Archive for the 'quotation' Category

27
Dec
19

Exhibition: ‘Peter Hujar: Speed of Life’ at Jeu de Paume, Paris

Exhibition dates: 15th October 2019 – 19th January 2020

Curators: Joel Smith and Quentin Bajac

 

 

Installation view of the exhibition 'Peter Hujar: Speed of Life' at Jeu de Paume, Paris

 

Installation view of the exhibition Peter Hujar: Speed of Life at Jeu de Paume, Paris

 

 

“I photograph those who push themselves to any extreme, and people who cling to the freedom to be themselves.”

.
Peter Hujar

 

 

Free your mind

A huge posting to finish what has been a bumper year on Art Blart: two book chapters published, a photographic research trip to Europe in which I saw some incredible exhibitions and took over 7000 photographs for my art work, lots of postings and writing and, sadly, the loss of two friends – my mother in Australia, the bohemian photographer and poet Joyce Evans and vision impaired photographer Andrew Follows.

I couldn’t think of a better posting to finish the year than with a photographer who put it all on the line: Peter Hujar. Not for him the world of Apollonian perfection, wishing for fortune and fame, relying on some big time backer to promote him. Hujar stuck to his craft, carving images, performances if you like, from dystopian contexts and Dionysian revellers. “Hujar was the instigator of the performances captured in his portraits, as much as a director as a photographer.”

Paraphrasing Mark Durant, we might say that Hujar was a poet of the urban nocturne, a photographer of subjective desire known for his gritty, erotic, sentimental yet (im)personal images. Philip Gefter observes that, “A hallmark of Hujar’s portraiture is the invisibility of technique – a kind of visual innocence – as if the camera were not present and the subject had been happened upon.” Richard Woodward says that Hujar, “observed his companions in this outlaw life with what might be called warm objectivity.” Photographer Duane Michals says that, “Hujar was a pioneer, years ahead of Mapplethorpe in his sexual candor, as well as an artist whose photographs are less swank and less affected.”

Ah! what a time it was to be an artist and to be gay in New York, with the likes of Hujar, Warhol, Mapplethorpe, Wojnarowicz, Haring, Arthur Tress, and Duane Michals, to name but a few. A time of sexual liberation, followed by a period of disease and death. Hujar pictures this “scene” – the flowering of gay life and then the AIDS crisis of the 1980s. He pictures the constellations as they swirl around him. He allows the viewer to enter his world without judgement, just showing it how it was – a world of avant-garde dance, music, art, and drag performance; “glowing skyscrapers, assorted rubble, discarded rugs, boys in drag, and girls passed out in his doorway.” This is it he is saying, this is how I live, this is who surrounds me, suck it up and breathe it in. He allows the viewer to enter his world of ideas and possible metaphors. No judgement is offered nor accepted.

As my appreciation of his photographs grows, I reflect on the skill that it takes to make these photographs look effortless. Hujar, “a student of Lisette Model, admirer of August Sander, and friend of Diane Arbus, made his photographs distinctly his own: a perfect and unmistakable mirror of his own body and milieu.” A mirror of strength and determination / of friendship / of love – his pictures gather, together, a feeling for – the freedom of people, and places, to be themselves. Do places have feelings? yes they do! (I remember visiting the Coliseum in Rome and having to leave after 20 minutes the energy of the place was so bad; and then visiting the Loretta Sanctuary in Prague and feeling, such calm and peace in that place, that I have rarely felt before).

Hujar’s photographs are memorable. Nan Goldin and Vince Aletti said that his work, “like that of so few photographers, can’t be forgotten and becomes even deeper and more compelling over time.” His work is so compelling it’s like you can’t take tear your eyes away from the photographs. They demand repeat viewing. They seem possessed of an awareness of their own making. That is Hujar’s music, his signature.

Like any great artist, his images reveal themselves over time, expounding his love of life and his intimate and free engagement with the world. Hujar was, is, and always will be… a watcher, a dreamer, a cosmic spirit.

Dr Marcus Bunyan

.
Many thankx to Jeu de Paume for allowing me to publish the photographs in the posting. Many thankx to David for the iPhone installation images. Please click on the photographs for a larger version of the image.

 

The life and art of Peter Hujar (1934-1987) were rooted in downtown New York. Private by nature, combative in manner, well-read, and widely connected, Hujar inhabited a world of avant-garde dance, music, art, and drag performance. His mature career paralleled the public unfolding of gay life between the Stonewall uprising in 1969 and the AIDS crisis of the 1980s.

In his loft studio in the East Village, Hujar focused on those who followed their creative instincts and shunned mainstream success. He made, in his words, “uncomplicated, direct photographs of complicated and difficult subjects,” immortalising moments, individuals, and subcultures passing at the speed of life.

 

 

What was Hujar’s truth, his photographic truth? Hujar understood and utilized photography’s tension between document and theatricality. In the act of photographing there is a performance, not only on the part of the subject, but for the photographer as well. For Hujar, to photograph was a balancing act between fierce observation and manifesting his devotion. As Jennifer Quick observes in her essay for the catalogue, This Will Have Been: Art, Love & Politics in the 1980s, “While Arbus and Mapplethorpe are known for their detached postures, Hujar’s silent, tacit presence pervades his work. Like Avedon, Hujar was the instigator of the performances captured in his portraits, as much as a director as a photographer.” That Hujar is considered in the same company of Avedon, Arbus, and Mapplethorpe, reminds us that the retrospective Speed of Life is long overdue.

Hujar’s restlessness led him to wander beyond the confines of the studio. Like Brassai, Hujar was a poet of the urban nocturne, prowling the streets with his camera as the day unraveled. Brassai’s Paris is gritty, erotic, sentimental, yet impersonal. Hujar’s photographs of New York’s streets at night embrace emptiness and furtive gestures, glowing skyscrapers, assorted rubble, discarded rugs, boys in drag, and girls passed out in his doorway. His nighttime images of the Hudson river are disquieting, suggesting powerful currents not fully understood by the dappled surfaces. The thrill and danger of an anonymous sexual encounter is manifested in the 1981 image, Man Leaning Against Tree. It is the moment for Hujar to surveille and assess, when the object of desire is seen but has not yet turned his head to return the gaze. There is a little bit of softness in the image, due, perhaps, to the dim light or the camera moving while the shutter remained open. This image is as much a document of Hujar’s habits of looking as it is about the man leaning against the tree. Despite claims of photography’s objectivity or passive observation, the photographer, consciously or not, visually manifests subjective desire, and Hujar was masterful in this regard. …

While all photographs are tethered to mortality, there is something exemplary in Hujar’s cool acceptance of our temporality. He was fully engaged with his moment yet unsentimental in his attachment. Whether he was photographing a lover or an abandoned dog as elegant as it is scruffy, we can sense that Hujar’s interest was intellectual and physical in equal measure. He may not have been comfortable with the world as it was, but he embraced and even loved what was in front of his camera. “My work comes out of my life, the people I photograph are not freaks or curiosities to me,” he said. “I like people who dare.”

Mark Alice Durant. “Peter Hujar’s Photographic Truth,” on the Saint Lucy website [Online] Cited 01/11/2019

 

Peter Hujar (American, 1934-1987) 'Public Garden, Taormina, Sicily' 1959

 

Peter Hujar (American, 1934-1987)
Public Garden, Taormina, Sicily
1959
Tirage gélatino-argentique
The Morgan Library & Museum, achat en 2013 grâce au Charina Endowment Fund
© Peter Hujar Archive, LLC, courtesy Pace/MacGill Gallery, New York and Fraenkel Gallery, San Francisco

 

Peter Hujar (American, 1934-1987) 'Sheep, Pennsylvania' 1969

 

Peter Hujar (American, 1934-1987)
Sheep, Pennsylvania
1969
Tirage gélatino-argentique
The Morgan Library & Museum, achat en 2013 grâce au Charina Endowment Fund
© Peter Hujar Archive, LLC, courtesy Pace/MacGill Gallery, New York and Fraenkel Gallery, San Francisco

 

Peter Hujar (American, 1934-1987) 'Gay Liberation Front Poster Image' 1970

 

Peter Hujar (American, 1934-1987)
Gay Liberation Front Poster Image
1970
Tirage gélatino-argentique
The Morgan Library & Museum, achat en 2013 grâce au Charina Endowment Fund
© Peter Hujar Archive, LLC, courtesy Pace/MacGill Gallery, New York and Fraenkel Gallery, San Francisco

 

 

Gay Liberation Front poster image

Hujar put his art to political use in 1969. In late June, a police raid inspired fierce resistance from the patrons of the Stonewall Inn, in the West Village. Hujar’s boyfriend at the time, Jim Fouratt, arrived on the scene to organise for the Gay Liberation Front (GLF), the first political group to cite homosexuality in its name. Hujar agreed to make a photograph for a GLF poster. Early one Sunday morning that fall, members of the group assembled and ran back and forth past the photographer on Nineteenth Street, west of Broadway. The poster, bearing the slogan COME OUT!!, appeared in late spring 1970 in advance of the gay liberation march that marked the first anniversary of Stonewall.

