Archive for the 'psychological' Category

24
May
17

Exhibition: ‘Gillian Wearing and Claude Cahun: Behind the mask, another mask’ at the National Portrait Gallery, London

Exhibition dates: 9th March – 29th May 2017

 

This is the last posting for a while as my hand operation is tomorrow… so let’s make the most of the occasion!

 

“…the life of spirit is not the life that shrinks from death and keeps itself untouched by devastation, but rather the life that endures it and maintains itself in it. It wins its truth only when, in utter dismemberment, it finds itself. It is this power, not as something positive, which closes its eyes to the negative as when we say of something that it is nothing or is false, and then having done with it, turn away and pass on to something else; on the contrary, spirit is this power only by looking the negative in the face, and tarrying with it. This tarrying with the negative is the magical power that converts it into being.”

.
George Wilhelm Frederich Hegel 1807 ‘Phenomenology of Spirit’, Preface (trans. A. V. Miller 1977), Oxford: Oxford University Press, 10

 

 

This is an interesting pairing for an exhibition but the connection between the artists is unconvincing. This is because Wearing and Cahun are talking to different aspects of the self.

Wearing’s self-portraits, her mask-querades, her shielded multiple personalities, talk to a “postmodern meditation on the slipperiness of the self” in which there is little evidence of the existence of any “real” person. Wearing wears her identities in a series of dress-ups, performances where only the eyes of the original protagonist are visible. These identities evidence Jung’s shadow aspect, “an unconscious aspect of the personality which the conscious ego does not identify in itself.” Rather than an assimilation of the shadow aspect into the self followed by an ascent (enantiodromia), Wearing’s images seem to be mired in a state of melancholia, a “confrontation with the shadow which produces at first a dead balance, a stand-still that hampers moral decisions and makes convictions ineffective…tenebrositas, chaos, melancholia.” This is not a confrontation that leads anywhere interesting, by looking the negative in the face and tarrying with it. These split personalities rise little above caricature, an imitation of a person in which certain striking characteristics are over emphasised, such as in Wearing’s portraits of her as Andy Warhol or Robert Mapplethorpe. To me, the photograph of Wearing as Mapplethorpe is a travesty of the pain that artist was feeling as he neared the end of his life, dying from HIV/AIDS.

Cahun’s self-portraits contain all the depth of feeling and emotion that Wearing’s can never contain. Here, identity and gender is played out through performance and masquerade in a constructive way, a deep, probing interrogation of the self in front of the camera. While Cahun engages with Surrealist ideas – wearing masks and costumes and changing her appearance, often challenging traditional notions of gender representation – she does so in a direct and powerful way. As Cumming observes, “She is not trying to become someone else, not trying to escape [as Wearing is]. Cahun is always and emphatically herself. Dressed as a man, she never appears masculine, nor like a woman in drag. Dressed as a woman, she never looks feminine. She is what we refer to as non-binary* these days, though Cahun called it something else: “Neuter is the only gender that always suits me.””

*Those with nonbinary genders can feel that they: Have an androgynous (both masculine and feminine) gender identity, such as androgyne. Have an identity between male and female, such as intergender. Have a neutral or unrecognized gender identity, such as agender, neutrois, or most xenogenders.*

Cahun had a gift for the indelible image but more than that, she possesses the propensity for humility and openness in these portraits, as though she is opening her soul for interrogation, even as she explores what it is to be Cahun, what it is to be human. This is a human being in full control of the balance between the ego and the self, of dream-state and reality. The photographs, little shown in Cahun’s lifetime, are her process of coming to terms with the external world, on the one hand, and with one’s own unique psychological characteristics on the other. They are her adaption** to the world.

**“The constant flow of life again and again demands fresh adaptation. Adaptation is never achieved once and for all.” (Carl Jung. “The Transcendent Function,” CW 8, par. 143.)**

.
Claude Cahun is person I would have really liked to have met. Affiliated with the French Surrealist movement, living with her partner the artist and stage designer Marcel Moore, the two women left Paris for the Isles of Scilly and were then imprisoned in Nazi-occupied Jersey during the Second World War as a result of their roles in the French Resistance.

“Fervently against war, the two worked extensively in producing anti-German fliers. Many were snippets from English-to-German translations of BBC reports on the Nazis’ crimes and insolence, which were pasted together to create rhythmic poems and harsh criticism. The couple then dressed up and attended many German military events in Jersey, strategically placing them in soldier’s pockets, on their chairs, etc. Also, they inconspicuously crumpled up and threw their fliers into cars and windows. In many ways, Cahun and Malherbe’s [Marcel Moore] resistance efforts were not only political but artistic actions, using their creative talents to manipulate and undermine the authority which they despised. In many ways, Cahun’s life’s work was focused on undermining a certain authority, however her specific resistance fighting targeted a physically dangerous threat. In 1944 she was arrested and sentenced to death, but the sentence was never carried out. However, Cahun’s health never recovered from her treatment in jail, and she died in 1954.” (Wikipedia)

Undermining a certain authority … while ennobling her own identity and being. Love and respect.

Marcus

.
Many thankx to the National Portrait Gallery, London for allowing me to publish the photographs in the posting. Please click on the photographs for a larger version of the image. For more information please see the blog entry Claude Cahun: Freedom Fighter.

 

This exhibition brings together for the first time the work of French artist Claude Cahun and British contemporary artist Gillian Wearing. Although they were born almost seventy years apart and came from different backgrounds, remarkable parallels can be drawn between the two artists. Both of them share a fascination with the self-portrait and use the self-image, through the medium of photography, to explore themes around identity and gender, which is often played out through masquerade and performance.

 

 

“Under this mask, another mask. I will never finish removing all these faces.”

.
Claude Cahun, 1930

 

 

Claude Cahun. 'Autoportrait' 1929

 

Claude Cahun
Self-portrait (reflected image in mirror with chequered jacket)
1927
Silver gelatin print

 

 Claude Cahun. 'Autoportrait' 1928

 

Claude Cahun
Autoportrait
1928
Gelatin silver print
13.9 x 9 cm
Jersey Heritage Collection
© Jersey Heritage

 

 

“Once seen, never forgotten: Cahun had a gift for the indelible image. Even when the signals are jammed, and the meaning deliberately baffled, her vision always holds strong. This is partly convenienced by the artist’s exceptional looks. Her long, thin face, with its shaved eyebrows, large eyes and linear nose, takes paint like a canvas. She converts herself into a harpy, a lunatic or a doll with equal ease. In one self-portrait, she even holds her own bare face like a mask…

Peering into these monochrome images, so delicate and small, the viewer might inevitably wonder which is the real Cahun: the woman in the aviator goggles, the pensive Buddhist, the young man in a white silk scarf? But this is not the right question. She is not trying to become someone else, not trying to escape. Cahun is always and emphatically herself.

Dressed as a man, she never appears masculine, nor like a woman in drag. Dressed as a woman, she never looks feminine. She is what we refer to as non-binary these days, though Cahun called it something else: “Neuter is the only gender that always suits me.” …

There is little evidence that she ever displayed these photographs, which were forgotten for decades after her death. It seems that her partner was generally behind the lens, but we know almost nothing about how they were made. Of her lifelong project, Cahun wrote: “Under this mask, another mask. I will never finish removing all these faces.”

Commentators have taken this to mean that she thought of herself as a series of multiple personalities, and the double exposures, shadows and reflections in her work all seem to undermine the idea of a singular self. Yet Cahun is formidably and unmistakably Cahun, her force of personality registering every time in that utterly penetrating look. Far from some postmodern meditation on the slipperiness of the self, her images are completely direct. They acknowledge the sufferings of a double life and are deepened by them every time; and yet they rejoice in that life too.”

Laura Cumming. “Gillian Wearing and Claude Cahun: Behind the Mask, Another Mask – review,” on The Observer website

 

 

Claude Cahun in collaboration with Marcel Moore. 'Aveux non avenus frontispiece' 1929-30

 

Claude Cahun in collaboration with Marcel Moore
Aveux non avenus frontispiece
1929-30
Photomontage
Silver gelatin print
Jersey Heritage Collections
© Jersey Heritage

 

 

“Cahun appears in enigmatic guises, playing out different personas using masks and mirrors, and featuring androgynous shaven or close-cropped hair – as can be seen in the multiple views of her in the lower left-hand side of this collage. The image also includes symbols made up by the women to represent themselves – the eye for Moore, the artist, and the mouth for Cahun, the writer and actor. Whereas the majority of Surrealists were men, in whose images women appear as eroticised objects, Cahun’s androgynous self-portraits explore female identity as constructed, multifaceted, and ultimately as having a nihilistic absence at the core.”

Ron Radford (ed), Collection highlights: National Gallery of Australia, National Gallery of Australia, Canberra, 2008

 

Claude Cahun. 'Self-portrait (as a dandy, head and shoulders)' 1921-22

 

Claude Cahun
Self-portrait (as a dandy, head and shoulders)
1921-22
Silver gelatin print
The Museum of Modern Art, New York
Thomas Walther Collection
Digital image, The Museum of Modern Art, New York / Scala, Florence

 

Claude Cahun. 'Studies for a keepsake' c. 1925

 

Claude Cahun
Studies for a keepsake
c. 1925
Silver gelatin prints
Musée d’Art moderne de la Ville de Paris
© Musée d’Art moderne / Roger-Viollet

 

Claude Cahun. 'Study for a keepsake' c. 1925

 

Claude Cahun
Study for a keepsake
c. 1925
Silver gelatin print
Musée d’Art moderne de la Ville de Paris
© Musée d’Art moderne / Roger-Viollet

 

Claude Cahun. 'I am in training don't kiss me' c. 1927

 

Claude Cahun
I am in training don’t kiss me
c. 1927
Silver gelatin print
117mm x 89mm (whole)
Jersey Heritage Collections
© Jersey Heritage

 

Totor (progenitor of Tintin) and Popol are two comic characters by the Belgian cartoonist Hergé. Castor and Pollux are the twin stars; Pollux and Helen were the children of Zeus and Leda, while Castor and Clytemnestra were the children of Leda and Tyndareus.

 

Claude Cahun. 'Self-portrait (kneeling, naked, with mask)' c. 1928

 

Claude Cahun
Self-portrait (kneeling, naked, with mask)
c. 1928
Silver gelatin print
116mm x  83mm
Jersey Heritage Collections
© Jersey Heritage

 

Claude Cahun. 'Self-portrait (full length masked figure in cloak with masks)' 1928

 

Claude Cahun
Self-portrait (full length masked figure in cloak with masks)
1928
Silver gelatin print
109mm x 82mm
Jersey Heritage Collections
© Jersey Heritage

 

Claude Cahun. 'Self-portrait' 1929

 

Claude Cahun
Self-portrait
1929
Silver gelatin print

 

Claude Cahun. 'Je tends les bras (I extend my arms)' c. 1932

 

Claude Cahun
Je tends les bras (I extend my arms)
c. 1932
Silver gelatin print
Jersey Heritage Collections
© Jersey Heritage

 

Claude Cahun. 'Self-portrait (in cupboard)' c. 1932

 

Claude Cahun
Self-portrait (in cupboard)
c. 1932
Silver gelatin print
Jersey Heritage Collections
© Jersey Heritage

 

 

Gillian Wearing and Claude Cahun: Behind the mask, another mask (9 March – 29 May 2017) draws together over 100 works by French artist Claude Cahun (1894-1954) and British contemporary artist Gillian Wearing (b.1963). While they were born 70 years apart, they share similar themes of gender, identity, masquerade and performance.

Cahun, along with her contemporaries André Breton and Man Ray, was affiliated with the French Surrealist movement although her work was rarely exhibited during her lifetime. Together with her partner, the artist and stage designer Marcel Moore, the two women left Paris and were then imprisoned in Nazi-occupied Jersey during the Second World War as a result of their roles in the French Resistance. In her photographs she is depicted wearing masks and costumes and engaging with Surrealist ideas. She also changes her appearance by shaving her hair and wearing wigs, often challenging traditional notions of gender representation.

Gillian Wearing studied at Goldsmiths University, winning the Turner Prize in 1997. She has exhibited extensively in the United Kingdom and internationally, including solo exhibitions at the Whitechapel Gallery and Serpentine Gallery, whilst overseas, recent retrospectives include IVAM Valencia and K20 Dusseldorf. Wearing’s photographic self-portraits incorporate painstaking recreations of her as others in an intriguing and sometimes unsettling range of guises such as where she becomes her immediate family members using prosthetic masks.

Despite their different backgrounds, obvious and remarkable parallels can be drawn between the artists whose fascination with identity and gender is played out through performance and masquerade. Wearing has referenced Cahun overtly in the past: Me as Cahun holding a mask of my face is a reconstruction of Cahun’s self-portrait Don’t kiss me I’m in training of 1927, and forms the starting point of this exhibition, the title of which (Behind the mask, another mask) adapts a quotation from Claude Cahun’s Surrealist writings.

Dr Nicholas Cullinan, Director, National Portrait Gallery, London, says: ‘This inspired, timely and poignant exhibition pairs the works of Gillian Wearing and Claude Cahun. These pioneering artists, although separated by several decades, address similarly compelling themes around gender, identity, masquerade, performance and the idea of the self, issues that are ever more relevant to the present day.’

Sarah Howgate, Curator, Gillian Wearing and Claude Cahun: Behind the mask, another mask, says: ‘It seems particularly fitting that at the National Portrait Gallery on International Women’s Day we are bringing together for the first time Claude Cahun’s intriguing and complex explorations of identity with the equally challenging and provocative self-images of Gillian Wearing.’

Gillian Wearing and Claude Cahun: Behind the mask, another mask is curated by Sarah Howgate, Senior Curator of Contemporary Portraits at the National Portrait Gallery, London.

 

Claude Cahun. 'Self-portrait as a young girl' 1914

 

Claude Cahun
Self-portrait as a young girl
1914
Silver gelatin print
Jersey Heritage Collections
© Jersey Heritage

 

Claude Cahun. 'Self-portrait as a young girl' 1914

 

Claude Cahun
Self-portrait as a young girl
1914
Silver gelatin print
Jersey Heritage Collections
© Jersey Heritage

 

Claude Cahun. 'Self-portrait (shaved head, material draped across body)' 1920

 

Claude Cahun
Self-portrait (shaved head, material draped across body)
1920
Silver gelatin print
115mm x 89mm

 

Claude Cahun. 'Autoportrait' 1927

 

Claude Cahun
Autoportrait
1927
Silver gelatin print

 

Claude Cahun. 'Self-Portrait' 1927

 

Claude Cahun
Self-Portrait
1927
Silver gelatin print

 

Claude Cahun. 'Que me veux tu?' 1929

 

Claude Cahun
Que me veux tu? (What do you want from me?)
1929
Gelatin silver print
18 x 23 cm (7 1/16 x 9 1/16 ins)
Musée d’Art Moderne de la Ville de Paris

 

Claude Cahun. 'Self-portrait' 1929

 

Claude Cahun
Self-portrait
1929
Gelatin silver print

 

Claude Cahun. 'Autoportrait' 1939

 

Claude Cahun
Autoportrait
1939
Gelatin silver print
10 x 8 cm
Jersey Heritage Collection
© Jersey Heritage

 

Claude Cahun. 'Self-portrait (with Nazi badge between her teeth)' 1945

 

Claude Cahun
Self-portrait (with Nazi badge between her teeth)
1945
Photograph – Courtesy of the artist

 

 

Ten things you need to know about this extraordinary artist

1. Her real name was Lucy Schwob.
She was born 25 October 1894 in Nantes, daughter of newspaper owner Maurice Schwob and Victorine Marie Courbebaisse; her uncle was the Symbolist writer Marcel Schwob. Subjected to anti-Semitic acts following the Dreyfus Affair, she was removed to a boarding school in Surrey, where she studied for two years.

2. Cahun’s lover was also her stepsister.
In 1909, she met her lifelong partner and collaborator Suzanne Malherbe while studying in Nantes, in what she described as a ‘thunderbolt encounter’. Eight years later, Cahun’s father married Suzanne’s widowed mother.

3. The couple adopted gender-neutral names.
Schwob first used the name Claude Cahun in the semi-biographical text ‘Les Jeux uraniens’, Cahun being a surname from her father’s side. Malherbe changed her name to Marcel Moore and the pair moved to Paris in 1914, where they began their artistic collaborations and Cahun studied literature and philosophy at the Sorbonne.

4. Cahun was one of the few female Surrealists.
In 1932 she was introduced to André Breton, who called her ‘one of the most curious spirits of our time’. Four years later, Cahun participated in the Surrealist exhibition at the Galerie Charles Ratton, Paris, and visited the International Surrealist Exhibition at the New Burlington Galleries, London. Whereas in the works of male Surrealists women often appear as eroticised objects, Cahun’s self-portraits explore female identity as constructed and multifaceted.

5. She was first and foremost a writer.
Now best known for her striking self-portraits, Cahun saw herself primarily as a writer. In 1930 she published Aveux non avenus (translated into English as Disavowals or Cancelled Confessions), an ‘anti-memoir’ including ten photomontages created in collaboration with Moore.

6. In 1937 the couple swapped Paris for Jersey.
Cahun and Moore moved to La Rocquaise, a house in St Brelade’s Bay, Jersey, where they led a secluded life. The couple reverted to their given names, Lucy Schwob and Suzanne Malherbe, and were known by the islanders as ‘les mesdames’.

