalogue accompanying the exhibition. Besides the biblical inspiration, which the title underscores, a literary connection can furthermore be made to the eponymous novel by John Steinbeck, which relates the story of Cain and Abel in the form of an American family saga set between the period of the Civil War and World War I. In his choice of motifs, diCorcia makes use of iconographic visual worlds: an apple tree in all its tantalising glory, a blind married couple sitting at the dining table, a landscape photograph that leads us into endless expanses.
DiCorcia deals intensely with the motif of the figure in his oeuvre. His compact compositions are marked by a non-dialogue between people and their environment or between individual protagonists. The motifs captured in compositional variations in most of the series feature painterly qualities. Subtly arranged and falling back on a complex orchestration of the lighting, the visual worlds created by the American manifest social realities in an almost poetic way. The emotionally and narratively charged works are complex nexuses of iconographic allusions to and depictions of contemporary American society.
Press release from the De Pont website
Philip-Lorca diCorcia (American, b. 1951) Head #10 2001 Fujicolor Crystal Archive print 48 x 60 inches (121.9 x 152.4cm) Courtesy the artist and David Zwirner, New York/London
Philip-Lorca diCorcia (American, b. 1951) Head #11 2001 Fujicolor Crystal Archive print 48 x 60 inches (121.9 x 152.4cm) Collection De Pont museum of contemporary art, Courtesy the artist and David Zwirner, New York/London
Philip-Lorca diCorcia (American, b. 1951) Lola 2004 Fujicolor Crystal Archive print 64 1/2 x 44 1/2 inches (163.8 x 113cm) Courtesy the artist and David Zwirner, New York/London
Philip-Lorca diCorcia (American, b. 1951) Juliet Ms. Muse 2004 Fujicolor Crystal Archive print 64 1/2 x 44 1/2 inches (163.8 x 113cm) Courtesy the artist and David Zwirner, New York/London
Philip-Lorca diCorcia (American, b. 1951) The Hamptons 2008 Inkjet print 40 x 60 inches (101.6 x 152.4cm) Courtesy the artist and David Zwirner, New York/London
Philip-Lorca diCorcia (American, b. 1951) Sylmar, California 2008 Inkjet print 56 x71 inches (142.2 x 180.3cm) Collection De Pont museum of contemporary art, Courtesy the artist and David Zwirner, New York/London
De Pont museum of contemporary art Wilhelminapark 1 5041 EA Tilburg
Curators: Professor Eduardo Cadava (Department of English) and Professor Gabriela Nouzeilles (Department of Spanish and Portuguese Languages and Cultures) at Princeton University
H. Delie and E. Bechard (French, active 1870s) Brazilian Emperor D. Pedro II, Empress D. Thereza Christina, and the Emperor’s Retinue next to the Pyramids, Cairo, Egypt 1871 Albumen print 19.8 x 26.3cm D. Thereza Christina Maria Collection, Archive of the National Library Foundation, Brazil
“The work of memory collapses time.”
Walter Benjamin
Another eclectic posting this time featuring Brazilian, Mexican, Spanish and Argentine work. There are some cracking images from the likes of Marc Ferrez, Graciela Iturbide and Joan Colom. “The Itinerant Languages of Photography begins with a simple axiom: that photography can never remain in a single place or time.” A good starting point because photographs always transcend time and space, conflating past, present and future into a movable, memorable point of departure: “the movement of photographs, as disembodied images and as physical artefacts, across time and space as well as across the boundaries of media and genres, including visual art, literature, and cinema.”
Many thankx to The Princeton University Art Museum for allowing me to publish the photographs in the posting. Please click on the photographs for a larger version of the image.
Revert Henrique Klumb (c. 1830s – c. 1886, born in Germany, active in Brazil) Petrópolis’s Mountain Range (Night View), Petrópolis, Rio de Janeiro c. 1870 Albumen print 24 x 30cm Gilberto Ferrez Collection, Instituto Moreira Salles Archive, Brazil
Marc Ferrez (Brazilian, 1843-1923) Soil Preparation for the Construction of the Railroad Tracks, Paranaguá-Curitiba Railroad, Paraná c. 1882, printed later Gelatin silver print 23 x 29cm Gilberto Ferrez Collection, Instituto Moreira Salles Archive, Brazil
This exhibition will examine the movement of photographs, as disembodied images and as physical artefacts, across time and space as well as across the boundaries of media and genres, including visual art, literature, and cinema. The culmination of a three-year interdisciplinary project sponsored by the Princeton Council for International Teaching and Research, the exhibition traces historical continuities from the 19th century to the present by juxtaposing materials from archival collections in Spain, Argentina, Brazil, and Mexico and works by modern and contemporary photographers from museum and private collections including Joan Fontcuberta, Marc Ferrez, Rosâgela Renno and Joan Colom. A fully illustrated catalogue accompanies the exhibition.
The Itinerant Languages of Photography begins with a simple axiom: that photography can never remain in a single place or time. Like postcards, photographs are moving signs that carry any number of open secrets. They travel from one forum to another – from the family album to the museum, from books into digitised forms – and with each recontextualisation they redefine themselves and take on different and expanding meanings.
The project began in the fall of 2010 as an experimental three-year interdisciplinary program, sponsored by the Princeton Council for International Teaching and Research. Its aim was to initiate and develop new forms of international collaboration, across widely varied fields of expertise, that could bring together scholars, curators, photographers, and artists from Latin America, Europe, the United States, and potentially other areas of the world, all of whom are involved in international circuits of image production. Following on symposia held in Barcelona, Rio de Janeiro, Buenos Aires, and Mexico City, the project culminates in the exhibition now on view and the catalogue that accompanies it. Through more than ninety works from public and private collections in Argentina, Brazil, Mexico, Spain, and the United States, The Itinerant Languages of Photography explores the movement of photographs across different borders, offering a diverse and dynamic history of photography that draws new attention to the work of both well-known masters and emerging artists.
Taking our point of departure from Latin American and Catalonian archives, we sought to study the various means whereby photographs not only “speak” but also move across historical periods, national borders, and different media. In the context of an explosion of “world photography,” Latin America has been at the forefront of the development of new aesthetic paradigms in modern and contemporary photography. Across the Atlantic, Barcelona gave us access to Catalonian photographers with a long history of exchanges with Latin America and Europe. These different “sites” have helped us call attention to significant but often neglected histories of photography beyond the dominant European and American canon and, in particular, to the transnational dimension of image production at a time when photography is at the centre of debates on the role of representation, authorship, and communication in global contemporary art and culture.
The digital revolution has created an explosion in the production, circulation, and reception of photographic images. Despite the many ominous predictions of photography’s imminent and irreversible disappearance, we all have become homines photographici – obsessive archivists taking and storing hundreds and thousands of images, exchanging photographs with other equally frenzied, spontaneous archivists around the globe. From this perspective, the ubiquity and mass circulation of images that describe the present are the latest manifestation of an itinerant condition that has characterised photography from its beginnings. The first image the viewer sees on entering the galleries is Joan Fontcuberta’s Googlegram: Niépce, based on the earliest-known photograph, Joseph Nicéphore Niépce’s View from the Window at Le Gras (c. 1826). By processing the results of a Google image search for the words photo and foto through photomosaic software, Fontcuberta recreated Niépce’s photograph as a composite of ten thousand images from all over the world, what he calls “archive noise.” A meditation on the circulation and itinerancy of images, Fontcuberta’s Googlegram points to the potential for transformation inscribed within every photograph – from the very “first” photograph to all those produced today, made possible by innumerable and ever-changing technologies. Bringing together the past, present, and future of photography, the image sets the stage for the questions raised by the rest of the exhibition.
The first section, “Itinerant Photographs,” offers a glimpse into the global history of early photography by examining the circulation of images in Brazil in the second half of the nineteenth century. The works in this section, many of which have never been exhibited in the United States, are drawn from two important Brazilian collections: the Thereza Christina Maria Collection at the National Library of Brazil, which consists of more than twenty-one thousand images assembled by the Brazilian emperor Pedro II (1925-1891), and the Instituto Moreira Salles’s holdings of early Brazilian photographs. Included are works by the itinerant inventor and photographer Marc Ferrez, whose Brazilian landscapes circulated as postcards and helped define modern Brazil both inside and outside of the country.
The second section, “Itinerant Revolutions,” presents archival materials from Mexico’s Sistema Nacional de Fototecas and representative works by renowned international and Mexican modernist photographers. The notion of itinerancy appears here in two interrelated forms: first, in relation to the explosion of photographic desire ignited by the Mexican Revolution (1910-1920), which produced a massive movement of images across the country and abroad; and, second, in relation to the development of a photographic revolution based on dialogues and exchanges between local photographers, such as Manuel and Lola Alvarez Bravo and their heirs, and an international artistic and political avant-garde of peripatetic photographers represented by Tina Modotti, Henri Cartier-Bresson, and Paul Strand.
The third section, “Itinerant Subjects,” reflects on the different ways in which photography approaches moving subjects. It draws materials from the Fundación Foto Colectania in Barcelona and for the first time introduces to the American public the work of the street photographer Joan Colom and features surrealistic cinematic photo-essays by the Mexican photojournalist Nacho López. Photographs by Eduardo Gil, Graciela Iturbide, Elsa Medina, Susan Meiselas, and Pedro Meyer depict various forms of political itinerancy and migration, and others stage the relation between walking and photographic modes of seeing, suggesting that ambulatory subjects represent the movement of photography itself.
“Itinerant Archives,” the last section of the exhibition, explores the ways in which photographs and photographic archives are duplicated and revitalised through quotation and recontextualisation within a selection of works drawn mostly from Argentine and Brazilian experimental photographers. While artists such as Toni Catany and RES use quotation as a means of paying tribute to classic photography and literature, Rosângela Rennó, Esteban Pastorino Díaz, and Bruno Dubner offer conceptual meditations on the photographic condition by resurrecting older photographic technologies and processes, such as the analog camera, gum printing, and the photogram. Citation can also mobilise a recycled photograph’s dormant political meanings, as when, in 2004, Susan Meiselas returned to the sites where she had photographed events of the Nicaraguan revolution twenty-five years earlier and installed mural-size reproductions of her pictures.
Whether as project, symposia, exhibition, or catalogue, The Itinerant Languages of Photography seeks to explore, embody, and enact photography’s essential itinerancy, which defines a medium that, as the German media theorist Walter Benjamin so often told us, has no other fixity than its own incessant transformation, its endless movement across space and time.
Text from the Princeton University Art Museum website
Joan Fontcuberta (Spanish, b. 1955) Googlegram: Niépce 2005 Inkjet print from a digital file, exhibition copy 120 x 160cm Courtesy of the artist
Introduction
Photography – as a set of technologies, a series of languages, and an ever-expanding archive – resists being fixed in a single place or time. Like postcards, photographs are moving signs that travel from one context to another. They move from the intimacy of the family album into museums and galleries; they travel in print and in digital form. And as they circulate, they redefine themselves in each new context. This exhibition examines photography’s capacity to be exchanged, appropriated, and moved across different kinds of borders in a transnational, intermedial flow that has characterised the medium since its beginnings in the nineteenth century and that occurs now with unprecedented speed. The works on view come from Latin American and Spanish Catalonian photographic archives, which, touched as they are by regional histories and cultural and ethnic heterogeneity, tell the history of photography from a richly different perspective, offering a counterpoint to canonical accounts. They also suggest the future of the medium, with Latin American photography at the forefront of new aesthetic possibilities.
The exhibition is divided into four permeable sections, each invoking different aspects of photography’s capacity to converse across political, cultural, and temporal boundaries: Itinerant Photographs, Itinerant Revolutions, Itinerant Subjects, and Itinerant Archives. Each section takes as its point of departure, respectively, Brazilian, Mexican, Spanish, and Argentine work but also opens up to other archives in order to evoke photography’s itinerancy as one moves from one gallery to another. The varied ways in which the camera travels and speaks suggest that the only thing fixed about photography is its incessant transformation, its endless movement across space and time.
Itinerant Photographs
“To collect photographs is to collect the world.”
Susan Sontag
Taking and acquiring photographs have long been ways of archiving the world. The works in this section are drawn from two superb Brazilian collections: the Thereza Christina Maria Collection at the National Library of Brazil, assembled by the Brazilian emperor Dom Pedro II (1825-1891), and the Instituto Moreira Salles’s holdings of early Brazilian photographs. These collections offer a glimpse into the transnational history of early photography, as some of the photographs arrived in Rio de Janeiro from Europe, Africa, and North America. Many of them documented scientific advances and the process of modernisation. At the same time the circulation of images of Brazil – its landscape and developing cities – solidified modern perceptions of the country. Even as the photographs on view here capture a nation in images, they also confirm that these Brazilian collections were never just Brazilian but were instead created by the movement of photographs across national and cultural borders.
Itinerant Revolutions
The Mexican Revolution sparked a transformation of artistic forms and cultural practices. Renowned Mexican photographers and foreign art photographers who travelled to Mexico – including Lola and Manuel Alvarez Bravo, Henri Cartier-Bresson, Tina Modotti, and Paul Strand – came together to challenge and transform the medium’s realist conventions. Rejecting the picturesque approach to portraying Mexico and its peoples adopted by traditional photography, they turned the medium into a site of experimentation. Their politically engaged modernist aesthetic – characterised by a strong interest in the popular classes, a taste for the surreal, and an effort to transform the photographic medium itself – persists today in the work of contemporary photographers such as Graciela Iturbide and Pablo Ortiz Monasterio.
Itinerant Subjects
“The image passes us by. We have to follow its movement as far as possible, but we must also accept that we can never entirely possess it.”
Georges Didi-Huberman
No art has captured such a large number of people as photography. But as the camera wanders, so do its subjects, whether streetwalkers, pedestrians, migrants, or illegal border crossers. This section includes works by some of the most powerful street photographers in Spain and Latin America – including the Catalonian expressionist Joan Colom and the Mexican photographers Elsa Medina and Pablo Ortiz Monasterio, who use the lens as a political instrument to register everyday life and the impact of urban modernisation. They employ a variety of strategies to capture moving subjects, from abstract composition and repetition to the creation of narrative series. Suggesting a relation between walking (or dancing) and photographic modes of seeing, between human movement and the camera’s agility, ambulatory subjects represent the movement of photography itself.
