War from the Victims’ Perspective, Photographs by Jean Mohr
Early on, Jean Mohr sought to understand and explain the drama of civilians trapped in belligerent situations. His reportages are the result of decades of experience, which saw a ICRC and UNRWA (United Nations Relief and Works Agency for Palestine Refugees in the Near East) delegate transform himself into a full-time photographer, after a spell at an academy of painting.
The exhibition addresses the issues of victims of conflicts, refugees and communities suffering from war and still under potential threat. It focuses on the emblematic cases of Palestine, Cyprus, and Africa. Other examples illustrate the universal problems of populations directly or indirectly enduring repercussions of war (in Iran, Pakistan, Nicaragua…).
Palestine, its refugee camps, precarious sanitary conditions, and the Gaza stalemate, whilst being the subject of major media attention, is a case worthy of reconsideration. It needs to be regularly re-explained and repositioned in the context of the Israeli-Arab conflict. The case of Cyprus serves as a reminder that the refugee problem still remains an issue for certain members of the European Union. Several hundreds of thousands of people were forced into exile. Africa too needed to be addressed, as the post-colonial conflicts forced millions into displacement. The fragility of these States, outlined as they are by inherited colonial borders, regularly fuels turmoil which leads to humanitarian crises. The refugee problem is present throughout the continent.
Focussing upon these three geographical regions presents the problem of war victims in an historical setting classified by theme: “Portraits of Exile”, “The Children’s Diaspora”, “Temporary Landscapes”, and “Life Goes On”. These photographs render a face to the casualties and retrace the steps of their displacement, from their settlement in the precariousness of the camps and reception centres to their attempts to adapt to an enduring situation.
Portraits of Exile
Featuring portraits of refugees from different countries and cultures, the first section gives a human face to the impact of conflict.
Temporary Landscapes
The second section deals with the impact that war has on people’s homes. The photos document the displacement process and the precarious settlement of victims in camps, reception centres, mosques and shanty towns.
The Children’s Diaspora
Featuring images that capture the day-to-day lives of war’s youngest victims, this section reveals the gamut of situations faced by child refugees, as well as the many and diverse activities they engage in. Some photos show children attending a medical centre or clinic, while others show them playing, dancing or in class at a temporary school.
Life Goes On
The final section documents how people adapt to temporary situations that stretch out indefinitely. The images illustrate how important the distribution of food and clothing is, as well as documenting efforts to ensure that refugees can continue their schooling and education. This section includes the iconic image of a young Mozambican refugee and her newborn baby in a clinic in Lundo, Tanzania.
Exhibition dates: 29th October – 29th November, 2014
Polixeni Papapetrou (Australian, 1960-2018) The Day Dreamer 2014 Pigment print 100 x 150cm
“Art does not reproduce the visible; rather, it makes visible.”
Paul Klee. Creative Credo [Schöpferische Konfession] 1920
When “facing” adversity, it is a measure of a person’s character how they hold themselves, what face they show to the world, and how their art represents them in that world. So it is with Polixeni Papapetrou. The courage of this artist, her consistency of vision and insightful commentary on life even while life itself is in the balance, are inspiring to all those that know her.
Papapetrou has always created her own language, integrating the temporal dissemination of the historical “case” into a two-dimensional space of simultaneity and tabulation (the various archetypes and ancient characters), into an outline against a ground of Cartesian coordinates.1 In her construction, in her observation and under her act of surveillance, Papapetrou moves towards a well-made description of the states of the body in the tables and classification of the psychological landscape. Her tableaux (the French tableau signifies painting and scene (as in tableau vivant), but also table (as in a table used to organise data)) are a classification and tabulation that is an exact “portrait” of “the” illness, the lost psyche of the title. Her images lay out, in a very visible way, the double makeover: of the outer and inner landscape.
These narratives are above all self-portraits. The idea that image, archetype and artist might somehow be one and the same is a potent idea in Papapetrou’s work. What is “rendered” visible in her art is her own spirit, for these visionary works are nothing less than concise, intimate, focused self-portraits. They speak through the mask of the commedia dell’ arte of a face half turned to the world, half immersed in imaginary worlds. The double skin (as though human soul, the psyche, is erupting from within, forcing a face-off) and triple skin (evidenced in the lack of depth of field of the landscape tableaux) propose an opening up, a revealing of self in which the anatomy (anatemnein: to tear, to open a body, to dissect) of the living is revealed. The images become an autopsy on the living and the dead: “a series of images, that would crystallize and memorize for everyone the whole time of an inquiry and, beyond that, the time of a history.”2
Papapetrou’s images become the “true retina” of seeing, close to a scientific description of a character placed on a two dimensional background (notice how the stylised clouds in The Antiquarian, 2014 match the fur hat trim). In the sense of evidence, the artist’s archetypes proffer a Type that is balanced on the edge of longing, poetry, desire and death, one that the objectivity of photography seeks to fix and stabilise. These images serve the fantasy of a memory: of a masked archetype in a made over landscape captured “exact and sincere” by the apparatus of the camera. A faithful memory of a tableau in which Type is condensed into a unique image: the visage fixed to the regime of representation,3 the universal become singular. This Type is named through the incorporated Text, the Legend: I am Day Dreamer, Immigrant, Merchant, Poet, Storyteller.
But even as these photographs seek to fix the Type, “even as the object of knowledge is photographically detained for observation, fixed to objectivity,”4 the paradox is that this kind of knowledge slips away from itself, because photography is always an uncertain technique, unstable and chaotic, as ever the psyche. In the cutting-up of bodies, cutting-up on stage, a staging aimed at knowledge – the facticity of the masked, obscured, erupting face; the corporeal surface of the body, landscape, photograph – the image makes visible something of the movements of the soul. In these heterotopic images, sites that relate to more stable sites, “but in such a way as to suspect, neutralise, or invert the set of relations that they happen to designate, mirror or reflect,”5 Papapetrou’s psyche, “creates the chain of tradition which passes a happening on from generation to generation.”6 In her commedia dell’ arte, an improvised comedy of craft, of artisans (a worker in a skilled trade), the artist fashions the raw material of experience in a unique way.7 We, the audience, intuitively recognise the type of person being represented in the story, through their half masks, their clothing and context and through the skilful dissemination of collective memory and experience.
Through her storytelling Papapetrou moves towards a social and spiritual transformation, one that unhinges the lost psyche. Her landscape narratives are a narrative of a recognisable, challenging, unstable non-linear art, an art practice that embraces “the speculative mystery of ancient roles… They’re all souls with divided emotions, torn between dream and reality, who like us, converge on the collective stage that is the world.” They are archetype as self-portrait: portraits of a searching, erupting, questioning soul, brave and courageous in a time of peril. And the work is for the children (of the world), for without art and family, extinction.
Dr Marcus Bunyan
Footnotes
1/ Adapted from Didi-Huberman, Georges. Invention of Hysteria: Charcot and the Photographic Iconography of the Salpetriere (trans. Alisa Hartz). Cambridge, Mass.: MIT Press, 2003, p. 24-25. I am indebted to the ideas of Georges Didi-Huberman for his analysis of the ‘facies’ and the experiments of Jean-Martin Charcot on hysteria at the Hôpital Salpêtrière in Paris in the 1880s.
2/ Ibid., p. 48
3/ Ibid., p. 49
4/ Ibid., p. 59
5/ Foucault, Michel. “Of Other Spaces,” in Diacritics Spring 1986, p. 24 quoted in Fisher, Jean. “Witness for the Prosecution: The Writings of Coco Fusco,” in Fusco, Coco. The Bodies That Were Not Ours. London: Routledge, 2001, pp. 226-227
6/ Fisher, Ibid., p. 227-228
7/ “One can go on and ask oneself whether the relationship of the storyteller to his material, human life, is not in itself a craftsman’s relationship, whether it is not his very task to fashion the raw material of experience, his own and that of others, in a solid, useful, and unique way.”