 

Installation view of the exhibition 'Peter Hujar: Speed of Life' at Jeu de Paume, Paris

 

Peter Hujar (American, 1934-1987)
Gay Liberation Front Poster Image (installation view)
1970
Tirage gélatino-argentique
The Morgan Library & Museum, achat en 2013 grâce au Charina Endowment Fund
© Peter Hujar Archive, LLC, courtesy Pace/MacGill Gallery, New York and Fraenkel Gallery, San Francisco

 

Peter Hujar (American, 1934-1987) 'Candy Darling on her Deathbed' 1973

 

Peter Hujar (American, 1934-1987)
Candy Darling on her Deathbed
1973
Tirage gélatino-argentique
The Morgan Library & Museum, achat en 2013 grâce au Charina Endowment Fund
© Peter Hujar Archive, LLC, courtesy Pace/MacGill Gallery, New York and Fraenkel Gallery, San Francisco

 

 

Candy Darling

In September 1973, transgender Warhol Superstar Candy Darling (born James Lawrence Slattery) was hospitalised for lymphoma. She asked Hujar to make a portrait of her “as a farewell to my fans.” Out of several dozen exposures, Hujar chose to print this languorous pose. As rendered in the print, Candy’s banal, fluorescent-lit hospital room looks as elegant as the studio props in a Hollywood starlet’s portrait. Hujar later wrote that his style cues came from Candy, who was “playing every death scene from every movie.” The image, first seen in print in the New York Post after Candy’s death six months later, became the most widely reproduced of Hujar’s works during his lifetime.

 

Installation view of the exhibition 'Peter Hujar: Speed of Life' at Jeu de Paume, Paris

 

Peter Hujar (American, 1934-1987)
Candy Darling on her Deathbed (installation view)
1973
Tirage gélatino-argentique
The Morgan Library & Museum, achat en 2013 grâce au Charina Endowment Fund
© Peter Hujar Archive, LLC, courtesy Pace/MacGill Gallery, New York and Fraenkel Gallery, San Francisco

 

Peter Hujar (American, 1934-1987) 'Fran Lebowitz at Home in Morristown, New Jersey' 1974

 

Peter Hujar (American, 1934-1987)
Fran Lebowitz at Home in Morristown, New Jersey
1974
Tirage gélatino-argentique
The Morgan Library & Museum, achat en 2013 grâce au Charina Endowment Fund
© Peter Hujar Archive, LLC, courtesy Pace/MacGill Gallery, New York and Fraenkel Gallery, San Francisco

 

Peter Hujar (American, 1934-1987) 'Self-Portrait Jumping (1)' 1974

 

Peter Hujar (American, 1934-1987)
Self-Portrait Jumping (1)
1974
Tirage gélatino-argentique
The Morgan Library & Museum, achat en 2013 grâce au Charina Endowment Fund
© Peter Hujar Archive, LLC, courtesy Pace/MacGill Gallery, New York and Fraenkel Gallery, San Francisco

 

Installation view of the exhibition 'Peter Hujar: Speed of Life' at Jeu de Paume, Paris

 

Peter Hujar (American, 1934-1987)
Self-Portrait Jumping (1) (installation view)
1974
Tirage gélatino-argentique
The Morgan Library & Museum, achat en 2013 grâce au Charina Endowment Fund
© Peter Hujar Archive, LLC, courtesy Pace/MacGill Gallery, New York and Fraenkel Gallery, San Francisco

 

Peter Hujar (American, 1934-1987) 'Susan Sontag' 1975

 

Peter Hujar (American, 1934-1987)
Susan Sontag
1975
Tirage gélatino-argentique
The Morgan Library & Museum, achat en 2013 grâce au Charina Endowment Fund
© Peter Hujar Archive, LLC, courtesy Pace/MacGill Gallery, New York and Fraenkel Gallery, San Francisco

 

Installation view of the exhibition 'Peter Hujar: Speed of Life' at Jeu de Paume, Paris

 

Peter Hujar (American, 1934-1987)
Susan Sontag (installation view)
1975
Tirage gélatino-argentique
The Morgan Library & Museum, achat en 2013 grâce au Charina Endowment Fund
© Peter Hujar Archive, LLC, courtesy Pace/MacGill Gallery, New York and Fraenkel Gallery, San Francisco

 

Installation view of the exhibition 'Peter Hujar: Speed of Life' at Jeu de Paume, Paris

 

Peter Hujar (American, 1934-1987)
Christopher Street Pier (2) (installation view)
1976
Tirage gélatino-argentique
The Morgan Library & Museum, achat en 2013 grâce au Charina Endowment Fund
© Peter Hujar Archive, LLC, courtesy Pace/MacGill Gallery, New York and Fraenkel Gallery, San Francisco

 

Peter Hujar (American, 1934-1987) 'Christopher Street Pier (2)' 1976

 

Peter Hujar (American, 1934-1987)
Christopher Street Pier (2)
1976
Tirage gélatino-argentique
The Morgan Library & Museum, achat en 2013 grâce au Charina Endowment Fund
© Peter Hujar Archive, LLC, courtesy Pace/MacGill Gallery, New York and Fraenkel Gallery, San Francisco

 

 

Jeu de Paume presents a selection of 150 photographs of this singular artist from October 15th, 2019 to January 19th, 2020. The exhibition follows Hujar’s work from the beginnings mid 1950 until the 1980s, shaping a portrait of the underground New York City.

The life and art of Peter Hujar (1934-1987) were rooted in downtown New York. Private by nature, combative in manner, well-read, and widely connected, Hujar inhabited a world of avant-garde dance, music, art, and drag performance. His mature career paralleled the public unfolding of gay life between the Stonewall uprising* in 1969 and the AIDS crisis of the 1980s.

After graduating from high school in 1953, Hujar worked as an assistant to commercial photographers until 1968. Five years of contributing features to mass-market magazines convinced him that a fashion career “wasn’t right for me” and in 1973 he opted for an autonomous, near-penniless life as an artist. In his loft studio above a theater in the East Village, Hujar focused on those who obeyed their creative instincts and shunned mainstream success.

At age forty-two, he published his only monograph, Portraits in Life and Death, and opened his first solo gallery show. The searching intimacy he achieved as a portraitist carried over into unsentimental photographs of animals and plants, landscapes, buildings, and the unique features of nude bodies.

Hujar’s brief affair in 1981 with the young artist David Wojnarowicz evolved into a mentoring bond that changed both their lives. On their excursions to blighted areas around New York, Hujar crafted the portrait of a city in free fall, complementing Wojnarowicz’s dark vision of Reagan-era America.

Peter Hujar died of AIDS-related pneumonia in November 1987.

Press release from Jeu de Paume

 

Early years

In 1953, Peter Hujar finished high school in Manhattan, where he had studied photography. He then worked for some fifteen years as an assistant to commercial photographers. Punctuating those years were two long periods in Italy, buoyed by scholarships – a first one that was obtained by a boyfriend (1958-1959) and then his own (1962-1963). From 1968 to 1972, he tried to make it as a freelancer in the mass-market world of fashion, music, and advertising photography. The hustle “wasn’t right for me,” and he turned his back on the commercial mainstream. From this time on he lived on almost nothing, squeaking by on small jobs, taking paying jobs only when necessary and focusing on the subjects he found compelling. In 1973, he moved to the crumbling East Village, into a loft that would become the setting for his mature studio work, most notably the vast majority of his portraits.