7. They were actively involved in the resistance against Nazi Occupation.
When the Germans invaded Jersey in 1940 they decided to stay and produced counter-propaganda tracts. In July 1944 they were found out, arrested, stood trial, and were, briefly, sentenced to death (though these sentences were commuted). The couple were imprisoned in separate cells for almost a year before Liberation in May 1945.

8. In 1951 Cahun received the Medal of French Gratitude for her acts of resistance during the Second World War. Suffering increasingly from ill health, she died in 1954 at the age of sixty. Moore died eighteen years later, in 1972.

9. She remained forgotten for half a century
Following her move to Jersey, Cahun slipped from critical attention. After the death of Marcel Moore, much of Cahun’s work was put up for auction and acquired by collector John Wakeham, who then sold it to the Jersey Heritage Trust in 1995. The publication in 1992 of the definitive biography by Francois Leperlier, Claude Cahun: l’ecart et la metamorphose, and subsequent exhibition, Claude Cahun: Photographe, at the Musee d’Art Moderne de la Ville de Paris in 1995 encouraged a growing interest in the artist’s work. It was during this time that Gillian Wearing discovered Claude Cahun.

10. She was an artist ahead of her time
Wearing speaks of a ‘camaraderie’ between her and Cahun but she is not the only contemporary artist to have been influenced by her work. Cahun has a dedicated following among artists and art historians working from postmodern, feminist and queer theoretical perspectives; the American art critic Hal Foster described Cahun as ‘a Cindy Sherman avant la lettre’.

 

Gillian Wearing. 'Self-portrait as my brother Richard Wearing' 2003

 

Gillian Wearing
Self-portrait as my brother Richard Wearing
2003
Heather Podesta Collection
© Gillian Wearing, courtesy Maureen Paley, London; Regen Projects, Los Angeles; Tanya Bonakdar Gallery, New York

 

Gillian Wearing. 'Me as Mapplethorpe' 2009

 

Gillian Wearing
Me as Mapplethorpe
2009
© Gillian Wearing, courtesy Maureen Paley, London, Regen Projects, Los Angeles and Tanya Bonakdar Gallery, New York

 

Gillian Wearing. 'Me as Warhol in Drag with Scar' 2010

 

Gillian Wearing
Me as Warhol in Drag with Scar
2010
© Gillian Wearing, courtesy Maureen Paley, London, Regen Projects, Los Angeles and Tanya Bonakdar Gallery, New York

 

Gillian Wearing. 'Me as Diane Arbus' 2008-2010

 

Gillian Wearing
Me as Diane Arbus
2008-2010
© Gillian Wearing, courtesy Maureen Paley, London, Regen Projects, Los Angeles and Tanya Bonakdar Gallery, New York

 

Gillian Wearing. 'Me as Cahun holding a mask of my face' 2012

 

Gillian Wearing
Me as Cahun holding a mask of my face
2012
© Gillian Wearing, courtesy Maureen Paley, London; Regen Projects, Los Angeles; Tanya Bonakdar Gallery, New York

 

Gillian Wearing. 'Self-portrait of me now in a mask' 2011

 

Gillian Wearing
Self-portrait of me now in a mask
2011
Collection of Mario Testino
© Gillian Wearing, courtesy Maureen Paley, London; Regen Projects, Los Angeles; Tanya Bonakdar Gallery, New York

 

Gillian Wearing. 'Me as mask' 2013

 

Gillian Wearing
Me as mask
2013
Private collection, courtesy Cecilia Dan Fine Art
© Gillian Wearing, courtesy Maureen Paley, London; Regen Projects, Los Angeles; Tanya Bonakdar Gallery, New York

 

Gillian Wearing. 'At Claude Cahun's grave' 2015

 

Gillian Wearing
At Claude Cahun’s grave
2015
© Gillian Wearing, courtesy Maureen Paley, London

 

 

National Portrait Gallery
St Martin’s Place
London, WC2H 0HE

Opening hours:
Monday – Wednesday, Saturday – Sunday 10am – 6pm
Thursday – Friday 10am – 9pm

National Portrait Gallery website

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12
May
17

Exhibition: ‘Political Acts: Pioneers of Performance Art in Southeast Asia’ at the Arts Centre Melbourne

Exhibition dates: 11th February – 21st May 2017

Curator: Dr Steven Tonkin

 

 

Just a quick comment on this exhibition as I’m not feeling very well with my ongoing hand issues.

This is one of the best exhibitions I have seen this year in Melbourne.

All of the works, whether video or photographic, are conceptually engaging, intellectually stimulating and visually powerful. I spent a couple of hours over two visits soaking in the narratives and mise-en-scène of every performance. I was totally immersed in the stories the artists were telling. As with all good art, the works engage the viewer and challenge our point of view in the most profound and complex ways.

While the works may be “political” “acts” the performances act on the viewer at a deeper existential level: what are we doing to the world, our only planet, and the people that live on it. What is the cost of rampant capitalism and consumerism in social, political and environmental terms. Every single work in this exhibition is grounded in these concerns. Unlike a lot of contemporary art which is all about surface and as deep as a peanut, this conceptual art is based on the fundamental building blocks of humanity – our connection to earth and to one another – often expressed through aesthetically beautiful images manifested in the physical body.

Favourites are the mesmerising 12-hour performance of Melati Suryodarmo I’m a Ghost in My Own House (2012) where the artist’s “methodical grinding of charcoal briquettes to dust can be seen as a metaphor for the crushing of the human spirit by the pressures of life”; the powerful dancing and mechanical digger in Khvay Samnang’s Where is my Land? (2014); and the beautiful face pictures in Moe Satt’s F ‘n’ F (Face and Fingers) (2009). I could watch the latter over and over again, so archetypal and elemental does the androgynous face of the artist become.

But really, every piece in this exhibition is worthy of contemplation. Not to be missed.

Marcus

 

Performance art is one of the driving forces in contemporary art across Southeast Asia. It is an art form that acknowledges the cultural traditions of performance within the region, while also providing avant-garde artists with a creative means to critically explore social, political and environmental issues.

The exhibition Political Acts will present a selection of artists’ films, photographs and installations by some of the innovative pioneers of performance art in Southeast Asia.

Artists represented are Dadang Christanto (Indonesia/Australia), Lee Wen (Singapore), Liew Teck Leong (Malaysia), Khvay Samnang (Cambodia), Moe Satt (Myanmar), Melati Suryodarmo (Indonesia) and Tran Luong (Vietnam).

 

 

 

Melati Suryodarmo (Born 1969, Surakarta, Central Java, Indonesia)
I’m a Ghost in My Own House (extract)
2012
Single channel video installation
Duration: 30.30 mins

12-hour performance at Lawangwangi Foundation, Bandung, Indonesia, in 2012

 

 

Melati Suryodarmo‘s practice encompasses live art performances which are then presented through films, photography and installations. A film of her renowned 12-hour durational work of I’m a Ghost in My Own House (2012), is shown in this exhibition. In this work the artist’s methodical grinding of charcoal briquettes to dust can be seen as a metaphor for the crushing of the human spirit by the pressures of life.

The artist says that “talking about politics, society or psychology is meaningless unless it can be manifested in the physical body.” This is exemplified by Sweet Dreams Sweet, a group performance choreographed by Suryodarmo in Jakarta in 2013. It involved a group of 30 young female performers, all identically dressed to conceal their individuality. This work questions the impact of the political and cultural hegemony in Indonesian society.

 

Melati Suryodarmo. 'Sweet Dreams Sweet' 2013

 

Melati Suryodarmo
Sweet Dreams Sweet
2013
Courtesy the artist

 

Khvay Samnang. 'Rubber Man #3' 2014

 

Khvay Samnang (Born 1982, Cambodia)
Rubber Man #3
2014
Courtesy the artist and SA SA BASSAC, Phnom Penh

 

 

Since 2011 Khvay Samnang has used sand as a material for social and political commentary. In Where is my Land? (2014) he critiques the unstoppable momentum of urban development around Phnom Penh, which has resulted in the infilling of traditional lakes and the forced removal of local residents.

In his recent and widely celebrated Rubber Man series from 2014, Khvay poured pristine white rubber over his naked and partially obscured body. He draws attention to the devastating environmental impact of large-scale, foreign-owned rubber plantations on the once remote and previously pristine rainforests of northeast Cambodia.

 

 

Khvay Samnang (Born 1982, Cambodia)
Where is my Land? (extract)
2014
Single channel video installation
Duration: 13.30 mins

 

Lee Wen. 'Splash! #7' 2003

 

Lee Wen
Splash! #7
2003
Courtesy the artist and iPreciation, Singapore

 

 

A driving force in contemporary art across Southeast Asia, performance art will be the focus of a new free exhibition at Arts Centre Melbourne in Political Acts: Pioneers of Performance Art in Southeast Asia, presented as part of the inaugural Asia TOPA: Asia-Pacific Triennial of Performing Arts in Gallery 1 from 11 February 2017…

“In the last decade performance art and performative practices have taken centre stage within the global contemporary art world,” says Curator, Dr Steven Tonkin. “The seven artists in Political Acts are ground-breaking practitioners of performance art. As individuals, they offer personal viewpoints on their respective national and regional cultures. As a collective, they illustrate interesting commonalities in artistic strategies and approaches.”

“Most importantly, these provocative contemporary artists highlight the major political, social, economic and environmental issues confronted and critiqued through performance art in Southeast Asia today.”

Dadang Christanto is an internationally acclaimed artist. Born in central Java in 1957, Christanto moved to Australia in 1999. He exhibits and performs regularly in both Australia and Indonesia and has spent his artistic life commemorating the victims of political violence and crimes against humanity.

Singaporean performance artist Lee Wen explores social identity and is best known for his Yellow Man performances. Painting his own body with bright yellow poster paint, he expresses an exaggerated symbol of his ethnic identity. He received the prestigious Cultural Medallion for his contribution to visual art in Singapore.

Born in Kuala Lumpur in 1970, Liew Teck Leong studied Fine Art at the Malaysian Institute of Art in the early 1990s, initially becoming an expressionist painter. In the 2000s his practice changed direction to incorporate installation, photography and public art performances, when he became an active member of the artists’ collective Rumah Air Panas/RAP Art Society.

Born in 1982, Khvay Samnang studied painting and graduated from the Royal University of Fine Arts, Phnom Penh, in 2006. He now works across performance, photography, video and installation. Khvay was one of the co-founders of the artists’ collective known as Stiev Selepak (or Art Rebels), and was involved in establishing the artist-run space Sa Sa Art Projects in Phnom Penh’s historic White Building. He is one of the leading Cambodian artists to have come to international attention over the last decade.

Born in Yangon in 1983, Moe Satt is one of the cohort of young artists who have begun to transform the contemporary art scene in Myanmar. Principally self taught, Moe Satt uses his body as the primary vehicle for his art, although his practice now also encompasses photography, film and installations. His artistic career mirrors the wider socio-political changes that have occurred in Myanmar over the last decade, from isolation under military rule to the current democratic reforms.

Born in 1969 in Surakarta (or Solo), Central Java, Indonesia, Melati Suryodarmo grew up in the creative environment provided by her father Suprapto, founder of Amerta – an exploratory free-form dance movement. Suryodarmo sees her art practice as opening the door to new perceptions, traversing traditional cultural and political boundaries ‘in an effort to find [one’s] identity’.

Born in Hanoi in 1960, Tran Luong trained as a painter at the Hanoi University of Fine Arts. He achieved recognition as a member of the ‘Gang of Five’, a group of artists whose works were a catalyst for contemporary art in Vietnam from the late 1980s. A widely respected multidisciplinary artist, curator and mentor for the next generation of contemporary Vietnamese artists, his collaborative approach to art-making involves local communities.

“The inaugural Asia TOPA: Asia-Pacific Triennial of Performing Arts is an artistic celebration of our relationship with contemporary Asia,” says Arts Centre Melbourne CEO, Claire Spencer. “Vital, fresh and always unpredictable, Asia TOPA offers a city-wide window onto the creative imaginations fuelling the many cultures of our region.”

“Cultural engagement is key to expressing who we are, where we have come from, and how we connect with each other across the Asia-Pacific region. The dazzling array of artists featured in Asia TOPA will provide new ways of understanding the deep connections that run between us all.”

Press release from the Arts Centre Melbourne

 

Dadang Christanto. 'Tooth Brushing' 1979-2015-2017

 

Dadang Christanto (Born 1957, central Java)
Tooth Brushing
1979-2015-2017
Courtesy the artist, Gallerysmith, and 4A Centre for Contemporary Asian Art

 

 

Dadang Christanto (Born 1957, central Java)
Tooth Brushing (extract)
2017
Single channel video installation
Duration: 6.00 mins

Performance in Political Acts: Pioneers of Performance Art in Southeast Asia at the Arts Centre Melbourne on 10 February 2017

 

 

Moe Satt (Born 1983, Yangon, Myanmar)
F ‘n’ F (Face and Fingers) (extract)
2009
Single channel video
Duration: 12.00 mins

 

 

Moe Satt’s early performance piece, F ‘n’ F (Face and Fingers) from 2008-09, is simple in conception but complex in the multiple meanings that can be read into the choreographed combinations of hand and facial gestures. Among the artist’s favourites are a universal ‘Thumbs Up’ and the potent symbol of a ‘Gun’ pressed to his temples.

In his The Bicycle-Tyre-Rolling Event from Yangon the artist re-enacts a childhood game of racing discarded rubber bicycle tyres with friends. In this series of photographs the public places and monuments he rolls the tyre past present a performative narrative of his country’s history. For example, the beautiful vistas of Yangon’s two large man-made lakes belie their entwined histories of demonstrations and death.

 

Installation view of Moe Satt's 'The Bicycle-Tyre-Rolling Event from Yangon' (2013)

 

Installation view of Moe Satt’s The Bicycle-Tyre-Rolling Event from Yangon (2013)

 

 

Tran Luong (Born 1960, Hanoi)
Steam Rice Man (extract)
2001
Single channel video
Duration: 5.00 mins

Performance at the Mao Khe Coal Mine, Quang Ninh Province, Vietnam in 2001

 

 

Tran Luong (Born 1960, Hanoi)
Lap Lòe (extract)
2012
Three channel video and sound installation
Duration: 5.00 mins

 

 

Tran Luong‘s collaborative approach to art-making often involves working with local communities, such as rural coal miners in northern Vietnam in 2001. During that time he created his early performance art work Steam Rice Man.

Tran Luong weaves his personal experiences with concerns for the wider socio-political situation in Vietnam. One influential moment was seeing his son arrive home from school wearing a red scarf around his neck. It reminded the artist of the communist red scarf he had to wear as a boy.

In Lap Lòe (or ‘flicker’), the three channel video installation in this exhibition, a red scarf has become aesthetically abstracted for the screen – blowing like a flag in the wind, snapping hypnotically and painfully across the artist’s body, and falling gracefully through the area. The red scarf is a powerful symbol for personal and collective memory.

 

Tran Luong (Born 1960, Hanoi) 'Coc Cach' 2013-16

 

Tran Luong (Born 1960, Hanoi)
Coc Cach
2013-16
Courtesy the artist

 

Liew Teck Leong. 'Body+Dots+Politics (Yellow)' 2016

 

Liew Teck Leong (Born 1970, Kuala Lumpur)
Body+Dots+Politics (Yellow)
2016
Courtesy the artist

 

 

Arts Centre Melbourne
Gallery 1, Theatres Building
100 St Kilda Road, Melbourne VIC 3004

Arts Centre Melbourne website

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07
May
17

Exhibition: ‘The Unsettled Lens’ at the Oklahoma City Museum of Art

Exhibition dates: 18th February – 14th May 2017

 

Not a great selection of media images… I would have liked to have seen more photographs from what is an interesting premise for an exhibition: the idea of the uncanny as a sense of displacement, as a difficulty in reconciling the familiar with the unknown.

The three haunting – to haunt, to be persistently and disturbingly present in (the mind) – images by Wyn Bullock are my favourites in the posting.

Marcus

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

 

 

Since the early twentieth-century, photographers have crafted images that hinge on the idea of the uncanny, a psychological phenomenon existing, according to psychoanalysis, at the intersection between the reassuring and the threatening, the familiar and the new. The photographs in this exhibition build subtle tensions based on the idea of the uncanny as a sense of displacement, as a difficulty in reconciling the familiar with the unknown. By converting nature into unrecognisable abstract impressions of reality, by intruding on moments of intimacy, by weaving enigmatic narratives, and by challenging notions of time and memory, these images elicit unsettling sensations and challenge our intellectual mastery of the new. This exhibition showcases new acquisitions in photography and photographs from the permanent collection, stretching from the early twentieth-century to the year 2000.

 

 

Edward J. Steichen (American, born Luxembourg, 1879-1973) 'Moonrise, Mamaroneck, New York' 1904, printed 1981

 

Edward J. Steichen (American, born Luxembourg, 1879-1973)
Moonrise, Mamaroneck, New York
1904, printed 1981
Photogravure
Oklahoma City Museum of Art
Museum purchase with funds provided by Ms. Frances Kerr

 

William A. Garnett. 'Sand Bars, Colorado River, Near Needles, California' 1954

 

William A. Garnett (1916-2006)
Sand Bars, Colorado River, Near Needles, California
1954
Silver gelatin print
Oklahoma City Museum of Art

 

Elliott Erwitt (American, born France 1928) 'Cracked Glass with Boy, Colorado' 1955, printed 1980

 

Elliott Erwitt (American, born France 1928)
Cracked Glass with Boy, Colorado
1955, printed 1980
Gelatin silver print
Oklahoma City Museum of Art
Gift of Raymond W. Merritt

 

Wynn Bullock (American, 1902–1975) 'Navigation Without Numbers' 1957

 

Wynn Bullock (American, 1902-1975)
Navigation Without Numbers
1957
Gelatin silver print
Collection of Mr. and Mrs. Nicholas V. Duncan

 

 

In “Navigation Without Numbers,” photographer Wynn Bullock comments on life’s dualities and contradictions through imagery and textures: the soft, inviting bed and the rough, rugged walls; the bond of mother and child, and the exhaustion and isolation of motherhood; and the illuminated bodies set against the surrounding darkness. The book on the right shelf is a 1956 guide on how to pilot a ship without using mathematics. Its title, Navigation Without Numbers, recalls the hardship and confusion of navigating through the dark, disorienting waters of early motherhood.