Itinerant Archives
“Eppur si muove (And yet it moves).”
Galileo Galilei
Photographs move not only when they are physically relocated but also when they reference another work or are themselves cited. Some of the works on view quote photography or literature to pay tribute to classic works; others reframe older photographs whose original meanings are vanishing; and still others exploit earlier photographic technologies such as the analog camera or the photogram. Citation can also mobilise a recycled photograph’s dormant political meanings, as when, in 2004, Susan Meiselas returned to the sites where she had photographed events of the Nicaraguan revolution twenty-five years earlier and installed mural-size reproductions of her pictures. The works in this section meditate on the nature of the photographic archive in general and on the relation between different stages in photography’s history. In doing so, they suggest that through different kinds of citation the photographic archive is constantly revived, unsettled, and undermined.
Press release from the Princeton University Art Museum
Marc Ferrez (Brazilian, 1843-1923) Araucárias, Paraná c. 1884 (printed later) Gelatin silver print 29 x 39cm Gilberto Ferrez Collection, Instituto Moreira Salles Archive, Brazil
Marc Ferrez (Brazilian, 1843-1923) Entrance to Guanabara Bay c. 1885 Albumen print, 18 x 35 cm Gilberto Ferrez Collection, Instituto Moreira Salles Archive, Brazil
Unknown photographer Rurales under Carlos Rincón Gallardo’s Command Boarding Their Horses on Their Way to Aguascalientes May 18, 1914 Inkjet print from a digital file, exhibition copy 14.6 x 20.3cm Fondo Casasola, SINAFO-Fototeca Nacional del INAH
Mexican politician General Carlos Rincón Gallardo served as Minister of Agriculture in the Huerta regime and chief of the Rurales Corps in the Mexican Revolution.
Large sombreros and extravagant clothing evoke images of charros or mariachis, but these men are rurales , the Mexican police force established by President Benito Juárez in 1861. … After having been tasked with stopping banditry in the countryside during the Juárez administration, and after helping to oust the Mexican Emperor Maximillian during the French Intervention, Díaz’s modernisation program transformed the rurales into a professional auxiliary military force. The rurales soon earned international fame, being likened to the Texas Rangers, for their success in imposing order over some of Mexico’s most unruly localities. Defeated after having served alongside those troops loyal to Diaz during the Mexican Revolution in 1910, the rurales were officially disbanded by the revolutionaries in 1914.
Anonymous. “From Porfiriato to Mexican Revolution,” on the Reflections on Modernity, Memory, and Identity in 19th-Century Latin America, University of Texas at Austin website Nd [Online] Cited 28/06/2024. Used under fair use conditions for the purposes of education and research
The Mexican Revolution (Spanish: Revolución Mexicana) was an extended sequence of armed regional conflicts in Mexico from 20 November 1910 to 1 December 1920. It has been called “the defining event of modern Mexican history” and resulted in the destruction of the Federal Army, its replacement by a revolutionary army, and the transformation of Mexican culture and government. The northern Constitutionalist faction prevailed on the battlefield and drafted the present-day Constitution of Mexico, which aimed to create a strong central government. Revolutionary generals held power from 1920 to 1940. The revolutionary conflict was primarily a civil war, but foreign powers, having important economic and strategic interests in Mexico, figured in the outcome of Mexico’s power struggles; the U.S. involvement was particularly high. The conflict led to the deaths of around one million people, mostly noncombatants.
Hugo Brehme (?) (German, 1882-1954, active in Mexico) Emiliano Zapata with Rifle, Sash, and Saber, Cuernavaca June 1911 Inkjet print from a digital file, exhibition copy 25.4 x 17.8cm Fondo Casasola, SINAFO-Fototeca Nacional del INAH
Emiliano Zapata, posing in Cuernavaca in 1911, with a rifle and sword, and a ceremonial sash across his chest.
Emiliano Zapata Salazar (August 8, 1879 – April 10, 1919) was a Mexican revolutionary. He was a leading figure in the Mexican Revolution of 1910–1920, the main leader of the people’s revolution in the Mexican state of Morelos, and the inspiration of the agrarian movement called Zapatismo. …
In the aftermath of the revolutionaries’ victory over Huerta, they attempted to sort out power relations in the Convention of Aguascalientes (October to November 1914). Zapata and Villa broke with Carranza, and Mexico descended into a civil war among the winners. Dismayed with the alliance with Villa, Zapata focused his energies on rebuilding society in Morelos (which he now controlled), instituting the land reforms of the Plan de Ayala. As Carranza consolidated his power and defeated Villa in 1915, Zapata initiated guerrilla warfare against the Carrancistas, who in turn invaded Morelos, employing once again scorched-earth tactics to oust the Zapatista rebels. Zapata re-took Morelos in 1917 and held most of the state against Carranza’s troops until he was killed in an ambush in April 1919. After his death, Zapatista generals aligned with Obregón against Carranza and helped drive Carranza from power. In 1920, Zapatistas obtained important positions in the government of Morelos after Carranza’s fall, instituting many of the land reforms envisioned by Zapata.
Manuel Alvarez Bravo (Mexican, 1902-2002) Obrero en huelga, asesinado (Striking worker, assassinated) (portfolio #13) 1934 Gelatin silver print 18.8 x 24.5cm Princeton University Art Museum, Gift of Mr. and Mrs. Gerald Levine
Pablo Ortiz Monasterio (Mexican, b. 1952) D.F. 1987 Gelatin silver print 30.5 x 45.7cm Princeton University Art Museum, Museum purchase, David L. Meginnity, Class of 1958, Fund
Graciela Iturbide (Mexican, b. 1942) Cementerio (Cemetery), Juchitán, Oaxaca 1988 Gelatin silver print 32.2 x 22cm Princeton University Art Museum, Gift of Douglas C. James, Class of 1962
Eduardo Gil (Argentinian, b. 1948) Siluetas y canas (Silhouettes and cops) September 21-22, 1983 From the series El siluetazo (The silhouette action), Buenos Aires, 1982-83 Gelatin silver print 31 x 50cm Princeton University Art Museum, Museum purchase, Philip F. Maritz, Class of 1983, Photography Acquisitions Fund
Graciela Iturbide (Mexican, b. 1942) Mujer ángel, Desierto de Sonora, México (Angel woman, Sonora Desert, Mexico) 1979 (printed later) Gelatin silver print 24.8 x 33cm Private Collection
Elsa Medina (Mexican, b. 1952) El migrante (The migrant), Cañon Zapata, Tijuana, Baja California, México 1987 (printed 2011) Gelatin silver print 21.2 x 32cm Princeton University Art Museum, Museum purchase, David L. Meginnity, Class of 1958, Fund
Susan Meiselas (American, b. 1948) Soldiers Searching Bus Passengers along the Northern Highway, El Salvador 1980 (printed 2013) Gelatin silver print 20 x 30cm Courtesy of the artist
Joan Colom (Spanish, 1921-2017) Fiesta Mayor 1960 Gelatin silver print 40 x 30cm Collection Foto Colectania Foundation, Barcelona
Joan Colom (Spanish, 1921-2017) Gente de la calle (People on the street) 1958-1964 Gelatin silver print 24 x 18.5cm Collection Foto Colectania Foundation, Barcelona
Marcelo Brodsky (Argentinian, b. 1954) La camiseta (The undershirt) 1979 (printed 2012) LAMBDA digital photographic print 62 x 53.5cm Princeton University Art Museum, Museum purchase, Fowler McCormick, Class of 1921, Fund
Detention photograph from ESMA.
As part of a national strategy to destroy armed and nonviolent opposition to the military regime, the Officers’ Quarters building at ESMA (Escuela Superior de Mecánica de la Armada) was used for holding captive opponents who had been abducted in Buenos Aires and interrogating, torturing and eventually killing them.
The last photo taken of a teenage desaparecido.
Desaparecido is a Spanish word that means disappeared. It may refer to: A person who is abducted by a state or political organisation, followed by a refusal to acknowledge the person’s fate and whereabouts.
The shoulders look young, crisscrossed by the straps of the shirt. (The different times in the photograph overlap, continue). The defenselessness and beauty of youth appear, at the same time, through the bits of cloth following the beating. The face is a slightly dislocated, but still complete. The photograph expands on and adds information. It contains small details that are as irrelevant as they are real. It allows you to glimpse the dark passageways that lead to the wall against which it was taken, the sounds of chains being dragged as you walk, the shackles… (another photograph shows the marks left on a young woman’s wrists, someone else’s sister, by the ropes with which she was bound).
The slight comfort provided by the undershirt dresses the body in its pain, marking it. It is not a naked body. It recalls the loincloth of another who was tortured, on the cross. And the scarves – pieces of white cloth; scraps, worn on different parts of the body.
They tell me that he worked out in his cell, in a space similar in size to a pen for raising pigs – as Víctor Basterra and I both described it – with walls barely a meter high. A rectangular place, small, about the size of a compact mattress, with barely any headroom. They did everything possible to talk there. A foam mattress and some blankets, with no cover or sheets. The bare minimum, what you provide a slave, the very basics to survive and not freeze to death, because the sessions must continue.
I always liked undershirts. I sleep in one, which is more of a t-shirt. This one is different, it is the classic style: the kind you would see in the neighborhood, worn by the butcher drinking mate. The upper half – one assumes – is quite dirty, with a clinging odor, and its folds, its shadows and highlights in the photograph, clinging to the body of my brother, still alive.
Marcelo Brodsky. “The Undershirt (1979),” on the Hemisphere Institute website. Translated by David William Foster and Marcial Godoy-Anativia. Nd [Online] Cited 27/06/2024. Used under fair use conditions for the purposes of education and research
Susan Meiselas (American, b. 1948) Still from Reframing History 2004 (printed 2013) Chromogenic print 60.5 x 76.2cm Courtesy of the artist
In July 2004, for the 25th anniversary of the overthrow of Somoza, Susan returned to Nicaragua with nineteen mural-sized images of her photographs from 1978-1979, collaborating with the Institute of History of the UCA (University of Central America) and local communities to create sites for collective memory. The project, “Reframing History,” placed murals on public walls and in open spaces in the towns, at the sites where the photographs were originally made.
Text from the Susan Meiselas website
Rosângela Rennó (Born 1962, Belo Horizonte, Brazil; lives and works in Rio de Janeiro) A Última Foto / The Last Photo: Eduardo Brandão Holga 120 2006 Framed colour photograph and Holga 120S camera (diptych) Print: 78 x 78 x 9.5cm Camera: 14.8 x 21.9 x 10cm Collection of Jorge G. Mora
Princeton University Art Museum 11 Hulfish Street Princeton, NJ 08544
Curator: Brian Piper, Freeman Family Curator of Photographs, Prints, and Drawings at NOMA
André Kertész (American born Hungary, 1894-1985) Leger’s Studio 1926-1927 Gelatin silver print Image: 3 1/8 x 4 1/4in. (8 x 10.8cm) The New Orleans Museum of Art Museum purchase, Women’s Volunteer Committee Fund
There are some rare and beautiful photographs in this posting. I have never seen the Kertész (Leger’s Studio 1926-1927) with its wonderful structure and tonality nor the unusual Mapplethorpe (Staircase, 1140 Royal 1982). I particularly like the Bellocq (Bedroom Mantel, Storyville c. 1911-1913) with its complex medley of shapes and images.
Dr Marcus Bunyan
Many thankx to The New Orleans Museum of Art for allowing me to publish the photographs in the posting. Please click on the photographs for a larger version of the image.
Lee Friedlander (American, b. 1934) Untitled (Self-Portrait Reflected in Window, New Orleans) c. 1965 Gelatin silver print Image: 7 x 10 3/4 in. (17.6 x 27.2cm) Mount: 11 x 14 in. (27.9 x 35.5cm) The New Orleans Museum of Art Museum purchase through the National Endowment for the Arts Grant
Robert Frank (American, 1924-2019) Canal Street, New Orleans 1955 Gelatin silver print Image: 11 x 13 4/5 in. (28 x 35.2cm) The New Orleans Museum of Art Museum purchase through the National Endowment for the Arts and Museum Purchase Funds
Henri Cartier-Bresson (French, 1908-2004) Louisiana 1947, printed c. 1975 Gelatin silver print Image: 9 5/8 x 14 3/16 in. (24.4 x 36cm) Paper: 12 x 16 in. (30.3 x 40.4cm) The New Orleans Museum of Art Museum purchase, General Acquisition Fund
Theodore Lilienthal (American, 1829-1894) Charles Hotel, New Orleans c. 1867 Albumen print Image: 10 3/4 x 13 13/16 in. (27.2 x 35.1cm) Mount: 17 x 22 1/4 in. (43.3 x 56.6cm) The New Orleans Museum of Art Museum Purchase
Featuring masterworks by photographers Edward Weston, William Henry Fox Talbot, André Kertész, Robert Mapplethorpe, and many more, the New Orleans Museum of Art’s upcoming exhibition, Photography at NOMA, explores the Museum’s rich permanent photography collection through a selection of some of its finest works from the early 1840s to the 1980s.
The first comprehensive presentation of works from NOMA’s collection since the 1970s, the exhibition includes over 130 of the most important photographs in the Museum’s collection and presents rare and unusual examples from throughout photography’s history. On view November 10, 2013 through January 19, 2014, the exhibition highlights the tremendous depth and breadth of the Museum’s collection and includes photographs made as works of art as well as advertising images, social documents, and more. The photographers featured in the exhibition range from some of the most recognisable names in the field, including Henri Cartier-Bresson, Robert Frank, and Lewis Hine, to unknown photographers – reflecting the vast spectrum of photographic activity since the medium’s inception in the 19th century.
“NOMA began collecting photographs seriously in the early 1970s when photography was not commonly found in American art museum collections. Today our holdings include nearly 10,000 works, representing a broad range of creative energy and achievement,” said Susan Taylor, NOMA’s Director. “Our collection has strong roots in New Orleans history. Our city has long been an epicentre for the work of established and emerging photographers and we are delighted to share this aspect of New Orleans history with our audiences.”
“Since its origins, photography has infiltrated every aspect of modern life, from art to war, and religion to politics and many of these applications are represented in NOMA’s extensive collection,” said Russell Lord, Freeman Family Curator of Photographs. “Despite the collection’s long history, it remains one of the best kept secrets in this country. Photography at NOMA is an opportunity to re-examine and bring to the fore the diverse range of works found in the collection.”