 

Portraits

Portraiture was central to Hujar’s practice. The subjects of his art, Hujar wrote, were “those who push themselves to any extreme” and those who “cling to the freedom to be themselves.” “In a sense, I am still a fashion photographer. These people are chic but in a dark kind of way. Most of them are unknown or maybe known to just a few, but they have all been creative adventurers and possess a certain spirit.”

Most of his portraits were posed, but Hujar often expected his models to perform in front of the camera, which made many of the shoots truly collaborative ventures. Disguises and props were often incorporated, and his subjects were sometimes veiled, simultaneously revealing and masking themselves.

The reclining portrait is a photographic genre Hujar made his own. The pose features extensively in his 1976 monograph Portraits in Life and Death, and he continued to rely on it as a means of capturing something unique in his sitter: to face a camera lens from a reclining position is an unfamiliar and provoking experience.

 

New York

“The happiest times with Peter, when he wasn’t photographing, were walking around Manhattan, looking at the crowns of buildings, and the fantasies about ‘living there,'” remembers Gary Schneider, one of his close friends.

Born in New Jersey, Hujar spent all his life in New York, and more specifically in Manhattan, whose buildings, streets, and piers he started photographing more extensively in the second half of the 1970s. Divided between Downtown’s derelict areas and Midtown’s skyscrapers, Hujar’s New York is often a nocturnal city: a place of abandoned structures, night-time cruising, and early-dawn vistas. A few journeys outside New York, during the summer months, to the beaches of Fire Island in the Hamptons, and, in the early 1980s, to the countryside around Germantown, forty miles north of New York, along the Hudson River, offer other glimpses of Peter Hujar’s personal geography, testifying to the variety of subjects that he found worth photographing.

 

Bodies

Portraiture of bodies was another focal point of Hujar’s last decade of work. In 1978, some of his works were included in The Male Nude: A photographic Survey at the Marcuse Pfeifer Gallery in New York.

Bodies, he suggested, could be read as freely as faces for character, emotion, or life story.

He photographed bodies in the extremes of youth and old age, bodies displaying unique features, and bodies in transient states, notably pregnancy and arousal.

Whether photographing faces or bodies, Hujar was attentive to the characteristics conferred by time and experience, such as Manny Vasquez’s spinal tap scar and the imprint left by socks on Randy Gilberti’s ankles. “I want people to feel the picture and smell it,” he said of his nudes, which he contrasted to the idealised bodies in Robert Mapplethorpe’s work.

 

Gracie Mansion Gallery, 1986

When exhibiting his work, Hujar employed two distinct methods. He displayed prints either in isolation (notably in his loft, where just one photograph at a time was on view) or in large groupings, two images high, as on this wall. For the last exhibition during his lifetime, in January 1986 in New York, Hujar covered the walls of the Gracie Mansion Gallery with a frieze of seventy photographs in no apparent order. He fine-tuned the layout for days until no one type of image (portrait, nude, animal, still life, landscape, cityscape) appeared twice consecutively. Each of his subjects thus preserved its own identity and singularity rather than serving as a variation on an imposed theme.

The arrangement highlighted his inventive range, created echoes among seemingly unrelated images, and drew attention to preoccupations that had recurred throughout his career. The display in this room centres on images taken in the 1980s and is freely inspired by that 1986 exhibition.

 

Andy Warhol

In 1964 Peter Hujar was a regular visitor to The Factory, Andy Warhol’s studio at 231 East 47th Street in New York. He posed four times for Screen Tests, brief portraits filmed by Warhol and screened in slow motion. Together with his friend Paul Thek, Hujar was chosen as one of the “Thirteen Most Beautiful Boys”, whose film portraits were regularly shown at the Factory and at parties and events elsewhere. Among the other personalities figuring in the Screen Tests in 1964-1965 were the actor-directors Dennis Hopper and Jack Smith, together with writer-critic Susan Sontag and poet John Ashbery – both of whom would later pose for Hujar.

 

Peter Hujar (American, 1934-1987) 'From Rockefeller Center: The Equitable Building' 1976

 

Peter Hujar (American, 1934-1987)
From Rockefeller Center: The Equitable Building
1976
Tirage gélatino-argentique
The Morgan Library & Museum, achat en 2013 grâce au Charina Endowment Fund
© Peter Hujar Archive, LLC, courtesy Pace/MacGill Gallery, New York and Fraenkel Gallery, San Francisco

 

Peter Hujar (American, 1934-1987) 'Reclining Nude on Couch' 1978

 

Peter Hujar (American, 1934-1987)
Reclining Nude on Couch
1978
Tirage gélatino-argentique
The Morgan Library & Museum, achat en 2013 grâce au Charina Endowment Fund
© Peter Hujar Archive, LLC, courtesy Pace/MacGill Gallery, New York and Fraenkel Gallery, San Francisco

 

Peter Hujar (American, 1934-1987) 'Boy on Raft' 1978

 

Peter Hujar (American, 1934-1987)
Boy on Raft
1978
Tirage gélatino-argentique
The Morgan Library & Museum, achat en 2013 grâce au Charina Endowment Fund
© Peter Hujar Archive, LLC, courtesy Pace/MacGill Gallery, New York and Fraenkel Gallery, San Francisco

 

Peter Hujar (American, 1934-1987) 'Surf (2)' Nd

 

Peter Hujar (American, 1934-1987)
Surf (2)
Nd
Tirage gélatino-argentique
The Morgan Library & Museum, achat en 2013 grâce au Charina Endowment Fund
© Peter Hujar Archive, LLC, courtesy Pace/MacGill Gallery, New York and Fraenkel Gallery, San Francisco

 

Peter Hujar (American, 1934-1987) 'Boys in Car, Halloween' 1978

 

Peter Hujar (American, 1934-1987)
Boys in Car, Halloween
1978
Tirage gélatino-argentique
The Morgan Library & Museum, achat en 2013 grâce au Charina Endowment Fund
© Peter Hujar Archive, LLC, courtesy Pace/MacGill Gallery, New York and Fraenkel Gallery, San Francisco

 

Peter Hujar (American, 1934-1987) 'Dana Reitz's Legs, Walking' 1979

 

Peter Hujar (American, 1934-1987)
Dana Reitz’s Legs, Walking
1979
Tirage gélatino-argentique
The Morgan Library & Museum, achat en 2013 grâce au Charina Endowment Fund
© Peter Hujar Archive, LLC, courtesy Pace/MacGill Gallery, New York and Fraenkel Gallery, San Francisco

 

Installation view of the exhibition 'Peter Hujar: Speed of Life' at Jeu de Paume, Paris

 

Peter Hujar (American, 1934-1987)
Dana Reitz’s Legs, Walking (installation view)
1979
Tirage gélatino-argentique
The Morgan Library & Museum, achat en 2013 grâce au Charina Endowment Fund
© Peter Hujar Archive, LLC, courtesy Pace/MacGill Gallery, New York and Fraenkel Gallery, San Francisco

 

Peter Hujar (American, 1934-1987) 'Gary in Contortion (2)' 1979

 

Peter Hujar (American, 1934-1987)
Gary in Contortion (2)
1979
Tirage gélatino-argentique
The Morgan Library & Museum, achat en 2013 grâce au Charina Endowment Fund
© Peter Hujar Archive, LLC, courtesy Pace/MacGill Gallery, New York and Fraenkel Gallery, San Francisco

 

Peter Hujar (American, 1934-1987) 'David Wojnarowicz Reclining (2)' 1981

 

Peter Hujar (American, 1934-1987)
David Wojnarowicz Reclining (2)
1981
Tirage gélatino-argentique
The Morgan Library & Museum, achat en 2013 grâce au Charina Endowment Fund
© Peter Hujar Archive, LLC, courtesy Pace/MacGill Gallery, New York and Fraenkel Gallery, San Francisco

 

Installation view of the exhibition 'Peter Hujar: Speed of Life' at Jeu de Paume, Paris

 

Peter Hujar (American, 1934-1987)
David Wojnarowicz Reclining (2) (installation view)
1981
Tirage gélatino-argentique
The Morgan Library & Museum, achat en 2013 grâce au Charina Endowment Fund
© Peter Hujar Archive, LLC, courtesy Pace/MacGill Gallery, New York and Fraenkel Gallery, San Francisco

 

 

A hallmark of Hujar’s portraiture is the invisibility of technique – a kind of visual innocence – as if the camera were not present and the subject had been happened upon, discovered there, as Ludlam appears to be, in medias res.