 

Wynn Bullock (American, 1902–1975) 'Child in Forest' 1951

 

Wynn Bullock (American, 1902-1975)
Child in Forest
1951
Gelatin silver print
Collection of Mr. and Mrs. Nicholas V. Duncan

 

Wynn Bullock (American, 1902-1975) 'Child on Forest Road' 1958, printed 1973

 

Wynn Bullock (American, 1902-1975)
Child on Forest Road
1958, printed 1973
Gelatin silver print
Oklahoma City Museum of Art
Lent by Mr. and Mrs. Nicholas V. Duncan

 

 

“Child on Forest Road,” which features the artist’s daughter, brings together a series of dualities or oppositions in a single image: ancient forest and young child, soft flesh and rough wood, darkness and light, safe haven and vulnerability, communion with nature and seclusion. In so doing, Bullock reflects on his own attempt to relate to nature and to the strange world implied by Einstein’s newly theorized structure of the universe.

 

Ruth Bernhard (American, born Germany, 1905-2006) 'In the Box - Horizontal' 1962

 

Ruth Bernhard (American, born Germany, 1905-2006)
In the Box – Horizontal
1962
Gelatin silver print
Oklahoma City Museum of Art
Museum purchase

 

Brett Weston (American, 1911-1993) 'Untitled [dead bird and sand]' 1967

 

Brett Weston (American, 1911-1993)
Untitled (dead bird and sand)
1967
Gelatin silver print
Oklahoma City Museum of Art
Gift of the Christian Keesee Collection

 

Edward J. Steichen (American, born Luxembourg, 1879-1973) 'Balzac, The Open Sky - 11 P.M.' 1908

 

Edward J. Steichen (American, born Luxembourg, 1879-1973)
Balzac, The Open Sky – 11 P.M.
1908
Photogravure
Oklahoma City Museum of Art
Museum purchase with funds provided by Ms. Frances Kerr

 

 

Edward Steichen, who shared similar artistic ambitions with Symbolist sculptor, Auguste Rodin, presented Rodin’s Balzac as barely decipherable and as an ominous silhouette in the shadows. In Steichen’s photograph, Balzac is a pensive man contemplating human nature and tragedy, a “Christ walking in the desert,” as Rodin himself admiringly described it. Both Rodin and Steichen chose Balzac as their subject due to the French writer’s similar interest in psychological introspection.

 

Ralph Gibson (American, b. 1939) 'Untitled (Woman with statue)' 1974, printed 1981

 

Ralph Gibson (American, b. 1939)
Untitled (Woman with statue)
1974, printed 1981
Gelatin silver print
Oklahoma City Museum of Art
Gift of Carol and Ray Merritt

 

William A. Garnett (1916-2006) 'Two Trees on Hill with Shadow, Paso Robles, CA' 1974

 

William A. Garnett (1916-2006)
Two Trees on Hill with Shadow, Paso Robles, CA
1974
Silver gelatin print
Oklahoma City Museum of Art

 

Thomas Harding (American, 1911-2002) 'Barbed Wire and Tree' 1987

 

Thomas Harding (American, 1911-2002)
Barbed Wire and Tree
1987
Platinum print
Oklahoma City Museum of Art
Museum purchase with funds provided by Mr. Jack Coleman

 

Zeke Berman (American, b. 1951) 'Untitled (Web 2)' 1988

 

Zeke Berman (American, b. 1951)
Untitled (Web 2)
1988
Gelatin silver print
Oklahoma City Museum of Art
Museum purchase

 

 

In “Untitled,” New York sculptor and photographer Zeke Berman sets up a still life in the Dutch tradition – the artist presents a plane in foreshortened perspective, sumptuous fabric, and carefully balanced objects – only to dismantle it, and reduce it to a semi-abandoned stage. Spider webs act as memento mori (visual reminders of the finitude of life), while the objects, seemingly unrelated to each other and peculiarly positioned, function as deliberately enigmatic signs.

 

Stan Douglas (Canadian, b. 1960) 'Roof of the Ruskin Plant' 1992

 

Stan Douglas (Canadian, b. 1960)
Roof of the Ruskin Plant
1992
Chromogenic print
Oklahoma City Museum of Art
Gift of the Christian Keesee Collection

 

 

Oklahoma City Museum of Art
415 Couch Drive
Oklahoma City, OK 73102

Opening hours:
Tuesday – Saturday: 10 am – 5 pm
Thursday: 10 am – 9 pm
Sunday: noon – 5 pm
Closed: Monday and Major Holidays

Oklahoma City Museum of Art website

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01
May
17

Exhibition: ‘The Radical Eye: Modernist Photography from the Sir Elton John Collection’ at Tate Modern, London

Exhibition dates: 10th November 2016 – 7th May 2017

 

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

“This is a once-in-a-lifetime chance to see one of the world’s greatest private collections of photography, drawn from the classic modernist period of the 1920s-50s. An incredible group of Man Ray portraits are exhibited together for the first time, having been brought together by Sir Elton John over the past twenty-five years, including portraits of Matisse, Picasso, and Breton. With over 70 artists and nearly 150 rare vintage prints on show from seminal figures including Brassai, Imogen Cunningham, André Kertész, Dorothea Lange, Tina Modotti, and Aleksandr Rodchenko, this is a chance to take a peek inside Elton John’s home and delight in seeing such masterpieces of photography.”

Text from the Tate Modern website

 

Paul Strand. 'Wall Street, New York' 1915

 

Paul Strand
Wall Street, New York
1915
Silver gelatin print
The Sir Elton John Photographic Collection

 

 

Tate Modern presents a major new exhibition, The Radical Eye: Modernist Photography from the Sir Elton John Collection, drawn from one of the world’s greatest private collections of photography. This unrivalled selection of classic modernist images from the 1920s to the 1950s features almost 200 works from more than 60 artists, including seminal figures such as Berenice Abbott, André Kertész, Man Ray, Alexandr Rodchenko and Edward Steichen among many others. The exhibition consists entirely of rare vintage prints, all created by the artists themselves, offering a unique opportunity to see remarkable works up close. The quality and depth of the collection allows the exhibition to tell the story of modernist photography in this way for the first time in the UK. It also marks the beginning of a long term relationship between Tate and The Sir Elton John Collection, as part of which Sir Elton and David Furnish have agreed to give important works to the nation.

The Radical Eye introduces a crucial moment in the history of photography – an exciting rupture often referred to as the ‘coming of age’ of the medium, when artists used photography as a tool through which they could redefine and transform visions of the modern world. Technological advancements gave artists the freedom to experiment and test the limits of the medium and present the world through a new, distinctly modern visual language. This exhibition reveals how the timeless genres of the portrait, nude and still life were reimagined through the camera during this period, also exploring photography’s unique ability to capture street life and architecture from a new perspective.

Featuring portraits of great cultural figures of the 20th century, including Georgia O’Keeffe by Alfred Stieglitz, Edward Weston by Tina Modotti, Jean Cocteau by Berenice Abbott and Igor Stravinsky by Edward Weston, the exhibition gives insight into the relationships and inner circles of the avant-garde. An incredible group of Man Ray portraits are exhibited together for the first time, having been brought together by Sir Elton John over the past twenty-five years, depicting key surrealist figures such as Andre Breton and Max Ernst alongside artists including Henri Matisse, Pablo Picasso and Dora Maar. Ground-breaking experimentation both in the darkroom and on the surface of the print, such as Herbert Bayer’s photomontage and Maurice Tabard’s solarisation, examine how artists pushed the accepted conventions of portraiture.

As life underwent rapid changes in the 20th century, photography offered a new means to communicate and represent the world. Alexandr Rodchenko, László Moholy-Nagy and Margaret Bourke-White employed the ‘worm’s eye’ and ‘bird’s eye’ views to create new perspectives of the modern metropolis – techniques associated with constructivism and the Bauhaus. The move towards abstraction is also explored, from isolated architectural elements to camera-less photography such as Man Ray’s rayographs and Harry Callahan’s light abstractions.

A dedicated section of the exhibition looks at the new approaches that emerged in capturing the human form, highlighted in rare masterpieces such as André Kertész’s Underwater Swimmer, Hungary 1917, while Imogen Cunningham’s Magnolia Blossom, Tower of Jewels 1925 and Tina Modotti’s Bandelier, Corn and Sickle 1927 feature in a large presentation dedicated to the Still Life. The important role of documentary photography as a tool of mass communication is demonstrated in Dorothea Lange’s Migrant Mother 1936 and Walker Evans’ Floyde Burroughs, Hale County, Alabama 1936, from the Farm Security Administration project.

The Radical Eye: Modernist Photography from the Sir Elton John Collection is at Tate Modern from 10 November 2016 until 7 May 2017. It is curated by Shoair Mavlian with Simon Baker and Newell Harbin, Director of The Sir Elton John Photography Collection. The exhibition is accompanied by an exclusive audio tour of the exhibition featuring commentary from Sir Elton John, and a major new catalogue from Tate Publishing including an interview with Sir Elton John by Jane Jackson.

Press release from Tate Modern

 

Edward Weston. 'White Door, Hornitos, California' 1940

 

Edward Weston
White Door, Hornitos, California
1940
Silver gelatin print
The Sir Elton John Photographic Collection

 

 

“We possess an extraordinary instrument for reproduction. But photography is much more than that. Today it is … bringing something entirely new into the world.”

.
László Moholy-Nagy, 1932

 

 

Artists in the modernist period explored what the camera could do that the human eye alone could not, and how this could be harnessed to present a new modern perspective on the world. Artist and theorist László Moholy-Nagy proclaimed that photography could radically change not just what, but how we see. He called this the ‘new vision’. Rather than emulating other art forms, photography began to embrace qualities unique to itself, from its ability to reproduce the world in sharp detail to its capacity to create new realities through the manipulation of light, chemicals and paper.

This re-evaluation of photography coincided with a period of upheaval. War, revolution and economic depression led to mass movements of people and great social change. The idea of the avant-garde took hold and dada and surrealism emerged, challenging both the art and social norms that had come before. At the same time, new art schools such as the Bauhaus in Germany and Vkhutemas in Russia fostered the role of the professional artist and challenged divisions between art and design.

The Radical Eye is arranged thematically and charts a changing emphasis from the subject of an image to the visual qualities of the photograph itself, irrespective of what it represents. The many vintage prints in this exhibition – made soon after the photographs were taken – give a rare insight into the artists’ processes and creative decisions, and foreground the photograph as a physical object. All works are shown in the frames in which they are displayed in the home of Sir Elton John and David Furnish.

Together, the works in this exhibition show how photography pushed the boundaries of the possible, changing the world through the ways in which it was seen and understood. ‘Knowledge of photography is just as important as that of the alphabet. The illiterates of the future will be ignorant of the use of camera and pen alike,’ wrote Moholy-Nagy in 1927, foreseeing the cultural dominance of the photographic image. This extraordinary period still impacts how we, the photo-literate future, read and create images today.

 

Max Dupain. 'Sunbaker' 1937

 

Max Dupain
Sunbaker
1937
Silver gelatin print
The Sir Elton John Photographic Collection

 

 

“They collect themselves. Carefully, as if tying a cravat, they compose their features. Insolent, serious and conscious of their looks they turn around to face the world.”

.
From ‘Men before the Mirror’, published alongside portraits by Man Ray, 1934

 

 

Portraits

Modernist portraiture harnessed photography’s capacity to render an accurate likeness in clear, sharp focus and detail. But at the same time, artists and sitters pushed the conventions of portraiture with innovations in pose, composition and cropping.

Many of the portraits in this room are of artists, writers and musicians, giving a cross section of key cultural players of the time. Issues of control and collaboration arise particularly when the subject is an artist, raising the question of who is responsible for conveying the sitter’s persona. The modernist period also saw a boom of the illustrated press. Magazines reproduced photographic portraits of well-known figures which were instrumental in shaping their public images.

 

Alfred Stieglitz. 'Georgia O'Keeffe' 1922

 

Alfred Stieglitz
Georgia O’Keeffe
1922
Silver gelatin print
The Sir Elton John Photographic Collection

 

Man Ray. 'Nusch Éluard' 1928

 

Man Ray
Nusch Éluard
1928
Silver gelatin print
The Sir Elton John Photography Collection
Photograph: Man Ray Trust/ADAGP, Paris and DACS, London 2016

 

 

Nusch Éluard (born Maria Benz; June 21, 1906 – November 28, 1946) was a French performer, model and surrealist artist…

Nusch arrived in France as a stage performer, variously described as a small-time actress, a traveling acrobat, and a “hypnotist’s stooge”. She met Paul Éluard in 1930 working as a model, married him in 1934, produced surrealist photomontage and other work, and is the subject of “Facile,” a collection of Éluard’s poetry published as a photogravure book, illustrated with Man Ray’s nude photographs of her.

She was also the subject of several cubist portraits and sketches by Pablo Picasso in the late 1930s, and is said to have had an affair with him. Nusch worked for the French Resistance during the Nazi occupation of France during World War II. She died in 1946 in Paris, collapsing in the street due to a massive stroke.

Text from the Wikipedia website

 

Edward Steichen (American 1879-1973, emigrated to United States 1881, worked in France 1906-23) 'Actress Gloria Swanson' 1924

 

Edward Steichen (American 1879-1973, emigrated to United States 1881, worked in France 1906-23)
Actress Gloria Swanson
1924
Silver gelatin print
The Sir Elton John Photography Collection
© 1924 Condé Nast Publications

 

Adolph de Meyer. 'For Elizabeth Arden (The Wax Head)' 1931

 

Adolph de Meyer
For Elizabeth Arden (The Wax Head)
1931
Silver gelatin print
The Sir Elton John Photography Collection

 

Edward Weston. 'Igor Stravinsky' 1935

 

Edward Weston
Igor Stravinsky
1935
Silver gelatin print
© 1981 Center for Creative Photography

 

George Platt Lynes. 'A Forgotten Model' c. 1937

 

George Platt Lynes
A Forgotten Model
c. 1937
Silver gelatin print
The Sir Elton John Photography Collection

 

Man Ray. 'Juliet and Margaret Nieman in Papier-Mâché Masks' c. 1945

 

Man Ray
Juliet and Margaret Nieman in Papier-Mâché Masks
c. 1945
Gelatin silver print
The Sir Elton John Photography Collection
Photograph: © Man Ray Trust/ADAGP, Paris and DACS, London 2016

 

Irving Penn. 'Salvador Dali in New York' 1947

 

Irving Penn
Salvador Dali in New York
1947
Silver gelatin print
The Sir Elton John Photography Collection
Photograph: The Irving Penn Foundation

 

 

“The enemy of photography is convention, the fixed rules ‘how to do’. The salvation of photography comes from the experiment.”

.
László Moholy-Nagy, c. 1940

 

 

Experiments

This was not a period of discovery but of rediscovery. Artists were rewriting the preceding century’s rules of photographic technique, harnessing ‘mistakes’ such as distortions and double exposures, or physically manipulating the printed image, cutting, marking and recombining photographs. These interventions could occur at any point in the process, from taking the image to the final print.

Used in portraiture, such experiments allowed for more psychologically charged representations. However, the transformative power of a particular technique often becomes much more important than the particular subject of the image. Above all, the rich creative possibilities of the photographic process come to the fore. While artists were seriously investigating the medium, the results are often surprising and playful.

 

Herbert Bayer. 'Self-Portrait' 1932

 

Herbert Bayer
Self-Portrait
1932
Silver gelatin print
The Sir Elton John Photographic Collection
© DACS 2016

 

Otto Umbehr. "Katz" - Cat 1927

 

Otto Umbehr
“Katz” – Cat
1927
Silver gelatin print
The Sir Elton John Photographic Collection
© Phyllis Umbehr/Galerie Kicken Berlin/DACS 2016

 

Josef Breitenbach. 'Patricia, New York' c. 1942

 

Josef Breitenbach
Patricia, New York
c. 1942
Silver gelatin print
The Sir Elton John Photography Collection
Photograph: Josef and Yaye Breitenbach Charitable Foundation, Courtesy Gitterman Gallery

 

 

“The camera should be used for a recording of life, for rendering the very substance and quintessence of the thing itself, whether it be polished steel or palpitating flesh.”

.
Edward Weston, 1924

 

 

Bodies

Experimental approaches to shooting, cropping and framing could transform the human body into something unfamiliar. Photographers started to focus on individual parts of the body, their unconventional crops drawing attention to shape and form, accentuating curves and angles. Fragmented limbs and flesh were depersonalised and could be treated like a landscape or still life, dissolving distinctions between different genres. Thanks to faster shutter speeds and new celluloid roll film, photographers could also freeze the body in motion outside of the studio for the first time, capturing dancers and swimmers with a clarity impossible for the naked eye.