Since the 1970s, NOMA has built an extensive collection of photographs that represents a wide range of achievement in that medium from the 1840s to the present. Today the collection comprises nearly 10,000 works with images by some of the most significant photographic artists including Berenice Abbott, Ansel Adams, Diane Arbus, Ilse Bing, and Edward Steichen, among many others. The collection includes examples that reflect photography’s international scope, from an 1843 view from his hotel window in Paris by William Henry Fox Talbot to a view of Mount Fuji by Kusakabi Kimbei, but it is also strong in photographs made in and around New Orleans by regional and national photographers such as E. J. Bellocq, Walker Evans, Clarence John Laughlin, and Robert Polidori.
Photography at NOMA features works by Berenice Abbott, Ansel Adams, Diane Arbus, Henri Cartier-Bresson, Walker Evans, Robert Frank, Robert Mapplethorpe, William Henry Fox Talbot, and Edward Weston, among many others.
Press release from the NOMA website
Felix Moissenet (American, b. circa 1814) Freeman c. 1855 Sixth plate daguerreotype Image: 3 1/4 x 2 3/4 in. (8 x 6.8cm) Case (open): 3 5/8 x 6 3/8 in. (9.2 x 16.1cm) The New Orleans Museum of Art Museum purchase
Thomas Augustine Malone (British, 1823-1867) Demonstration of the Talbotype December 11, 1848 Calotype (Talbotype) negative 7 3/8 x 9 2/16 in. (18.8 x 23.3cm) The New Orleans Museum of Art Museum purchase
Robert Mapplethorpe (American, 1946-1989) Staircase, 1140 Royal 1982 Gelatin silver print Image: 15 1/5 x 15 1/5 in. (38.5 x 38.5cm) Paper: 20 x 16 in. (50.6 x 40.4cm) The New Orleans Museum of Art Promised gift from H. Russell Albright, MD
William Henry Fox Talbot (British, 1800-1877) View of the Paris Boulevards from the First Floor of the Hôtel de Louvais, Rue de la Paix 1843 Salted paper print from a paper negative Image: 6 3/8 x 6 3/4 in. (16.2 x 17.1cm) Paper: 7 1/2x 9 in. (19 x 23cm) The New Orleans Museum of Art Museum purchase, 1977 Acquisition Fund Drive
Morton Schamberg (American, 1881-1918) Cityscape 1916 Gelatin silver print Image: 9 1/2 x 7 1/2 in. (24 x 19cm) Mount: 15 3/4 x 13 in. (40 x 33cm) The New Orleans Museum of Art Museum purchase, Women’s Volunteer Committee Fund
Clarence John Laughlin (American, 1905-1985) A Mangled Staircase (No. 2) 1949 Gelatin silver print Image: 13 1/2 x 10 13/16 in. (34.2 x 27.5cm) Mount: 17 x 14 in. (43 x 35.5cm) The New Orleans Museum of Art Bequest of Clarence John Laughlin
E. J. Bellocq (American, 1873-1949) Bedroom Mantel, Storyville c. 1911-1913 Glass negative Plate: 10 x 8 in. (25.2 20.2cm) Museum purchase
Lewis Hine (American, 1874-1940) [Mechanic and Steam Pump] c. 1930 Gelatin silver print Image: 9 1/2 x 7 in. (24.3 x 17.6cm) Paper: 10 x 8 in. (25.2 x 20.3cm) The New Orleans Museum of Art Museum Purchase
The New Orleans Museum of Art One Collins Diboll Circle, City Park New Orleans, LA 70124 Phone: (504) 658-4100
Curator: Kristen Gresh, Estrellita and Yousuf Karsh Assistant Curator of Photographs at the MFA
Gohar Dashti (Iranian, b. 1980) Untitled #5 2008
I love that this archive gives a presence to disparate voices.
This is an important exhibition, one that challenges “Western notions about the ‘Orient,’ examines the complexities of identity, and redefines documentary as a genre.” The work of 12 women artists from Iran and the Arab World challenge stereotypes and provides insight into political and social issues. “The images – ranging from fine art to photojournalism – refute the conception that Arab and Iranian women are “oppressed and powerless,” instead reinforcing that some of the most significant photographic work in the region today is being done by women.”
Dr Marcus Bunyan
Many thankx to The Museum of Fine Arts, Boston for allowing me to publish the photographs in the posting. Please click on the photographs for a larger version of the image.
Gohar Dashti (Iranian, b. 1980) Untitled #2 2008
Tanya Habjouqa (Jordanian, b. 1975) Untitled 2009 From the Women of Gaza series
Tanya Habjouqa (Jordanian, b. 1975) Untitled 2009 From the Women of Gaza series
Rania Matar (Lebanese/Palestinian/American, b. 1964) Stephanie, Beirut, Lebanon 2010
Rania Matar (Lebanese/Palestinian/American, b. 1964) Alia, Beirut, Lebanon 2010
Rula Halawani (Palestinian, b. 1964) Untitled XIII 2002
Lalla Essaydi (Moroccan, b. 1956) Bullets Revisited #3 2012
Power and passion will be on display at the Museum of Fine Arts, Boston (MFA) in an exhibition of works by 12 women photographers from Iran and the Arab World. The first of its kind in North America, the exhibition features approximately 100 photographs and two videos, created almost entirely within the last decade, that challenge stereotypes and provide insight into political and social issues. The images – ranging from fine art to photojournalism – refute the conception that Arab and Iranian women are “oppressed and powerless,” instead reinforcing that some of the most significant photographic work in the region today is being done by women. On view from August 27, 2013 – January 12, 2014, She Who Tells a Story: Women Photographers from Iran and the Arab World highlights the rich artistic expression of pioneering photographers Jananne Al-Ani, Boushra Almutawakel, Gohar Dashti, Rana El Nemr, Lalla Essaydi, Shadi Ghadirian, Tanya Habjouqa, Rula Halawani, Nermine Hammam, Rania Matar, Shirin Neshat, and Newsha Tavakolian. Accompanying the exhibition is a new publication, She Who Tells a Story (MFA Publications, September 2013), authored by exhibition curator Kristen Gresh, the MFA’s Estrellita and Yousuf Karsh Assistant Curator of Photographs. This exhibition is generously supported by the Robert Mapplethorpe Foundation. Additional support from the Barbara Jane Anderson Fund.
“She Who Tells a Story brings together recent photographs from 12 groundbreaking artists,” said Malcolm Rogers, Ann and Graham Gund Director of the MFA. “Their works tell stories that evoke a range of emotion, challenge our perception, and present the Middle East with a fresh perspective.”
In Arabic, the word rawiya means “she who tells a story.” These photographs are a collection of stories about contemporary life in Iran and the Arab World. The exhibition will explore themes of “Deconstructing Orientalism,” “Constructing Identities,” and “New Documentary,” revealing the individuality of each artist’s work, while allowing glimpses into the region’s social and political landscapes. The MFA has acquired 18 of the works on view in the Henry and Lois Foster Gallery in the Linde Family Wing for Contemporary Art. Acquisitions made in 2013 include Roja (Patriots) from the series Book of Kings (2012) by Shirin Neshat; the complete series of nine photographs in Mother, Daughter, Doll (2010) by Boushra Almutawakel; three prints from the series Women of Gaza(2009) by Tanya Habjouqa; two photos from the series The Metro (2003) by Rana El Nemr; two prints from the series Qajar (1998) by Shadi Ghadirian; and Untitled #2 from Today’s Life and War (2008) by Gohar Dashti.
“Reflecting on the power of politics and the legacy of war, the photographs in this exhibition challenge Western notions about the ‘Orient,’ examine the complexities of identity, and redefine documentary as a genre,” said curator Kristen Gresh, who was first exposed to this work while living abroad for 15 years, teaching history of photography in Paris and Cairo.
Historically, Orientalism refers to depictions by European or American artists of the East, including Middle Eastern, North African, and Eastern cultures – often presenting the “Orient” as culturally inferior. The history of photography in the area has largely consisted of images created by outsiders, ranging from pyramids and sacred biblical sites to staged harem scenes and belly dancers. Coupled with myths and traditional tales like the “Persian” Queen Sheherazade and the “Arabian” Thousand and One Nights, misconceptions continue to persist to this day. These stereotypes are shattered with Shirin Neshat’s groundbreaking series Women of Allah (1993-1997). The series grew out of a visit she made to her native Iran 15 years after the Iranian Revolution (1979). On view are four portraits from the series – Untitled (1996), Speechless (1996), I Am Its Secret (1993) and Identified (1995) – each of which incorporate elements of the veil (or hijab), gun, text and gaze and break down Orientalist myths, showing women empowered in the face of opposition. Among the earliest photographs in the exhibition, they are overlaid with Persian script from contemporary Iranian women writers and evoke the role that women played in the Iranian Revolution. The series marked a turning point in the recent history of representation and debates about the veil, inspiring exploration by other photographers.
In addition to Neshat, others have had an impact on the history of visual representation and the perception of Orientalist stereotypes. In the diptych Untitled I & II (1996) Iraqi-born Jananne Al-Ani uses the women in her family (and herself) to show a progression in veiling, from unveiled to fully veiled, and back again. The installation of the large-format prints have the effect of trapping the viewer between the women’s unblinking stares, using the power of the lens to address myths about the oppression of Muslim women. Moroccan-born Lalla Essaydi, a former painter and alumnus of the School of the Museum of Fine Arts, Boston (SMFA), uses iconography from 19th-century Orientalist paintings as inspiration to explore and question her own cultural identity. In the triptych Bullets Revisited #3 (2012), the most expansive work in the exhibition at 5 1/2 x 12 1/2 feet, and Converging Territories #29 (2004), she uses calligraphy (a typically male art form) to suggest the complexity of gender roles within Islamic culture. In Bullets Revisited #3, silver and golden bullet casings evoke symbolic violence, referencing her fear about growing restrictions on women in a new, post-revolutionary era that followed demonstrations and protests in the Arab world that began in 2010.
Like Neshat’s and Al-Ani’s work from the 1990s, the iconic series Qajar (1998) by Iranian artist Shadi Ghadirian was a point of departure for many photographers of the time. Ghadirian, who currently lives in Tehran, took pictures that illustrated issues of identity and being female in Iran. The nine prints on view from the Qajar series juxtapose young women in traditional dress with then-forbidden objects, such as boom boxes, musical instruments, and makeup, suggesting tension between tradition and modernity, restriction and freedom, public and private. Also included in the exhibition is another, later Ghadirian series that presents juxtapositions – Nil, Nil (2008), which brings to the forefront the experience of women at home during war, invoking untold tales of loss and waiting. The series includes images of bullets protruding from a handbag; a grenade in a bowl of fruit; and a military helmet hanging on the wall next to a headscarf, bringing to mind the complexities of male and female public personas and private desires.
Ghadirian’s early staged portraits laid the foundation for later photographers to address the subject of identity, including Boushra Almutawakel, a native of Yemen. Her series Mother, Daughter, Doll (2010) uses the veil to challenge social trends and the rise of religious extremism, which calls for women – and even young girls – to cover their bodies in public. The staged portraits do not denounce the hijab, but protest the extremist notions of covering bodies and the trend toward black. The nine prints on display show smiles from mother and daughter fade as their colorful clothing disappears from one picture to the next. The series ends with an image of an empty pedestal draped in black fabric as mother, daughter and doll are completely eliminated – a statement about erasing the individual through dress. Almutawakel offers a sensitive perspective on the public and private lives of young women, as does Lebanese-born Rania Matar in her series A Girl and Her Room (2009, 2010). These six portraits of young women from the Middle East capture girls in their bedrooms, surrounded by their belongings. Despite a diversity of settings and sitters, the series reflects the universally-shared experiences of coming of age and the complexities of being a young woman.
Identity is further investigated in the work of photojournalist Newsha Tavakolian, who currently lives in Tehran and whose recent photos of the Iranian elections appeared in publications from The New York Times to Time magazine. After experiencing difficulty photographing in public in 2009, she turned to fine art photography to address social issues. The exhibition presents six portraits, six imaginary CD covers, and a six-screen video from her series Listen (2010), all portraying professional singers who, as women, are forbidden by Islamic tenets to perform in public or to record CDs in their native country of Iran. Tavakolian’s singers do not appear with microphones, although each is clearly caught mid-song. Her passion for these women’s stories inspired her to create the imaginary CD covers that represent the character of each performer. The accompanying video shows the women emotionally mouthing unheard words, suggesting the idea of imposed silence. Metaphors of music, voice and expression, are also found in other works on display, such as in the Qajar series, and in Mystified (1997) by Neshat.
Tavakolian represents a generation of post-revolutionary Iranian photographers, while Neshat represents a generation of artists born before the revolution but who have left the country. Neshat left her native country in 1974 to study art in the United States before the upheaval in 1979, and she continues to draw on her cultural heritage. Eight images from her series Book of Kings (2012) will be on view in the exhibition. This recent series, translating its title from the 1,000-year-old Persian epic Shahnameh, marked a return to black-and-white photography and is composed of portraits of groups of individuals that Neshat calls the Masses, the Patriots, and the Villains. The figures in this series stand for the thousands that participated in protests, particularly the Iranian Green Movement (2009) and the Arab Spring (2011). The Masses are represented by headshots of Arab and Iranian men and women whose faces are overlaid with calligraphy – except for the eyes and mouth. The pictures are meant to be shown side by side to simulate power of the people. Just as she did in Women of Allah, Neshat pursues paradoxes of past and present and power and submission; Book of Kings also demonstrates her development and evolution as an artist.
In addition to addressing social and political issues, She Who Tells a Story also presents a new kind of documentary – artistic imagination brought to real-life experiences. Themes of war, occupation, protest, and revolt, as well as concerns about photography as a medium, all find a place in this new genre. Just as Ghadirian’s Nil, Nil recounted stories of war, Iranian Gohar Dashti’s work also tackles the subject. Both photographers grew up during the Iran-Iraq war (1980-1988). Dashti’s Today’s Life and War (2008) is a series of theatrical, staged photographs in which a couple pursues ordinary activities in a fictionalised battlefield. In Untitled #5, they sit as newlyweds in the shell of an abandoned car and in Untitled #7, on the ground at a makeshift traditional table celebrating the Persian New Year, Nowruz. The remaining four prints show the couple performing daily routines but interrupted by symbols of war – a tank, missile head, wall of sandbags. Dashti’s images are metaphors for the experience of war and recall her own memories of childhood living near the Iran-Iraq border.