Philip Gefter. “Peter Hujar’s Downtown,” on the NYR Daily website [Online] Cited 01/11/2019

 

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

 

Peter Hujar (American, 1934-1987)
David Wojnarowicz
1981
Tirage gélatino-argentique
The Morgan Library & Museum, achat en 2013 grâce au Charina Endowment Fund
© Peter Hujar Archive, LLC, courtesy Pace/MacGill Gallery, New York and Fraenkel Gallery, San Francisco

 

Installation view of the exhibition 'Peter Hujar: Speed of Life' at Jeu de Paume, Paris

 

Peter Hujar (American, 1934-1987)
David Wojnarowicz (installation view)
1981
Tirage gélatino-argentique
The Morgan Library & Museum, achat en 2013 grâce au Charina Endowment Fund
© Peter Hujar Archive, LLC, courtesy Pace/MacGill Gallery, New York and Fraenkel Gallery, San Francisco

 

 

“Hermetic appeal and an identification with psychic damage came together in Hujar’s last important relationship, with the meteoric younger artist David Wojnarowicz, who was a ravaged hustler when they met at a bar in late 1980 and who died from AIDS in 1992. They were lovers briefly, then buddies and soul mates. Wojnarowicz said that Hujar “was like the parent I never had, like the brother I never had.” In return, he inspired fresh energies in Hujar’s life and late work. In a breathtakingly intimate portrait of Wojnarowicz with a cigarette and tired eyes, from 1981, the young man’s gaze meets that of the camera, with slightly wary – but willing and plainly reciprocated – devotion: love, in a way. Their story could make for a good novel or movie – as it well may, in sketched outline in your mind, while you navigate this aesthetically fierce, historically informative, strangely tender show.”

Peter Schjeldahl. “The Bohemian Rhapsody of Peer Hujar: Photographs at the crossroads of high art and low life,” on The New Yorker website January 29, 2018 [Online] Cited 01/11/2019

 

Peter Hujar (American, 1934-1987) 'Ethyl Eichelberger as Minnie the Maid' 1981

 

Peter Hujar (American, 1934-1987)
Ethyl Eichelberger as Minnie the Maid
1981
Tirage gélatino-argentique
The Morgan Library & Museum, achat en 2013 grâce au Charina Endowment Fund
© Peter Hujar Archive, LLC, courtesy Pace/MacGill Gallery, New York and Fraenkel Gallery, San Francisco

 

Peter Hujar (American, 1934-1987) 'Greer Lankton' 1983

 

Peter Hujar (American, 1934-1987)
Greer Lankton
1983
Tirage gélatino-argentique
The Morgan Library & Museum, achat en 2013 grâce au Charina Endowment Fund
© Peter Hujar Archive, LLC, courtesy Pace/MacGill Gallery, New York and Fraenkel Gallery, San Francisco

 

 

Hujar observed his companions in this outlaw life with what might be called warm objectivity. Whatever the portrait subject – doll maker and transgender pioneer Greer Lankton, model Bruce St. Croix sitting naked on a chair and handling his huge erection, Warhol superstar Candy Darling on her death bed, or a pair of cows in a muddy field – he photographed them directly with his 2 1/4, often at close range, without props or gauzy lighting.

Richard B. Woodward. “Peter Hujar: Speed of Life @Morgan Library,” on the Collector Daily website February 21, 2018 [Online] Cited 01/11/2019

 

 

Peter Hujar (American, 1934-1987)
Gary Indiana Veiled
1981
Tirage gélatino-argentique
The Morgan Library & Museum, achat en 2013 grâce au Charina Endowment Fund
© Peter Hujar Archive, LLC, courtesy Pace/MacGill Gallery, New York and Fraenkel Gallery, San Francisco

 

Some iPhone installation photographs and others

 

Installation view of the exhibition 'Peter Hujar: Speed of Life' at Jeu de Paume, Paris

 

Peter Hujar (American, 1934-1987)
Woman and Girl in Window Italy
c. 1963
Tirage gélatino-argentique
The Morgan Library & Museum, achat en 2013 grâce au Charina Endowment Fund
© Peter Hujar Archive, LLC, courtesy Pace/MacGill Gallery, New York and Fraenkel Gallery, San Francisco

 

Peter Hujar (American, 1934-1987) 'Woman and Girl in Window Italy' c. 1963 

 

Peter Hujar (American, 1934-1987)
Woman and Girl in Window Italy
c. 1963
Tirage gélatino-argentique
The Morgan Library & Museum, achat en 2013 grâce au Charina Endowment Fund
© Peter Hujar Archive, LLC, courtesy Pace/MacGill Gallery, New York and Fraenkel Gallery, San Francisco

 

Installation view of the exhibition 'Peter Hujar: Speed of Life' at Jeu de Paume, Paris

 

Peter Hujar (American, 1934-1987)
Young Man and Boy, Italy (installation view)
1958
Tirage gélatino-argentique
The Morgan Library & Museum, achat en 2013 grâce au Charina Endowment Fund
© Peter Hujar Archive, LLC, courtesy Pace/MacGill Gallery, New York and Fraenkel Gallery, San Francisco

 

 

He began as a street photographer, on the prowl for unrehearsed gestures, as can be seen in a 1958 picture in Italy of a well-dressed young man touching his thick coif of dark hair and standing next to a pudgy boy in a cap who has his hands in his pockets.

Richard B. Woodward. “Peter Hujar: Speed of Life @Morgan Library,” on the Collector Daily website February 21, 2018 [Online] Cited 01/11/2019

 

Peter Hujar (American, 1934-1987) 'Young Man and Boy, Italy' 1958

 

Peter Hujar (American, 1934-1987)
Young Man and Boy, Italy
1958
Tirage gélatino-argentique
The Morgan Library & Museum, achat en 2013 grâce au Charina Endowment Fund
© Peter Hujar Archive, LLC, courtesy Pace/MacGill Gallery, New York and Fraenkel Gallery, San Francisco

 

Installation view of the exhibition 'Peter Hujar: Speed of Life' at Jeu de Paume, Paris

Installation view of the exhibition 'Peter Hujar: Speed of Life' at Jeu de Paume, Paris

Peter Hujar. 'Palermo Catacombs (11)' 1963

 

Peter Hujar (American, 1934-1987)
Palermo Catacombs #11, Rows of Bodies
1963
Tirage gélatino-argentique
The Morgan Library & Museum, achat en 2013 grâce au Charina Endowment Fund
© Peter Hujar Archive, LLC, courtesy Pace/MacGill Gallery, New York and Fraenkel Gallery, San Francisco

 

Installation view of the exhibition 'Peter Hujar: Speed of Life' at Jeu de Paume, Paris

 

Peter Hujar (American, 1934-1987)
Man in Costume on Toilet, Backstage at Palm Casino Review (installation view)
1974
Tirage gélatino-argentique
The Morgan Library & Museum, achat en 2013 grâce au Charina Endowment Fund
© Peter Hujar Archive, LLC, courtesy Pace/MacGill Gallery, New York and Fraenkel Gallery, San Francisco

 

Installation view of the exhibition 'Peter Hujar: Speed of Life' at Jeu de Paume, Paris

Installation view of the exhibition 'Peter Hujar: Speed of Life' at Jeu de Paume, Paris

 

Peter Hujar (American, 1934-1987)
Nude Self-Portrait, Running / Nude Self-Portrait Series (Avedon Master Class) (installation view)
1966
Tirage gélatino-argentique
The Morgan Library & Museum, achat en 2013 grâce au Charina Endowment Fund
© Peter Hujar Archive, LLC, courtesy Pace/MacGill Gallery, New York and Fraenkel Gallery, San Francisco

 