 

André Kertész. 'Underwater Swimmer, Esztergom, Hungary, 30 June 1917' 1917

 

André Kertész
Underwater Swimmer, Esztergom, Hungary, 30 June 1917
1917
The Sir Elton John Photography Collection
© Estate of André Kertész/Higher Pictures

 

Rudolph Koppitz. 'Movement Study' 1925

 

Rudolph Koppitz
Movement Study
1925
Gelatin silver print
The Sir Elton John Photography Collection
Photograph: ADAGP, Paris and DACS London 2016

 

Man Ray. 'Noire et Blanche' 1926

 

Man Ray
Noire et Blanche
1926
Silver gelatin print
The Sir Elton John Photography Collection
Photograph: Man Ray Trust/ADAGP, Paris and DACS, London 2016

 

Man Ray (1890-1976) 'Glass Tears (Les Larmes)' 1932

 

Man Ray (1890-1976)
Glass Tears (Les Larmes)
1932
Gelatin silver print on paper
229 x 298 mm
Collection Elton John
© Man Ray Trust/ADAGP, Paris and DACS, London 2016

 

Edward Weston. 'Nude' 1936

 

Edward Weston
Nude
1936
Silver gelatin print
The Sir Elton John Photography Collection
Photograph: 1981 Center for Creative Photography, Arizona Board of Regents

 

Man Ray. 'Dora Maar' 1936

 

Man Ray
Dora Maar
1936
Silver gelatin print
The Sir Elton John Photography Collection
Photograph: Man Ray Trust/ADAGP, Paris and DACS, London 2016

 

Nino Migliori. 'Il Tuffatore' (The Diver) 1951

 

Nino Migliori
‘Il Tuffatore’ (The Diver)
1951
Silver gelatin print
The Sir Elton John Photography Collection

 

 

“The documentary photographer is trying to speak to you in terms of everyone’s experience.”

.
Dorothea Lange, 1934

 

 

Documents

During the 1930s, photographers refined the formula for what we now know as social documentary. To compel the public to look at less palatable aspects of contemporary society they married creative manipulation with an appeal to viewers’ trust in the photograph as an objective visual record. This combination proved itself uniquely capable of eliciting empathy but is fraught with artistic and ethical complexity. These works highlight the vexed position of documentary photographs: historical evidence, instruments of propaganda and, latterly, works of art.

The development of new technology – particularly the portable camera and roll film – allowed photographers to capture spontaneous moments unfolding in the everyday world. Taking viewers into neighbourhoods where they might never set foot, street photography and documentary opened up new perspectives socially as much as visually.

 

Dorothea Lange. 'Migrant Mother' 1936

 

Dorothea Lange
Migrant Mother
1936
Silver gelatin print
The Sir Elton John Photographic Collection

 

Walker Evans. 'Floyde Burroughs, a cotton sharecropper, Hale County, Alabama' 1936

 

Walker Evans
Floyde Burroughs, a cotton sharecropper, Hale County, Alabama
1936
Silver gelatin print
The Sir Elton John Photography Collection

 

Dorothea Lange. 'A young girl living in a shack town near Oklahoma City, Oklahoma' 1936

 

Dorothea Lange
A young girl living in a shack town near Oklahoma City, Oklahoma
1936
Silver gelatin print
The Sir Elton John Photography Collection

 

Walker Evans. 'Christ or Chaos?' 1946

 

Walker Evans
Christ or Chaos?
1946
Gelatin silver print
The Sir Elton John Photography Collection
Photograph: Walker Evans Archives, The Metropolitan Museum of Art

 

 

“Contradictions of perspective. Contrasts of light. Contrasts of form. Points of view impossible to achieve in drawing and painting.”

.
Aleksandr Rodchenko, 1920s

 

 

Objects, Perspectives, Abstractions

The subjects and approaches of modernist photography vary widely, but are united by a fascination with the medium itself. Every image asks what photography is capable of and how it can be pushed further. This final room brings together three interlinked approaches. It shows the still life genre reimagined by photographers who used the technical capabilities of the camera to reveal the beauty of everyday things. Objects captured at unconventional angles or extreme close-up become strange, even unrecognisable.

A similar effect of defamiliarisation was accomplished by taking photographs from radically new perspectives, positioning a camera at the point of view of the ‘worm’s eye’ or ‘bird’s eye’. This created extreme foreshortening that transformed photographs from descriptive images of things into energetic compositions hovering between abstraction and representation.

Abstraction pushes against photography’s innate ability to record objectively. Radical techniques such as cameraless image-making simplified the medium to the point of capturing the play of light on photosensitive paper. By stripping it back to its most basic components, artists celebrated photography, not as a tool for reproduction, but as a creative medium capable of producing new imagery.

 

Alexander Rodchenko. 'Shukov Tower' 1920

 

Alexander Rodchenko
Shukov Tower
1920
Silver gelatin print
The Sir Elton John Photographic Collection
© A. Rodchenko & V. Stepanova Archive, DACS, RAO 2016

 

Edward Steichen. 'A Bee on a Sunflower' c. 1920

 

Edward Steichen
A Bee on a Sunflower
c. 1920
Gelatin silver print
The Sir Elton John Photography Collection

 

Man Ray. "Rayograph" 1923

 

Man Ray
“Rayograph”
1923
Silver gelatin print
The Sir Elton John Photography Collection
Photograph: Man Ray Trust/ADAGP, Paris and DACS, London 2016

 

André Kertész. 'Mondrian's Glasses and Pipe' 1926

 

André Kertész
Mondrian’s Glasses and Pipe
1926
Gelatin silver print
The Sir Elton John Photography Collection
© Estate of André Kertész/Higher Pictures

 

Tina Modotti. 'Bandelier, Corn and Sickle' 1927

 

Tina Modotti
Bandelier, Corn and Sickle
1927
Silver gelatin print
The Sir Elton John Photographic Collection

 

Werner Mantz. 'Staircase Ursuliner Lyzeum Cologne 1928'

 

Werner Mantz
Staircase Ursuliner Lyzeum Cologne 1928
1928
Silver gelatin print
The Sir Elton John Photography Collection

 

Margaret Bourke-White. 'George Washington Bridge' 1933

 

Margaret Bourke-White
George Washington Bridge
1933
Silver gelatin print
The Sir Elton John Photography Collection

 

 

László Moholy-Nagy
View from the Berlin tower
1928
Silver gelatin print
The Sir Elton John Photographic Collection

 

Margaret de Patta. 'Ice Cube Tray with Marbles and Rice' 1939

 

Margaret de Patta
Ice Cube Tray with Marbles and Rice
1939
The Sir Elton John Photographic Collection
© Estate of Margaret de Patta

 

 

Tate Modern
Bankside
London SE1 9TG
United Kingdom

Opening hours:
Sunday –  Thursday 10.00 – 18.00
Friday – Saturday 10.00 – 22.00

Tate Modern website

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25
Apr
17

Exhibition: ‘Peter Hujar: Speed of Life’ at Fundación MAPFRE, Barcelona

Exhibition dates: 27th January – 30th April 2017

Curator: Joel Smith, “Richard L. Menschel Curator” and Director of the Department of Photography at the Morgan Library & Museum

Peter Hujar: Speed of Life has been organised by Fundación MAPFRE, Barcelona, and The Morgan Library & Museum, New York. The exhibition and its travelling schedule have been made possible by the Terra Foundation for American Art.

 

 

A love letter to Peter Hujar

.
You jumped so high

the boy on a raft

saluting the sky

absorbed in his craft

 

Of rhythm and eros

you offer no excess

just intimacy, connection

a timeless … transience

 

The line of skyscrapers, the lines of a thinker

the gaze of a baby, the eyes of a dreamer

two cows look direct, as direct as can be

and chrysanthemums and roses lay death near thee

 

Contortions and compression

of time and space

the twist of a wrist, the surge of a river

a certain, poignant – tenderness

 

In love with photography

and the stories it tells

A troubled man

brought out of his shell

 

You left us too soon

you beautiful spirit

your portraits of life

loved, immortal – never finished

 

Marcus

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

See more Peter Hujar images on The Guardian website.

 

 

I want you to talk about me in a low voice. When people talk about me, I want them to do it by whispering.

.
Peter Hujar

 

He was charismatic and complicated and, it turned out, deeply insecure, with a damaging family history he kept mostly to himself… Peter was, in a way, at his most moving when taking photographs. He was so absorbed by it. Peter was in many ways a very tortured man, and I felt like when he was taking photographs, he wasn’t. I had other friends who were photographers, but not like Peter. Peter was so profoundly absorbed and engaged by it. He was never not a photographer.

.
Vince Aletti

 

 

Installation view of 'Peter Hujar: Speed of Life' at Fundación MAPFRE, Barcelona

Installation view of 'Peter Hujar: Speed of Life' at Fundación MAPFRE, Barcelona

Installation view of 'Peter Hujar: Speed of Life' at Fundación MAPFRE, Barcelona

Installation view of 'Peter Hujar: Speed of Life' at Fundación MAPFRE, Barcelona

Installation view of 'Peter Hujar: Speed of Life' at Fundación MAPFRE, Barcelona

Installation view of 'Peter Hujar: Speed of Life' at Fundación MAPFRE, Barcelona

Installation view of 'Peter Hujar: Speed of Life' at Fundación MAPFRE, Barcelona

Installation view of 'Peter Hujar: Speed of Life' at Fundación MAPFRE, Barcelona

Installation view of 'Peter Hujar: Speed of Life' at Fundación MAPFRE, Barcelona

Installation view of 'Peter Hujar: Speed of Life' at Fundación MAPFRE, Barcelona

Installation view of 'Peter Hujar: Speed of Life' at Fundación MAPFRE, Barcelona

 

Installation views of Peter Hujar: Speed of Life at Fundación MAPFRE, Barcelona

 

 

Fundación MAPFRE is delighted to be presenting Peter Hujar: Speed of Life, a retrospective exhibition on the American photographer Peter Hujar. Offering the most detailed account of the artist’s work to date, from the 1950s to his death in New York in 1987, it will be on display between January 27 and April 30, 2017 at the Fundación MAPFRE’s Casa Garriga i Nogués exhibition space (Calle Diputació, 250) in Barcelona.

Hujar was a portraitist in everything he did. Regardless of the subject of the work – a lover, an underground theatre actor, a goose, the surface of the Hudson River, or the placid features of his own face – what moved and motivated him was the spark of encounter and exchange between artist and other. Hujar’s serene, meditative, square-format photographs confer gravity on the object of his attention, granting it an eternal moment’s pause within the rush of passing time.

Little recognised during his own lifetime, Hujar published only one book of photographs, Portraits in Life and Death, but his output is today recognised as distinctive. His portraits combine disclosure and secrecy, ferocity and peace. Hujar’s career involved both a quest for recognition in the world of fashion photography – the photographers he admired most were Irving Penn and Richard Avedon – and a more solitary, almost completely uncompensated body of work in which he depicted the creative and intellectual New York that he knew and admired.

The present exhibition follows Peter Hujar’s method of presenting his work. Rather than show his photographs in isolation or in an linear or chronological arrangements, he preferred to present them in dynamic, surprising and sometimes disconcerting juxtapositions.

Press release from Fundación MAPFRE

 

Four keys

Peter Hujar’s work falls within the photographic tradition of portraiture: he was a portraitist in everything he did. Whatever the subject – a lover, an actor, a horse, the surface of the Hudson River, or the gentle features of his own face – what moved and motivated Hujar was the spark in the encounter and the exchange between the artist and his subject, establishing a direct relationship with whatever he portrayed thereby revealing its true nature.

One of the themes reflected in Hujar’s work is homosexuality. These were the years of the first Gay Liberation movements and the famous Stonewall riots. Hujar lived close to the Stonewall Inn, and his partner at the time, Jim Fouratt, came onto the scene the night of the police raid and founded the Gay Liberation Front. Hujar was not an activist, though he attended the group’s first meeting and contributed his well-known photograph which would become the image for the Gay Liberation Front Poster, 1970.

The route followed by the exhibition reflects the preferences of the artist, who systematically chose to present his photographs in vibrant, surprising and sometimes disturbing Most of the photographs are grouped into sets, some of which reflect the artist’s recurrent concerns, while others exemplify his interest in emphasizing diversity and the internal contradictions in his work.

A distinguishing feature of his art is the invisibility of technique in his photographs and yet simultaneously his preoccupation with and care over it. Hujar produced his own copies and was also considered a good printer.

Text from the Fundación MAPFRE website

 

Peter Hujar. 'La Marchesa Fioravanti' 1958

 

Peter Hujar
La Marchesa Fioravanti
1958
Gelatina de plata
The Peter Hujar Archive
© The Peter Hujar Archive, LLC. Cortesía Pace/MacGill Gallery, Nueva York, and Fraenkel Gallery, San Francisco

 

Peter Hujar. 'Horse in West Virginia Mountains' 1969

 

Peter Hujar
Horse in West Virginia Mountains
1969
Gelatina de plata
Colección de Richard y Ronay Menschel
© The Peter Hujar Archive, LLC. Cortesía Pace/MacGill Gallery, Nueva York, and Fraenkel Gallery, San Francisco

 

Peter Hujar. 'Stromboli' 1963

 

Peter Hujar
Stromboli
1963
Gelatina de plata
The Morgan Library & Museum, The Peter Hujar Collection
Adquirida gracias a The Charina Endowment Fund
© The Peter Hujar Archive, LLC. Cortesía Pace/MacGill Gallery, Nueva York, and Fraenkel Gallery, San Francisco

 

Peter Hujar. 'Palermo Catacombs (11)' 1963

 

Peter Hujar
Palermo Catacombs (11)
1963
Gelatina de plata
Colección de Allen Adler and Frances Beatty Adler
© The Peter Hujar Archive, LLC. Cortesía Pace/MacGill Gallery, Nueva York, and Fraenkel Gallery, San Francisco

 

Peter Hujar. 'St. Patrick's, Easter Sunday' 1976

 

Peter Hujar
St. Patrick’s, Easter Sunday
1976
Gelatina de plata
The Morgan Library & Museum, The Peter Hujar Collection
Adquirida gracias a The Charina Endowment Fund
© The Peter Hujar Archive, LLC. Cortesía Pace/MacGill Gallery, Nueva York, and Fraenkel Gallery, San Francisco

 

 

Artist biography

Peter Hujar was born in Trenton, New Jersey, in 1934 and grew up in the countryside with his Polish immigrant grandparents. When he was eleven his mother, a waitress, brought him to live with her in Manhattan.

Interested in photography from childhood, after graduating from high school in 1953 Hujar worked as an assistant in the studios of magazine professionals and aspired to work in fashion like his idols Lisette Model, Irving Penn, and Richard Avedon.

Between 1958 and 1963 Hujar lived mainly in Italy with two successive partners, artists Joseph Raffael and Paul Thek. After studying for a year at a filmmaking school in Rome he returned to Manhattan, where he moved in the circles of writer Susan Sontag and Andy Warhol’s Factory. From 1968 to 1972 he pursued a freelance career in fashion photography, publishing over a dozen features in Harper’s Bazaar and GQ before concluding that the hustle of magazine work “wasn’t right for me.”

In 1973 Hujar definitively renounced his professional aspirations for a life of creative poverty in New York’s East Village. Living in a loft above a theatre at Twelfth Street and Second Avenue, he took paying jobs only when necessary in order to focus on the work that truly motivated him. He photographed the artists he knew and respected, animals, the nude body, and New York as he knew it, a city then in serious economic decline. In his book Portraits in Life and Death (1976) he combined intimate studies of his rarefied downtown coterie (painters, performers, choreographers, and writers such as Sontag and William S. Burroughs) with portraits  of mummies in the Palermo Catacombs that he had made during a visit with Thek thirteen years earlier. His focus on mortality would intensify and find its purpose in the 1980s, when the AIDS epidemic ravaged gay populations in New York and worldwide.

Briefly a lover and subsequently a mentor to the young artist David Wojnarowicz, in his last seven years Hujar continued chronicling a creative downtown subculture that was fast becoming unsustainable in the context of the increasing power of money. His most frequent subject in these years was his neighbour and friend Ethyl Eichelberger, a drag performer whom he called “the greatest actor in America.” With Wojnarowicz, Hujar made expeditions to the depressed areas around New York, photographing industrial ruins in Queens, neighbourhoods of Newark, New Jersey, that had been destroyed in the riots of the late 1960s, and the abandoned Hudson River piers of lower Manhattan, sites of sexual exploits by night and guerilla art installations by day. Hujar died in New York on Thanksgiving Day, 1987, around eleven months after being diagnosed with AIDS.

Throughout his life Hujar stubbornly aligned himself with what he called the “All-In people”: artists committed to a creative course all their own, unconcerned with mass-market acclaim. At the same time he both disdained and bitterly wished for public recognition such as that achieved by his famous contemporaries Diane Arbus – eleven years his senior and respected by him – and Robert Mapplethorpe, who was twelve years younger and whom he considered a facile operator. During the thirty years since Hujar’s death the highly localised downtown public that knew his work has all but completely passed into history, while a vastly expanded photography audience around the world has become familiar with specific facets of his work, such as his indelible 1973 image Candy Darling on her Deathbed, and his soulful portraits of animals. In Peter Hujar: Speed of Life what comes to light is a broader assessment of his unique oeuvre, which was diverse and enduring. Many of the subjects populating this retrospective are familiar, even iconic faces of their era, but what can be seen more clearly today is the vision of the artist who unites them, himself a great and singular talent of the post-war decades in American art.