Alternatives to Dashti’s staged documentaries can be found in the works of Egyptian Rana El Nemr and Jordanian Tanya Habjouqa, both of whom directly capture people in urban settings. In The Metro (2003), El Nemr inconspicuously shoots passengers in the car designated for women, seated or standing, deep in thought. The images convey how anonymous daily life can be, and how people interact with one another in public spaces. Habjouqa’s Women of Gaza (2009) records the experience of women in Gaza, who, like all residents of the occupied territory, live with limited freedom. Taken over a span of two months, the images celebrate modest pleasures, including a picnic on the beach, a boat ride, and an aerobics class. Habjouqa gently portrays the bright side of her subjects’ lives. Women of Gaza is one example of photojournalism on display.
Another area of exploration for Middle Eastern photographers is the medium itself. Al-Ani, Rula Halawani, and Nermine Hammam push the boundaries of photography in new ways. Al-Ani’s works Aerial I and Shadow Sites II, a single channel video, depict the Jordanian landscape from an airplane. The nearly nine-minute video, made exclusively from photographs that dissolve one into another, combine nature, flight, and technology. Halawani, a native of Palestine who currently resides in East Jerusalem, addresses the experience of destruction and displacement. In Negative Incursions (2002), a series of pictures of the 2002 Israeli invasion of the West Bank, she photographs scenes of war and then enlarges and prints them in their negative form. This technique obscures the specifics of time and place, increasing the dramatic intensity and resulting in powerful images of tanks in action, grieving mothers and families in the rubble of the aftermath. Streaks of light among the ruins are a metaphor for the plight of the Palestinian people, while thick black borders imitate the shape of a television screen to convey Halawani’s criticism of media coverage.
Hammam’s Cairo Year One (2011-2012), addressing the 18-day uprising in Egypt (January 2011) and its aftermath, also experiments with uses of photography. It consists of 13 prints in two parts: Upekkha (reference to Buddhist concept of equanimity) and Unfolding (reference to folding Japanese screens). In Upekkha, Hammam imbeds photographs of soldiers in Tahrir Square within peaceful landscape scenes from postcards from her personal collection, showing the vulnerability of the young men. In contrast, the second part of the series, Unfolding, was created after the uprising was over, when it was difficult for her to photograph. In the two prints, she combines reproductions of 17th and 18th Japanese screens with photos of police brutality.
Press release from The Museum of Fine Arts, Boston website
Nermine Hammam (Egyptian, b. 1967) Dreamland I 2011
Nermine Hammam (Egyptian, b. 1967) The Break 2011
Rana El Nemr (Egyptian, b. 1974) Metro #7 2003
Newsha Tavakolian (Iranian, b. 1981) Don’t Forget This Is Not You (for Sahar Lotfi) 2010
Newsha Tavakolian (Iranian, b. 1981) I Am Eve (for Mahsa Vahdat) 2010
Boushra Almutawakel (Yemeni, b. 1969) Mother, Daughter, Doll series 2010
Shadi Ghadirian (Iranian, b. 1974) Nil, Nil #4 2008
Shadi Ghadirian (Iranian, b. 1974) Untitled 1998 From Qajar series
Shirin Neshat (Iranian, b. 1957) Roja 2012
Shirin Neshat (Iranian, b. 1957) Speechless 1996
Museum of Fine Arts, Boston Avenue of the Arts 465 Huntington Avenue Boston, Massachusetts
Curator: Russell Lord, Freeman Family Curator of Photographs at NOMA
Gordon Parks (American, 1912-2006) Untitled, Harlem, New York 1948 Gelatin silver print, printed later Courtesy The Gordon Parks Foundation
Another great photographer with a social conscience. Fantastic to observe the dynamics of the proof sheets and how the images were cropped for final publication. The angles, the angles of Red’s young brother are illuminating, to see how the photographer framed his subject, what worked, what didn’t. There is a relatively new boxed set of the complete works of this artist published by Stiedl titled Gordon Parks Collected Works (2012).
Dr Marcus Bunyan
Many thankx to The New Orleans Museum of Art for allowing me to publish the photographs in the posting. Please click on the photographs for a larger version of the image.
“”The Making of an Argument” evaluates the editorial decisions made by the magazine and, in doing so, comments on how the context in which a picture is presented can drastically alter its message. “In order to meet the expectations set up by the subtitle and the opening text, an overwhelming majority of the pictures selected underscore violence, fear, frustration, aggression, or despair. Of the twenty-one images reproduced, only five strike a lighter note,” writes Russell Lord, the curator of photographs at NOMA. Lord also notes that the ways the images were cropped and darkened further functioned to convey the magazine’s intended message.”
Genevieve Fussell. “Gordon Parks: The Making of an Argument,” on The New Yorker website October 28, 2013 [Online] Cited 19/01/2021. Used under fair use conditions for the purposes of education and research
Gordon Parks (American, 1912-2006) Untitled, Harlem, New York 1948 Gelatin silver print, printed later Courtesy The Gordon Parks Foundation
Gordon Parks (American, 1912-2006) Untitled, Harlem, New York 1948 Gelatin silver print, printed later Courtesy The Gordon Parks Foundation
Gordon Parks (American, 1912-2006) Untitled, Harlem, New York 1948 Gelatin silver print, printed later Courtesy The Gordon Parks Foundation
Gordon Parks (American, 1912-2006) Untitled, Harlem, New York 1948 Gelatin silver print, printed later Courtesy The Gordon Parks Foundation
This image shows both the full frame image that Gordon Parks shot and the cropped selection, framed in editor’s marking pen, that was ultimately published in Life magazine. The cropped version dramatically heightens the intensity of the image, bringing the viewer closer to the fight (see proof sheet below).
Gordon Parks (American, 1912-2006) Untitled, Harlem, New York 1948 Gelatin silver print, printed later Courtesy The Gordon Parks Foundation
Gordon Parks (American, 1912-2006) Untitled, Harlem, New York 1948 Gelatin silver print, printed later Courtesy The Gordon Parks Foundation
The opening spread of “Harlem Gang Leader,” Life, November 1, 1948
This exhibition explores the making of Gordon Parks’ first photographic essay for Life magazine in 1948, “Harlem Gang Leader.” After gaining the trust of one particular group of gang members and their leader, Leonard “Red” Jackson, Parks produced a series of photographs that are artful, poignant, and, at times, shocking. From this large body of work (Parks made hundreds of negatives) the editors at Life selected twenty-one pictures to print in the magazine, often cropping or enhancing details in the pictures in the process. Gordon Parks: The Making of an Argument traces this editorial process and parses out the various voices and motives behind the production of the picture essay.
The exhibition considers Parks’ photographic practice within a larger discussion about photography as a narrative device. Featuring vintage photographs, original issues of Life magazine, contact sheets, and proof prints, the exhibition raises important questions about the role of photography in addressing social concerns, its use as a documentary tool, and its function in the world of publishing…
“This project raises important questions about the role of photography in addressing social concerns, its use as a documentary tool, and its function in the world of publishing,” said Susan M. Taylor, NOMA’s Director. “We are delighted to be working with The Gordon Parks Foundation on this exhibition since it is a project that addressed many of the major issues that Parks would explore throughout his career.”
In 1948, Gordon Parks began a professional relationship with Life magazine that would last twenty-two years. For his first project, he proposed a series of pictures about the gang wars that were then plaguing Harlem, believing that if he could draw attention to the problem then perhaps it would be addressed through social programs or government intervention. As a result of his efforts, Parks gained the trust of one particular group of gang members and their leader, Leonard “Red” Jackson, and produced a series of pictures of them that are artful, emotive, poignant, touching, and sometimes shocking. From this larger body of work, twenty-one pictures were selected for reproduction in a graphic and adventurous layout in Life magazine.
At each step of the selection process – as Parks chose each shot, or as the picture editors at Life re-selected from his selection – any intended narrative was complicated by another curatorial voice. Curator Russell Lord notes, “By the time the reader opened the pages of Life magazine, the addition of text, and the reader’s own biases further rendered the original argument into a fractured, multi-layered affair. The process leads to many questions: ‘What was the intended argument?’ and ‘Whose argument was it?’.”
Gordon Parks: The Making of an Argument examines these questions through a close study of how Parks’ first Life picture essay was conceived, constructed and received.”
Press release from the NOMA website
Gordon Parks (American, 1912-2006) Untitled, Harlem, New York 1948 Gelatin silver print, printed later Courtesy The Gordon Parks Foundation
Gordon Parks (American, 1912-2006) Untitled, Harlem, New York 1948 Gelatin silver print, printed later Courtesy The Gordon Parks Foundation
Gordon Parks (American, 1912-2006) Untitled, Harlem, New York 1948 Gelatin silver print, printed later Courtesy The Gordon Parks Foundation
Gordon Parks (American, 1912-2006) Untitled, Harlem, New York 1948 Gelatin silver print, printed later Courtesy The Gordon Parks Foundation
Gordon Parks (American, 1912-2006) Untitled, Harlem, New York 1948 Gelatin silver print, printed later Courtesy The Gordon Parks Foundation
Gordon Parks (American, 1912-2006) Untitled, Harlem, New York 1948 Gelatin silver print, printed later Courtesy The Gordon Parks Foundation
Gordon Parks (American, 1912-2006) Untitled, Harlem, New York 1948 Gelatin silver print, printed later Courtesy The Gordon Parks Foundation
Gordon Parks (American, 1912-2006) Untitled, Harlem, New York 1948 Gelatin silver print, printed later Courtesy The Gordon Parks Foundation
The New Orleans Museum of Art One Collins Diboll Circle, City Park New Orleans, LA 70124 Phone: (504) 658-4100
More images from this wonderful photographer who was a low-level Soviet agent while exiled in Britain after the Second World War and who destroyed most of her photos as well as many negatives out of fear of prosecution in 1951. Thanks to contemporary research we can begin to see the vision of this artist. In her photo essays, an impassioned record, she imaged social injustice and showed it to the world… creating her own inimitable style and a “comprehensive and freestanding body of work.”
“Her photos are impressive for the quality of the dialogue with those portrayed and the social context is always visible and tangible. “The women, children and workers photographed by her seem less objectified and, to some extent at least, are placed in a better position to represent themselves,” writes Duncan Forbes, curator of the exhibition.” (press release)
The quality of the dialogue with those portrayed.
You can feel that in these images, that the photographer has a care and respect for the people that she is photographing, probably more so than the photographs of Bill Brandt from the same period. She seems to have a greater connection and concern for her subject matter.
I also love their grittiness, poignancy and above all their humanity. Look at the arrangement of figures in Family, Stepney, London (about 1932, below) as the viewers eye is led by the two staggered boys on the bed up to the eldest daughter, looking away off camera, while the mother steadfastly gazes directly into the camera clutching her youngest daughter tightly. The smile on the little girls face is a joy.
“No Home, No Dole” was the reality of life in London back then, with the Great Depression taking hold. I remember growing up in the 1960s and things weren’t much better in my grandmothers house, even the old farmhouse I grew up in. No hot running water, my mother bathing us kids in a tin tub on the kitchen floor with water heated up in the kettle on the stove. It was subsistence living for we were the poorest of the poor.
That Edith Tudor Hart had the courage of her convictions and recorded these environments shows a human being of great moral character.
We are grateful that the images survive.
Dr Marcus Bunyan
Many thankx to the Wien Museum for allowing me to publish the photographs in the posting. Please click on the photographs for a larger version of the image. View the exhibition online catalogue.
“If curator Duncan Forbes and photographers Owen Logan and Joanna Kane have resurrected an amazing archive, Tudor-Hart’s own life is curiously out of focus. Her struggles and sorrows are mute beneath the weight of her images. Her late life feels only half-lived: she struggled under the scrutiny of the security services until her death in 1973; she destroyed much documentation, including her list of negatives. As a woman photographer with left-wing associations, work became scarce. As a communist and a suspected traitor she was blacklisted and in the 1950s she gave up photography altogether.
What’s left, or rather what has been patiently reconstructed, is an impassioned record of the terrible long shadow of tyranny in Europe, and of a divided Britain that makes you both deeply ashamed and occasionally proud.”
Moria Jeffrey review of the exhibition 04/07/2013 on the Art Global website [Online] Cited 06/01/2014. No longer available online. Used under fair use conditions for the purposes of education and research
The rediscovery of a great Austrian-British photographer Edith Tudor-Hart (1908-1973), who is known in Austrian history of photography as Edith Suschitzky, belonged to the group of those politically engaged photographers who faced political developments in the inter-war years with socially critical force.
Edith Suschitzky studied at the Bauhaus in Dessau and worked as a photographer in Vienna around 1930 – while simultaneously a Soviet agent. In 1933 she married an Englishman who likewise had close connections to the Communist Party, and fled with him to Great Britain. There she created brilliant social reportage in the slums of London or in the coal mining areas of Wales, today some of the key examples of British workers’ photography. The exhibition is the first monographic presentation of Edith Tudor-Hart’s work. As well as the period in England, a selection from the early Viennese works are on show. Her unpretentious, documentary-influenced photographs on social themes come mainly from the collections of the National Galleries of Scotland
Following Barbara Pflaum, Elfriede Mejchar and Trude Fleischmann, the Wien Museum is once again putting on a solo exhibition dedicated to a great Austrian photographer: Edith Tudor-Hart (1908-1973), also known in the annals of photographic history by her maiden name Edith Suschitzky. She belonged to the group of politically engaged male and female photographers who, from the 1920s onwards, responded to political developments from a socially critical standpoint – both in Austria and in exile in England, where she became an important figure in the Worker Photography Movement. The exhibition, which was previously on show in Edinburgh, is the first ever overview of the work of this in equal measure fascinating and significant artist. It arose out of a cooperation between the National Galleries of Scotland and the Wien Museum and has been curated by Duncan Forbes, the long-standing Senior Curator of Photography at the National Galleries of Scotland and the new Director of the Fotomuseum Winterthur.