Benjamin, Walter. Illuminations (trans. by Harry Zohn; edited by Hannah Arendt). New York: Schocken Books, 1968 (2007), p. 108
Many thankx to Polixeni Papapetrou and Stills Gallery for allowing me to publish the photographs in the posting. Please click on the photographs for a larger version of the image. All images copyright of the artist.
“For her, history indicates a view of culture that is more congruent with mortality, with the biological swell of great things arising and perishing, brilliant and melancholy, august and yet brittle. Without judgement, she reorients history as phenomenology: it contains a bracing dimension of loss which is congruent with that fatal sentiment lodged in our unconscious, that our very being – our psyche – is ultimately lost…
Lost Psyche is always about lost cultural innocence, where culture gets too smart and ends by messing with an earlier equilibrium. Papapetrou identifies these moments not to promote gloom but to recognise all the parallels that make for redemption. Parts of the psyche are undoubtedly lost; but Papapetrou proposes and proves that they can still be poetically contacted.”
Robert Nelson 2014
Polixeni Papapetrou (Australian, 1960-2018) The Immigrant 2014 Pigment print 100 x 150cm
Polixeni Papapetrou (Australian, 1960-2018) The Merchant 2014 Pigment print 100 x 150cm
Polixeni Papapetrou (Australian, 1960-2018) The Orientalist
2014
Pigment print
100 x 150cm
Polixeni Papapetrou (Australian, 1960-2018) The Poet 2014 Pigment print 100 x 150cm
Polixeni Papapetrou (Australian, 1960-2018) The Storyteller 2014 Pigment print 100 x 150cm
In Lost Psyche, Polixeni Papapetrou portrays emblematic figures that have come to the end of their tradition, their rationale, their place in the world. These intriguing and charismatic characters – the poet, the tourist, the immigrant, among others – bring to life antique Victorian paper masks. Yet, despite being cast beyond our immediate reality, their costumes harking back to earlier times, their settings to fantastical places, these archetypal figures live on in the cultural imagination.
Internationally celebrated for an oeuvre that has consistently tested the boundaries of performance and photography, reality and fantasy, childhood and adulthood, Lost Psyche marks a significant return for Papapetrou. Having extensively explored the Australian landscape as a stage for her photographic fictions, and working in response to the natural and historical dramas of our country, this series takes us back into her studio and the expansive scope of imaginary worlds.
Expressive, luscious and knowingly naïve, the painted backdrops bring to mind the simple seduction of children’s storybooks. At the same time, they reference the painting heavyweights and photographic forerunners that are celebrated within art history. Papapetrou’s image The Duchess, for instance, echoes Goya’s commanding oil painting of the Duchess of Alba (1797). Yet, in this newly imagined version, the ‘role’ of Duchess is playfully acted not endured, and like the melodrama of theatre, the dark sky and downcast actor are softened to become illustrative and symbolic – a scene in a universal story. So too, The Orientalist evokes Felix Beato’s 19th Century photographic forays in Japan, recalling his hand-colouring techniques and depictions of social ‘types’.
Consciously foregrounding this ever-present potential for art to present stereotyped representations, Papapetrou reminds us how these social roles and ‘masks’ play out within our souls and psyche’s just as they do on the cultural stage. As a metaphor for the loss of childhood, a time in which we openly switch between characters, identities and roles, this work evokes the persistence of that imagination, as it lives on within the adult world.
In Lost Psyche, the speculative mystery of ancient roles enjoys a fantastical and touching afterlife. In the contemporary world we may also entertain the inner poet, the storyteller, the clown, the connoisseur, the courtesan, the day dreamer or the dispossessed. They’re all souls with divided emotions, torn between dream and reality, who like us, converge on the collective stage that is the world.
Polixeni Papapetrou is an internationally acclaimed artist. Her works feature in significant curated exhibitions, including recently the 13th Dong Gang International Photo Festival, Korea, the TarraWarra Biennale, VIC, Remain in Light, Museum of Contemporary Art, and Melbourne Now, National Gallery of Victoria. She exhibits worldwide, including in Paris, New York, Tokyo, Seoul, Athens and Berlin. Recent solo exhibitions include Under My Skin, Northern Centre for Contemporary Art, 2014, Between Worlds in Fotogrà fica Bogotá, 2013, and A Performative Paradox,Centre for Contemporary Photography, 2013. Her work is held in numerous institutional collections, including the National Gallery of Australia, National Gallery of Victoria, Museum of Contemporary Art Australia, Monash Gallery of Art, Artbank, Fotomuseo, Colombia, and the Museum of Fine Arts, Florida, USA.
Press release from Stills Gallery
Polixeni Papapetrou (Australian, 1960-2018) The Antiquarian 2014 Pigment print 150 x 100cm
Polixeni Papapetrou (Australian, 1960-2018) The Duchess 2014 Pigment print 150 x 100cm
Polixeni Papapetrou (Australian, 1960-2018) The Summer Clown 2014 Pigment print 150 x 100cm
Polixeni Papapetrou (Australian, 1960-2018) The Troubadour 2014 Pigment print 150 x 100cm
Exhibition dates: 19th September – 13th December, 2014
Artists: Thomas Barrow, Wayne Belger, Stephen Berkman, Matthew Brandt, Dan Burkholder, Darryl Curran, Binh Danh, Rick Dingus, Dan Estabrook, Robert Fichter, Robert Flynt, Judith Golden, Betty Hahn, Robert Heinecken, Robert Hirsch, Catherine Jansen, Harold Jones, Tantana Kellner, Les Krims, William Larson, Dinh Q. Lê, David Lebe, Martha Madigan, Curtis Mann, Stephen Marc, Scott McCarney, Chris McCaw, John Metoyer, Duane Michals, Vik Muniz, Joyce Neimanas, Bea Nettles, Ted Orland, Douglas Prince, Holly Roberts, Clarissa Sligh, Keith Smith, Jerry Spagnoli, Mike & Doug Starn, Brian Taylor, Maggie Taylor, Jerry Uelsmann, Todd Walker, Joel-Peter Witkin, John Wood.
Curator: Robert Hirsch
Vik Muniz (Brazilian, b. 1961) Picture of Dust (Barry Le Va, Continuous and Related Activities; Discontinued by the Act of Dropping, 1967, Installed at the Whitney Museum in New Sculpture 1965-1975: Between Geometry and Gesture, February 20-June 3, 1990) 2000 From the series The Things Themselves: Picture of Dust Framed, overall: 51 x 130 1/2 inches Two silver dye bleach prints (Ilfochrome) Whitney Museum of American Art, New York;/Licensed by VAGA, New York, NY
The resurgence of handmade photography in the 1960s had several sources and influences. It looked back to the “anti-tradition” of nineteenth-century romanticism, which accentuated the importance of making a highly personal response to experience and a critical response to society. It drew on contemporary popular culture. Many of the artists engaged in this movement were baby-boomers brought up on television and film, media that often portrayed photography as hip and sexy – eg. the film Blow-Up (1966) – and which drove home the significance of constructed photographic images. In addition, the widespread atmosphere of rebellion against social norms propelled the move toward handwork. The rejection of artistic standards in photography was consistent with the much broader exploration of sexual mores and gender roles that took place in the sixties. It was also consistent with the exploration of consciousness. The latter was encouraged by such counter-culture figures as Ken Kesey who, with his band of Merry Pranksters, boarded a Day-Glo bus called “Further” and took an LSD-fuelled trip across the country that echoed Dr. Timothy Leary’s decree “to tune in, turn on, and drop out.” On a broader level, the society-at-large was exposed to psychedelic exploration through Stanley Kubrick’s film 2001: A Space Odyssey (1968), which youthful audiences saw as a mysterious consciousness-expanding trip into humanity’s future. Finally, handmade photography was supported by the general growth of photographic education in the university. The ubiquity and importance of the medium in the culture at large, as well as pressure from those who championed photography from within art institutions gave credence in the post-war decades to the idea that people could study photography seriously. As new photography programs mushroomed in the universities, they produced graduates who took teaching positions in even newer programs. Many of these young teachers, who had grown up to the adage of “do your own thing,” were responsive to unconventional ways of seeing and working, and they encouraged these attitudes in their students, many of whom turned to handmade photography.