 

Peter Hujar. 'Cindy Luba as Queen Victoria' 1973

 

Peter Hujar
Cindy Luba as Queen Victoria
1973
Gelatina de plata
The Morgan Library & Museum, The Peter Hujar Collection
© The Peter Hujar Archive, LLC. Cortesía Pace/MacGill Gallery, Nueva York, and Fraenkel Gallery, San Francisco

 

Peter Hujar. 'David Warrilow (1)' 1985

 

Peter Hujar
David Warrilow (1)
1985
Gelatina de plata
The Morgan Library & Museum, The Peter Hujar Collection
© The Peter Hujar Archive, LLC. Cortesía Pace/MacGill Gallery, Nueva York, and Fraenkel Gallery, San Francisco

 

Peter Hujar. 'Flowers for the Dead, Mazatlán, Mexico (2)' 1977

 

Peter Hujar
Flowers for the Dead, Mazatlán, Mexico (2)
1977
Gelatina de plata
The Morgan Library & Museum, The Peter Hujar Collection
© The Peter Hujar Archive, LLC. Cortesía Pace/MacGill Gallery, Nueva York, and Fraenkel Gallery, San Francisco

 

Peter Hujar. 'Pascal Imbert Scarred Abdomen' 1980

 

Peter Hujar
Pascal Imbert Scarred Abdomen
1980
Gelatina de plata
The Morgan Library & Museum, The Peter Hujar Collection
© The Peter Hujar Archive, LLC. Cortesía Pace/MacGill Gallery, Nueva York, and Fraenkel Gallery, San Francisco

 

Peter Hujar. 'Grass, Port Jefferson, New York' 1984

 

Peter Hujar
Grass, Port Jefferson, New York
1984
Gelatina de plata
The Morgan Library & Museum, The Peter Hujar Collection
© The Peter Hujar Archive, LLC. Cortesía Pace/MacGill Gallery, Nueva York, and Fraenkel Gallery, San Francisco

 

Peter Hujar. 'Paul Hudson (Leg)' 1979

 

Peter Hujar
Paul Hudson (Leg)
1979
Gelatina de plata
The Morgan Library & Museum, The Peter Hujar Collection
© The Peter Hujar Archive, LLC. Cortesía Pace/MacGill Gallery, Nueva York, and Fraenkel Gallery, San Francisco

 

Peter Hujar. 'Robyn Brentano (1)' 1975

 

Peter Hujar
Robyn Brentano (1)
1975
Gelatina de plata
The Morgan Library & Museum, The Peter Hujar Collection
© The Peter Hujar Archive, LLC. Cortesía Pace/MacGill Gallery, Nueva York, and Fraenkel Gallery, San Francisco

 

 

Structure of the exhibition

The exhibition includes 160 photographs that offer an exploration of the career of this American photographer, with works loaned from the collection of the Morgan Library & Museum and nine other collections. The result is the most detailed account of Peter Hujar’s work presented to date.

In its structure the exhibition takes account of Hujar’s preference for presenting his photographs in vivid, startling, and even puzzling juxtapositions. Although following a broadly chronological order, with formative work from the 1950s and 1960s concentrated in the first half and later photographs at the end, the visual and creative continuities that spanned the duration of Hujar’s artistic life are emphasised as the visitor follows the sequence of works.

Most of the photographs are presented in groups of three to eight images, some of which showcase enduring preoccupations of the artist while others exemplify his desire to stress the diversity and internal contradictions of his work.

Thus, for the final exhibition of his life, held at the Gracie Mansion Gallery in the East Village in January 1986, Hujar spent several days arranging seventy photographs into thirty-five tightly spaced vertical pairs, taking care not to let any single genre of image appear twice in a row. At the start of the present exhibition, a six-photograph grid pays homage to this method by presenting a checkerboard-format conversation between three images made in controlled indoor conditions and three exterior views. The subjects, in order, are: a man’s bare leg with the foot planted firmly on the studio floor; waves rolling in on an ocean beach; a portrait of an unidentified young man; the World Trade Center at sunset; Ethyl Eichelberger applying makeup before a performance; and a dark burned-out hallway in the ruins of the Canal Street pier.

 

The catalogue

The catalogue that accompanies the exhibition includes texts by its curator Joel Smith and by Philip Gefter and Steve Turtell, making it a reference work for a detailed knowledge of Peter Hujar’s work from the 1950s until his death in 1987.

 

Peter Hujar. 'Peggy Lee' 1974

 

Peter Hujar
Peggy Lee
1974
Gelatina de plata
The Peter Hujar Archive
© The Peter Hujar Archive, LLC. Cortesía Pace/MacGill Gallery, Nueva York, and Fraenkel Gallery, San Francisco

 

Peter Hujar. 'Hudson River' 1975

 

Peter Hujar
Hudson River
1975
Gelatina de plata
The Morgan Library & Museum, The Peter Hujar Collection
Adquirida gracias a The Charina Endowment Fund
© The Peter Hujar Archive, LLC. Cortesía Pace/MacGill Gallery, Nueva York, and Fraenkel Gallery, San Francisco

 

Peter Hujar. 'Mural at Piers' 1983

 

Peter Hujar
Mural at Piers
1983
Gelatina de plata
The Peter Hujar Archive
© The Peter Hujar Archive, LLC. Cortesía Pace/MacGill Gallery, Nueva York, and Fraenkel Gallery, San Francisco

 

Peter Hujar. 'Ethyl Eichelberger as Minnie the Maid' 1981

 

Peter Hujar
Ethyl Eichelberger as Minnie the Maid
1981
Gelatina de plata
The Morgan Library & Museum, The Peter Hujar Collection
Adquirida gracias a The Charina Endowment Fund
© The Peter Hujar Archive, LLC. Cortesía Pace/MacGill Gallery, Nueva York, and Fraenkel Gallery, San Francisco

 

Peter Hujar. 'Steel Ruins 13' 1976

 

Peter Hujar
Steel Ruins 13
1976
Gelatina de plata
The Morgan Library & Museum, The Peter Hujar Collection
Adquirida gracias a The Charina Endowment Fund
© The Peter Hujar Archive, LLC. Cortesía Pace/MacGill Gallery, Nueva York, and Fraenkel Gallery, San Francisco

 

Peter Hujar. 'Gary in Contortion (1)' 1979

 

Peter Hujar
Gary in Contortion (1)
1979
Gelatina de plata
The Morgan Library & Museum, The Peter Hujar Collection
Adquirida gracias a The Charina Endowment Fund
© The Peter Hujar Archive, LLC. Cortesía Pace/MacGill Gallery, Nueva York, and Fraenkel Gallery, San Francisco

 

Peter Hujar. 'Self-Portrait Jumping (1)' 1974

 

Peter Hujar
Self-Portrait Jumping (1)
1974
Gelatina de plata
The Morgan Library & Museum, The Peter Hujar Collection
Adquirida gracias a The Charina Endowment Fund
© The Peter Hujar Archive, LLC. Cortesía Pace/MacGill Gallery, Nueva York, and Fraenkel Gallery, San Francisco

 

Peter Hujar. 'Candy Darling on Her Deathbed' 1973

 

Peter Hujar
Candy Darling on Her Deathbed
1973
Gelatina de plata
Colección de Richard and Ronay Menschel
© The Peter Hujar Archive, LLC. Cortesía Pace/MacGill Gallery, Nueva York, and Fraenkel Gallery, San Francisco

 

Peter Hujar. 'Chloe Finch' 1981

 

Peter Hujar
Chloe Finch
1981
Gelatina de plata
The Morgan Library & Museum, The Peter Hujar Collection
Adquirida gracias a The Charina Endowment Fund
© The Peter Hujar Archive, LLC. Cortesía Pace/MacGill Gallery, Nueva York, and Fraenkel Gallery, San Francisco

 

Peter Hujar. 'Butch and Buster' 1978

 

Peter Hujar
Butch and Buster
1978
Gelatina de Plata
Colección de John Erdman and Gary Schneider
© The Peter Hujar Archive, LLC. Cortesía Pace/MacGill Gallery, Nueva York, and Fraenkel Gallery, San Francisco

 

Peter Hujar. 'David Wojnarowcz Reclining (2)' 1981

 

Peter Hujar
David Wojnarowcz Reclining (2)
1981
Gelatina de plata
The Morgan Library & Museum, The Peter Hujar Collection
Adquirida gracias a The Charina Endowment Fund
© The Peter Hujar Archive, LLC. Cortesía Pace/MacGill Gallery, Nueva York, and Fraenkel Gallery, San Francisco

 

Peter Hujar. 'John McClellan' 1981

 

Peter Hujar
John McClellan
1981
Gelatina de plata
The Morgan Library & Museum, The Peter Hujar Collection
Adquirida gracias a The Charina Endowment Fund
© The Peter Hujar Archive, LLC. Cortesía Pace/MacGill Gallery, Nueva York, and Fraenkel Gallery, San Francisco

 

Peter Hujar. 'Susan Sontag' 1975

 

Peter Hujar
Susan Sontag
1975
Gelatina de plata
The Morgan Library & Museum, The Peter Hujar Collection
Adquirida gracias a The Charina Endowment Fund
© The Peter Hujar Archive, LLC. Cortesía Pace/MacGill Gallery, Nueva York, and Fraenkel Gallery, San Francisco

 

Peter Hujar. 'New York: Sixth Avenue (1)' 1976

 

Peter Hujar
New York: Sixth Avenue (1)
1976
Gelatina de plata
The Morgan Library & Museum, The Peter Hujar Collection
Adquirida gracias a The Charina Endowment Fund
© The Peter Hujar Archive, LLC. Cortesía Pace/MacGill Gallery, Nueva York, and Fraenkel Gallery, San Francisco

 

Peter Hujar. 'Boy on Raft' 1978

 

Peter Hujar
Boy on Raft
1978
Gelatina de plata
The Morgan Library & Museum, The Peter Hujar Collection
© The Peter Hujar Archive, LLC. Cortesía Pace/MacGill Gallery, Nueva York, and Fraenkel Gallery, San Francisco

 

Cover of the catalogue for the exhibition 'Peter Hujar: Speed of Life' at Fundación MAPFRE, Barcelona featuring the Peter Hujar image 'Boy on Raft' (1978)

 

Cover of the catalogue for the exhibition Peter Hujar: Speed of Life at Fundación MAPFRE, Barcelona featuring the Peter Hujar image Boy on Raft (1978)

 

 

Fundación MAPFRE – Instituto de Cultura
Casa Garriga i Nogués exhibition space
Calle Diputació, 250
Barcelona

Fundación MAPFRE website

The Peter Hujar Archive

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21
Apr
17

Exhibition: ‘The Shape of Things: Photographs from Robert B. Menschel’ at The Museum of Modern Art (MoMA), New York

Exhibition dates: 29th October 2016 – 7th May 2017

 

Photography is … a language for asking questions about the world. The Shape of Things imbues this aphorism with a linear taxonomy in its written material (while the installation “occasionally diverges from a strict chronological progression”), no matter that each “moment” in the history of photography – historical, modern, contemporary – is never self contained or self sufficient, that each overlaps and informs one another, in a nexus of interweaving threads.

Charles Harry Jones’ Peapods (c. 1900) are as modern as Bernd and Hilla Becher’s Cooling Towers (1973); Margaret Watkins’ Design Angles (1919) are as directorial as Jan Groover’s Untitled (1983) or Charles Harry Jones’ Onions (c. 1900). And so it goes…

The ideation “the shape of things” is rather a bald fundamental statement in relation to how we imagine and encounter the marvellous. No matter the era, the country or the person who makes them; no matter the meanings readable in photographs or their specific use value in a particular context – the photograph is still the footprint of an idea and, as John Berger asks, a trace naturally left by something that has past? That flicker of imagination in the mind’s eye which has no time.

As Sartre says in Being and Nothingness, “Temporality is only a tool of vision.”

Marcus

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

 

 

The Shape of Things presents a compact and non-comprehensive history of photography, from its inception to the early twenty-first century, in one hundred images. The exhibition is drawn entirely from the 504 photographs that have entered The Museum of Modern Art’s collection with the support of Robert B. Menschel over the past forty years, including a notable selection of works from his personal collection that were given in 2016 and are being shown here for the first time.

“Photography is less and less a cognitive process, in the traditional sense of the term, or an affirmative one, offering answers, but rather a language for asking questions about the world,” wrote the Italian photographer and critic Luigi Ghirri in 1989. Echoing these words, the exhibition presents the history of the medium in three parts, emphasising the strengths of Menschel’s collection and mirroring his equal interest in historical, modern, and contemporary photography. Each section focuses on a moment in photography’s history and the conceptions of the medium that were dominant then: informational and documentary in the nineteenth and early twentieth centuries, more formal and subjective in the immediate postwar era, and questioning and self-referential from the 1970s onward. The installation occasionally diverges from a strict chronological progression, fuelled by the conviction that works from different periods, rather than being antagonistic, correspond with and enrich each other.

 

Installation view of 'The Shape of Things: Photographs from Robert B. Menschel' at The Museum of Modern Art, New York, October 29, 2016 - May 7, 2017

Installation view of 'The Shape of Things: Photographs from Robert B. Menschel' at The Museum of Modern Art, New York, October 29, 2016 - May 7, 2017

Installation view of 'The Shape of Things: Photographs from Robert B. Menschel' at The Museum of Modern Art, New York, October 29, 2016 - May 7, 2017

Installation view of 'The Shape of Things: Photographs from Robert B. Menschel' at The Museum of Modern Art, New York, October 29, 2016 - May 7, 2017

Installation view of 'The Shape of Things: Photographs from Robert B. Menschel' at The Museum of Modern Art, New York, October 29, 2016 - May 7, 2017

 

Installation views of The Shape of Things: Photographs from Robert B. Menschel at The Museum of Modern Art, New York, October 29, 2016 – May 7, 2017
© 2016 The Museum of Modern Art
Photo: John Wronn

 

 

The exhibition The Shape of Things: Photographs from Robert B. Menschel presents a compact history of photography, from its inception to the early 21st century, in 100 images. On view from October 29, 2016, through May 7, 2017, the exhibition is drawn entirely from the 504 photographs that have entered The Museum of Modern Art’s collection over the past 40 years with the support of longtime Museum trustee Robert B. Menschel. It includes a notable selection of works from his personal collection that were given in 2016 and are being shown here for the first time. The Shape of Things is organised by Quentin Bajac, the Joel and Anne Ehrenkranz Chief Curator of Photography, with Katerina Stathopoulou, Curatorial Assistant, Department of Photography, MoMA.

Borrowing its title from the eponymous work by Carrie Mae Weems (American, b. 1953), the exhibition presents the history of the medium in three parts, emphasising the strengths of Menschel’s collection and mirroring his equal interest in historical, modern, and contemporary photography. Each section focuses on a moment in photography’s history and the conceptions of the medium that were dominant then: informational and documentary in the 19th and early 20th centuries, more formal and subjective in the immediate postwar era, and questioning and self-referential from the 1970s onward. The installation occasionally diverges from a strict chronological progression, fuelled by the conviction that works from different periods, rather than being antagonistic, correspond with and enrich each other.

 

Historical

From 1840 to 1900, in photography’s infancy as a medium, artists principally sought to depict truthful representations of their surrounding environments. This primal stage is distinguished by a debate on the artistic-versus-scientific nature of the invention. Photographers engaged with the aesthetic and technical qualities of the medium, experimenting with tone, texture, and printing processes. The exhibition begins with seminal photographs such as William Henry Talbot Fox’s (British, 1800-1877) 1843 picture Rue Basse des Remparts, Paris, taken from the windows of the Hôtel de Douvres. Also on view is the astronomer Jules Janssen’s (French, 1824-1907) masterpiece L’Atlas de photographies solaires (Atlas of solar photographs), published in 1903. Summing up a quarter-century of daily photography at Janssen’s observatory in Meudon, France, the volume on view contains 30 images of the photosphere, demonstrating photography’s instrumental role in advancing the study of science. Other artists included in this section are Louis-August and Auguste-Rosalie Bisson (Bisson brothers), Eugène Cuvelier, Roger Fenton, Hugh W. Diamond, Charles Marville, and Henri Le Secq.

 

Modern

As photographers grappled with war and its aftermath, they began to turn their focus away from documenting the world around them and toward capturing their own personal experiences in a more formal, subjective way. A selection of works from 1940 to 1960 explores this theme, including works by two artists whose images Menschel collected extensively: Harry Callahan (American, 1912-1999) and Aaron Siskind (American, 1903-1991). A selection from Callahan’s quintessential photographs of urban environments – from Chicago and New York to Aix-en Provence and Cuzco, Peru – double exposures of city views, and portraits of his wife Eleanor and daughter Barbara, underscore the breadth of his oeuvre. In the summer of 1951, while teaching alongside Callahan at Black Mountain College in North Carolina, Siskind began the series of pictures of the surfaces of walls for which he is best known. One of the early works in the series on view, North Carolina 30 (1951), shows the bare legs of a woman framed by the words “IN” and”AND” amid layers of peeling layers of posters. In their planarity and graphic quality, these pictures also have a kinship with paintings by the Abstract Expressionists, alongside whom Siskind began exhibiting in the late 1940s. Other artists in this section include Berenice Abbott, Robert Frank, Lee Friedlander, John Gossage, André Kertész, Clarence John Laughlin, and Dora Maar.