Edith Tudor-Hart was born in Vienna in 1908 as Edith Suschitzky and grew up in a social-democratic household; her father ran a workers’ bookshop in the Favoriten district of Vienna and a revolutionary publishing house. She had contact with the Communist Party of Austria (KPÖ) and the Communist International already from a young age and both charged her with tasks – with legal party work as well as with intelligence activities. Early on, Tudor-Hart become interested in pedagogy; she completed training in the Montessori method and moved in circles that promoted radical, anti-authoritarian school and education reforms. It was likely the period of study at the Bauhaus in Dessau (1928-1930) that first brought her to photography, even though Tudor-Hart is listed in the archives only as a participant on the famous preparatory course and not as a student in the photography department. Her first pictures were taken in about 1930 and “show a technically accomplished photographer, who explored subjects such as the deprivation of the working class and the reform-oriented culture of Austrian Social Democracy as well as the threat posed by military and fascist forces” (as the historian of photography Anton Holzer has written). At the same time she embarked on a career as a photo journalist for illustrated publications.
It was the period in which, thanks to technological advances, photography in the mass media had gained immensely in importance. From the beginning, Tudor-Hart viewed the camera as a political weapon that could be used to document social injustices; she had little time for the formal experiments of the avant-garde. Photography had ceased to be “an instrument for recording events and became instead the means to bring events about and to influence them. It became a living art form that involved the people” (Edith Tudor-Hart). Her first photo series, published in the magazines Der Kuckuck, Arbeiter-Illustrierte-Zeitung and Die Bühne, include a reportage on the deprived East End of London and a series on everyday life in the Vienna Prater. That she was a Communist and yet was working for a social-democratic publication such as Der Kuckuck was down to the fact that the KPÖ played a minimal role in the media (and political) landscape of Austria – in this respect the young photographer had to adapt to the commercial realities of her profession. However, she was also active for the Soviet news agency TASS and, in addition, she continued with her intelligence activities. She was described by a fellow agent as “modest, competent and brave”, ready “to give her all for the Soviet cause”. This eventually became Edith Tudor-Hart’s undoing: when the Austrian government moved against Nazis and Communists, she was arrested without further ado. In the same year she married the English doctor Alexander Tudor-Hart, which allowed her to escape to Great Britain in 1934. “When one views Suschitzky’s photographic work from her Vienna years, it becomes clear that already in her early period, she created a comprehensive and freestanding body of work,” writes Anton Holzer.
Among the miners in Wales
In exile, Edith Tudor-Hart’s photographs took on a sharper socially critical edge. She went with her husband to South Wales, where he practised as a doctor in the coal mining region. The economic crisis had hit heavy industry and mining in northern England particularly hard and in many small towns and villages, nine out of ten men were unemployed. The photos from the mining and shipbuilding region of Tyneside also tell of crippling economic hardship and social decline. With her pictures, Tudor-Hart clearly stood out from the mainstream of British photography, characterised at that time by a bourgeois, somewhat sweet and sentimental aesthetic. Her photos are impressive for the quality of the dialogue with those portrayed and the social context is always visible and tangible. “The women, children and workers photographed by her seem less objectified and, to some extent at least, are placed in a better position to represent themselves,” writes Duncan Forbes, curator of the exhibition. During the slight economic recovery of the mid-1930s, Tudor-Hart was able to build up a photo studio in London: “Edith Tudor-Hart – Modern Photography” it said on her headed paper. She specialised in portraiture and was also able to obtain some advertising work, for example for the toy manufacturer Abbatt Toys. In addition, she supplied photos to new British illustrated publications, including the magazine Lilliput and the popular paper Picture Post, as well as to government departments such as the British Ministry of Education. For her, working for the traditional papers of Fleet Street was, however, not an option. Alongside the equally consistent and nuanced workers’ photography, Tudor-Hart concentrated on work with children, especially after the Second World War, and in this she could call on a wide network of contacts. These included the Austrian paediatrician and curative educator Karl König as well as Anna Freud and Donald Winnicott, two of the leading protagonists of child psychoanalysis. She was concerned with issues of child welfare, heath and education and received commissions from agencies such as the British Medical Association, Mencap and the National Baby Welfare Council. In contrast to the static, studio-based portrait photography customary at the time, Tudor-Hart showed families and especially children as natural and lively.
After the Second World War and with the onset of the Cold War, Tudor-Hart’s personal situation worsened as she was still active as a low-level Soviet agent. In 1951, shortly after the Soviet spy Kim Philby was interrogated for the first time, she destroyed most of her photos as well as many negatives out of fear of prosecution. “Her life as a partisan for the Soviet cause ended with her a defeated and demoralised woman,” writes Duncan Forbes. She stopped publishing photos at the end of the 1950s, presumably at the request of the British secret services. Despite being questioned numerous times she was never arrested. Edith Tudor-Hart lived out her final years until her death in 1973 as an antiques dealer in Brighton.
That her photographic work was rediscovered is thanks to her brother, the photographer and cameraman Wolfgang Suschitzky. He saved a number of negatives from destruction and, in 2004, presented his sister’s photographic archive to the Scottish National Galleries. This exhibition and catalogue make Edith Tudor-Hart’s exceptional work accessible to a wider public for the first time. The exhibition was on show at the National Galleries of Scotland in Edinburgh in spring 2013 and, after its run at the Wien Museum, will also be on display in Berlin. For the first time, it offers an overview of Tudor-Hart’s work from her years in both Vienna and England; many of the photos have never been seen before. Furthermore, the first comprehensive work on this great Austrian artist is being published on the occasion of this exhibition.
Curator: Nicholas Chambers, The Milton Fine Curator of Art at The Andy Warhol Museum
Yasumasa Morimura (Japanese, b. 1951) To My Little Sister: for Cindy Sherman 1998 Ilfochrome print mounted on aluminium 55 x 31 inches Private Collection, New York
Cindy Sherman, eat your actress out…
A fascinating, erudite analysis of the difference between Edouard Manet’s Olympia and Yasumasa Morimura’s Futago can be found on the seemingly anonymous Hoegen: Thoughts About Gender, Sex And Sexualityweb page (excerpt below).
If you can find an author’s name it would be appreciated!
Dr Marcus Bunyan
Many thankx to The Andy Warhol Museum for allowing me to publish the photographs in the posting. Please click on the photographs for a larger version of the image.
Yasumasa Morimura (Japanese, b. 1951) Portrait (Futago) 1988 Colour photograph 82 3/4 x 118 inches Carnegie Museum of Art, Pittsburgh; A.W. Mellon Acquisition Endowment Fund, 92.108
In Anne D’Alleva’s article concerning reception theory, she draws upon several scholars of art and literature to discuss the importance of not only the artist, but also of the viewer. She discusses the symbiotic relationship that must exist and the merits of the ideal viewer. The two artworks that she mentions to support her arguments are Edouard Manet’s Olympia and Ysumasa Morimura’s Futago. These two artworks are prime examples of works that establish an ideal viewer, or viewers, as well as a mirror stage. These two theories assist the art historian to go beyond the biography of the artist and question the relationship of the image and it’s audience.
Just as Wolfgang Iser believes there is an implied reader for literature, one must believe that there is an implied viewer of Edouard Manet’s Olympia and a different implied viewer for Yasumasa Morimura’s Futago (114). In the case of Manet’s Olympia, one might believe the ideal implied viewer is a white and wealthy man of the upper class. This ideal viewer would appreciate, or maybe question, the bold gaze of Olympia, and possibly even recognize her as the popular courtesan (116)…
The ideal viewer for Morimura’s photograph is not as easy to define. One might make the presumption that Morimura desires the same ideal viewer of Manet, so that they can simply see the work differently. Also, one could assume that he intended his painting to be viewed by Asian, upper class homosexuals who have seen Manet’s Olympia and want to connect on a more personal level. Either of these audiences may be ideal.
According to Ernest Kris, art “requires the participation of both artist and spectator.” (110) Therefore, there must be something that establishes a relationship of the ideal viewer and the photograph of Yasumasa Morimura. Since it is a photograph, and not a painting, there is a humanistic connection that is not present in Manet’s Olympia that ultimately assists the creation of an image-audience relationship. The gaze is not a representation of a gaze but the actual gaze of Morimura establishing a deeper relationship with the ideal viewer of the artist and subject. Since the ideal audience is harder to define for Morimura’s photograph, the establishing element of the relationship between the ideal viewer and the artwork are also hard to define. If the ideal viewer is exactly that of Manet’s: a white, wealthy, upper-class man, then the “shock factor” of the image is multiplied. The ideal viewer has just begun to accept this shocking image of a nude female daring to look at her viewer when Morimura decided to change the race, gender, and possibly the sexual orientation of the subject of the artwork. This assumption, however, provides that the viewer come with “pre-understanding” as described by Roman Ingarden (113); in this case, a memory of Manet’s Olympia. If one assumes that this image is meant for the common man, this relationship is established through the use of photography, the universal and common way to capture images. If one assumes the connection between the inclusive group of Asian, male, homosexuals, then the establishment of the relationship is directly associated with the subject and artist…
The reception theory of Ernest Gombrich states the importance of perception is clearly prevalent within these works (113). The artists have taken their own interpretations of these works, but one must value the fact that their ideal viewers can be similar and have similar perceptions. The differences of their individual perceptions provide for the differences between their viewers. However, the perception of the viewer, whether ideal or not, is the ultimate reflection of the artwork in the culture.
Clearly, the mirror stage is present in these two images. The viewer does not seem to view their self in the artwork directly, but they do feel a connection to the work. Morimura most definitely used Manet’s Olympia as a basis image for his Futago. Although some details are incongruous, the overall effect of Futago is a mirrored image of the whole self of Olympia. There are several differences in these paintings that one may attribute to race and gender that affect the dynamics of the mirror effect. Most obviously, Morimura, who was his own subject in his photographic rendition of Manet’s Olympia, is a man. This affects the mirror image of the body. He is leaner, has no curves and is more muscular. Also, his race affects skin color as well as the some of the details of the picture. He has clearly chosen a kimono to replace the intricate shawl, and a seated, waving cat to replace standing one – both of these depictions have significance in Asian culture (116). Cultural implications are evident.
Overall, these two images reflect Anne D’Avelia’s idea that that two similar artworks can have two different implied viewers. Also, they can mirror each other in certain respects, but diverge in others. These help reinforce D’Avelia notes that gender, expression, details, and race, all play roles in developing the image-audience relationship. They also reflect our class work exploring the troubling of gender norms and the gaze.
Anonymous. “Olympia vs. Futago,” in the article ‘Hoegen: Thoughts about Gender, Sex and Sexuality’ on the Fairfield University website [Online] Cited 19/01/2021. Used under fair use conditions for the purposes of education and research
Yasumasa Morimura (Japanese, b. 1951) Doublonnage (Marcel) 1988 Colour photograph 59 x 47 1/4 inches Private Collection, New York
Art History
Yasumasa Morimura’s reprisals of European masterpieces are, at once, acts of homage and parody. Painstakingly realised, his photographic reconstructions of paintings by Leonardo da Vinci, Johannes Vermeer, Rembrandt van Rijn and Edouard Manet, among others, bring compositional questions together with those pertaining to race, gender and sexuality. In doing so, they reveal both the aesthetics and the politics embedded in the art historical canon.
Actresses
This section of the exhibition focuses on Morimura’s restaging of scenes from award winning films featuring Marlene Dietrich, Audrey Hepburn, Liza Minnelli, Jodie Foster and many others. It is notable that the artist’s impersonations are not anonymous but well-known stars, archetypes of Hollywood’s leading ladies. As stated in their titles, each work is a self-portrait and together they propose a range of possibilities for the artist’s own identity. Morimura has stated, “My own self-definition includes this entire zone of possibilities. When I apply this way of thinking to making a self-portrait, it becomes what I call an ‘open self-portrait.’
Yasumasa Morimura (Japanese, b. 1951) M’s Self-portrait No.15 1995 Gelatin silver print 18 1/2 x 21 1/4 inches (framed) Collection of the artist, on deposit at the Toyota Municipal Museum of Art
Yasumasa Morimura (Japanese, b. 1951) Self-portrait (Actress)/after Elizabeth Taylor 1 1996 Ilfochrome print mounted to plexiglass 47 1/4 x 37 1/4 inches Courtesy of the artist and Luhring Augustine, New York
Yasumasa Morimura (Japanese, b. 1951) M’s self-portrait No. 56/B 9 (or “as Marilyn Monroe”) 1996 Gelatin silver print Edition 6 of 10 11 3/4 x 14 inches
For more than three decades Japanese artist Yasumasa Morimura has forged an extraordinary body of work that reimagines the visual culture of the West, as well as that of his native Japan. Whether portraying Elizabeth Taylor, Mao Zedong or Andy Warhol, Morimura’s iconic images examine the practice of photography while also claiming a space for the self in historical narratives. The artist inserts himself as the subject(s) in all of his works. The exhibition, Yasumasa Morimura: Theater of the Self, is a retrospective of Morimura’s 30 year career covering his fascination with the self-portrait, celebrity, gay and transgendered life, art history, and popular culture align him closely with the work of Andy Warhol. Morimura has described himself as Warhol’s “conceptual son.”
Developed in close collaboration with the artist, the exhibition focuses on three important bodies of work: his celebrated “Art History” photographs in which he painstakingly restages European masterpieces; “Requiem” in which Morimura recreates iconic photographs relating to political and cultural life; and the “Actors” series in which he assumes the personae of Hollywood luminaries such as Marilyn Monroe, Elvis Presley and Audrey Hepburn.
Milton Fine Curator of Art, Nicholas Chambers states, “Including almost 100 images, many of which have never before been seen in the United States, Theater of the Self offers audiences an in-depth view of Morimura’s work. His pictures reveal a sophisticated form of engagement with the worlds of celebrity, art and the mass media that is at once celebration and critique, homage and parody, and has the effect of questioning the nature of the individual’s relationship to culture-at-large.””
Press release from The Warhol website
Requiem
The artworks comprising the Requiem Series are derived from photographic sources and depict prominent masculine figures in moments of triumph or transition. Substituting himself for ideologues, dictators and creative thinkers, Morimura reflects on what these figures represent for the broader culture and on the role of photography in celebrating, demonising or memorialising them.