Despite the attractions of handmade photography there were in the sixties, and still are to some degree, emphatic objections to the open engagement of the hand in photographic art. One common objection is that such art constitutes a dishonest method to cover up aesthetic and technical inadequacies. Another comes from those who believe strongly in the Western tradition of positivism. These people tend to reject handmade photography on the grounds that it is unnecessarily ambiguous or irrational in its meanings. Nevertheless, more artists than ever are currently using the flexible, experiential methods of handwork. In addition to opening up an avenue to inner experience, artists find handwork attractive because it promotes inventiveness, allows for the free play of intuition beyond the control of the intellect, extends the time of interaction with an image (on the part of both the maker and the viewer), and allows for the inclusion of a wide range of materials and processes within the boundaries of photography…
[Curator] Peter C. Bunnell’s innovative exhibitions [MoMA: Photography as Printmaking (1968) and Photography Into Sculpture (1970)] demonstrated that in essence photography is nothing more than light sensitive material on a surface. The exhibitions also recognized that the way a photograph is perceived and interpreted is established by artistic and societal preconceptions about how a photographic subject is supposed to look and what is accepted as truthful. The work in the Bunnell exhibitions was indicative of a larger zeitgeist of the late 1960s that involved leaving the safety net of custom, exploring how to be more aware of and physically connected to the world, and critically examining expectations with regard to lifestyles…
In spite of post-modernism’s assault on the myth of authorship and its sardonic outlook regarding the human spirit, artists who produce handmade photography continue to believe that individuals can make a difference, that originality matters, and that we learn and understand by doing. They think that a flexible image is a human image, an imperfect and physically crafted one that possesses its own idiosyncratic sense of essence, time, and wonder. Their work can be aesthetically difficult, as it may not provide the audience-friendly narratives and well-mannered compositions some people expect. But sometimes this is necessary to get us to set aside the ordained answers to the question: “What is a photograph?” and allow us to recognise photography’s remarkable diversity in form, structure, representational content, and meaning. This acknowledgment grants artists the freedom and respect to explore the full photographic terrain, to engage the medium’s broad power of inquiry, and to present the wide-ranging complexity of our experiences, beliefs, and feelings for others to see and contemplate.
Many thankx to CEPA Gallery for allowing me to publish the photographs in the posting. Please click on the photographs for a larger version of the image.
Thomas Barrow (American, b. 1938) Dart, Albuquerque 1974 Fuji Crystal Archive Print
Barrow scratched through his landscape negatives, calling attention to the materiality of the medium itself and the fact that regardless of how much information is given, reality remains an accumulation of belief, knowledge, and one’s own experience.
Les Krims (American, b. 1942) The Static Electric Effect of Minnie Mouse on Mickey Mouse Balloons 1968 Kodalith Print
“Kodak Kodalith paper was a thin, matt, orthochromatic graphic arts paper that was not intended for pictorial purposes. However, when it was used for pictorial expression its responsiveness to time and temperature controls during development enabled one to produce a wide range of grainy, high-contrast, and sepia tonal effects. Its unusual handling characteristics also meant that photographers had to pull the print at precisely the “right” moment from the developer and quickly get it into the stop bath, making each print unique.”
Din Q Le (Vietnamese American, b. 1968) Ezekial’s Whisper 2014 C-print, linen tape
Ted Orland (American, b. 1941) Meteor! 1998 Hand coloured gelatin silver print
Brian Taylor (American) Our Thoughts Wander 2005 From the series Open Books Hand bound book
Open Books
I create photographically illustrated books springing from my fascination with the book format and a love of texture in art. My imagery is inspired by the surreal and poetic moments of living in our fast-paced, modern world. I’m fascinated by how daily life in the 21st Century presents us with incredible experiences in such regularity that we no longer differentiate between what is natural and what is coloured with implausibility, humour, and irony.
These hard cover books are hand bound with marbleised paper and displayed fully opened to a photographically illustrated two-page folio spread. Each book is framed in a wooden shadowbox and presented as a wall piece. I like the idea of making art that contains some imagery which can be sensed but not seen. The underlying pages contain my photographs, snapshots, and work prints that “gave their lives” for the imagery visible in the open spread. These images lie beneath the open pages like history.
Text from the Brian Taylor Photography website [Online] Cited 12/11/2022. Used under fair use conditions for the purposes of education and research
David Lebe (American, b. 1948) Angelo On The Roof 1979
Robert Heinecken (American, 1931-2006) Are You Rea #15 1968 Offset lithography
David Levinthal (American, b. 1949) andGarry Trudeau (American, b. 1948) Untitled, from the series Hitler Moves East 1977 8 x 10 inches Gelatin silver (Kodalith) print Courtesy Paul Morris Gallery, New York City
My favourite story comes from the early days of Levinthal’s career, when he was a college student working on Hitler Moves East with Garry Trudeau. They worked with childlike enthusiasm, purchasing smoke bombs from a local theatre supply shop and growing grass inside David’s apartment to achieve maximum realism. This culminated in a huge explosion of smoke, and the photograph above. Forever making jokes, Levinthal had this to say about the situation: “I’m not even sure we had 911 those days, so that was probably helpful.” He sometimes describes incidents in which things went wrong, but thankfully this wasn’t one of those situations. Instead he successfully produced this photo and began a transition from the early works, which show toys rearranged on his linoleum floor, to photographs that are sophisticated and deceptively real looking.
Ashleigh Ferran. “From Toys to Art: Learning from David Levinthal,” on the Corcoran website August 7, 2013 [Online] Cited 02/07/2021. No longer available online. Used under fair use conditions for the purposes of education and research
Joel-Peter Witkin (American, b. 1939) Poussin in Hell 1999 Toned gelatin silver print
Douglas Prince (American, b. 1943) Untitled 1969 Film and Plexiglas 5 x 5 x 2.5 inches
Mike and Doug Starn (American, b. 1961) Double Rembrandt with Steps 1987-1988 Toned gelatin silver print, toned ortho film, wood, Plexiglas, and glue. 108 x 108 inches Collection of the Museum of Modern Art, New York, NY
CEPA Gallery is pleased to announce Transformational Imagemaking: Handmade Photography Since 1960, a companion exhibition to Robert Hirsch’s recently published book of the same title (Focal Press). This extraordinary exhibition features work by some of the most innovative photographers and imagemakers of the mid- 20th century through today; artists who redefined the notion of photography as a medium and left an indelible mark on contemporary photographic practices.
This extensive survey will include more than 140 works by over 40 artists spanning nearly 50 years of artistic practice unified by a curatorial arc rooted in notions that deviate from the purview of traditional photographic practice. Citing Robert Heinecken’s practice as the genesis of conceptual handmade photography, this exhibition charts an intricate universe of artists whose practice dispenses with the self-prescribed limitations of conventional photography in order to mine the boundless potential of the photographic medium as a conceptual conveyance.