 

Contemporary

From the 1970s onward, photographers began working in what A. D. Coleman defined as “The Directorial Mode,” wherein the photographer consciously creates events for the sole purpose of making images. John Coplans (British, 1920-2003) took his own body, naked and with the head invisible, as the subject of his work – both carrying on and contradicting the tradition of the self-portrait centered on the face – as seen in Self-Portrait (Back with Arms Above) (1984). Joan Fontcuberta’s (Spanish, b. 1955) series Herbarium appears at first glance to be a collection of botanical studies, depicting plants with new and distinctive contours and rigorously scientific names. However, as revealed by his fictional character Dr. Hortensio Verdeprado (“green pasture” in Spanish), the “plants” are actually carefully composed by the photographer using scrap picked up in industrial areas around Barcelona. Made of bits of paper and plastic, small animal bones, and other detritus, these forms are not only non-vegetal – there is almost nothing natural about them at all. Fontcuberta is interested in the way data assumes meaning through its presentation and in the acceptance of the photographic image as evidence of truth. Other artists in this section include Jan Groover, David Levinthal, An-My Lê, Michael Spano, JoAnn Verburg, and William Wegman.

Press release from the Museum of Modern Art

 

Roger Fenton (British, 1819-1869) 'Greek Hero' c. 1857

 

Roger Fenton (British, 1819-1869)
Greek Hero
c. 1857
Salted-paper print from a wet-collodion glass negative
13 7/16 × 10 3/16″ (34.2 × 25.8 cm)
The Museum of Modern Art, New York
Robert and Joyce Menschel Fund

 

Hugh W. Diamond (British, 1809-1886) 'Untitled' c. 1852-55

 

Hugh W. Diamond (British, 1809-1886)
Untitled
c. 1852-55
Albumen silver print from a glass negative
6 1/2 x 5 5/16″ (16.6 x 13.5 cm)
Horace W. Goldsmith Fund through Robert B. Menschel

 

William Henry Fox Talbot (British, 1800-1877) 'Rue Basse des Remparts, Paris' May 1843

 

William Henry Fox Talbot (British, 1800-1877)
Rue Basse des Remparts, Paris
May 1843
Salted paper print
6 11/16 × 6 3/4″ (17 × 17.2 cm)
Promised gift of Robert B. Menschel

 

Charles Marville (French, 1816-1879) 'Pont Neuf' 1870s

 

Charles Marville (French, 1816-1879)
Pont Neuf
1870s
Albumen silver print
14 1/8 x 8 1/4″ (36 x 23.5 cm)
Horace W. Goldsmith Fund through Robert B. Menschel

 

Charles Marville (French, 1816-1879) 'Rue des Prêtres-Saint-Germain-l'Auxerrois' c. 1866

 

Charles Marville (French, 1816-1879)
Rue des Prêtres-Saint-Germain-l’Auxerrois
c. 1866
Albumen silver print
11 13/16 × 10 1/2″ (30 × 26.6 cm)
Promised gift of Robert B. Menschel

 

Charles Marville (French, 1816-1879) 'Rue du Cygne' c. 1865

 

Charles Marville (French, 1816-1879)
Rue du Cygne
c. 1865
Albumen silver print from a glass negative
11 3/4 x 10 9/16″ (29.9 x 26.9 cm)
Horace W. Goldsmith Fund through Robert B. Menschel

 

Alfred Stieglitz (American, 1864-1946) 'The Terminal' 1893

 

Alfred Stieglitz (American, 1864-1946)
The Terminal
1893
Photogravure mounted to board
10 × 13 3/16″ (25.4 × 33.5 cm)
Promised gift of Robert B. Menschel

 

 

Truthful representations, 1840-1930

“One advantage of the discovery of the Photographic Art will be, that it will enable us to introduce into our pictures a multitude of minute details which add to the truth and reality of the representation, but which no artist would take the trouble to copy faithfully from nature.

Contenting himself with a general effect, he would probably deem it beneath his genius to copy every accident of light and shade; nor could he do so indeed, without a disproportionate expenditure of time and trouble, which might be otherwise much better employed.

Nevertheless, it is well to have the means at our disposal of introducing these minutiae without any additional trouble, for they will sometimes be found to give an air of variety beyond expectation to the scene represented.”

William Henry Fox Talbot, The Pencil of Nature, 1844-46

 

“I was interested in a straightforward 19th-century way of photographing an object. To photograph things frontally creates the strongest presence and you can eliminate the possibilities of being too obviously subjective. If you photograph an octopus, you have to work out which approach will show the most typical character of the animal. But first you have to learn about the octopus. Does it have six legs or eight? You have to be able to understand the subject visually, through its visual appearance. You need clarity and not sentimentality.”

Hilla Becher, in “The Music of the Blast Furnaces: Bernhard and Hilla Becher in Conversation with James Lingwood,” Art Press, no. 209 (1996)

 

Charles Harry Jones (British, 1866-1959) 'Peapods' c. 1900

 

Charles Harry Jones (British, 1866-1959)
Peapods
c. 1900
Gelatin silver printing-out-paper print
6 5/16 x 8 1/4″ (16 x 20.9 cm)
Promised gift of Robert B. Menschel

 

Bernd Becher (German, 1931-2007), Hilla Becher (German, 1934-2015) 'Cooling Towers' 1973

 

Bernd Becher (German, 1931-2007), Hilla Becher (German, 1934-2015)
Cooling Towers
1973
Gelatin silver prints
Each 15 3/4 × 11 13/16″ (40 × 30 cm)
The Museum of Modern Art, New York
Promised gift of Robert B. Menschel
© 2016 Estate Bernd and Hilla Becher

 

Berenice Abbott (American, 1898-1991) 'George Washington Bridge, Riverside Drive and West 179th Street, Manhattan' January 17, 1936

 

Berenice Abbott (American, 1898-1991)
George Washington Bridge, Riverside Drive and West 179th Street, Manhattan
January 17, 1936
Gelatin silver print
9 9/16 x 7 5/8″ (24.3 x 19.3 cm)
The Museum of Modern Art, New York
Promised gift of Robert B. Menschel
© 2016 Berenice Abbott/Commerce Graphics

 

Berenice Abbott (American, 1898-1991) 'Gunsmith, 6 Centre Market Place, Manhattan' February 4, 1937

 

Berenice Abbott (American, 1898-1991)
Gunsmith, 6 Centre Market Place, Manhattan
February 4, 1937
Gelatin silver print 9 5/8 x 7 9/16″ (24.4 x 19.1 cm)
Gift of the Robert and Joyce Menschel Foundation

 

Bernd Becher (German, 1931-2007), Hilla Becher (German, 1934-2015) 'Hannover Mine 1/2/5, Bochum-Hordel, Ruhr Region, Germany' 1973

 

Bernd Becher (German, 1931-2007), Hilla Becher (German, 1934-2015)
Hannover Mine 1/2/5, Bochum-Hordel, Ruhr Region, Germany
1973
Gelatin silver print
18 7/16 x 22 11/16″ (46.9 x 57.6 cm)
Horace W. Goldsmith Fund through Robert B. Menschel

 

Bernd Becher (German, 1931-2007), Hilla Becher (German, 1934-2015) 'Duisburg-Bruckhausen, Ruhr Region, Germany' 1999

 

Bernd Becher (German, 1931-2007), Hilla Becher (German, 1934-2015)
Duisburg-Bruckhausen, Ruhr Region, Germany
1999
Gelatin silver print
19 5/16 x 24″ (49.1 x 60.9 cm)
Horace W. Goldsmith Fund through Robert B. Menschel

 

Louis-Auguste Bisson (French, 1814-1876) 'Cathedral of Notre Dame, Paris (detail of facade)' c. 1853

 

Louis-Auguste Bisson (French, 1814-1876)
Cathedral of Notre Dame, Paris (detail of facade)
c. 1853
Albumen silver print from a glass negative
14 7/16 x 17 13/16″ (36.6 x 45.3 cm)
Acquired through the generosity of Robert B. Menschel

 

Germaine Krull (Dutch, born Germany. 1897-1985) 'Rails' c. 1927

 

Germaine Krull (Dutch, born Germany. 1897-1985)
Rails
c. 1927
Gelatin silver print
15 7/16 x 10 3/8″ (39.2 x 26.3 cm)
Horace W. Goldsmith Fund through Robert B. Menschel

 

Germaine Krull (Dutch, born Germany. 1897-1985) 'Le Metal Inspirateur d'Art (Metal Inspiration of Art)' 1930

 

Germaine Krull (Dutch, born Germany. 1897-1985)
Le Metal Inspirateur d’Art (Metal Inspiration of Art)
1930
Gelatin silver print
6 5/8 x 8 7/16″ (16.8 x 21.5 cm)
Promised gift of Robert B. Menschel

 

 

Personal experiences, 1940-1960

“As photographers, we must learn to relax our beliefs. Move on objects with your eye straight on, to the left, around on the right. Watch them grow large as you approach, group and regroup themselves as you shift your position. Relationships gradually emerge, and sometimes assert themselves with finality. And that’s your picture.

What I have just described is an emotional experience. It is utterly personal: no one else can ever see quite what you have seen, and the picture that emerges is unique, never made and never to be repeated. The picture – and this is fundamental – has the unity of an organism. Its elements were not put together, with whatever skill or taste or ingenuity. It came into being as an instant act of sight.”

Aaron Siskind, “The Drama of Objects,” Minicam Photography 8, no. 9 (1945)

 

“The business of making a photograph may be said in simple terms to consist of three elements: the objective world (whose permanent condition is change and disorder), the sheet of paper on which the picture will be realized, and the experience which brings them together. First, and emphatically, I accept the flat plane of the picture surface as the primary frame of reference of the picture. The experience itself may be described as one of total absorption in the object. But the object serves only a personal need and the requirements of the picture. Thus rocks are sculptured forms; a section of common decorated ironwork, springing rhythmic shapes; fragments of paper sticking to a wall, a conversation piece. And these forms, totems, masks, figures, shapes, images must finally take their place in the tonal field of the picture and strictly conform to their space environment. The object has entered the picture in a sense; it has been photographed directly. But it is often unrecognizable; for it has been removed from its usual context, disassociated from its customary neighbours and forced into new relationships.”

Aaron Siskind, “Credo,” Spectrum 6, no. 2 (1956)

 

Weegee (Arthur Fellig) (American, born Austria. 1899-1968) 'The Gay Deceiver' c. 1939

 

Weegee (Arthur Fellig) (American, born Austria. 1899-1968)
The Gay Deceiver
c. 1939
Gelatin silver print
13 x 10 1/4″ (33 x 26 cm)
Promised gift of Robert B. Menschel

 

Harry Callahan (American, 1912-1999) 'Chicago' 1951

 

Harry Callahan (American, 1912-1999)
Chicago
1951
Dye transfer print
10 5/16 x 15 11/16″ (26.2 x 39.9 cm)
Promised gift of Robert B. Menschel

 

Clarence John Laughlin (American, 1905-1985) 'Spectre of Coca-Cola' 1962

 

Clarence John Laughlin (American, 1905-1985)
Spectre of Coca-Cola
1962
Gelatin silver print, printed 1981
13 1/4 x 10 3/8″ (33.6 x 26.4 cm)
Robert B. Menschel Fund

 

Harry Callahan (American, 1912-1999) 'Siena' 1968

 

Harry Callahan (American, 1912-1999)
Siena
1968
Gelatin silver print
9 × 8 7/8″ (22.9 × 22.5 cm)
Promised gift of Robert B. Menschel

 

Harry Callahan (American, 1912-1999) 'Chicago' c. 1952

 

Harry Callahan (American, 1912-1999)
Chicago
c. 1952
Dye transfer print
8 3/4 × 13 7/16″ (22.3 × 34.1 cm)
Promised gift of Robert B. Menschel

 

Harry Callahan (American, 1912-1999) 'Chicago' c. 1949

 

Harry Callahan (American, 1912-1999)
Chicago
c. 1949
Gelatin silver print
7 11/16 x 9 9/16″ (19.5 x 24.3 cm)
Gift of Robert and Joyce Menschel

 

Harry Callahan (American, 1912-1999) 'Eleanor and Barbara, Chicago' 1953

 

Harry Callahan (American, 1912-1999)
Eleanor and Barbara, Chicago
1953
Gelatin silver print
7 11/16 x 9 11/16″ (19.5 x 24.6 cm)
Gift of Robert and Joyce Menschel

 

Harry Callahan (American, 1912-1999) 'Providence' 1974

 

Harry Callahan (American, 1912-1999)
Providence
1974
Gelatin silver print
6 9/16 × 6 7/16″ (16.6 × 16.3 cm)
Promised gift of Robert B. Menschel

 

André Kertész (American, born Hungary. 1894-1985) 'New York' August 10, 1969

 

André Kertész (American, born Hungary. 1894-1985)
New York
August 10, 1969
Gelatin silver print
13 11/16 x 9 3/4″ (34.7 x 24.7 cm)
Promised gift of Robert B. Menschel

 

 

Directorial modes, 1970s and beyond

“Here the photographer consciously and intentionally creates events for the express purpose of making images thereof. This may be achieved by intervening in ongoing ‘real’ events or by staging tableaux – in either case, by causing something to take place which would not have occurred had the photographer not made it happen.

Here the authenticity of the original event is not an issue, nor the photographer’s fidelity to it, and the viewer would be expected to raise those questions only ironically. Such images use photography’s overt veracity by evoking it for events and relationships generated by the photographer’s deliberate structuring of what takes place in front of the lens as well as of the resulting image. There is an inherent ambiguity at work in such images, for even though what they purport to describe as ‘slices of life’ would not have occurred except for the photographer’s instigation, nonetheless those events (or a reasonable facsimile thereof) did actually take place, as the photographs demonstrate.

… This mode I would define as the directorial.”

A. D. Coleman, “The Directorial Mode: Notes Towards a Definition,” Artforum 15, no. 1 (1976)

 

Aaron Siskind (American, 1903-1991) 'Chicago 30' 1949

 

Aaron Siskind (American, 1903-1991)
Chicago 30
1949
Gelatin silver print
14 x 17 13/16″ (35.6 x 45.3 cm)
Gift of Robert and Joyce Menschel

 

Aaron Siskind (American, 1903-1991) 'North Carolina 30' 1951

 

Aaron Siskind (American, 1903-1991)
North Carolina 30
1951
Gelatin silver print
13 1/16 × 9 11/16″ (33.2 × 24.6 cm)
Promised gift of Robert B. Menschel

 

Lee Friedlander (American, born 1934) 'Glenwood Springs, Colorado' 1981

 

Lee Friedlander (American, born 1934)
Glenwood Springs, Colorado
1981
Gelatin silver print
8 5/8 x 12 15/16″ (21.9 x 32.8 cm)
Horace W. Goldsmith Fund through Robert B. Menschel

 

Jan Groover (American, 1943-2012) 'Untitled' 1983

 

Jan Groover (American, 1943-2012)
Untitled
1983
Gelatin silver print
10 3/16 x 13 1/2″ (25.9 x 34.3 cm)
Promised gift of Robert B. Menschel

 

Margaret Watkins (Canadian, 1884-1969) 'Design Angles' 1919

 

Margaret Watkins (Canadian, 1884-1969)
Design Angles
1919
Gelatin silver print
8 5/16 x 6 3/8″ (21.1 x 16.2 cm)
Acquired through the generosity of Robert B. Menschel

 

Charles Harry Jones (British, 1866-1959) 'Onions' c. 1900

 

Charles Harry Jones (British, 1866-1959)
Onions
c. 1900
Gelatin silver printing-out-paper print
5 7/8 x 8 1/4″ (15 x 21cm)
Promised gift of Robert B. Menschel

 

Aaron Siskind (American, 1903-1991) 'Jalapa 30 (Homage to Franz Kline)' 1973

 

Aaron Siskind (American, 1903-1991)
Jalapa 30 (Homage to Franz Kline)
1973
Gelatin silver print
9 1/2 x 9 15/16″ (24.1 x 23.6 cm)
Gift of Robert and Joyce Menschel

 

Aaron Siskind (American, 1903-1991) 'Jalapa 38 (Homage to Franz Kline)' 1973

 

Aaron Siskind (American, 1903-1991)
Jalapa 38 (Homage to Franz Kline)
1973
Gelatin silver print
9 1/2 x 8 15/16″ (24.1 x 22.8 cm)
Gift of Robert and Joyce Menschel

 

Aaron Siskind (American, 1903-1991) 'Lima 89 (Homage to Franz Klein)' 1975

 

Aaron Siskind (American, 1903-1991)
Lima 89 (Homage to Franz Klein)
1975
Gelatin silver print
10 3/16 × 9 5/8″ (25.9 × 24.4 cm)
Promised gift of Robert B. Menschel

 

John Gossage (American, born 1946) 'Monumentenbricke' 1982

 

John Gossage (American, born 1946)
Monumentenbricke
1982
Gelatin silver print
12 3/16 x 9 11/16″ (30.9 x 24.6 cm)
Promised gift of Robert B. Menschel

 

Val Telberg (American, born Russia. 1910-1995) 'Exhibition of the Witch' c. 1948

 

Val Telberg (American, born Russia. 1910-1995)
Exhibition of the Witch
c. 1948
Gelatin silver print
10 15/16 × 13 3/4″ (27.8 × 35 cm)
The Museum of Modern Art, New York
Promised gift of Robert B. Menschel
© 2016 Estate of Val Telberg

 