Yasumasa Morimura (Japanese, b. 1951) A Requiem: Vietnam War 1968-1991 1991-2006 Gelatin silver print
Yasumasa Morimura (Japanese, b. 1951) A Requiem: Theater of Creativity / Andy Warhol in Motion 2010 Digital video, black and white, silent, 3:58 minutes Collection of the artist
Yasumasa Morimura (Japanese, b. 1951) A Requiem: Mishima 1970 2006 Digital video, colour, sound, 7:42 minutes Courtesy of the artist and Luhring Augustine, New York
Yasumasa Morimura (Japanese, b. 1951) A Requiem: Red Dream / Mao 2007 C- print mounted on alpolic 59 x 47 1/4 inches Courtesy of the artist and Luhring Augustine, New York
Yasumasa Morimura (Japanese, b. 1951) A Requiem: Oswald, 1963 2006 Gelatin silver print Courtesy of the artist and Luhring Augustine, New York
The Andy Warhol Museum 117 Sandusky Street Pittsburgh, PA 15212-5890 Phone: 412.237.8300
Darron Davies (Australian) Encased 2012 Archival Pigment Print on Photo Rag 80 x 80cm / edition of 6
Here’s my pick of the nine best local exhibitions which featured on the Art Blart art and cultural memory archive in 2013 (plus a favourite of the year from Hobart). Enjoy!
Dr Marcus Bunyan
1/ Review: Terraria by Darron Davies at Edmund Pearce Gallery, Melbourne
This is the first “magical” exhibition of photography that I have seen in Melbourne this year. Comprising just seven moderately large Archival Pigment Print on Photo Rag images mounted in white frames, this exhibition swept me off my feet. The photographs are beautiful, subtle, nuanced evocations to the fragility and enduring nature of life…
A sense of day / dreaming is possible when looking at these images. Interior / exterior, size / scale, ego / self are not fixed but fluid, like the condensation that runs down the inside of these environments (much like blood circulates our body). This allows the viewer’s mind to roam at will, to ponder the mysteries of our short, improbable, joyous life. The poetic titles add to this introspective reflection. I came away from viewing these magical, self sustaining vessels with an incredibly happy glow, more aware of my own body and its relationship to the world than before I had entered Darron Davies enveloping, terrarium world.
Darron Davies (Australian) The Red Shard 2012 Archival Pigment Print on Photo Rag 80 x 80cm / edition of 6
Presently, contemporary photography is able to reveal intangible, constructed vistas that live outside the realm of the scientific. A photograph becomes a perspective on the world, an orientation to the world based on human agency. An image-maker takes resources for meaning (a visual language, how the image is made and what it is about), undertakes a design process (the process of image-making), and in so doing re-images the world in a way that it has never quite been seen before.
These ideas are what a fascinating exhibition titled Confounding: Contemporary Photography, at the National Gallery of Victoria, Melbourne investigates. In the confounding of contemporary photography we are no longer witnessing a lived reality but a break down of binaries such as sacred and profane, public and private, natural and artificial, real and dreamed environments as artists present their subjective visions of imagined, created worlds. Each image presents the viewerwith a conundrum that investigates the relationship between photographs and the “real” world they supposedly record. How do these photographs make you feel about this constructed, confounding world? These fields of existence?
This is a tough, stimulating exhibition of late works by Louise Bourgeois at Heide Museum of Modern Art, Melbourne. All the main themes of the artist’s work explored over many years are represented in these late works: memory, emotion, anxiety, family, relationships, childhood, pain, desire and eroticism are all present as are female subjectivity and sexuality, expressed through the body…
Bourgeois’ work gives me an overall feeling of immersion in a world view, one that transcends the pain and speaks truth to power. Bourgeois confronted the emotion, memory or barrier to communication that generated her mood and the work. She observed, “My art is an exorcism. My sculpture allows me to re-experience fear, to give it a physicality, so that I am able to hack away at it.” By weaving, stitching and sewing Bourgeois threaded the past through the present and enacted, through artistic performance, a process of repair and reconstruction, giving meaning and shape to frustration and suffering. I have not been so lucky. My mother refuses to discuss the past, will not even come close to the subject for the pain is so great for her. I am left with a heaviness of heart, dealing with the demons of the past that constantly lurk in the memory of childhood, that insistently impinge on the man I am today. Louise Bourgeois’ sculptures brought it all flooding back as the work of only a great artist can, forcing me to become an ethical witness to her past, my past. A must see exhibition this summer in Melbourne.
A stunning, eloquent and conceptually complex exhibition buy Petrina Hicks at Helen Gory Galerie…
I am just going to add that the photograph Venus (2013, below) is one of the most beautiful photographs that I have seen “in the flesh” (so to speak) for a long while. Hicks control over the ‘presence’ of the image, her control over the presence within the image is immaculate. To observe how she modulates the colour shift from blush of pink within the conch shell, to colour of skin, to colour of background is an absolute joy to behold. The pastel colours of skin and background only serve to illuminate the richness of the pink within the shell as a form of immaculate conception (an openness of the mind and of the body). I don’t really care who is looking at this photograph (not another sexualised male gaze!) the form is just beauty itself. I totally fell in love with this work.
Forget the neo-feminist readings, one string of text came to mind: The high fidelity of a fetishistic fecundity.
Petrina Hicks (Australian, b. 1972) Venus 2013 Pigment print, Edition of 8 100 x 100cm
Petrina Hicks (Australian, b. 1972) Enigma 2013 Pigment print, Edition of 8 100 x 100cm
5/ Exhibition: Density by Andrew Follows at Anita Traverso Gallery, Richmond
I include this in my list of magnificent photographic exhibitions for the year not because I curated it, but because of the conceptualisation, the unique quality of the images and the tenacity of a visually impaired artist to produce such memorable work.
A wonderful exhibition by vision impaired photographer Andrew Follows at Anita Traverso Gallery, Richmond. It has been a real pleasure to mentor Andrew over the past year and to see the fruits of our labour is incredibly satisfying. The images are strong, elemental, atmospheric, immersive. Due to the nature of Andrew’s tunnel vision there are hardly any traditional vanishing points within the images, instead the ‘plane of existence’ envelops you and draws you in.
Densityn.
The degree of optical opacity of a medium or material, as of a photographic negative;
Thickness of consistency;
Complexity of structure or content.
Andrew Follows (Australian, d. 2019) Number 31, Eltham 2013 Digital photograph on archival cotton rag 130 cm x 86.5cm
Andrew Follows (Australian, d. 2019 Green, Montsalvat 2013 Digital photograph on archival cotton rag 130 cm x 86.5 cm
This is a fascinating National Gallery of Australia exhibition about the work of Australian photographer Carol Jerrems at Monash Gallery of Art, Wheelers Hill – in part both memorable, intimate, informative, beautiful, uplifting and disappointing…
The pity is that she died so young for what this exhibition brought home to me was that here was an artist still defining, refining her subject matter. She never had to time to develop a mature style, a mature narrative as an artist (1975-1976 seems to be the high point as far as this exhibition goes). This is the great regret about the work of Carol Jerrems. Yes, there is some mediocre work in this exhibition, stuff that really doesn’t work at all (such as the brothel photographs), experimental work, individual and collective images that really don’t impinge on your consciousness. But there are also the miraculous photographs (and for a young photographer she had a lot of those), the ones that stay with you forever. The right up there, knock you out of the ball park photographs and those you cannot simply take away from the world. They live on in the world forever.
Does Jerrems deserve to be promoted as a legend, a ‘premier’ of Australian photography as some people are doing? Probably not on the evidence of this exhibition but my god, those top dozen or so images are something truly special to behold. Their ‘presence’ alone – their physicality in the world, their impact on you as you stand before them – guarantees that Jerrems will forever remain in the very top echelons of Australian photographers of all time not as a legend, but as a women of incredible strength, intelligence, passion, determination and vision.
What a gorgeous exhibition. It’s about time Melbourne had a bit of style put back into the National Gallery of Victoria, and this exhibition hits it out of the park. Not only are the photographs absolutely fabulous but the frocks are absolutely frocking as well. Well done to the NGV for teaming the photographs with the fashion and for a great install (makes a change to see 2D and 3D done so well together). Elegant, sophisticated and oozing quality, this is a sure fire winner….
Installation photograph of the exhibition Edward Steichen & Art Deco Fashion at NGV International
Monash University Museum of Art (MUMA) is generating an enviable reputation for holding vibrant, intellectually stimulating group exhibitions on specific ideas, concepts and topics. This exhibition is no exception. It is one of the best exhibitions I have seen in Melbourne this year. Accompanied by a strong catalogue with three excellent essays by Thierry de Duve, Dr Rex Butler and Patrice Sharkey, this is a must see exhibition for any Melbourne art aficionado before it closes.
“This transition is a flash, a boundary where this becomes that, not then, not that – falling in love, jumping of a bridge. Alive : dead; presence : absence; purpose : play; mastery : exhaustion; logos : silence; worldly : transcendent. Not this, not that. It is an impossible presence, present – a moment of unalienated production that we know exists but we cannot define it, place it. How can we know love? We can speak of it in a before and after sense but it is always a past moment that we recognise.”
Dr Marcus Bunyan. Made Ready: A Philosophy of Moments. December 2013
Jeff Koons (American, b. 1955) Balloon dog (Red) 1995 designed Porcelain, ed. 1113/2300 11.3 x 26.3 cm diameter National Gallery of Victoria, Melbourne Photo: Marcus Bunyan
Andrew Liversidge (Australian, b. 1979) IN MY MIND I KNOW WHAT I THINK BUT THAT’S ONLY BASED ON MY EXPERIENCE 2009 10,000 $1 coins (AUD) 30 x 30 x 30cm Courtesy of the artist and The Commercial Gallery, Sydney Photo: Marcus Bunyan
Claudia Terstappen (Australian born Germany, b. 1959) Cabbage trees (Queensland, Australia) 2002 From the series Our ancestors 1990- Gelatin silver print 29 x 29cm Courtesy of the artist
Claudia Terstappen (Australian born Germany, b. 1959) Zion Park (USA) 1996 From the series Sacred land of the Navajo Indians 1990- Gelatin silver print 37 x 37cm Courtesy of the artist
Without doubt this is the best pure photography exhibition I have seen this year in Melbourne. The exhibition is stimulating and enervating, the image making of the highest order in its aesthetic beauty and visual complexity. The artist explores intangible spaces which define our physical and spiritual relationship with the un/known world…
In Terstappen’s work there is no fixed image and no single purpose, a single meaning, or one singular existence that the images propose. They transcend claims about the world arising from, for example, natural or scientific attitudes or theories of the ontological nature of the world. As the artist visualises, records the feeling of the facts, such complex and balanced images let the mind of the viewer wander in the landscape. In their fecundity the viewer is enveloped in that situation of not knowing. There is the feeling of the landscape, a sensitivity to being “lost” in the landscape, in the shadow of ‘Other’, enhanced through the modality of the printing. Dreamworld vs analytical / descriptive, there is the enigma of the landscape and its spiritual places. Yes, the sublime, but more an invocation, a plea to the gods for understanding. This phenomenological prayer allows the artist to envelop herself and the viewer in the profundity – the great depth, intensity and emotion – of the landscape. To be ‘present’ in the the untrammelled places of the world as (divine) experience…
I say to you that this is the most sophisticated reading of the landscape that I have seen in a long time – not just in Australia but from around the world. This is such a joy of an exhibition to see that you leave feeling engaged and uplifted. Being in the gallery on your own is a privilege that is hard to describe: to see (and feel!) landscape photography of the highest order and by an Australian artist as well.
The claiming of things The touching of things The digging of land The tagging of place The taking over of the world
Tag and capture. Tag and capture. Shop, dig, spray, destroy.
An ironic critique of the pastoral, neo/colonial world, tagged and captured in the 21st century.
Excellent work. The construction, sensibility and humour of the videos is outstanding. I also responded to the two works Tag and capture and Shopping for butterfly (both 2013, below).
Joan Ross (Australian, b. 1961) Tag and capture 2013 Hand painted pigment print on cotton rag paper 50 x 47cm (image size) Edition of 3
Joan Ross (Australian, b. 1961) Shopping for butterfly 2013 Hand painted pigment print on cotton rag paper 51.5 x 50cm (image size) Edition of 3
Exhibition dates: 29th September 2013 – 5th January 2014
Curator: Sarah Kennel, Associate Curator of Photographs at the National Gallery of Art
Charles Marville (French, 1813-1879) Marché aux chevaux (Horse Market) (fifth arrondissement) c. 1867 Albumen print from collodion negative Image: 26.2 x 36.8cm (10 5/16 x 14 1/2 in.) The J. Paul Getty Museum, Los Angeles
The French photographer Charles Marville (1813-1879) is rapidly becoming a favourite of mine. In fact, I have just ordered Charles Marville: Photographer of Paris by Sarah Kennel from Amazon – a book that comes highly recommended – and I am eagerly awaiting its arrival.
Charles Marville “is primarily known for documenting the transformation of Paris from a medieval city to a modern one, through a series of images of old neighbourhoods lost due to urban renewal… Marville’s earliest works were salted paper prints made from paper negatives – soft, high-contrast images not far removed in feeling from the pioneering, somewhat primitive photographs of William Henry Fox Talbot. As photographic technology advanced, Marville shifted to glass negatives that allowed far more visual precision, particularly in the architectural and streetscape images that compose the largest portion of the National Gallery of Art’s retrospective. By the late 1870s, shortly before his death, Marville’s compositions began to presage the more modernist approaches Alfred Stieglitz would pursue just a few years later. (At one point, Marville even experimented with abstracted cloud images, decades before Stieglitz’s famous “equivalents.”).” (Louis Jacobson. “Reviewed: Charles Marbille at the National Gallery of Art,” on the Washington City Newspaper blog 22nd October 2013 [Online] Cited 19/01/2021)
Marville can be seen as the precursor to Eugène Atget (1857-1927). Atget would have been in his twenties when Marville was in the last few years of his life. It is interesting to speculate whether the two ever met? (and if they did what they would have talked about!) Atget would have been aware of the older photographers’ work, work that has been criticised for its lack of social consciousness and artistic feeling.