Transformational Imagemaking is the culmination of Hirsch’s lifelong exploration into handmade photography and the artists whose practices were formed on the principle of unearthing new possibilities. Hirsch sites the catalyst for the project as an article he published in exposure in 2003 entitled “Flexible Images: Handmade American Photography, 1969-2002”. It has since expanded into a comprehensive publication that includes personal conversations with each artist conducted over a six-month period during 2013. CEPA will now elaborate further by mounting an exhibition that features a selection of each artist’s work.
In addition to Transformational Imagemaking, CEPA will also show the complete folio of Robert Heinecken’s seminal series Are You Rea (1966). Considered to be the grandfather of post-modern photographic practices and a major figure of 20th century art, Heinecken was a key figure in promoting new sentiments about photography as an art form, influencing artists such Richard Prince, Barbara Kruger, Sherrie Levine, and others. Heinecken’s rebellious spirit challenged conventions about the ways photographs represent the tangible world: “We constantly tend to misuse or misunderstand the term reality in relation to photographs. The photograph itself is the only thing that is real.”
Are You Rea (1966), created by contact printing magazine tear-outs onto photographic paper, are ghostly compositions that layer sexually suggestive images of women with fractured text. This provocative body of work, sexually charged and evocatively ambiguous, reflects an awareness of desire as a commercial commodity that begs us to question the very root of our own desires.
Press release from CEPA Gallery
Keith Smith (American, b. 1938) Untitled 1972
Binh Danh (American born Vietnam, b. 1977) The Botany of Tuol Sleng Genocide Museum #2 2008 From the Immortality: The Remnants of the Vietnam and American War series Chlorophyll print and resin
The chlorophyll process is an organic alternative photography process akin to the anthotype process. However, instead of printing on the crushed extract of fruit or plant matter, the prints are bleached by sunlight directly onto the surface of leaves using a positive. The resulting images are stunningly delicate and beautiful, ranging from haunting silhouettes to crisp definition. Despite the simplicity of the finished product, the process itself can be tedious with plenty of trial and error.
Drawing on the anthotype process, Danh refined a method for securing a positive directly to a live leaf and allowing sunlight to bleach the image onto its surface naturally. He has also addressed a fundamental challenge with natural photography processes; that of fixing the image to prevent further bleaching and deterioration over time. To save his work, Dah casts his finished pieces in a layer of resin allowing them to be enjoyed for years to come.
Tiffany Pereira. “The chlorophyll process,” on the Alternative Photography website [Online] Cited 02/07/2021. Used under fair use conditions for the purposes of education and research
Dinh Q. Lê (Vietnamese, b. 1968) Untitled, from the series Cambodia: Splendor and Darkness 1998 C-print and linen tape
Dan Estabrook (American, b. 1969) Fever 2004 Salt print with ink and watercolor
Robert Fichter (American, b. 1939) Roast Beast 3 1968 Verifax transfer with rundowns, stamping, and crayon
Robert Heinecken (American, 1931-2006) Are You Rea #1 1966 Offset lithography
Chris McCaw (American, b. 1971) Sunburned GSP #676 (San Francisco Bay) 2013 Gelatin Silver paper negative
Curtis Mann (American, b. 1979) Photographer, Scratch 2009 Bleached c-print with synthetic polymer varnish
Vik Muniz (Brazilian, b. 1961) Atlas (Carlao) 2008 Digital C-print
CEPA Gallery 617 Main Street Buffalo, NY 14203 Phone: (716) 856-2717
Exhibition dates:Â 23rd July – 17th November, 2014
Gyorgy Kepes (American born Hungary, 1906-2001) Lichtenberg figures: A. R. von Hippel 1951 Photographic enlargement on particleboard Lent by Department of Special Collections, Stanford University Libraries
Way to go… Abstract Expressionists eat your heart out!
Marcus
Many thankx to the Cantor Arts Center for allowing me to publish the photographs in the posting. Please click on the photographs for a larger version of the image.
“The obvious world that we know on gross levels of sight, sound taste and touch, can be connected with the subtle world revealed by our scientific instruments and devices. Seen together, aerial maps of river estuaries and road systems, feathers, fern leaves, branching blood vessels, nerve ganglia, electron micrographs of crystals and the tree-like patterns of electrical discharge-figures are connected, although they are vastly different in place, origin and scale … Their similarity of form is by no means accidental. As patterns of energy-gathering and energy-distribution, they are similar graphs generated by similar processes.”
György Kepes
This exhibition explores the question of art’s relevance in a scientific age through the work of Hungarian-born American artist, designer, and visual theorist Gyorgy Kepes (1906-2001). Forty-five panels depict what Kepes, associated with Germany’s Bauhaus and Chicago’s New Bauhaus, called the “new landscape” of scientific imagery – microscopic minerals, cellular patterns, and tissue fibres – as well as Kepes’s own experiments with camera-less photographic techniques. The exhibition is one of the first projects resulting from a $500,000 grant awarded to the Cantor and the Department of Art & Art History from the Andrew W. Mellon Foundation to facilitate research conducted by Stanford Ph.D. candidates on the Cantor’s collection.
Text from the Cantor Arts Center website
Gyorgy Kepes (American born Hungary, 1906-2001) Lichtenberg figures: A. R. von Hippel 1951 Photographic enlargement on particleboard Lent by Department of Special Collections, Stanford University Libraries
Gyorgy Kepes (American born Hungary, 1906-2001) Untitled Date unknown Photographic enlargement on particleboard, date unknown Lent by Department of Special Collections, Stanford University Libraries
Gyorgy Kepes (American born Hungary, 1906-2001) Untitled Date unknown Photographic enlargement on particleboard, date unknown Lent by Department of Special Collections, Stanford University Libraries
Gyorgy Kepes (American born Hungary, 1906-2001) Gate, Photogenic 1948 Photographic enlargement on particleboard, date unknown Lent by Department of Special Collections, Stanford University Libraries
Gyorgy Kepes (American born Hungary, 1906-2001) Photogenic Painting, Photogenic 1942 Photographic enlargement on particleboard, date unknown Lent by Department of Special Collections, Stanford University Libraries
Gyorgy Kepes (American born Hungary, 1906-2001) Light Graphic, Photogenic 1945 Photographic enlargement on particleboard, date unknown Lent by Department of Special Collections, Stanford University Libraries
Gyorgy Kepes (American born Hungary, 1906-2001) Camel’s tongue: 10X 1951 Photographic enlargement on particleboard Lent by Department of Special Collections, Stanford University Libraries
Gyorgy Kepes (American born Hungary, 1906-2001) Transverse section of Osmanthus wood: 50X
1951
Photographic enlargement on particleboard
Lent by Department of Special Collections, Stanford University Libraries
Gyorgy Kepes (American born Hungary, 1906-2001) Transverse section of wood: 250X 1951 Photographic enlargement on particleboard Lent by Department of Special Collections, Stanford University Libraries
Gyorgy Kepes (American born Hungary, 1906-2001) Ecological Light Plan for Boston Harbor 1964-1965
Cantor Arts Center at Stanford University 328 Lomita Drive at Museum Way Stanford, CA 94305-5060 Phone:Â 650-723-4177
End of the week. Not a lot of energy or time to write an in depth piece on the wonders of Walker Evans, so just a few observations…
I like this photographer, I like him a lot. No histrionics, little subjectivity being thrown at the audience. The images are -just -so. The compositions are seemingly simple but are actually very complex. Only a skilled craftsman can make the difficult look simple. As Thomas Struth has said of his photography: ‘for me it is more interesting to try and find out something from the real than to throw something subjective in front of the audience.’