Frederick Sommer (American, born Italy. 1905-1999) 'I Adore You' 1947

 

Frederick Sommer (American, born Italy. 1905-1999)
I Adore You
1947
Gelatin silver print
7 9/16 × 9 1/2″ (19.2 × 24.1 cm)
The Museum of Modern Art, New York
Promised gift of Robert B. Menschel

 

John Coplans (British, 1920-2003) 'Self-Portrait (Back with Arms Above)' 1984

 

John Coplans (British, 1920-2003)
Self-Portrait (Back with Arms Above)
1984
Gelatin silver print
19 13/16 × 15″ (50.4 × 38.1 cm)
Promised gift of Robert B. Menschel

 

Joan Fontcuberta (Spanish, born 1955) 'Giliandria Escoliforcia' 1983

 

Joan Fontcuberta (Spanish, born 1955)
Giliandria Escoliforcia
1983
Gelatin silver print
10 9/16 x 8 1/2″ (26.8 x 21.5 cm)
Robert and Joyce Menschel Fund

 

Joan Fontcuberta (Spanish, born 1955) 'Mullerpolis Plunfis' 1983

 

Joan Fontcuberta (Spanish, born 1955)
Mullerpolis Plunfis
1983
Gelatin silver print
10 9/16 x 8 1/2″ (26.8 x 21.5 cm)
Robert and Joyce Menschel Fund

 

An-My Lê (American, born Vietnam 1960) '29 Palms: Mortar Impact' 2003-04

 

An-My Lê (American, born Vietnam 1960)
29 Palms: Mortar Impact
2003-04
Gelatin silver print
26 1/2 × 38 1/16″ (67.3 × 96.7 cm)
The Museum of Modern Art, New York
Robert B. Menschel Fund
© 2016 An-My Lê

 

An-My Lê (American, born Vietnam 1960) '29 Palms: Infantry Platoon (Machine Gunners)' 2003-04

 

An-My Lê (American, born Vietnam 1960)
29 Palms: Infantry Platoon (Machine Gunners)
2003-04
Gelatin silver print
26 1/2 × 38 1/16″ (67.3 × 96.7 cm)
The Museum of Modern Art, New York
Robert B. Menschel Fund
© 2016 An-My Lê

 

David Levinthal and Garry Trudeau. 'Hitler Moves East' 1977

 

David Levinthal (American, born 1949)
Untitled from the series Hitler Moves East
1975
Gelatin silver print
10 9/16 x 13 7/16″ (26.8 x 34.1 cm)
The Fellows of Photography Fund and Horace W. Goldsmith Fund through Robert B. Menschel

 

William Wegman (American, born 1943) 'Contemplating the Bust of Man Ray from the portfolio Man Ray' 1976

 

William Wegman (American, born 1943)
Contemplating the Bust of Man Ray from the portfolio Man Ray
1976
Gelatin silver print
7 5/16 × 6 7/8″ (18.5 × 17.5 cm)
Promised gift of Robert B. Menschel

 

Michael Spano (American, born 1949) 'Photogram-Michael Spano' 1983

 

Michael Spano (American, born 1949)
Photogram-Michael Spano
1983
Gelatin silver print
57 7/8 x 23 15/16″ (145.2 x 60.8 cm) (irregular)
Robert B. Menschel Fund

 

Carrie Mae Weems (American, born 1953) 'The Shape of Things' 1993

 

Carrie Mae Weems (American, born 1953)
The Shape of Things
1993
Gelatin silver prints
a) 26 7/8 x 26 15/16″ (68.2 x 68.4 cm) b) 26 15/16 x 26 7/8″ (68.5 x 68.3 cm)
Gift of Robert B. Menschel

 

 

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11
Apr
17

Exhibition: ‘Cy Twombly’ at the Centre Pompidou, Paris

Exhibition dates: 30th November 2016 – 24th April 2017

 

This posting is for a friend who is a great Twombly fan.

Of the installation photograph of the series Nine Discourses on Commodus (1963, below) he observes:

“Quite an amazing installation… who would have thought #6 being placed there.
The text(?) which replaces the position of the “main” elements in #4, #5 sets the position of #6 – what a choice!
And it all had to be on one wall apparently – it looks tight, yet it is a success.”

It would take years to understand the intricacies of Twombly’s work, but the main archetypes that we can all interpret are there: themes such as love, war, death and night.

“Roland Barthes famously wrote of Twombly: ‘His work is based not upon concept (the trace) but rather upon an activity (tracing)’. In Twombly’s graphic art, the trace is the record of a gesture. Barthes again: ‘line is action become visible’. Like Olson, Twombly connects heart to line via the body.”

This is a visceral art of smudges, smears, and inscriptions. It is art that tells a story, an art that emotes? evokes deep inward feelings while challenging the intellect.

Marcus

.
Many thankx to the Centre Pompidou for allowing me to publish the artwork in the posting. Please click on the art work for a larger version of the image.

 

 

“To explore Twombly’s work with the eyes and the lips is therefore to continuously dash the expectations inspired by ‘what it looks like’.”

.
Roland Barthes in Yvon Lambert, ed., ‘Cy Twombly: Catalogue raisonné des oeuvres sur papier’ (Multhipla Edizioni, Milan, 1979) Éditions du Seuil, 1995

 

“My line is childlike but not childish. It is very difficult to fake… to get that quality you need to project yourself into the child’s line. It has to be felt.”

.
Cy Twombly

 

“Each line now is the actual experience with its own innate history. It does not illustrate – it is the sensation of its own realisation. The imagery is one of the private or separate indulgences rather than an abstract totality of visual perception.”

.
Cy Twombly, ‘L’Esperienza moderna’, no. 2 (1957)

 

 

“The Centre Pompidou is presenting a major retrospective of the work of American artist Cy Twombly. A key event of the fall 2016, this exceptionally vast exhibition will only be shown in Paris, and will feature remarkable loans from private and public collections from all over the world.

Organized around three major cycles – Nine Discourses on Commodus (1963), Fifty Days at Iliam (1978) and Coronation of Sesostris (2000) – this retrospective covers the artist’s entire career in a chronological circuit of some 140 paintings, sculptures, drawings and photographs, providing a clear picture of an extraordinarily rich body of work which is both intellectual and sensual. The selection includes many of Twombly’s iconic works, several of them never previously exhibited in France.

Born in 1928 in Lexington, Virginia, Cy Twombly died in 2011 at the age of 83 in Rome, where he spent a large part of his life. Unanimously acclaimed as one of the greatest painters of the second half of the 20th century, Twombly, who began dividing his life between Italy and America in the late Fifties, merged the legacy of American abstract expressionism with the origins of Mediterranean culture. From his first works in the early Fifties (marked by the so-called primitive arts, graffiti and writing) to his last paintings with their exuberant colour schemes, by way of the highly carnal compositions of the early Sixties and his response to minimalist and conceptual art during the Seventies, this retrospective emphasises the importance of cycles and series for Twombly, in which he reinvented great history painting. The exhibition is also the occasion to highlight the artist’s close relationship with Paris. The Centre Pompidou had devoted a first substantial retrospective to him as early as 1988.”

Press release from the Centre Pompidou

 

“The exhibition is deployed around three Cycles: Nine Discourses on Commodus, 1963, Fifty Days at Iliam, 1978, and Coronation of Sesostris, 2000. Each of them reinterprets an antique tradition by addressing themes such as love, war, death and night. Next to these exceptional series are exhibited magnificent works in which the artist confronts abstraction and figuration while exploring psychoanalysis, primitivism, writing and painting. The works incorporate names of gods, lyric heroes of Homer and Virgil and confirms his fascination for Classical authors, cosmogony, Greece, Rome and Egypt. Mysterious, obscene, crude, this exhibition confirms that Twombly was one the most original and unexpected of artists of the twentieth century.”

Mercedes Lambarri
Cataloguer, Contemporary art

 

Cy Twombly. 'Still Life, Black Mountain College I' 1951

Cy Twombly. 'Still Life, Black Mountain College II' 1951

Cy Twombly. 'Still Life, Black Mountain College III' 1951

 

Cy Twombly
Still Life, Black Mountain College
1951
Dry print on cardboard
43,1 x 27.9 cm
Fondazione Nicola Del Roscio collection
© Fondazione Nicola Del Roscio, courtesy Archives Nicola Del Roscio

 

Cy Twombly 'Untitled (Lexington)' 1951

 

Cy Twombly
Untitled (Lexington)
1951
Oil-based house paint on canvas
101.6 x 121.9 cm
Cy Twombly Foundation
© Cy Twombly Foundation, courtesy Archives Nicola Del Roscio

 

Cy Twombly. 'Volublis' 1953

 

Cy Twombly
Volubilis
1953
White lead pencil, oil-based house paint, wax crayon on canvas
139.7 x 193 cm
Cy Twombly Foundation, on deposit at the Menil Collection, Houston
© Cy Twombly Foundation, courtesy The Menil Collection

 

Cy Twombly. 'Untitled (Grottaferrata) III' 1957

Cy Twombly. 'Untitled (Grottaferrata) IV' 1957

Cy Twombly. 'Untitled (Grottaferrata) V' 1957

Cy Twombly. 'Untitled (Grottaferrata) VI' 1957

Cy Twombly. 'Untitled (Grottaferrata) VII' 1957

 

Cy Twombly
Untitled (Grottaferrata) (No’s 3-7)
1957
Wax crayon and lead pencil on squared paper
7 drawings: 21,6 x 29,9 cm (each)
Private Collection
© Cy Twombly Foundation, courtesy Galerie Karsten Greve, St.

 

 

“Resisting the term ‘graffiti’ (‘naughty or aggressive’ protest) that is often applied to his work, Twombly says that, ‘it’s more lyrical … in the totality of the painting, feeling and content are more complicated, or more elaborate than say just graffiti.’ Barthes suggests that Twombly’s impossible calligraphy invokes ‘what one might call writing’s field of allusions’ – a cultural field as well as feeling and content; a long way from a fine hand. His writing is also epigraphic, in the double sense of alluding to the object or surface on which it is written, and requiring to be deciphered like an ancient inscription. Twombly’s illegible scrawls and polyglot, non-standardised capitals, his interweaving of phrases from high modernist European poets and names from the Graeco-Roman tradition, evoke the longue durée of a commemorative culture that reaches back to Egypt and beyond: cult as well as culture.”

Mary Jacobus. “Time-Lines: Rilke and Twombly on the Nile,” in Tate Papers no. 10

 

Cy Twombly. 'Sperlonga Collage' 1959

 

Cy Twombly
Sperlonga Collage
1959
Pieces of semi-transparent cristal paper, oil-based house paint on paper
85 x 62 cm
Cy Twombly Foundation
© Cy Twombly Foundation, courtesy Archives Nicola Del Roscio

 

 

ROOM 1

The 1950s saw Twombly evidence a precocious maturity. After leaving Black Mountain College – the experimental liberal arts college in North Carolina where he encountered the crème de la crème of the US avant-garde – the 24-year-old painter from Lexington, Virginia, set off on a trip to Europe and North Africa in the company of Robert Rauschenberg. On returning to New York in late spring 1953, he produced his first major works, the sounds of their titles recalling villages and archaeological sites of Morocco. These were followed by white canvases covered in script – Twombly disliked the term “graffiti” employed by many of the critics – and its suggestion of triviality. The masterpiece of the decade is undoubtedly the series of white paintings done at Lexington in 1959, which Leo Castelli however refused to show. The austerity of their pictorial language makes outstanding works, economy of means being pushed to an extreme in the combination of white house paint and pencil.

ROOM 2

In the summer of 1957, Cy Twombly returned to Italy to visit his friend Betty Stokes, who was married to Venetian aristocrat Alvise Di Robilant and had just given birth to their first child. The Robilants were then living at Grottaferrata, where Twombly took several photographs of Betty. During his stay, he also made a series of eight wax crayons drawings, which he presented to her. One of these has since been separated from the group, leaving only seven, outstanding in their vigorous hand and lively colour.

 

Cy Twombly. 'School of Athens' 1961

 

Cy Twombly
School of Athens
1961
Oil, oil-based house paint, coloured pencil and lead pencil on canvas, 190,3 x 200,5 cm
Private Collection
© Cy Twombly Foundation, courtesy Archives Nicola Del Roscio

 

Cy Twombly. 'Achilles Mourning the Death of Patroclus' 1962

 

Cy Twombly
Achilles Mourning the Death of Patroclus
1962
259 x 302 cm
Oil, lead pencil on canvas
Collection Centre Pompidou, Paris
© Cy Twombly Foundation

 

Describing space in Twombly’s work, Barthes uses the term ‘rare’ (Latin, rarus): ‘that which has gaps or interstices, sparse, porous, scattered’.

 

Cy Twombly. 'The Vengeance of Achilles' 1962

 

Cy Twombly
The Vengeance of Achilles
1962
Oil, lead pencil on canvas
300 x 175 cm
Kunsthaus Zürich, Zurich
© Cy Twombly Foundation, courtesy Kunsthaus Zürich, Zürich

 

Roland Barthes famously wrote of Twombly: ‘His work is based not upon concept (the trace) but rather upon an activity (tracing)’. In Twombly’s graphic art, the trace is the record of a gesture. Barthes again: ‘line is action become visible’. Like Olson, Twombly connects heart to line via the body.

 

Cy Twombly. View of the series 'Nine Discourses on Commodus' 1963

 

Cy Twombly
View of the series Nine Discourses on Commodus
1963
Guggenheim Bilbao Museo, Bilbao
© Cy Twombly Foundation

 

 

ROOM 4

After Twombly’s marriage to Italian aristocrat Luisa Tatiana Franchetti, celebrated in New York on 20 April 1959, the couple settled in Rome, living in a palazzo on the Via di Monserrato, in a quarter known for its intellectual life. Twombly had just given up using his fluid and viscous house paint for oil paint in tubes with precisely the opposite properties. Between 1960 and 1962 he produced some of his most sexual paintings, Empire of Flora being an evocative example. Partial glimpses of body parts, male and female, are scattered over canvases that seem to preserve the sensual memory of hot Roman nights.

ROOM 5

In late 1963, when John F. Kennedy was assassinated in Dallas, Cy Twombly devoted a cycle of nine paintings to the Roman emperor Commodus (161-192), son of Marcus Aurelius and remembered as a cruel and bloodthirsty ruler. In these he conveys the climate of violence that prevailed during his reign, marked by executions and terror. Shown at Leo Castelli’s in New York in the spring of 1964, the paintings were roundly condemned by the critics. Won to the newly emergent Minimalism, the New York public was unable to grasp Twombly’s painterly gifts and his ability to render on canvas the complex psychological phases informing the life and death of the emperor. At the close of the exhibition, Twombly recovered the paintings, which would be sold to an Italian industrialist before being acquired in 2007 by the Guggenheim Museum, Bilbao.

ROOM6

Having painted a series under the sign of Eros in the very early part of the decade, in 1962 Twombly turned to Thanatos, death, a theme that finds paroxysmal expression in his first two meditations on the Trojan War, Achilles Mourning the Death of Patroclus and Vengeance of Achilles. In these two paintings, brought together for this exhibition, Twombly gives form to Achilles’ sorrow and fury on the death of his friend. The Ilium triptych, for its part, was broken up at an unknown date, the first panel joining the Eli and Edythe Broad collection in Los Angeles. In the early 2000s, Twombly painted a new version of that panel to recreate the triptych, then owned by collector François Pinault.

 

Cy Twombly. 'Alessandro Twombly' 1965

 

Cy Twombly
Alessandro Twombly
1965
Dry print on cardboard
43.2 x 28 cm
Cy Twombly Foundation
© Fondazione Nicola Del Roscio

 

Cy Twombly. 'Night Watch' 1966

 

Cy Twombly
Night Watch
1966
Oil-based house paint, wax crayon on canvas
190 x 200 cm
Private Collection
Courtesy Jeffrey Hoffeld Fine Arts, Inc.
© Cy Twombly Foundation, courtesy Cheim & Read

 

Cy Twombly. 'Pan' 1975

 

Cy Twombly
Pan
1975
Oil pastel and collage on paper
148 x 100 cm
Cy Twombly Foundation
© Cy Twombly Foundation, courtesy Archives
Nicola Del Roscio

 

Cy Twombly. 'Apollo' 1975

 

Cy Twombly
Apollo
1975
Oil pastel and lead pencil on paper
150 x 134 cm
Cy Twombly Foundation
© Cy Twombly Foundation, courtesy
Archives Nicola Del Roscio

 

Cy Twombly. 'Venus' 1975

 

Cy Twombly
Venus
1975
Oil Pastel, lead pencil and collage on paper
150 x 137 cm
Cy Twombly Foundation
© Cy Twombly Foundation, courtesy Archives Nicola
Del Roscio

 

 

Walter Benjamin’s 1917 essay, ‘Painting, or Signs and Marks’, argues that, ‘The graphic line is defined by its contrast to area’ as opposed to the mark (‘Mal’) and painting (‘Malerei’): ‘the realm of the mark is a medium.’ His distinction between line and mark, drawing and painting, is especially hard to maintain in relation to Cy Twombly: the scribbled pencilling, the smudges and smears, are the marks of an affective body used as a writing instrument. Where Benjamin speaks proleptically to Twombly is in the decisive role he gives to writing, inscription, and naming, along with the spatial marks on monuments and gravestones. ‘[T]he linguistic word’, he writes, ‘lodges in the medium of the language of painting.’ With its collage of quotations, inscriptions, and names, Twombly’s entire oeuvre could be read as a retrospective commentary on this early Benjamin essay.