“Comparing Atget’s work with that of his best-known predecessor, Charles Marville (1816-1879), demonstrates another of Atget’s artistic contributions. Marville had been commissioned to make a comprehensive documentation of the vast districts of old housing that were to be demolished as part of Napoleon III’s plan to transform Paris into a modern capital. Marville’s photographs do not linger over any particular building, warm to its charm or embrace its artistic qualities. Instead (perhaps because these buildings were slated for destruction anyway), Marville chose a position from which he could see straight to the end of even the most narrow, winding street, enabling him to photograph the maximum number of structures with one shot.” (Gerald M. Panter. “Atget in Historical Perspective” [Online] Cited 01/01/2014. No longer available online)
This is to denigrate the work of Marville. His photographs possess more subtly than Atget’s and they sing a different song. To me, Marville’s photographs are like a Bach fugue while Atget’s photographs are a Mozart sonata. Both have different resonances, no less valuable one from the other. It is as if Atget looked at the work of Marville and thought: how can I do this my way, in my own voice and he then proceeded to “turn up the volume” – by changing the angle and perspective of the camera, by moving horse and cart into more prominent positions, by focusing on details and ghosts. But Marville is no less a master than Atget. You only have to look at the photographs to realise what great sensitivity to subject matter he possessed, what a unique voice this artist had.
Look at the amazing construction of the picture plane in numerous images in this posting. The wall that blocks the way in Impasse de l’Essai from the Horse Market (c. 1868, below) and the pictures elegiac atmosphere, tensioned by the post mimicking the tree at the left hand side and the threatening, dark, brooding forms of both trees overhanging the rooftops of the houses. The three photographs The Bièvre River (fifth arrondissement) (2 images) and Banks of the Bièvre River at the Bottom of the rue des Gobelins (all 1862, below) where the artist leads the eye of the viewer into the image using water, then partially blocks the line of sight into the distance by barrels and posts, shadows and reflections, at the same time limiting the sky to a small section so that the viewer’s eyes have some escape route out of the image. The last image Bièvre River at the Bottom of the rue des Gobelins is almost Cezanne-like in it’s flattening and fracturing of the image plane into modernist shapes. Atget could never have taken photographs like these. They are true masterpieces.
The last five images of city streets in the posting are also illuminating. While they are more frontal than many of Atget’s street photographs, with a longer vista and vanishing point, there is something about them that adds an indelible serenity to the scene. Maybe it’s the foreshortened walls lingering into the distance, the carts, the light, the shadows. Look at the very last photograph, Impasse de la Bouteille (de la rue Montorgeuil) (1865-1868, below) and notice the wonderful two vanishing points and the immense darkness of the intervening wall as it pushes its way into the image, the blackness of this intervention. Incredible.
As John Szarkowski has observed, “In the wet-plate days of Atget’s great predecessor Charles Marville photographed the streets of Old Paris, street by street. In those old streets that still existed a generation later, Atget repeated the work building by building, sometimes door by door, sometimes door knocker by door knocker. He reworked the ore with a finer screen, and sifted out a different precious metal.” (John Szarkowski. Eugène Atget. Museum of Modern Art, 2000, p. 15)
Both Marville and Atget are precious metals. For that we are eternally grateful.
Dr Marcus Bunyan
Many thankx to the National Gallery of Art, Washington for allowing me to publish the photographs in the posting. Please click on the photographs for a larger version of the image.
Charles Marville (French, 1813-1879) Gardens of the Bagatelle under Construction 1858-1862 Albumenised salted paper print from collodion negative Image: 26 x 36cm (10 1/4 x 14 3/16 in.) Paula and Robert Hershkowitz
Charles Marville (French, 1813-1879) Impasse de l’Essai (du marché aux chevaux) (Impasse de l’Essai from the Horse Market) (fifth arrondissement) c. 1868 Albumen print from collodion negative Image: 24.5 x 36.5cm (9 5/8 x 14 3/8 in.) Ville de Paris – Bibliothèque de l’Hôtel de Ville (BHdV)
Charles Marville (French, 1813-1879) Interior of Les Halles Centrales 1874 Albumen print from collodion negative Image: 31.8 x 39.2cm (12 1/2 x 15 7/16 in.) The AIA/AAF Collection, Prints and Photographs Division, Library of Congress, Washington D.C.
Charles Marville (French, 1813-1879) The Bièvre River (fifth arrondissement) c. 1862 Albumen print from collodion negative Image: 26.67 x 37.47cm (10 1/2 x 14 3/4 in.) Joy of Giving Something, Inc.
Charles Marville (French, 1813-1879) Treasury of Reims Cathedral 1854 Salted paper print from paper negative 23.1 x 34.5cm (9 1/8 x 13 9/16 in.) Private Collection
Charles Marville (French, 1813-1879) Cloud Study, Paris 1856-1857 Albumen print from collodion negative Image: 15.4 x 25.7cm (6 1/16 x 10 1/8 in.) Sheet: 31 x 43.4cm (12 3/16 x 17 1/16 in.) Wilson Centre for Photography, London
The first exhibition in the United States and the very first scholarly catalogue on the accomplished 19th-century French photographer Charles Marville will explore the beauty, variety, and historical poignancy of Marville’s art. On view at the National Gallery of Art, Washington, from September 29, 2013, through January 5, 2014, Charles Marville: Photographer of Paris will include 99 photographs and three albums that represent the artist’s entire career, from his exquisite city scenes and landscape studies made across Europe in the early 1850s to his compelling photographs of Paris both before and after many of its medieval streets were razed to make way for the broad boulevards, parks, and monumental buildings we have come to associate with the City of Light. The accompanying exhibition catalogue will present recently discovered, groundbreaking scholarship informing Marville’s art and his biography.
“Although his photographs of Paris on the brink of modernity are widely hailed as among the most accomplished ever made of that city, Marville himself has long remained an enigma to art historians,” said Earl A. Powell III, director, National Gallery of Art. “We are thrilled to present this new look at the art and life of Marville and are deeply grateful to lenders, both public and private, for making this landmark show possible.”
Forty-one of the 102 works presented in the exhibition are on loan from the Musée Carnavalet, Paris. Conservation and preparation of the loans from the Musée Carnavalet has been undertaken by the Atelier de Restauration et de Conservation des Photographies de la Ville de Paris (ARCP).
Recent Discoveries
Marville has long remained a mystery partly because documents that would shed light on his biography were thought to have disappeared in a fire that consumed Paris’ city hall in 1871. The whereabouts of other documentation was simply unknown. However, new research has helped curator Sarah Kennel and exhibition researcher Daniel Catan reconstruct Marville’s personal and professional biography.
The son of a tailor and laundress, Charles-François Bossu was born in Paris 1813. In a double act of self-invention, he jettisoned his given name (bossu means hunchback in French) around 1832, at the moment he became an artist. He embarked upon a career as an illustrator in the early 1830s but turned to the young discipline of photography in 1850. Although he continued to be known as Marville until his death in 1879, he never formally changed his name, which is the reason many of the legal documents pertaining to his life have gone unnoticed for decades. The exhibition catalogue establishes Marville’s biography, including his parentage and his relationship with a lifelong companion, and uncovers many significant details that illuminate the evolution and circumstances of his career.
The Exhibition and Artist’s Background
A talented and prolific artist lauded for his rigorously composed, beautifully detailed prints, Marville was commissioned in the early 1860s to record the city of Paris in transition. He soon became known as the official photographer of Paris and produced one of the earliest photographic series documenting urbanisation. He continues to be recognised as one of the most accomplished photographers in the history of the medium.
Charles Marville: Photographer of Paris offers an overview of the artist’s photographic career, beginning with a compelling series of intimate self-portraits and portraits of friends and colleagues that provide a fascinating window into Marville’s personal life and professional ties, and serve as an introduction to the exhibition. Starting in 1850, Marville travelled throughout France and Germany, using the paper negative process with great skill to create beautiful landscapes, cityscapes, studies of sculpture, and striking architectural photographs. Many of these works were included in albums produced by the pioneering publisher Louis-Désiré Blanquart-Evrard. The quantity and quality of the photographs used by the publisher serve as both a testament to Marville’s skill and an indication that his training as an illustrator prepared him exceptionally well for this new pictorial enterprise of photographic documentation.
In the mid-1850s, Marville adopted the collodion negative process and undertook a series of sky and cloud studies, made from the rooftop of his Parisian studio. More rapid and sensitive than the paper negative process, the collodion negative process enabled the photographer to capture delicate, luminous cloud formations on the city’s horizon and made him one of the first artists successfully to photograph clouds. At the same time, Marville expanded his practice by honing in on two lucrative areas: reproductions of works of art and architectural photographs. He excelled at both and assumed the title and related privileges of photographer to the Louvre while he also documented building and renovation projects in Paris and the provinces for prominent French architects, including Eugène Viollet-le-Duc.
In 1858, Marville was commissioned by the city of Paris to photograph the newly refurbished Bois de Boulogne, a royal park on the edge of Paris that had been transformed under the emperor Napoleon III into a site of bourgeois leisure and pleasure. Arguably his first important body of work that was conceived and executed as a systematic series, the Bois de Boulogne series would influence his best-known work, the Old Paris photographs. Commissioned by Paris’ agency on historic works (under the aegis of urban planner Georges-Eugène Baron Haussmann) in the early 1860s, Marville made more than 425 photographs of the narrow streets and crumbling buildings of the premodern city at the very moment they were threatened by demolition. Known as the Old Paris album, the photographs are captivating for their seamless integration of artistic sensibility and intense devotion to maximum visual clarity. In many cases they serve as the only visual record of sites that have long since vanished.
The exhibition closes with an exploration of the emergence of modern Paris through Marville’s photographs. Even before completing the Old Paris series, Marville began to photograph the city that was coming into being, from massive construction projects, renovated churches, and broad boulevards to a host of modern conveniences, such as the elegant new gas lamps and the poetically named vespasiennes (public urinals) that cemented Paris’ reputation in the 1860s as the most modern city in the world. Marville also explored the city’s edges, where desolate stretches of half-finished construction suggest the physical displacements and psychic costs of modernisation. Sharp-edged, beautifully detailed, and brilliantly composed, Marville’s photographs of the French capital as at once glamorous and alienating do not simply document change but in their very form shape the visual rhetoric of modern Paris.
Press release from the National Gallery of Art website
Charles Marville (French, 1813-1879) Cathédrale de Chartres, Grandes Figures des pilastres du portail septentrional (Chartres Cathedral, Columnar Figures, Northern Portal) 1854 Salted paper print from paper negative Image: 36 x 25.6cm (14 3/16 x 10 1/16 in.) The Museum of Modern Art, New York, Gift of Paul F. Walter
Charles Marville (French, 1813-1879) Self-Portrait at a Window, February 20, 1851 1851 Salted paper print from paper negative Image: 14.29 x 11.4cm (5 5/8 x 4 1/2 in.) Support: 32.2 x 24.5cm (12 11/16 x 9 5/8 in.) Mat: 53 x 40.5cm (20 7/8 x 15 15/16 in.) Musée d’Orsay, Paris
Charles Marville (French, 1813-1879) Self-Portrait 1861 Albumen print from collodion negative Image: 23.5 x 18.3cm (9 1/4 x 7 3/16 in.) Collection Debuisson
Charles Marville (French, 1813-1879) Rue de la Bûcherie, from the cul de sac Saint-Ambroise (fifth arrondissement) 1866-1868 Albumen print from collodion negative Image: 32 x 27.1cm (12 5/8 x 10 11/16 in.) National Gallery of Art, Washington, Horace W. Goldsmith Foundation through Robert and Joyce Menschel
Charles Marville (French, 1813-1879) Rue Saint-Jacques (fifth arrondissement) 1865-1866 Albumen print from collodion negative Image: 30.8 x 27cm (12 1/8 x 10 5/8 in.) National Gallery of Art, Washington, Horace W. Goldsmith Foundation through Robert and Joyce Menschel
Charles Marville (French, 1813-1879) Cour Saint-Guillaume (ninth arrondissement) 1866-1867 Albumen print from collodion negative Image: 34.2 x 27.2cm (13 7/16 x 10 11/16 in.) Lent by The Metropolitan Museum of Art, Gilman Collection, Purchase, Alfred Stieglitz Society Gifts, 2005
Charles Marville (French, 1813-1879) Passage Saint-Guillaume (vers la rue Richelieu) (first arrondissement) 1863-1865 Albumen print from collodion negative Image: 31.91 x 27.62cm (12 9/16 x 10 7/8 in.) Joy of Giving Something, Inc.
Charles Marville (French, 1813-1879) Rue Ollivier (vers la rue Saint-Georges) (ninth arrondissement) c. 1868 Albumen print from collodion negative Image: 28.6 x 27.6cm (11 1/4 x 10 7/8 in.) Joy of Giving Something, Inc.
Curator: Malcolm Daniel, Senior Curator in the Department of Photographs at The Metropolitan Museum of Art
Julia Margaret Cameron (British born India, Calcutta 1815 – 1879 Kalutara, Ceylon) King Lear and his Three Daughters 1872 Albumen silver print from glass negative Bequest of Maurice B. Sendak, 2013 The Metropolitan Museum of Art
The three Liddell sisters – Lorina, Elizabeth, and Alice – posed with the photographer’s husband playing the tragically deceived King Lear in one of Cameron’s few Shakespearean compositions. Goneril and Regan whisper false flattery in the ageing king’s ear while the truly devoted but disinherited Cordelia – here unadorned and dressed in white – stands before him, an embodiment of disillusioned innocence.
The first posting of a new year, and finally I get to do a posting on one of the greatest photographers of all time. Nobody has ever taken portraits like JMC before or since. What a unique vision, different from everyone else: “directed light, soft focus, and long exposures that allowed the sitters’ slight movement to register in her pictures, instilling them with a sense of breath and life.”
The portrait of Sir John Herschel (April 1867, below) is one of the most famous portraits in the history of photography. What a magnificent achievement, to capture the spirit of this human being on a glass plate… “Our Julia” as my friend Joyce Evans lovingly calls her. It’s funny how everyone takes her to their heart.
Dr Marcus Bunyan
Many thankx to the The Metropolitan Museum of Art for allowing me to publish the photographs in the posting. Please click on the photographs for a larger version of the image.