“The uninflected image gives no hints as to how it is to be interpreted, and the viewer is led to linger over what might otherwise seem an un-noteworthy, everyday vista.” It’s recognising that vista in the first place for what it is, and what else it can be, so that it ‘gives pause’ to the viewer.
I really like the portrait of Berenice Abbott and it is also very educational. Look at the depth of field, with the view camera probably one stop past wide open. The sharpness plane is very tiny but look at the quality of the lens and how it renders the values that are slightly out of focus. What a very beautiful image and I suspect a top drawer lens. Notice also it is print 22. Walker Evans would keep a lot of prints and they were not the same. The next copy of this printmight have been better (he might have worked out something todo) or it might be worse – the developer might have gone off. So it is not strictly an “edition” it is just the numberingof the prints he made.
He used every sort of camera: 8 x 10 and the smallerview formats, roll film cameras, Colour polaroid! hence the different sizes of his prints. Occasionally he did crop his images but on other occasions he took “a stance” where you knew hewas about to perform and there would be no cropping. If you are really interested in this master photographer, the best Walker Evans book to get is First and Last (1978, available cheaply as a hardback on Amazon) which contains many pictures and “threads” that are dynamite… and the John Szarkowski book Walker Evans (1972) is a good one as well.
Dr Marcus Bunyan
Many thankx to Martin-Gropius-Bau for allowing me to publish the photographs in the posting. Please click on the photographs for a larger version of the image.
Walker Evans (1903-1975) was one of the great personalities of 20th century photography, being an exponent of what is called the “documentary style”. His work, which spans a period of over fifty years, will be represented by well over 200 original prints from the years 1928 to 1974, taken mostly from the considerable private collection of Clark and Joan Worswick, but also from various German collections.
For decades, right up to the present, the prolific photographic oeuvre of Walker Evans has acquired an increasingly model character. In the half century of his creative activity the photographer documented in sober documentary fashion a uniquely authentic picture of America, and like no other before him showed a particular feel for both the everyday and the subtle – the American Vernacular – creating a sense of identity and historic significance.
Visitors follow both Evans’ biography and the changing face of America, from the Great Depression to the onset of stability and business as usual: early impressions of the 1920s from the New York neighbourhood he lived in; portraits of his friends and fellow artists which give some indication of the ramified cultural ambience he inhabited; specimens of 19th century architecture that have blended into the evolving cultural life about them; picture cycles from Tahiti and Cuba; images of African sculptures and masks commissioned by the New York Museum of Modern Art; and numerous photographs taken in the 1930s in the rural south of the USA, which contrast starkly with the lifestyles of those who may be seen promenading in the fashionable streets of cities like New York.
In addition to street scenes, American monuments and shop window displays far from the world of “big business”, examples of his significant subway photographs are to be seen, taken with a hidden camera. We also see interiors whose modest appointments tell of the life of those who live in them, pictures that inevitably recall Evans’ remark that “I do like to suggest people by absence”. Evans’ predilection for typography, advertising and mass-produced articles give rise to strangely fascinating shots which seem to anticipate the soon-to-emerge Pop Art and its assemblages.
While the exhibition shows icons in the history of photography, it also highlights some of the photographer’s lesser known motifs dating from the 1940s, 1950s and 1960s. These include works done for Fortune, the magazine founded by Henry Luce in 1930; pictures taken on trips to London from 1945 onwards for the periodical Architectural Forum; or during stays at Robert Frank’s Nova Scotia house in the late 1960s.
This is an exhibition in two galleries. In the first you are not allowed to take photographs but in the second you can take as many as you want. You are told this as you enter the exhibition but the import of this incantation only becomes apparent much later in your visit.
“It has often been said that Pictorial photographs resemble works in other media. The analogy with etchings is especially striking and the comparison is more than physical. Between 1890 and the late 1920s, etching and Pictorial photography had a shared history and many similar aims. Parallels between the two disciplines in Australia had their antecedents in England. In the late nineteenth century many photographers in that country were consciously promoting artistic, as opposed to documentary work. At the same time, printmakers were reviving the art of original etching as an expressive rather than a reproductive medium.”2
But the Charles Marville photographs are not the star of the show, oh no. That is left to five things:
a) An album of which you can see only one leaf in the exhibition, Les Proscrits (‘The Exiles’) (1856, below), but that one leaf is enough. The enigma, light and intimacy of this one page is just magnificent.
b) Equally impressive are the very small intense portraits of Victor Hugo such as the silver gelatin photograph attributed to Arsène Garnier (1820-1909) – dark, atmospheric with Neo-classical sculptures and chandeliers reflected in expansive mirrors, VH propped up by a favourite chair; or Charles Hugo’s salted paper print from a collodion negative of his father in Jersey leaning on the back of a chair (1853-1855). The intensity of these portraits is remarkable.
In this case it quite ruined what was up till then an incredible experience. So visit the exhibition for the main course (and don’t take any photos), but if I were you I would turn around after the first gallery and walk out the way I came in, thinking to myself ‘less is more!
Dr Marcus Bunyan
1/ See Ebury, Frances. “Engravers and Etchers, Pictorialists and Photographers,” Part 2, Chapter 2 in Making Pictures: Australian Pictorial Photography as Art 1897 – 1957 Volume 1. Phd thesis, The University of Melbourne, 2001, p. 73.
2/ Ibid.,
Many thankx to the State Library of Victoria for allowing me to publish the photographs in the posting. Please click on the photographs for a larger version of the image.
“As long as social damnation exists, through laws and customs, artificially creating hell at the heart of civilization and muddying a destiny that is divine with human calamity; as long as the three problems of the century – man’s debasement through the proletariat, woman’s demoralisation through hunger, the wasting of the child through darkness – are not resolved … as long as ignorance and misery exist in this world, books like the one you are about to read are, perhaps, not entirely useless.”
Victor Hugo’s hand From the albumLes Proscrits (‘The Exiles’) (detail of page) 1856 Album of photographs Bibliothèque nationale de France
Victor Hugo posing at his desk in his study at Hauterville House, Guernsey From the albumLes Proscrits (‘The Exiles’) (detail of page) 1856 Album of photographs Bibliothèque nationale de France
Rodin states that Hugo would not pose. “I worked out on the veranda. I observed him swiftly, but carefully as he refused to pose. He accepted to be looked at, from all angles, but he would not pose. And so I looked at his conscience. And this is how I was able to capture the real Hugo.”
The possibility that the condemned can rise above poverty and degradation to become good and honourable, and perhaps above all to fight for freedom of body and soul.
Whether there was, or he understood there to be, a “decisive” moment when Eugène Atget took a photograph is unknown… but I think that what he was trying to achieve was something different.
In Atget there is a decisive exposure – or (seemingly extended) time – of the image. In Cartier-Bresson this perception has shrunk to a millisecond but it is still there. Not so different, just this intensity – COMPRESSED.
In Yousuf Karsh I believe that there is more an EXPANSION of time in the portraits – the decisive exposure is drawn out over the length of his engagement and dialogue with his sitters (with out seeing the caption you KNOW that is Robert Oppenheimer – I had not seen the image before butI sensed it instinctively, intuitively, it could be nobody else).
Karsh seems to ‘draw out’ some magical element in all of his sitters = they never just ‘sit’ for him, but actively engage in a dialogue that evidences some sense of being that is unique and timeless… an expansion of consciousness? an expansion of decisive exposure. Decisive – immediate; exposure – time / representation.
These are thoughts still forming in my head, a new way of looking at photography that relies less on instant gratification and more on intensities – of feeling, of thinking, of time, of representation.