Installation view of the exhibition 'Peter Hujar: Speed of Life' at Jeu de Paume, Paris

 

Peter Hujar (American, 1934-1987)
Group Picture (installation view)
1966
Tirage gélatino-argentique
The Morgan Library & Museum, achat en 2013 grâce au Charina Endowment Fund
© Peter Hujar Archive, LLC, courtesy Pace/MacGill Gallery, New York and Fraenkel Gallery, San Francisco

 

Installation view of the exhibition 'Peter Hujar: Speed of Life' at Jeu de Paume, Paris

 

Peter Hujar (American, 1934-1987)
Stephen Varble, Soho, Franklin Street (III) (installation view)
1976
Tirage gélatino-argentique
The Morgan Library & Museum, achat en 2013 grâce au Charina Endowment Fund
© Peter Hujar Archive, LLC, courtesy Pace/MacGill Gallery, New York and Fraenkel Gallery, San Francisco

 

Peter Hujar (American, 1934-1987) 'Stephen Varble, Soho, Franklin Street (III)' 1976

 

Peter Hujar (American, 1934-1987)
Stephen Varble, Soho, Franklin Street (III)
1976
Tirage gélatino-argentique
The Morgan Library & Museum, achat en 2013 grâce au Charina Endowment Fund
© Peter Hujar Archive, LLC, courtesy Pace/MacGill Gallery, New York and Fraenkel Gallery, San Francisco

 

Installation view of the exhibition 'Peter Hujar: Speed of Life' at Jeu de Paume, Paris

 

Peter Hujar (American, 1934-1987)
Beauregard Under Plastic (1) (installation view)
1966
Tirage gélatino-argentique
The Morgan Library & Museum, achat en 2013 grâce au Charina Endowment Fund
© Peter Hujar Archive, LLC, courtesy Pace/MacGill Gallery, New York and Fraenkel Gallery, San Francisco

 

Peter Hujar (American, 1934-1987) 'Beauregard Under Plastic (1)' 1966

 

Peter Hujar (American, 1934-1987)
Beauregard Under Plastic (1)
1966
Tirage gélatino-argentique
The Morgan Library & Museum, achat en 2013 grâce au Charina Endowment Fund
© Peter Hujar Archive, LLC, courtesy Pace/MacGill Gallery, New York and Fraenkel Gallery, San Francisco

 

Installation view of the exhibition 'Peter Hujar: Speed of Life' at Jeu de Paume, Paris

 

Peter Hujar (American, 1934-1987)
Bill Elliott (installation view)
1974
Tirage gélatino-argentique
The Morgan Library & Museum, achat en 2013 grâce au Charina Endowment Fund
© Peter Hujar Archive, LLC, courtesy Pace/MacGill Gallery, New York and Fraenkel Gallery, San Francisco

 

Peter Hujar (American, 1934-1987) 'Bill Elliott' 1974

 

Peter Hujar (American, 1934-1987)
Bill Elliott
1974
Tirage gélatino-argentique
The Morgan Library & Museum, achat en 2013 grâce au Charina Endowment Fund
© Peter Hujar Archive, LLC, courtesy Pace/MacGill Gallery, New York and Fraenkel Gallery, San Francisco

 

Installation view of the exhibition 'Peter Hujar: Speed of Life' at Jeu de Paume, Paris

 

Peter Hujar (American, 1934-1987)
Dean Savard Reclining (installation view)
1984
Tirage gélatino-argentique
The Morgan Library & Museum, achat en 2013 grâce au Charina Endowment Fund
© Peter Hujar Archive, LLC, courtesy Pace/MacGill Gallery, New York and Fraenkel Gallery, San Francisco

 

Peter Hujar (American, 1934-1987) 'Dean Savard Reclining' 1984

 

Peter Hujar (American, 1934-1987)
Dean Savard Reclining
1984
Tirage gélatino-argentique
The Morgan Library & Museum, achat en 2013 grâce au Charina Endowment Fund
© Peter Hujar Archive, LLC, courtesy Pace/MacGill Gallery, New York and Fraenkel Gallery, San Francisco

 

Installation view of the exhibition 'Peter Hujar: Speed of Life' at Jeu de Paume, Paris

 

Peter Hujar (American, 1934-1987)
Chloe Finch (installation view)
1981
Tirage gélatino-argentique
The Morgan Library & Museum, achat en 2013 grâce au Charina Endowment Fund
© Peter Hujar Archive, LLC, courtesy Pace/MacGill Gallery, New York and Fraenkel Gallery, San Francisco

 

Peter Hujar. 'Chloe Finch' 1981

 

Peter Hujar (American, 1934-1987)
Chloe Finch
1981
Tirage gélatino-argentique
The Morgan Library & Museum, achat en 2013 grâce au Charina Endowment Fund
© Peter Hujar Archive, LLC, courtesy Pace/MacGill Gallery, New York and Fraenkel Gallery, San Francisco

 

Installation view of the exhibition 'Peter Hujar: Speed of Life' at Jeu de Paume, Paris

 

Peter Hujar (American, 1934-1987)
Skippy on a Chair (installation view)
1985
Tirage gélatino-argentique
The Morgan Library & Museum, achat en 2013 grâce au Charina Endowment Fund
© Peter Hujar Archive, LLC, courtesy Pace/MacGill Gallery, New York and Fraenkel Gallery, San Francisco

 

Installation view of the exhibition 'Peter Hujar: Speed of Life' at Jeu de Paume, Paris

 

Peter Hujar (American, 1934-1987)
Jackie Curtis and Lance Loud (installation view)
1975
Tirage gélatino-argentique
The Morgan Library & Museum, achat en 2013 grâce au Charina Endowment Fund
© Peter Hujar Archive, LLC, courtesy Pace/MacGill Gallery, New York and Fraenkel Gallery, San Francisco

 

Installation view of the exhibition 'Peter Hujar: Speed of Life' at Jeu de Paume, Paris

 

Peter Hujar (American, 1934-1987)
Zachy and Gamal Sherif (Twins) (installation view)
1985
Tirage gélatino-argentique
The Morgan Library & Museum, achat en 2013 grâce au Charina Endowment Fund
© Peter Hujar Archive, LLC, courtesy Pace/MacGill Gallery, New York and Fraenkel Gallery, San Francisco

 

Peter Hujar (American, 1934-1987) 'Zachy and Gamal Sherif (Twins)' 1985

 

Peter Hujar (American, 1934-1987)
Zachy and Gamal Sherif (Twins)
1985
Tirage gélatino-argentique
The Morgan Library & Museum, achat en 2013 grâce au Charina Endowment Fund
© Peter Hujar Archive, LLC, courtesy Pace/MacGill Gallery, New York and Fraenkel Gallery, San Francisco

 

Installation view of the exhibition 'Peter Hujar: Speed of Life' at Jeu de Paume, Paris

 

Peter Hujar (American, 1934-1987)
Ethyl Eichelberger, Dressed as a Man (installation view)
1983
Tirage gélatino-argentique
The Morgan Library & Museum, achat en 2013 grâce au Charina Endowment Fund
© Peter Hujar Archive, LLC, courtesy Pace/MacGill Gallery, New York and Fraenkel Gallery, San Francisco

 

Installation view of the exhibition 'Peter Hujar: Speed of Life' at Jeu de Paume, Paris

 

Peter Hujar (American, 1934-1987)
Girl in My Hallway (installation view)
1976
Tirage gélatino-argentique
The Morgan Library & Museum, achat en 2013 grâce au Charina Endowment Fund
© Peter Hujar Archive, LLC, courtesy Pace/MacGill Gallery, New York and Fraenkel Gallery, San Francisco

 

Peter Hujar (American, 1934-1987) 'Girl in My Hallway' 1976

 

Peter Hujar (American, 1934-1987)
Girl in My Hallway
1976
Tirage gélatino-argentique
The Morgan Library & Museum, achat en 2013 grâce au Charina Endowment Fund
© Peter Hujar Archive, LLC, courtesy Pace/MacGill Gallery, New York and Fraenkel Gallery, San Francisco

 

 

Hujar’s indelible portraits of famous avant-garde artists and drag queens, and his curiously gothic landscapes and animal pictures, are so fastidiously exquisite, so fussily exact, so representative of a period past (“Speed of Life” is a very odd title) that they immediately summon the ratty hauteur, the necessary obsessions, and the cold-eyed dignity that helped most gay men survive, and not survive, in the early gay lib and AIDS years. …

… His portraits often combine the freakish curiosity of Arbus and the monumental candidness of his mentor Richard Avedon into something resembling momento mori portraits suitable for displaying atop a casket. They are unmistakably contemporary but they feel historic, as if burned to silver plates. (Not for nothing did Hujar make his own display prints.) That doesn’t mean there’s no life in those portraits; far from it, these are the essences of his subjects so well-distilled that there’s really no need to go on. We see nostalgia washing over the present.