Julia Margaret Cameron (British born India, Calcutta 1815 – 1879 Kalutara, Ceylon) Sappho 1865 Albumen silver print from glass negative The Rubel Collection, Purchase, Jennifer and Joseph Duke and Anonymous Gifts, 1997 The Metropolitan Museum of Art
Mary Hillier, a beautiful young house servant at Dimbola, Cameron’s home in Freshwater, was often pressed into photographic service, frequently in the role of the Virgin Mary. She managed to assume her various guises in a remarkably unselfconscious way, projecting both gentleness and strength of character. Hillier is also the model for Cameron’s Sappho, a profile portrait in the Florentine Quattrocento style, perhaps inspired by the chromolithographic reproductions of Italian paintings distributed by the Arundel Society, of which Cameron was a member. The image has great presence, so much so that Cameron decided to print it even though she broke the negative. Precisely what the picture has to do with the Greek poet of Lesbos is unclear, especially since Cameron inscribed another print of the same image Adriana. The titles of two close variants reveal that, by looking left instead of right, Hillier was apparently transformed from Sappho into Dora or, when photographed from one step further back, Clio. Although Cameron often set out to portray a certain ideal, she also titled pictures after the fact, sometimes because the image seemed to embody the character of a certain literary or biblical figure, but sometimes, one suspects, quite simply because there was more of a market for images of the Virgin, Sappho, or Christabel than for portraits of the photographer’s niece or a parlour maid from the Isle of Wight.
Julia Margaret Cameron (British born India, Calcutta 1815 – 1879 Kalutara, Ceylon) The Mountain Nymph Sweet Liberty 1866 Albumen silver print from glass negative Harris Brisbane Dick Fund, 1941 The Metropolitan Museum of Art
In Cameron’s The Mountain Nymph Sweet Liberty, Miss Keene, an arresting model about whom we know nothing but her last name, stares directly at the camera (and, by extension, at the viewer), her hair loose and her eyes open wide. Filling the frame, she seems to step out of the picture. The photograph takes its title from John Milton’s poem L’Allegro, a celebration of life’s pleasures:
Come, and trip it as you go On the light fantastic toe; And in thy right hand lead with thee The mountain nymph, sweet Liberty.
Cameron sent the photograph to her friend, the renowned scientist Sir John Herschel, who wrote back, “That head of the ‘Mountain Nymph Sweet liberty’ (a little farouche & égarée [timid and distraught] by the way, as if first let loose & half afraid that it was too good to last) is really a most astonishing piece of high relief. She is absolutely alive and thrusting out her head from the paper into the air. This is your own special style.” Herschel seized upon the photograph’s most striking quality, its startling sense of presence and of psychological connection with the viewer.
Julia Margaret Cameron (British born India, Calcutta 1815 – 1879 Kalutara, Ceylon) Zoe, Maid of Athens 1866 Albumen silver print from glass negative The Rubel Collection, Purchase, Lila Acheson Wallace, Ann Tenenbaum and Thomas H. Lee, and Muriel Kallis Newman Gifts, 1997 The Metropolitan Museum of Art
Here Cameron photographed May Prinsep, her sister’s adopted daughter. By allowing Prinsep’s slight movement and by intentionally softening the focus, Cameron instilled a sense of breath and soul in this living apparition, for the true subject of her photograph was a poetic evocation of love and longing. “Maid of Athens, ere we part, / Give, oh, give me back my heart!” begin the verses composed by Lord Byron as he departed Greece in 1810. In the poem that inspired Cameron, Byron swore “By those tresses unconfined, / Wooed by each Aegean wind; / By those lids whose jetty fringe / Kiss thy soft cheeks’ blooming tinge; / By those wild eyes like the roe, / Zoë mou sas agapo [My life, I love you].”
Julia Margaret Cameron (British born India, Calcutta 1815 – 1879 Kalutara, Ceylon) Christabel 1866 Albumen silver print from glass negative Harris Brisbane Dick Fund, 1941 The Metropolitan Museum of Art (41.21.26)
“Yea, she doth smile, and she doth weep,
Like a youthful hermitess,
Beauteous in a wilderness.”
Samuel Taylor Coleridge
Coleridge’s unfinished poem “Christabel” (1816) tells the story of a young woman debased by sorcery. A dark poem, full of rolling fog and lesbian innuendo, “Christabel” was the kind of tale that appealed to the Victorian palate – a soup of sexual transgression and moral repair. Cameron rarely made portraits of women; rather, when she photographed them, they appeared as representations of some biblical, mythological, or literary figure. Cameron’s niece, May Prinsep, who would later marry Hallam Tennyson, son of the poet laureate, appears here as the ethereal Christabel before her corruption. Cameron’s long exposure time and distinct soft-focus technique lend the work its idealising gravitas even while, paradoxically, intensifying the realistic presence of the individual before the lens. For all her “high art” aspirations, Cameron was always quick to note that her images were “from life.”
Julia Margaret Cameron (British born India, Calcutta 1815 – 1879 Kalutara, Ceylon) [Kate Keown] 1866 Albumen silver print from glass negative Gilman Collection, Purchase, Jennifer and Joseph Duke Gift, 2005 The Metropolitan Museum of Art
In spring and summer 1866, having purchased a new, larger camera capable of making twelve-by-fifteen-inch negatives, Cameron produced a series of twelve “life-sized heads,” including this angelic study of tender sorrow somewhat in the style of Botticelli. Throughout her work, poetic truth was valued above photographic truthfulness. She conveyed a sense of life and breath and of honest emotion through careful lighting, her models’ slight movement during long exposures, a shallow depth of field, and softness of focus. “My first successes in my out-of-focus pictures were a fluke,” Cameron wrote. “That is to say, that when focusing and coming to something which, to my eye, was very beautiful, I stopped there instead of screwing on the lens to the more definite focus which all other photographers insist on.” In so doing, she gave the feeling of both flesh and spirit without, in Rejlander’s words, “an exaggerated idea of the bark of the skin.”
Julia Margaret Cameron (British born India, Calcutta 1815 – 1879 Kalutara, Ceylon) Mrs. Herbert Duckworth 1867 Albumen silver print from glass negative 32.8 x 23.7cm (12 15/16 x 9 5/16 in.) Gilman Collection, Purchase, Alfred Stieglitz Society Gifts, 2005
This portrait of Julia Jackson, which is usually trimmed to an oval, suggests an antique cameo carved in deep relief. Its success lies partly in its subject’s actual beauty and partly in the way the photographer modelled it to suggest Christian and classical ideals of purity, strength, and grace. The photograph was made the year Julia married Herbert Duckworth. Three years later she was a widow and the mother of three children.
Her second marriage, in 1878, to the great Victorian intellectual Sir Leslie Stephen, produced the painter Vanessa Bell and the writer Virginia Woolf. In her novel To the Lighthouse (1927), Virginia portrayed her mother as the searching, sensitive Mrs. Ramsay, ever suspended in thought. “She bore about with her, she could not help knowing it, the torch of her beauty; she carried it erect into any room that she entered.”
Julia Margaret Cameron (British born India, Calcutta 1815 – 1879 Kalutara, Ceylon) Alice Liddell / Pomona 1872 Albumen silver print from glass negative David Hunter McAlpin Fund, 1963 The Metropolitan Museum of Art
Alice Liddell (1852-1934) – who, as a child, was Lewis Carroll’s muse and frequent photographic model – posed for Cameron a dozen times in August and September 1872. Against a dense background of foliage and bedecked with flowers, the twenty-year-old Liddell was photographed by Cameron as the embodiment of fruitful abundance, Pomona, Roman goddess of gardens and fruit trees.
One of the greatest portraitists in the history of photography, Julia Margaret Cameron (1815-1879) blended an unorthodox technique, a deeply spiritual sensibility, and a Pre-Raphaelite-inflected aesthetic to create a gallery of vivid portraits and a mirror of the Victorian soul. Julia Margaret Cameron, on view at the Metropolitan Museum of Art beginning August 19, 2013, is the first New York City museum exhibition devoted to Cameron’s work in nearly a generation and the first ever at the Met. The showing of 35 works is drawn entirely from the Metropolitan’s rich collection, including major works from the Rubel Collection acquired in 1997 and the Gilman Collection acquired in 2005. The exhibition is made possible by The Hite Foundation, in memory of Sybil Hite.
When she received her first camera in December 1863 as a Christmas gift from her daughter and son-in-law, Cameron was 48, a mother of six, and a deeply religious, well-read, somewhat eccentric friend of many notable Victorian artists, poets, and thinkers. “From the first moment I handled my lens with a tender ardour,” she wrote, “and it has become to me as a living thing, with voice and memory and creative vigour.” Condemned by some contemporaries for sloppy craftsmanship, she purposely avoided the perfect resolution and minute detail that glass negatives permitted, opting instead for carefully directed light, soft focus, and long exposures that allowed the sitters’ slight movement to register in her pictures, instilling them with a sense of breath and life.
The exhibition features masterpieces from each of her three major bodies of work: portraits of men “great thro’ genius” including the poet Alfred, Lord Tennyson, scientist Sir John Herschel, and philosopher Thomas Carlyle; women “great thro’ love” including relatives, neighbours, and household staff, often titled as literary, historical, or biblical subjects; and staged groupings such as her illustrations for Tennyson’s Idylls of the King, her Annunciation in the style of Perugino, or her depiction of King Lear and his daughters. Julia Margaret Cameron is organised by Malcolm Daniel, Senior Curator in the Department of Photographs at The Metropolitan Museum of Art.”
Press release from The Metropolitan Museum of Art website
Julia Margaret Cameron (British born India, Calcutta 1815 – 1879 Kalutara, Ceylon) Philip Stanhope Worsley 1866 Albumen silver print from glass negative Gilman Collection, Purchase, The Horace W. Goldsmith Foundation Gift through Joyce and Robert Menschel, 2005 The Metropolitan Museum of Art
On February 21, 1866, Cameron wrote to Henry Cole, director of the South Kensington Museum, “I have been for 8 weeks nursing poor Philip Worsley on his dying bed… The heart of man cannot conceive a sight more pitiful than the outward evidence of the breaking up of his whole being.” An Oxford-educated poet who translated the Odyssey and part of the Iliad into Spenserian verse, Worsley died of tuberculosis at the age of thirty the following May. Cameron’s portrait, made the year of his death, vividly conveys the intensity of Worsley’s intellectual life and something of its tragedy. To her subject’s hypnotic gravity she added intimations of sacrifice, engulfing the dying poet in dramatic darkness.
Julia Margaret Cameron (British born India, Calcutta 1815 – 1879 Kalutara, Ceylon) Alfred, Lord Tennyson July 4, 1866 Albumen silver print from glass negative The Rubel Collection, Purchase, Lila Acheson Wallace, Michael and Jane Wilson, and Harry Kahn Gifts, 1997 The Metropolitan Museum of Art
When Cameron’s husband retired in 1848 from the Calcutta Council of Education and the Supreme Council of India, they moved to England, settling first in Tunbridge Wells, near Charles’s old friend the poet Henry Taylor, and later in Putney Heath, near the poet laureate Alfred, Lord Tennyson and his wife. For Cameron, these men were not merely friends and neighbours, but also intellectual, spiritual, and artistic advisors. In 1860, while her husband was in Ceylon checking on the family coffee plantations, Cameron visited the Tennysons’ new home at Freshwater on the Isle of Wight and promptly purchased two cottages next door, which she joined together as the new family home. Cameron’s friendship and determination knew no bounds – indeed, her kindness could be overbearing at times. It took three years of pleading before Cameron convinced Tennyson (who jokingly referred to her models as “victims”) to sit for his portrait.
Julia Margaret Cameron (British born India, Calcutta 1815 – 1879 Kalutara, Ceylon) Sir John Herschel April 1867 Albumen silver print from glass negative The Rubel Collection, Promised Gift of William Rubel The Metropolitan Museum of Art
No commercial portrait photographer of the period would have portrayed Herschel as Cameron did here, devoid of classical columns, weighty tomes, scientific attributes, and academic poses – the standard vehicles for conveying the high stature and classical learning that one’s sitter possessed (or pretended to possess). To Cameron, Herschel was more than a renowned scientist; he was “as a Teacher and High Priest,” an “illustrious and revered as well as beloved friend” whom she had known for thirty years. Naturally, her image of him would not be a stiff, formal effigy. Instead, she had him wash and tousle his hair to catch the light, draped him in black, brought her camera close to his face, and photographed him emerging from the darkness like a vision of an Old Testament prophet.
Julia Margaret Cameron (British born India, Calcutta 1815 – 1879 Kalutara, Ceylon) A Study 1865-1866 Albumen silver print from glass negative 34.4 x 26.4cm (13 9/16 x 10 3/8 in.) Bequest of James David Nelson, in memory of Samuel J. Wagstaff Jr., 1990
This image, also titled After Perugino / The Annunciation, is one of more than 130 religiously themed images inspired by Cameron’s deep Christian devotion and her artistic admiration of Italian painting of the early Renaissance. Such photographs adhere to traditional iconography only in the broadest sense. Here, for example, Cameron follows the precedent of paintings of the Annunciation in which the angel Gabriel presents a lily – symbol of purity – to the Virgin Mary. More important, however, Cameron’s sincerity of sentiment imbues her work with an aura of devotion and claims for it a place equal to sacred art of the past.
Julia Margaret Cameron (English, 1815-1879) The Parting of Lancelot and Guinevere 1874 Albumen silver print from glass negative David Hunter McAlpin Fund, 1952 The Metropolitan Museum of Art
In 1874 Tennyson asked Cameron to make photographic illustrations for a new edition of his Idylls of the Kings, a recasting of the Arthurian legends. Responding that both knew that “it is immortality to me to be bound up with you,” Cameron willingly accepted the assignment. Costuming family and friends, she made some 245 exposures to arrive at the handful she wanted for the book. Ultimately – and predictably – she was unhappy with the way her photographs looked reduced in scale and translated into wood engravings, and she chose to issue a deluxe edition, at her own risk, that included a dozen full size photographic prints in each of two volumes.
The Metropolitan Museum of Art 1000 Fifth Avenue at 82nd Street New York, New York 10028-0198 Phone: 212-535-7710
![Lewis Hine (American, 1874-1940) '[Mechanic and Steam Pump]' c. 1930](https://artblart.com/wp-content/uploads/2013/12/79-84-hine-web.jpg "Lewis Hine (American, 1874-1940) '[Mechanic and Steam Pump]' c. 1930")
![Julia Margaret Cameron (British born India, Calcutta 1815 - 1879 Kalutara, Ceylon) '[Kate Keown]' 1866](https://artblart.com/wp-content/uploads/2013/12/4-_kate-keown-web.jpg "Julia Margaret Cameron (British born India, Calcutta 1815 - 1879 Kalutara, Ceylon) '[Kate Keown]' 1866")
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