Dr Marcus Bunyan
Many thankx to the National Portrait Gallery for allowing me to publish the photographs in the posting. Please click on the photographs for a larger version of the image.
In celebration of a major gift to its collection of more than 100 portraits created by renowned photographer Yousuf Karsh (1908-2002), this exhibition features iconic photographs of Americans who have distinguished themselves in fields as diverse as business, medicine, entertainment, politics and the arts. Among the portraits included are those of artist Georgia O’Keeffe, physician and virologist Jonas Salk, singer Marian Anderson, actress Grace Kelly, businesswoman Elizabeth Arden, architect I. M. Pei and first lady Eleanor Roosevelt. Yousuf Karsh: American Portraits is the museum’s first exhibition devoted entirely to the work of this internationally recognised portrait photographer, and it will be presented in two installations.
A luminous beauty whose film career spanned just six years (1951-1956), Grace Kelly left an indelible legacy with her performances in eleven motion pictures, many of which remain Hollywood classics. After her 1951 film debut in a minor role, she received wide notice for her performance opposite Gary Cooper in High Noon (1952). A year later, Kelly garnered her first Academy Award nomination for her work in Mogambo (1953). In 1954 she starred in four major releases, including the Alfred Hitchcock thrillers Dial M for Murder and Rear Window, and the drama The Country Girl, for which she won the Best Actress Oscar. Kelly scored additional hits with To Catch a Thief (1955) and the musical High Society (1956) before ending her Hollywood career to marry Monaco’s Prince Rainier in April 1956.
When Grace Kelly posed for Karsh’s camera, she was recently engaged and about to begin her new life as Monaco’s Princess Grace.
In 1954, when Ernest Hemingway received the Nobel Prize in Literature, the committee cited his “mastery of the art of modern narration.” In fact, through his short stories and such novels as The Sun Also Rises (1926) and For Whom the Bell Tolls (1940), Hemingway had, with his terse, powerful prose, in large measure invented a new literary style as he chronicled the disillusionment of the post-World War I “lost generation.” Hemingway’s own experiences – reporting foreign wars, living the bohemian life in Paris, and adventuring in Africa, Spain, and Cuba – fuelled his imagination and helped foster his larger-than-life public persona.
When Karsh traveled to Cuba in 1957 to photograph Hemingway, he “expected to meet in the author a composite of the heroes of his novels.” Instead, the photographer recalled, “I found a man of peculiar gentleness, the shyest man I ever photographed – a man cruelly battered by life but seemingly invincible.”
Albert Einstein transformed the world of physics with his groundbreaking theory of relativity, and in 1921 he received the Nobel Prize for “his services to theoretical physics” and “his discovery of the law of photoelectric effect.” The German-born physicist was visiting the United States when Hitler and the Nazis came to power in his homeland in 1933. Einstein never returned to Germany. Instead, he accepted a position at the Institute for Advanced Study in Princeton, New Jersey – the newly established academic institution that would become a major centre for research in theoretical physics. In residence at the institute for the remainder of his life, Einstein continued to publish, work on the interpretation of quantum theory, and wrestle without success on his unified field theory. He became a U.S. citizen in 1940.
Karsh relished the opportunity to photograph Einstein, whose face, “in all its rough grandeur, invited and challenged the camera.”
In 1941, as war raged in Europe and the Pacific, British prime minister Winston Churchill traveled to Washington for meetings with President Franklin Roosevelt before continuing on to Ottawa, where he delivered a rousing speech before the Canadian Parliament on December 30. Canada’s prime minister, Mackenzie King – an early admirer of Yousuf Karsh’s work – arranged for Karsh to attend Churchill’s address and to be in position to photograph the British leader as he later passed through the Speaker’s Chamber. Surprised to discover that he was to be photographed, Churchill grudgingly agreed to give Karsh two minutes for the shot but declined the photographer’s gentle entreaty to relinquish his freshly lit cigar. Undeterred, Karsh deftly removed the cigar from Churchill’s mouth and quickly made his exposure as Britain’s “roaring lion” glowered at the camera. The resulting image – one of the 20th century’s most iconic portraits – effectively launched Karsh’s international career.
In 1963, Churchill became the first foreign national to be granted honorary U.S. citizenship by the U.S. Congress.
One of the most influential architects to emerge in the decades following World War II, I. M. Pei is recognised throughout the world for his striking, high-modernist designs. Drawn to the United States to study architecture in 1935, Pei earned his undergraduate degree from MIT and later completed graduate work at Harvard. After first directing the architectural division of a large real-estate concern, Pei founded his own architecture firm in 1955, one year after becoming a U.S. citizen. As his reputation grew, important projects – such as the 1964 commission for the John F. Kennedy Memorial Library – came his way. Pei went on to create such iconic structures as the critically acclaimed East Wing of the National Gallery of Art (1978) and the distinctive glass pyramid that forms the entrance to the Louvre (1988). He has received many major awards, including the coveted Pritzker Prize (1983).
In celebration of a major gift to its collection of more than 100 portraits created by master photographer Yousuf Karsh (1908-2002), the Smithsonian’s National Portrait Gallery is installing a special exhibition on the first floor of the museum, Yousuf Karsh: American Portraits. This is the second of two installations and will run from May 2 through Nov. 2. Yousuf Karsh: American Portraits is the museum’s first exhibition devoted entirely to the work of this internationally recognised photographer. Each phase of the installation displays 27 photographs. The photographs were a gift to the museum by Estrellita Karsh.
“Yousuf Karsh created some of the most iconic photographic portraits of our time,” said Kim Sajet, director of the National Portrait Gallery. “He not only had the uncanny ability to amplify a person’s character, but also offered everyday people the opportunity to glimpse into the private lives of the men and women who shaped the 20th century in a way that feels both personal and real. I am thrilled to have his important work play an integral part in building the nation’s collection of portraits.”
A refugee from persecution in his native Armenia, Karsh immigrated to Canada in 1925. His uncle, a professional photographer, facilitated Karsh’s apprenticeship with the renowned Boston portrait photographer John H. Garo in 1928. By the time Karsh returned to Canada, he had “set [his] heart on photographing those men and women who leave their mark on the world.” In May 1933, he opened his portrait studio in Ottawa.
Karsh developed his distinctive portrait style by drawing inspiration from a variety of sources. Introduced to stage lighting techniques through his association with the Ottawa Drama League, he experimented with artificial lighting to achieve the dramatic effects that became the hallmark of his portraiture. Believing that “the heart and mind are the true lens of the camera,” Karsh also developed a genuine rapport with his sitters and partnered with them to fashion portraits that were both revealing and respectful.
During a distinguished career that spanned more than six decades, Karsh believed that “the heart and mind are the true lens of the camera,” and he developed a genuine rapport with his subjects to fashion evocative and revealing portraits. This installation features Americans who have distinguished themselves in fields as diverse as business, medicine, entertainment, politics and the arts. Among the portraits included are Martha Graham, Helen Keller, Jackie Kennedy, Andy Warhol, Ellie Wiesel, Muhammad Ali and First Lady Eleanor Roosevelt. The museum has previously collected seven photographs by Karsh, including one of the most famous photographs of Winston Churchill, which became known as the “roaring lion,” and a colour photograph of the beloved creator of Peanuts, Charles Schultz. While the photographer is known for his work in black and white, the museum is also showing several works in colour.