Mark B. “Peter Hujar’s brilliant, too brilliant icons,” on the 48hills website October 22, 2018 [Online] Cited 01/11/2019

 

Installation view of the exhibition 'Peter Hujar: Speed of Life' at Jeu de Paume, Paris

 

Peter Hujar (American, 1934-1987)
St. Patrick’s, Easter Sunday (installation view)
1976
Tirage gélatino-argentique
The Morgan Library & Museum, achat en 2013 grâce au Charina Endowment Fund
© Peter Hujar Archive, LLC, courtesy Pace/MacGill Gallery, New York and Fraenkel Gallery, San Francisco

 

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

 

Peter Hujar (American, 1934-1987)
St. Patrick’s, Easter Sunday
1976
Tirage gélatino-argentique
The Morgan Library & Museum, achat en 2013 grâce au Charina Endowment Fund
© Peter Hujar Archive, LLC, courtesy Pace/MacGill Gallery, New York and Fraenkel Gallery, San Francisco

 

Installation view of the exhibition 'Peter Hujar: Speed of Life' at Jeu de Paume, Paris

Installation view of the exhibition 'Peter Hujar: Speed of Life' at Jeu de Paume, Paris

 

Peter Hujar (American, 1934-1987)
Boy on a Park Bench (installation view)
1981
Tirage gélatino-argentique
The Morgan Library & Museum, achat en 2013 grâce au Charina Endowment Fund
© Peter Hujar Archive, LLC, courtesy Pace/MacGill Gallery, New York and Fraenkel Gallery, San Francisco

 

Peter Hujar (American, 1934-1987) 'Boy on a Park Bench' 1981

 

Peter Hujar (American, 1934-1987)
Boy on a Park Bench
1981
Tirage gélatino-argentique
The Morgan Library & Museum, achat en 2013 grâce au Charina Endowment Fund
© Peter Hujar Archive, LLC, courtesy Pace/MacGill Gallery, New York and Fraenkel Gallery, San Francisco

 

Installation view of the exhibition 'Peter Hujar: Speed of Life' at Jeu de Paume, Paris

 

Peter Hujar (American, 1934-1987)
Mural at Piers (installation view)
1983
Tirage gélatino-argentique
The Morgan Library & Museum, achat en 2013 grâce au Charina Endowment Fund
© Peter Hujar Archive, LLC, courtesy Pace/MacGill Gallery, New York and Fraenkel Gallery, San Francisco

 

Peter Hujar. 'Mural at Piers' 1983

 

Peter Hujar (American, 1934-1987)
Mural at Piers
1983
Tirage gélatino-argentique
The Morgan Library & Museum, achat en 2013 grâce au Charina Endowment Fund
© Peter Hujar Archive, LLC, courtesy Pace/MacGill Gallery, New York and Fraenkel Gallery, San Francisco

 

Installation view of the exhibition 'Peter Hujar: Speed of Life' at Jeu de Paume, Paris

 

Peter Hujar (American, 1934-1987)
Self Portrait (installation view)
1975
Tirage gélatino-argentique
The Morgan Library & Museum, achat en 2013 grâce au Charina Endowment Fund
© Peter Hujar Archive, LLC, courtesy Pace/MacGill Gallery, New York and Fraenkel Gallery, San Francisco

 

Peter Hujar (American, 1934-1987) 'Self Portrait in White Tank Top' 1975

 

Peter Hujar (American, 1934-1987)
Self Portrait in White Tank Top
1975
Tirage gélatino-argentique
The Morgan Library & Museum, achat en 2013 grâce au Charina Endowment Fund
© Peter Hujar Archive, LLC, courtesy Pace/MacGill Gallery, New York and Fraenkel Gallery, San Francisco

 

Installation view of the exhibition 'Peter Hujar: Speed of Life' at Jeu de Paume, Paris

 

Peter Hujar (American, 1934-1987)
Gary in Contortion (1) (installation view)
1979
Tirage gélatino-argentique
The Morgan Library & Museum, achat en 2013 grâce au Charina Endowment Fund
© Peter Hujar Archive, LLC, courtesy Pace/MacGill Gallery, New York and Fraenkel Gallery, San Francisco

 

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

 

Peter Hujar (American, 1934-1987)
Gary in Contortion (1)
1979
Tirage gélatino-argentique
The Morgan Library & Museum, achat en 2013 grâce au Charina Endowment Fund
© Peter Hujar Archive, LLC, courtesy Pace/MacGill Gallery, New York and Fraenkel Gallery, San Francisco

 

Installation view of the exhibition 'Peter Hujar: Speed of Life' at Jeu de Paume, Paris

 

Peter Hujar (American, 1934-1987)
Daniel Schook Sucking Toe (Close-up) (installation view)
1981
Tirage gélatino-argentique
The Morgan Library & Museum, achat en 2013 grâce au Charina Endowment Fund
© Peter Hujar Archive, LLC, courtesy Pace/MacGill Gallery, New York and Fraenkel Gallery, San Francisco

 

Peter Hujar (American, 1934-1987) 'Daniel Schook Sucking Toe (Close-up)' 1981

 

Peter Hujar (American, 1934-1987)
Daniel Schook Sucking Toe (Close-up)
1981
Tirage gélatino-argentique
The Morgan Library & Museum, achat en 2013 grâce au Charina Endowment Fund
© Peter Hujar Archive, LLC, courtesy Pace/MacGill Gallery, New York and Fraenkel Gallery, San Francisco

 

Installation view of the exhibition 'Peter Hujar: Speed of Life' at Jeu de Paume, Paris

 

Peter Hujar (American, 1934-1987)
Pascal Imbert Scarred Abdomen (installation view)
1985
Tirage gélatino-argentique
The Morgan Library & Museum, achat en 2013 grâce au Charina Endowment Fund
© Peter Hujar Archive, LLC, courtesy Pace/MacGill Gallery, New York and Fraenkel Gallery, San Francisco

 

Peter Hujar. 'Pascal Imbert Scarred Abdomen' 1980

 

Peter Hujar (American, 1934-1987)
Pascal Imbert Scarred Abdomen
1985
Tirage gélatino-argentique
The Morgan Library & Museum, achat en 2013 grâce au Charina Endowment Fund
© Peter Hujar Archive, LLC, courtesy Pace/MacGill Gallery, New York and Fraenkel Gallery, San Francisco

 

Installation view of the exhibition 'Peter Hujar: Speed of Life' at Jeu de Paume, Paris

 

Peter Hujar (American, 1934-1987)
Manny Vasquez (Back with Bullet Wound) (installation view)
1979
Tirage gélatino-argentique
The Morgan Library & Museum, achat en 2013 grâce au Charina Endowment Fund
© Peter Hujar Archive, LLC, courtesy Pace/MacGill Gallery, New York and Fraenkel Gallery, San Francisco

 

Installation view of the exhibition 'Peter Hujar: Speed of Life' at Jeu de Paume, Paris

 

Peter Hujar (American, 1934-1987)
Robert Levithan on Bed (installation view)
1977
Tirage gélatino-argentique
The Morgan Library & Museum, achat en 2013 grâce au Charina Endowment Fund
© Peter Hujar Archive, LLC, courtesy Pace/MacGill Gallery, New York and Fraenkel Gallery, San Francisco

 

Peter Hujar (American, 1934-1987) 'Robert Levithan on Bed' 977

 