Walter Benjamin: Selected Writings, Vol.1, 19131926, ed. Marcus Bullock and Michael W. Jennings, Cambridge, MA: Harvard University Press, 1996, pp.84-5 quoted in Mary Jacobus. “Time-Lines: Rilke and Twombly on the Nile,” in Tate Papers no. 10

 

Cy Twombly. 'Fifty Days at Iliam Shield of Achilles (Part 1)' 1978

 

Cy Twombly
Fifty Days at Iliam Shield of Achilles (Part I)
1978
Oil, oil stick, lead pencil on canvas
191.8 x 170.2 cm
Philadelphia Museum of Art, Philadelphia, gift (by exchange) of Samuel S.White 3rd and Vera White 1989-90-1
© Cy Twombly Foundation, courtesy of Philadelphia Museum of Art, Philadelphie

 

Cy Twombly. 'Fifty Days at Iliam Shades of Achilles, Patroclus and Hector (Part VI)' 1978

 

Cy Twombly
Fifty Days at Iliam Shades of Achilles, Patroclus and Hector (Part VI)
1978
Oil, Oil Pencil, lead pencil on canvas
299.7 x 491.5 cm
Philadelphia Museum of Art, Philadelphie, gift (by exchange) of Samuel S.White 3rd and Vera White, 1989-90-6
© Cy Twombly Foundation, courtesy of Philadelphia Museum of Art, Philadelphie

 

 

ROOM 9

Reacting to the Minimalism and Conceptualism that emerged in the United States in the 1960s, in 1966 Twombly, then living in Rome, embarked on a new series of remarkably austere paintings, with backgrounds of grey or black inscribed with simple forms or script-like loops in white wax crayon. He showed these at the Galleria Notizie, Turin, in early 1967. In the autumn, Leo Castelli in New York exhibited a second series, painted in January in a Canal Street loft made available to the painter by curator and collector David Whitney. Among the works shown was Untitled (New York City) (1967, cat. No. 75), which Twombly would later exchange with Andy Warhol for one of his Tuna Fish Disasters.

ROOM 11

Twombly’s sculptures might be described as “assemblages” or “hybridisations”, in that they consist of disparate elements. These combinations of found materials (pieces of wood, electrical plugs, cardboard boxes, scraps of metal, dried or artificial flowers) are unified by a thin coat of plaster. The white in which they are roughly painted catches the light, bringing out subtle nuances in the surface and giving them a spectral appearance. As Twombly explained in an interview with art critic David Sylvester, “White paint is my marble”. Sometimes later cast in bronze, these sculptures suggest myths, symbolic objects, archaeological finds, as in Winter’s Passage Luxor (Porto Ercole) (1985). “Cy Twombly’s sculpture,” wrote Edmund de Waal, “seems more archaic than archaizing, as if the impulse behind its creation were ancient itself.”

ROOM 12

In 1975, Cy Twombly bought a 16th-century house at Bassano in Teverina, north of Rome, and after basic renovations he established his summer studio there. Inspired by Homer’s Iliad, read in Alexander Pope’s 18th-century English translation, he embarked in 1977 on the major cycle “Fifty Days at Iliam,” whose ten paintings were completed over two successive summers. In the word “Ilium”, one of the ancient names for Troy, Twombly replaced the U with an A, preferring the sound. For him, the letter A evoked Achilles, the Greek hero to whom he had devoted two paintings in 1962. After being shown in 1978 at the Lone Star Foundation (now Dia Art Foundation) in New York, the work remained boxed up for 10 years, to be seen again only upon its purchase in 1989 by the Philadelphia Museum of Art, where it is on permanent exhibition in a room devoted to Cy Twombly. This exhibition marks the first time it has been shown in Europe.

 

Cy Twombly. 'Untitled (Formia)' 1981

 

Cy Twombly
Untitled (Formia)
1981
Wood, iron wire, nails, string, white paint
152 x 88.5 x 33.5 cm
Cy Twombly Foundation
© Cy Twombly Foundation, courtesy Foundazione
Nicola Del Roscio

 

Cy Twombly. 'Untitled (Lexington)' 2004

 

Cy Twombly
Untitled (Lexington)
2004
Wood , screw, rope, scakcloth, plaster, synthetic resin paint
206.5 x 44.5 x 45 cm
Cy Twombly Foundation
© Cy Twombly Foundation, courtesy Sammlung Udo and Anette Brandhorst

 

Cy Twombly. 'Untitled (Bassano in Teverina)' 1985

 

Cy Twombly
Untitled (Bassano in Teverina)
1985
Oil, acrylic on wooden panel
181.7 x 181.7 cm
Cy Twombly Foundation
© Cy Twombly Foundation, courtesy Archives Nicola Del Roscio

 

Cy Twombly. 'Wilder Shores of Love' 1985

 

Cy Twombly
Wilder Shores of Love
1985
Oil-based house paint , oil (oil paint stick), coloured pencil, lead pencil on wooden panel
140 x 120 cm
Private Collection
© Cy Twombly Foundation

 

Cy Twombly. 'Summer Madness' 1990

 

Cy Twombly
Summer Madness
1990
Acrylic, oil, coloured pencil, lead
Pencil on paper mounted on wooden panels
150 x 126 cm
Udo and Anette Brandhorst Collection
© Cy Twombly Foundation

 

Cy Twombly. 'Quattro Stagioni: Primavera' 1993-1995

 

Cy Twombly
Quattro Stagioni: Primavera
1993-1995
Acrylic, oil, coloured pencil and et lead pencil on canvas
313.2 x 189.5
Tate, London
© Cy Twombly Foundation, courtesy Tate, London 2016

 

 

ROOM 15

“Coronation of Sesostris” is one of the major painting cycles that punctuate Cy Twombly’s career, differing from the purely abstract series in their incorporation of narrative elements. Inspired by the example of the god Râ, whose sun-boat traverses the heavens from dawn to dusk to the end of night, Twombly opens the series with luminous canvasses dominated by sunny yellow and red to close it in black and white with an evocation of Eros from a poem of Sappho’s: “Eros weaver of Myth / Eros, sweet and bitter / Eros, bringer of pain.” Twombly combines fragmentary references to Sesostris I, to ancient Greek poets Sappho and Alcman, and to the contemporary poet Patricia Waters. Begun at Twombly’s house in Bassano, this cycle was completed after the canvases were shipped to Lexington. Sally Mann’s photographs show canvases of different sizes tacked to the walls of the little studio, showing that they were stretched only when finished.

ROOM 17

For the Bacchus series, painted at Twombly’s Gaeta studio in early 2005, in the midst of the Iraq War, the artist remembered again Homer’s Iliad and returned to the very characteristic writing he had explored in the “Black Paintings” of the late 1960s. Here, however, he replaced the white wax crayon with red paint evocative of both blood and wine, allowed to run freely across the vast beige canvases. The first series consisted of eight monumental paintings that were shown in late 2005 at the Gagosian Gallery on Madison Avenue in New York. Between 2006 and 2008, Twombly produced another series on the theme of Bacchus, some of these paintings being even larger in format. The two works here are from the first series.

Twombly took up photography at Black Mountain College in North Carolina and never afterwards gave it up. Studying under American photographer Hazel-Frieda Larsen, in 1951 he produced a series of still lifes with bottles and other glass vessels that recall the memory of the work of the Italian painter Giorgio  Morandi. In Morocco in 1953, on his first trans-Atlantic travels, he attentively studied the chairs and draped tablecloths of a Tetouan restaurant. But it was only later, on discovering the square format of the Polaroid, that he discovered his own photographic identity. Reflecting his taste for the blurred, for colours sometimes pastel and sometimes stridently saturated, the dry-printed enlargements evoke a world of contemplation. The photographs evoke the places he lived and his interest in sculpture, flowers and plants. When a friend brought him citrons, Buddha’s hands and other citrus fruits, he captured their sculptural and sensual aspect in a series of Polaroids. Distant from the photographic conventions of the time, Twombly’s images are “succinct and discreet poems.”

 

Cy Twombly 'Lemons (VI)' (Gaète) (detail) 1998

 

Cy Twombly
Lemons (VI) (Gaète) (detail)
1998
Dry print on cardboard
43.1 x 27.9
Fondazione Nicola del Roscio collection
© Fondazione Nicola Del Roscio, courtesy Archives Nicola Del Roscio

 

Cy Twombly. 'Coronation of Sesostris (Part III)' 2000

 

Cy Twombly
Coronation of Sesostris (Part III)
2000
Acrylic, wax crayon, lead pencil on canvas
206.1 x 136.5 cm
Pinault Collection
© Cy Twombly Foundation, courtesy Pinault Collection

 

 

Cy Twombly’s remark that ‘lines have a great effect on painting’ resonates not only with his graphic practice but with his relation to poetry. The importance of the modern German poet Rainer Maria Rilke to Twombly includes the figure of the Orphic poet and their shared interest in the ancient River Nile. Twombly’s Egyptian series, Coronation of Sesostris, 2000, represents a late flowering of his remarkable graphic inventiveness…

Twombly’s ten-part Coronation of Sesostris, 2000, is the culminating synthesis of his ship ideographs and whirling expeditionary chariots: a blazing, triumphal departure that burns itself out on the far side of the Nile. Begun in Gaeta and completed in Virginia, it combines deceptive simplicity with painterly sophistication and poetic adaptation. Twombly calls this multi-media series (drawn, written, painted) one of his favourite sets and ‘very personal’. It incorporates a poem of 1996 by the Southern poet Patricia Waters, not a translation this time, although its title (‘Now is the Drinking’) translates Nunc est bibendum. With a few strokes and deletions, Twombly ‘interprets’ the poem to create his own reticent version:

.
When they leave,
Do you think they hesitate,
Turn and make a farewell sign,
Some gesture of regret?

When they leave,
the music is loudest,
the sun high,

and you, dizzy with wine
befuddled with well-being,
sink into your body
as though it were real,
as if yours to keep.

You neither see their going,
nor hear their silence.

.
Either side of this ambiguous celebration of bodily oblivion, Twombly’s sequence tracks the energetic course of the Pharaonic conquerer, Sesostris II.

Mary Jacobus. “Time-Lines: Rilke and Twombly on the Nile,” in Tate Papers no. 10

 

Cy Twombly. 'Coronation of Sesostris (Part V)' 2000

 

Cy Twombly
Coronation of Sesostris (Part V)
2000
Acrylic, wax crayon, lead pencil on canvas
206.1 x 156.5 cm
Pinault Collection
© Cy Twombly Foundation, courtesy Pinault Collection

 

Cy Twombly. 'Coronation of Sesostris (Part VI)' 2000

 

Cy Twombly
Coronation of Sesostris (Part VI)
2000
Acrylic, wax crayon, lead pencil on canvas
203.7 x 155.6 cm
Pinault Collection
© Cy Twombly Foundation, courtesy Pinault Collection

 

 

Jonas Storsve: Curator’s point of view

Rich and complex, the work of Cy Twombly, who passed away in 2011, spans a period of some sixty years without ever losing any of its force, even in the very last years of the artist’s life. One of the most productive in recent history, Twombly’s career links the culture of post-war America, dominated artistically by Abstract Expressionism, and the Classical Mediterranean culture that he discovered as a young man and made his own. The artist would remain very close to the world of his birth, that of the Southern United States, better known in Europe for its literature, with William Faulkner, Carson McCullers, Flannery O’Connor, Truman Capote and more.

From his childhood and youth in Lexington, Virginia, where he grew up under the attentive eye of his African-American nanny, Lula Bell Watts, he retained the characteristic and sometimes difficult-to-understand accent of the South. The boy’s family environment seems to have stimulated his intellectual curiosity, cultivated his sensibility and encouraged an interest in painting. When in 1952, at the age of 24, he applied for a grant to travel to Europe, he said he wanted “to study the prehistoric cave drawings of Lascaux.” He also planned to view French, Italian and Dutch museums, Gothic and Baroque architecture, and Roman ruins. He also declared himself to be “drawn to the primitive, the ritual and fetishistic elements, to the symmetrical visual order.” Once he had his grant, he invited the artist Robert Rauschenberg, whom he met in New York two years earlier, to accompany him. They took a ship for Naples on 20 August 1952. The rich and original culture that he acquired would nourish his work. His readings were also voyages – Goethe, Homer, Horace, Herodotus, Keats, Mallarmé, Ovid, Rilke, Sappho, Virgil – on which he would draw for his creation. He found inspiration too in less well-known authors, among them Lesley Blanch, Robert Burton, George Gissing and 13th-century Persian poet and mystic Jalāl ad-Dīn Muhammad Rūmī. This uncommonly refined sensibility found an expressive outlet in his painting.

Yet while Twombly was indeed a highly cultivated and well-read painter, this was only one aspect of his complex personality. The sophistication of his work is accompanied by a constant attention to vernacular realities, visible to varying degrees but always present. Endowed with a rare wit and humour, Twombly could be deliciously irreverent and even dirty-minded when he wanted. In front of his painting Apollo (1963), he remarked laconically to Paul Winkler, who used to be director of the Menil Collection in Houston: “Rachel and I used to love to go dancing at the Apollo Theater in Harlem”. And in a whole series of drawings from 1981-1982, he wrote the phrase “Private Ejaculations”, in the knowledge that in the 17th century it referred to short, intense prayer at regular intervals.

We know today, too, that photography played an important role in Twombly’s work and life. A private, even secretive man, he nonetheless regularly allowed himself to be photographed. Some of the most famous pictures of the artist were taken by Horst P. Horst for Vogue magazine, illustrating an article by Valentine Lawford entitled “Roman Classic Surprise” published in the November 1966 issue. Taken in Twombly’s apartment in the Via Monserrato in Rome, the photographs reveal a dandy living in palatial accommodations. This appearance in Vogue did little to improve his relationship with the United States, at a low ebb since the controversy of the Nine Discourses on Commodus shown at Leo Castelli’s in New York. It was considered too smart and sophisticated: too distant, in brief, from the American idea of an American artist.

Twelve years later, in 1978, Heiner Bastian published the first monograph on Twombly’s painting, for which the artist took care to present himself differently. The cover picture shows him dressed in jeans and pull-over, boots on his feet, sitting on the ground beneath a tree, with sheep close by – an image intended to communicate an idea of an artist close to the earth, living a healthy and simple life. Twombly indeed was probably both, dandy and Roman shepherd.

Sally Mann, a friend from Lexington, often photographed Twombly and his studio toward the end of his life. Thanks to her we have photos that document the development of the Coronation of Sesostris series, which he finished in the city of his birth. Among the most beautiful of the images are those of the studio, empty of work, with just traces of paint on the walls. From some of these ghostly images of a whole phase of Twombly’s work, of his place of work and creation, Mann assembled an album, recently published as Remembered Light.

The Centre Pompidou is staging the first comprehensive retrospective of Cy Twombly’s work in Europe. Unprecedented in scope, bringing together works from public and private collections the whole world over, the exhibition will be shown only in Paris. Organised around three great series – Nine Discourses on Commodus (1963), Fifty Days at Iliam (1978) and Coronation of Sesostris (2000) – it offers a chronological survey of the whole of the artist’s career, the 140 paintings, drawings and photographs affording an insight into the complexity of his work as a whole, simultaneously scholarly and sensual. Among the works shown are some of his best-known ones, many never exhibited in France before. Polyphonic in conception, the accompanying catalogue proposes a multiplicity of approaches, with essays on different aspects and periods of Twombly’s career. It also includes reflections and personal impressions by other artists, and accounts of the formation of the two great collections of Twombly’s work – the Brandhorsts’ and Yvon Lambert’s – as well as recollections by his son Alessandro Twombly. The catalogue closes on a lively and joyful portrait of Twombly from the pen of Nicola Del Roscio. Through this varied testimony, readers will discover not only the artist, but also the man, seemingly returned to life before our eyes.”

Jonas Storsve in Code Couleur, no. 26, September – December 2016, pp. 18-23.

 

Cy Twombly. 'Blooming' 2001-2008

 

Cy Twombly
Blooming
2001-2008
Acrylic, wax crayon on 10 wooden panels
250 x 500 cm
Private collection
© Cy Twombly Foundation, courtesy Archives Fondazione Nicola Del Roscio

 

Cy Twombly. 'Untitled, (A Gathering of Time)' 2003

 

Cy Twombly
Untitled, (A Gathering of Time)
2003
Acrylic on canvas
215.9 x 267.3 cm
Udo and Anette Brandhorst Collection
© Cy Twombly Foundation

 

Cy Twombly. 'Untitled (Bacchus)' 2005

 

Cy Twombly
Untitled (Bacchus)
2005
Acrylic on canvas
317.5 x 417.8 cm
Udo and Anette Brandhorst Collection
© Cy Twombly Foundation

 

Cy Twombly. 'Sans titre' (Gaète) 2007

 

Cy Twombly
Sans titre (Gaète)
2007
Acrylic, wax crayon on wooden panel
252 x 552 cm
Museum Brandhorst, Munich
Udo and Anette Brandhorst Collection
© Cy Twombly Foundation

 

Cy Twombly. 'Camino Real (V)' 2010

 

Cy Twombly
Camino Real (V),
2010
Acrylic on wood panel
252.4 x 185.1 cm
Louis Vuitton Foundation
© Cy Twombly Foundation, courtesy Gagosian Gallery

 

 

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Tel: 00 33 (0)1 44 78 12 33

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Dr Marcus Bunyan

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

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