Press release from the National Portrait Gallery website
As the nation’s first lady, Eleanor Roosevelt rapidly expanded her role from hostess to advocate and emerged as a vital force in her husband Franklin’s administration. She took public stands on issues ranging from exploitative labor practices to civil rights, but more important, she often urged her husband toward measures he might otherwise have avoided. When the challenges of World War II drew the president’s attention from domestic affairs, she continued to be a strong voice for the New Deal’s social welfare policies. The activism that characterised Eleanor Roosevelt’s years as first lady did not end with her departure from the White House. As a U.S. delegate to the United Nations (1945-1953), she was instrumental in formulating the Universal Declaration of Human Rights and securing its ratification by the General Assembly in 1948.
Eleanor Roosevelt’s hands were seldom still, and Karsh captured their expressive qualities in this portrait.
One of the most beautiful postings that I have ever done on the blog. The colours, the people, the faces, the places: magnificent.
This was Sarajevo two years before Archduke Franz Ferdinand of Austria was assassinated there, catalyst that sparked the beginning of The Great War. Bread and dirty clothes, rough hands and mud-stained shoes.
Turkey:Â September 1912 Morocco:Â December 1912 / January 1913 China:Â May 1913 Mongolia:Â July 1913 India:Â December 1913 –Â January 1914 France:Â June 1914
Dr Marcus Bunyan
Many thankx to Martin-Gropius-Bau Berlin for allowing me to publish the photographs in the posting. Please click on the photographs for a larger version of the image.
After his return to Paris, Kahn decided to launch the worldwide project Les Archives de la Planète. This three-decade long project distinguished itself from any other initiated at that time thanks to the compilation of a visual inventory of the world utilising ground-breaking types of media from that time, namely autochrome and film. With the utopian aim to ‘fix once and for all the aspects, the practices, and modes of human activity whose fatal disappearing is just a question of time’, Kahn hired a dozen operators to help him visualise the world, including Passet.
Biographical elements of Passet remain quite meagre. What is known is that he volunteered in the French Army for fifteen years, settled down in Paris in 1910, and worked for Kahn’s Archives de la Planète from 1912 onwards. The circumstances of his previous training as a photographer and cameraman, as well as his recruitment, remain unknown. The visual archive left to us today reveal that two trips were organised [to China] in 1912 (between May and August) and 1913 (between the end of May and the end of June). Passet and his team travelled across China, visiting and recording places such as Beijing (which composes a large part of the archive in China) and northern sites (Great Wall and Ming Tombs), Shenyang, Zhangjiakou, Qufu, Shanghai, places along the Yangtze River, and Mount Tai (hereinafter referred to as Taishan).
The Archives de la Planète ended in 1931 when Kahn was bankrupted.
Auguste Leon (French, 1857-1942), French photographer who worked for the project “Archives of the Planet” (French: Les Archives de la Planète) of millionaire French banker and philanthropist Albert Kahn (1860-1940) since 1909. Together with Jean Brin, another French photographer, they visited Macedonia during the Balkan wars in the period of 1912-1913 where they made series of autochromes (very first colour photograps) which today are in the collection of Albert Kahn museum and were published later in the publication: Macedonia in 1913 – Autochromes from the collection of the Museum Albert Kahn.
The Archives of the Planet (French: Les Archives de la Planète) was photographical endeavour to document buildings and cultures.
In 1909, Kahn travelled with his chauffeur and photographer, Alfred Dutertre to Japan on business and returned with many photographs of the journey. On his return to Europe, he decided to go back, this time with the professional photographer Augustus Leon, for a second two-month trip to South America in 1909 where he visited Uruguay, Argentina, and Brazil. All materials became the first of the “Archives of the Planet” based in Paris: a collection of colour photographs (process autochrome plates, invented by the Lumiere brothers) and movies.
This prompted him to begin a project collecting a photographic record of the entire Earth. He appointed Jean Brunhes as the project director, and sent photographers to every continent to record images of the planet using the first colour photography, autochrome plates, and early cinematography.
Between 1909 and 1931 they collected 72,000 colour photographs and 183,000 meters of film. These form a unique historical record of 50 countries, known as The Archives of the Planet. Between 1909 and 1931, it is thus some 72,000 autochrome (first global fund of early colour photography), 4000 black-and-white, and a hundred hours of footage that will be reported from fifty country. These images are the iconographic side of a large documentation project that will take other forms (publications, documentation centres, etc.) and whose goal is a better understanding of other nations for a better deal in order to prevent conflicts. The images are also projected for this purpose to the guests, often prestigious people from around the world, as well as in higher education structures.
In commemoration of the outbreak of the First World War, the Martin-Gropius-Bau is presenting an exhibition entitled The World c. 1914 – Colour Photography Before the Great War, which features nearly forgotten colour photographs and films commissioned by the French banker Albert Kahn (1860-1940) before the First World War. As the nations of Europe were already arming themselves for battle, Kahn, who was excited by the Lumière Brothers’ colour photography process, dispatched photographers out into the world to develop a unique photo archive. Over 70,000 colour photos have survived in this collection. They represent an immense ethnographic treasure and were also intended to perform a mission of peace: Bringing the outside world closer to home. Kahn’s activities were intended to help secure the fragile peace. The exhibition brings this treasure trove of images from a long forgotten world to light.
For Albert Kahn, knowledge of peoples, buildings, landscapes and lifestyles was directly related to his desire for global peace: People who know and respect one another, and who encounter one another face to face, do not need to wage war. In 1908/09, excited by the new autochrome process of the brothers August and Louis Lumière, Kahn commissioned his photographers to document the world with the goal of assembling an archive of colour photographs from Europe, Asia and Africa. They photographed local scenes and people in typical clothing as well as monuments of cultural history. From this global treasure trove, more than 160 images have been selected for this exhibition. The autochromes from the Kahn archive form the centrepiece. The exhibition also displays images and projections by Adolf Miethe (1862-1927) and Sergei M. Prokudin-Gorskii (1863-1944).
Adolf Miethe, the inventor of a panchromatic film-coating process and thus the creator of three-colour printing, played a significant role in the development of colour photography. His presentation before the Kaiser led to a commission to create a colour documentation of German landscapes for the St. Louis World’s Fair. His work also enjoyed great popularity as collectible pictures sold with chocolate bars. This resulted in the “Stollwerck Album” – Germany’s first coloured photographic album.
Moreover, the Miethe Process inspired the Russian photographer Sergei Mikhailovich Prokudin-Gorskii. His work is present in the form of approximately twenty-five colour prints and fifty projected photos. A special item is on loan from the German Museum in Munich: The original projector with which Sergei Prokudin-Gorskii exhibited his work to Nicholas II, the last tsar. In 1909, as a result of this presentation, Prokudin-Gorskii received a commission to record the Russian Empire in 10,000 photos. Between 1909 and 1915, Gorskii made several thousand photographs of great brilliance. He documented the cultural diversity of the tsarist empire from the Crimean Peninsula to Siberia.
Please click on the photographs for a larger version of the image.
“When Burri left Zurich in the 1950s, he set out to discover the world and some sense of man’s smallness within it. Switzerland was landlocked, bordered by mountains; a camera was a way out. Even then, he worried about what he could do that was new – “when shutters rattle from morning to night in every corner of the world … when every continent is lit with the flash of cameras.” His job, he believes, has been to “trace the enormous social changes taking place in our age, conveying my thoughts and images of them.” And, more poetically, “to put the intensity that you yourself have experienced into the picture – otherwise it is just a document.” He retired from reporting once that intensity, that sense of the bigness of the world, was gone.”
Exhibition dates: 4th September – 25th October, 2014
Ray K. Metzker (American, 1931-2014) Untitled, family home outside Milwaukee, 1957 (#1) 1957 Multiple exposure gelatin silver print 7 3/4 x 9 5/8″ Stamp Signature on verso Copyright the Estate of Ray K. Metzker, Courtesy Laurence Miller Gallery
Vale Ray K. Metzker. An artist who made difference
The one and only Ray K. Metzker has made his last photograph, passing away recently at the age of 83.