Peter Hujar (American, 1934-1987)
Robert Levithan on Bed
1977
Tirage gélatino-argentique
The Morgan Library & Museum, achat en 2013 grâce au Charina Endowment Fund
© Peter Hujar Archive, LLC, courtesy Pace/MacGill Gallery, New York and Fraenkel Gallery, San Francisco

 

Installation view of the exhibition 'Peter Hujar: Speed of Life' at Jeu de Paume, Paris

 

Peter Hujar (American, 1934-1987)
Randy Gilberti, High Heels, Halloween (installation view)
1980
Tirage gélatino-argentique
The Morgan Library & Museum, achat en 2013 grâce au Charina Endowment Fund
© Peter Hujar Archive, LLC, courtesy Pace/MacGill Gallery, New York and Fraenkel Gallery, San Francisco

 

Peter Hujar (American, 1934-1987) 'Randy Gilberti, High Heels, Halloween' 1980

 

Peter Hujar (American, 1934-1987)
Randy Gilberti, High Heels, Halloween
1980
Tirage gélatino-argentique
The Morgan Library & Museum, achat en 2013 grâce au Charina Endowment Fund
© Peter Hujar Archive, LLC, courtesy Pace/MacGill Gallery, New York and Fraenkel Gallery, San Francisco

 

Installation view of the exhibition 'Peter Hujar: Speed of Life' at Jeu de Paume, Paris

Installation view of the exhibition 'Peter Hujar: Speed of Life' at Jeu de Paume, Paris

 

Peter Hujar (American, 1934-1987)
Nina Christgau (2) (installation view)
1985
Tirage gélatino-argentique
The Morgan Library & Museum, achat en 2013 grâce au Charina Endowment Fund
© Peter Hujar Archive, LLC, courtesy Pace/MacGill Gallery, New York and Fraenkel Gallery, San Francisco

 

Peter Hujar (American, 1934-1987) 'Nina Christgau (2)' 1985

 

Peter Hujar (American, 1934-1987)
Nina Christgau (2)
1985
Tirage gélatino-argentique
The Morgan Library & Museum, achat en 2013 grâce au Charina Endowment Fund
© Peter Hujar Archive, LLC, courtesy Pace/MacGill Gallery, New York and Fraenkel Gallery, San Francisco

 

Installation view of the exhibition 'Peter Hujar: Speed of Life' at Jeu de Paume, Paris

Installation view of the exhibition 'Peter Hujar: Speed of Life' at Jeu de Paume, Paris

 

Peter Hujar (American, 1934-1987)
Paul Hudson (Leg) (installation view)
1979
Tirage gélatino-argentique
The Morgan Library & Museum, achat en 2013 grâce au Charina Endowment Fund
© Peter Hujar Archive, LLC, courtesy Pace/MacGill Gallery, New York and Fraenkel Gallery, San Francisco

 

Peter Hujar. 'Paul Hudson (Leg)' 1979

 

Peter Hujar (American, 1934-1987)
Paul Hudson (Leg)
1979
Tirage gélatino-argentique
The Morgan Library & Museum, achat en 2013 grâce au Charina Endowment Fund
© Peter Hujar Archive, LLC, courtesy Pace/MacGill Gallery, New York and Fraenkel Gallery, San Francisco

 

Installation view of the exhibition 'Peter Hujar: Speed of Life' at Jeu de Paume, Paris

 

Peter Hujar (American, 1934-1987)
Isaac Hayes (installation view)
1971
Tirage gélatino-argentique
The Morgan Library & Museum, achat en 2013 grâce au Charina Endowment Fund
© Peter Hujar Archive, LLC, courtesy Pace/MacGill Gallery, New York and Fraenkel Gallery, San Francisco

 

Peter Hujar (American, 1934-1987) 'Isaac Hayes' 1971

 

Peter Hujar (American, 1934-1987)
Isaac Hayes
1971
Tirage gélatino-argentique
The Morgan Library & Museum, achat en 2013 grâce au Charina Endowment Fund
© Peter Hujar Archive, LLC, courtesy Pace/MacGill Gallery, New York and Fraenkel Gallery, San Francisco

 

Installation view of the exhibition 'Peter Hujar: Speed of Life' at Jeu de Paume, Paris

 

Peter Hujar (American, 1934-1987)
William S. Burroughs (1) (installation view)
1975
Tirage gélatino-argentique
The Morgan Library & Museum, achat en 2013 grâce au Charina Endowment Fund
© Peter Hujar Archive, LLC, courtesy Pace/MacGill Gallery, New York and Fraenkel Gallery, San Francisco

 

Peter Hujar (American, 1934-1987) 'William S. Burroughs (1)' 1975

 

Peter Hujar (American, 1934-1987)
William S. Burroughs (1)
1975
Tirage gélatino-argentique
The Morgan Library & Museum, achat en 2013 grâce au Charina Endowment Fund
© Peter Hujar Archive, LLC, courtesy Pace/MacGill Gallery, New York and Fraenkel Gallery, San Francisco

 

Installation view of the exhibition 'Peter Hujar: Speed of Life' at Jeu de Paume, Paris

 

Peter Hujar (American, 1934-1987)
David Warrilow (1) (installation view)
1985
Tirage gélatino-argentique
The Morgan Library & Museum, achat en 2013 grâce au Charina Endowment Fund
© Peter Hujar Archive, LLC, courtesy Pace/MacGill Gallery, New York and Fraenkel Gallery, San Francisco

 

Peter Hujar. 'David Warrilow (1)' 1985

 

Peter Hujar (American, 1934-1987)
David Warrilow (1)
1985
Tirage gélatino-argentique
The Morgan Library & Museum, achat en 2013 grâce au Charina Endowment Fund
© Peter Hujar Archive, LLC, courtesy Pace/MacGill Gallery, New York and Fraenkel Gallery, San Francisco

 

Installation view of the exhibition 'Peter Hujar: Speed of Life' at Jeu de Paume, Paris

 

Peter Hujar (American, 1934-1987)
Jerome Robbins at Bridgehampton (3) (installation view)
1977
Tirage gélatino-argentique
The Morgan Library & Museum, achat en 2013 grâce au Charina Endowment Fund
© Peter Hujar Archive, LLC, courtesy Pace/MacGill Gallery, New York and Fraenkel Gallery, San Francisco

 

Peter Hujar (American, 1934-1987) 'Jerome Robbins at Bridgehampton (3)' 1977

 

Peter Hujar (American, 1934-1987)
Jerome Robbins at Bridgehampton (3)
1977
Tirage gélatino-argentique
The Morgan Library & Museum, achat en 2013 grâce au Charina Endowment Fund
© Peter Hujar Archive, LLC, courtesy Pace/MacGill Gallery, New York and Fraenkel Gallery, San Francisco

 

Installation view of the exhibition 'Peter Hujar: Speed of Life' at Jeu de Paume, Paris

 

Peter Hujar (American, 1934-1987)
Hudson River (installation view)
1975
Tirage gélatino-argentique
The Morgan Library & Museum, achat en 2013 grâce au Charina Endowment Fund
© Peter Hujar Archive, LLC, courtesy Pace/MacGill Gallery, New York and Fraenkel Gallery, San Francisco

 

Peter Hujar. 'Hudson River' 1975

 

Peter Hujar (American, 1934-1987)
Hudson River
1975
Tirage gélatino-argentique
The Morgan Library & Museum, achat en 2013 grâce au Charina Endowment Fund
© Peter Hujar Archive, LLC, courtesy Pace/MacGill Gallery, New York and Fraenkel Gallery, San Francisco

 

Installation view of the exhibition 'Peter Hujar: Speed of Life' at Jeu de Paume, Paris

 

Peter Hujar (American, 1934-1987)
Paul Hudson (installation view)
1979
Tirage gélatino-argentique
The Morgan Library & Museum, achat en 2013 grâce au Charina Endowment Fund
© Peter Hujar Archive, LLC, courtesy Pace/MacGill Gallery, New York and Fraenkel Gallery, San Francisco

 

Peter Hujar (American, 1934-1987) 'Paul Hudson' 1979

 

Peter Hujar (American, 1934-1987)
Paul Hudson
1979
Tirage gélatino-argentique
The Morgan Library & Museum, achat en 2013 grâce au Charina Endowment Fund
© Peter Hujar Archive, LLC, courtesy Pace/MacGill Gallery, New York and Fraenkel Gallery, San Francisco