RESPECT. That is the word that springs to mind when I think of this artist. I utterly respect this man’s work for its integrity, vision, experimentation and intensity. He was committed to discovering the potential of black and white photography. In images that challenge our perception of what photography is, what photography can do, and what realities it can depict, Metzker produced sublimely beautiful and evocative images that were distinctly his own. They are formidable photographs. You cannot mistake his work for that of any other artist.
His handling of line and light is that of a master. His understanding of angle, camera placement, composition, composites, multiple-exposure, superimposition of negatives, juxtapositions of two images, solarisation and other formal elements AS A MEANS TO AN END are all superlative. He does not use these elements because they are gimmicky or fashionable but because they are an inherent part of his vocabulary as an artist. They help him produce avant-garde images that talk about the things he wants to talk about. Nothing is superfluous. Everything is focused, intense and passionate. A passionate engagement with reality.
Metzker’s drawing with light surely comes from an enlightened mind. Magical. Wonderful. And so another spirit passes on…
Many thankx to the Laurence Miller Gallery for allowing me to publish the photographs in the posting. Please click on the photographs for a larger version of the image. All photographs copyright the Estate of Ray K. Metzker, Courtesy Laurence Miller Gallery.
Ray K. Metzker (American, 1931-2014) Untitled, Chicago, February 1959 (#1) 1959 Multiple exposure gelatin silver print, 7 3/4 x 9 5/8″ Stamp Signature on verso Copyright the Estate of Ray K. Metzker, Courtesy Laurence Miller Gallery
Ray K. Metzker (American, 1931-2014) Untitled multiple print, 69 KC-MX 1969 Gelatin silver print, 6 3/4 x 8 5/8″ Signed on verso Copyright the Estate of Ray K. Metzker, Courtesy Laurence Miller Gallery
Ray K. Metzker (American, 1931-2014) Chicago, Multiple exposure 1958 Gelatin silver print, 7 3/8 x 7 1/2″ Signed and inscribed “Unique” on verso Copyright the Estate of Ray K. Metzker, Courtesy Laurence Miller Gallery
It is with great sadness that Laurence Miller Gallery announces the death of Ray K. Metzker. Ray passed away early this morning at the age of 83, after a long illness.
Ray K. Metzker had quietly been making extraordinary photographs for the better part of six decades. Today, he is recognised as one of the great masters of American photography, a virtuoso who has pursued his chosen medium passionately for fifty years. Metzker was born in 1931 in Milwaukee and attended the Institute of Design, Chicago – a renowned school that had a few years earlier been dubbed the New Bauhaus – from 1956 to 1959. He was thus an heir to the avant-garde photography that had developed in Europe in the 1920’s. Early in his career, his work was marked by unusual intensity. Composites, multiple-exposure, superimposition of negatives, juxtapositions of two images, solarisation and other formal means were part and parcel of his vocabulary. He was committed to discovering the potential of black and white photography during the shooting and the printing, and has shown consummate skill in each stage of the photographic process. Ray Metzker’s unique and continually evolving mastery of light, shadow and line transform the ordinary in the realm of pure visual delight.
Text from the Laurence Miller Gallery
Ray K. Metzker (American, 1931-2014) Strip Tease #11 c. 1968 Gelatin silver print, 2 1/2 x 20 1/2″ Stamp signature on verso Copyright the Estate of Ray K. Metzker, Courtesy Laurence Miller Gallery
Ray K. Metzker (American, 1931-2014) Atlantic City, 1966 (66 FD-2) 1966 Gelatin silver print, 6 x 6″ Signed on verso Copyright the Estate of Ray K. Metzker, Courtesy Laurence Miller Gallery
Esteemed as a photographer, Ray Metzker’s creative practice was nevertheless unbounded by the conventional borders of the medium. Metzker sought out methods that allowed him access to the full potential of photography as an art form. He continually explored the medium’s untapped possibilities; at various times embracing the roll of film as a single picture, using the prints as building blocks for composite works, and even setting aside the camera to explore the expressive potential of the developing process itself.
Nowhere is his spirit of creative curiosity more evident than in the unique, non-editioned works that he crafted at every stage in his career. These one of a kind pieces are the focus of our new exhibition, many of them shown here for the first time.
A broad range of techniques and sensibilities are on display in this group of pictures. Even in some of the earliest pictures, dating from 1957, objects have been dissolved past the point of recognition leaving form and light as the subject. The world that comes back into focus later in the exhibition is often the natural one, as in his photograms from the 1990s where ghosts of leaves are traced onto the paper itself. Towards the end of the show’s chronology there are light-drawn “landscapes” where wind whipped clouds and darkened horizons rise up not out of a camera’s aperture but from light and the darkroom’s chemicals alone. There is an elemental quality to these later works: they seem to be striving to depict an essence more than an image.
Some of the most revealing works included are the pieces that employ only cut and folded paper. Metzker was always a very material photographer, as his darkroom manipulations attest, and in these works it is as if concerns of photographic exposure have fallen away and he is directly arranging light and shade in this most tactile of ways.
It is notable that the spirit of playful invention is unflagging across the six decades of work collected for this exhibition. There is an impassioned curiosity on display that seems continually refreshed by the act of making. It tells us a great deal about his conception of photography that, in a medium known for reproduction, Metzker never stopped making unique, non-reproducible works. An edition of one if you will, like the man himself.
On the occasion of Ray’s 83rd birthday, Laurence Miller Gallery invites you to experience more than three dozen of his one of a kind works, showing us that seeing is a unique act of creation.
Jacob Cartwright
Text from the Laurence Miller Gallery website
Ray K. Metzker (American, 1931-2014) Untitled light drawing 1996 Gelatin silver print, 4 x 5″ Signed on verso Copyright the Estate of Ray K. Metzker, Courtesy Laurence Miller Gallery
Ray K. Metzker (American, 1931-2014) Untitled light drawing 1996 Gelatin silver print, 10 3/4 x 13 1/4″ Signed on verso Copyright the Estate of Ray K. Metzker, Courtesy Laurence Miller Gallery
Ray K. Metzker (American, 1931-2014) Untitled light drawing 2007 Gelatin silver print, 11 x 13 1/2″, mounted Signed and dated on mount recto Copyright the Estate of Ray K. Metzker, Courtesy Laurence Miller Gallery
Ray K. Metzker (American, 1931-2014) Untitled light drawing 1996 Gelatin silver print, 15 x 19 1/2″ Signed on verso Copyright the Estate of Ray K. Metzker, Courtesy Laurence Miller Gallery
Ray K. Metzker (American, 1931-2014) Strip Tease #68 c. 1966 Gelatin silver contact print, 30 3/4 x 1 1/8″ Stamp signature on verso Copyright the Estate of Ray K. Metzker, Courtesy Laurence Miller Gallery
Laurence Miller Gallery
There is no longer a physical exhibition space for this gallery. Laurence Miller Gallery currently operates as a private fine art photography dealer.
Opening hours: We are open by appointment only, with locations in New Hope, Pa. and New York City.
![Charles Marville (French, 1813-1879) 'Rue Soufflot (pendant la démolition)' (Rue Soufflot [during demolition]) c. 1876-1877](https://artblart.com/wp-content/uploads/2014/10/210_slv_marville_rue-soufflot-web.jpg "Charles Marville (French, 1813-1879) 'Rue Soufflot (pendant la démolition)' (Rue Soufflot [during demolition]) c. 1876-1877")
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