 

Installation view of the exhibition 'Peter Hujar: Speed of Life' at Jeu de Paume, Paris

 

Peter Hujar (American, 1934-1987)
Rockefeller Center (2) (installation view)
1976
Tirage gélatino-argentique
The Morgan Library & Museum, achat en 2013 grâce au Charina Endowment Fund
© Peter Hujar Archive, LLC, courtesy Pace/MacGill Gallery, New York and Fraenkel Gallery, San Francisco

 

Peter Hujar (American, 1934-1987) 'Rockefeller Center (2)' 1976

 

Peter Hujar (American, 1934-1987)
Rockefeller Center (2)
1976
Tirage gélatino-argentique
The Morgan Library & Museum, achat en 2013 grâce au Charina Endowment Fund
© Peter Hujar Archive, LLC, courtesy Pace/MacGill Gallery, New York and Fraenkel Gallery, San Francisco

 

Installation view of the exhibition 'Peter Hujar: Speed of Life' at Jeu de Paume, Paris

 

Cat atop a cash register in a liquor store (1957)

 

Installation view of the exhibition 'Peter Hujar: Speed of Life' at Jeu de Paume, Paris

 

Peter Hujar (American, 1934-1987)
Louise Nevelson (2) (installation view)
1969
Tirage gélatino-argentique
The Morgan Library & Museum, achat en 2013 grâce au Charina Endowment Fund
© Peter Hujar Archive, LLC, courtesy Pace/MacGill Gallery, New York and Fraenkel Gallery, San Francisco

 

Peter Hujar (American, 1934-1987) 'Louise Nevelson (2)' 1969

 

Peter Hujar (American, 1934-1987)
Louise Nevelson (2)
1969
Tirage gélatino-argentique
The Morgan Library & Museum, achat en 2013 grâce au Charina Endowment Fund
© Peter Hujar Archive, LLC, courtesy Pace/MacGill Gallery, New York and Fraenkel Gallery, San Francisco

 

Installation view of the exhibition 'Peter Hujar: Speed of Life' at Jeu de Paume, Paris

 

Peter Hujar (American, 1934-1987)
Bill Rafford and Vince Aletti in Dresses Fire Island (installation view)
1971
Tirage gélatino-argentique
The Morgan Library & Museum, achat en 2013 grâce au Charina Endowment Fund
© Peter Hujar Archive, LLC, courtesy Pace/MacGill Gallery, New York and Fraenkel Gallery, San Francisco

 

Peter Hujar (American, 1934-1987) 'Bill Rafford and Vince Aletti in Dresses Fire Island' 1971

 

Peter Hujar (American, 1934-1987)
Bill Rafford and Vince Aletti in Dresses Fire Island
1971
Tirage gélatino-argentique
The Morgan Library & Museum, achat en 2013 grâce au Charina Endowment Fund
© Peter Hujar Archive, LLC, courtesy Pace/MacGill Gallery, New York and Fraenkel Gallery, San Francisco

 

Installation view of the exhibition 'Peter Hujar: Speed of Life' at Jeu de Paume, Paris

 

Peter Hujar (American, 1934-1987)
Robyn Brentano (1) (installation view)
1975
Tirage gélatino-argentique
The Morgan Library & Museum, achat en 2013 grâce au Charina Endowment Fund
© Peter Hujar Archive, LLC, courtesy Pace/MacGill Gallery, New York and Fraenkel Gallery, San Francisco

 

Peter Hujar. 'Robyn Brentano (1)' 1975

 

Peter Hujar (American, 1934-1987)
Robyn Brentano (1)
1975
Tirage gélatino-argentique
The Morgan Library & Museum, achat en 2013 grâce au Charina Endowment Fund
© Peter Hujar Archive, LLC, courtesy Pace/MacGill Gallery, New York and Fraenkel Gallery, San Francisco

 

Installation view of the exhibition 'Peter Hujar: Speed of Life' at Jeu de Paume, Paris

 

Peter Hujar (American, 1934-1987)
Dog in the Street, Provincetown (installation view)
1976
Tirage gélatino-argentique
The Morgan Library & Museum, achat en 2013 grâce au Charina Endowment Fund
© Peter Hujar Archive, LLC, courtesy Pace/MacGill Gallery, New York and Fraenkel Gallery, San Francisco

 

Peter Hujar (American, 1934-1987) 'Dog in the Street, Provincetown' 1976

 

Peter Hujar (American, 1934-1987)
Dog in the Street, Provincetown
1976
Tirage gélatino-argentique
The Morgan Library & Museum, achat en 2013 grâce au Charina Endowment Fund
© Peter Hujar Archive, LLC, courtesy Pace/MacGill Gallery, New York and Fraenkel Gallery, San Francisco

 

Installation view of the exhibition 'Peter Hujar: Speed of Life' at Jeu de Paume, Paris

 

Peter Hujar (American, 1934-1987)
Greer Lankton’s Legs (installation view)
1983
Tirage gélatino-argentique
The Morgan Library & Museum, achat en 2013 grâce au Charina Endowment Fund
© Peter Hujar Archive, LLC, courtesy Pace/MacGill Gallery, New York and Fraenkel Gallery, San Francisco

 

Peter Hujar (American, 1934-1987) 'Greer Lankton's Legs' 1983

 

Peter Hujar (American, 1934-1987)
Greer Lankton’s Legs
1983
Tirage gélatino-argentique
The Morgan Library & Museum, achat en 2013 grâce au Charina Endowment Fund
© Peter Hujar Archive, LLC, courtesy Pace/MacGill Gallery, New York and Fraenkel Gallery, San Francisco

 

Installation view of the exhibition 'Peter Hujar: Speed of Life' at Jeu de Paume, Paris

 

Peter Hujar (American, 1934-1987)
Paul Thek (installation view)
1973
Tirage gélatino-argentique
The Morgan Library & Museum, achat en 2013 grâce au Charina Endowment Fund
© Peter Hujar Archive, LLC, courtesy Pace/MacGill Gallery, New York and Fraenkel Gallery, San Francisco

 

Peter Hujar (American, 1934-1987) 'Paul Thek' 1973

 

Peter Hujar (American, 1934-1987)
Paul Thek
1973
Tirage gélatino-argentique
The Morgan Library & Museum, achat en 2013 grâce au Charina Endowment Fund
© Peter Hujar Archive, LLC, courtesy Pace/MacGill Gallery, New York and Fraenkel Gallery, San Francisco

 

Installation view of the exhibition 'Peter Hujar: Speed of Life' at Jeu de Paume, Paris

 

Peter Hujar (American, 1934-1987)
Christopher Street Pier #4 (installation view)
1976
Tirage gélatino-argentique
The Morgan Library & Museum, achat en 2013 grâce au Charina Endowment Fund
© Peter Hujar Archive, LLC, courtesy Pace/MacGill Gallery, New York and Fraenkel Gallery, San Francisco

 

Installation view of the exhibition 'Peter Hujar: Speed of Life' at Jeu de Paume, Paris

 

Peter Hujar (American, 1934-1987)
Bruce de Ste. Croix (installation view)
1976
Tirage gélatino-argentique
The Morgan Library & Museum, achat en 2013 grâce au Charina Endowment Fund
© Peter Hujar Archive, LLC, courtesy Pace/MacGill Gallery, New York and Fraenkel Gallery, San Francisco

 

Peter Hujar (American, 1934-1987) 'Bruce de Ste. Croix' 1976

 

Peter Hujar (American, 1934-1987)
Bruce de Ste. Croix
1976
Tirage gélatino-argentique
The Morgan Library & Museum, achat en 2013 grâce au Charina Endowment Fund
© Peter Hujar Archive, LLC, courtesy Pace/MacGill Gallery, New York and Fraenkel Gallery, San Francisco

 

 

Jeu de Paume
1, Place de la Concorde
75008 Paris
métro Concorde
Tel: 01 47 03 12 50

Opening hours:
Tuesday: 11.00 – 21.00
Wednesday – Sunday: 11.00 – 19.00
Closed Monday

Jeu de Paume website

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20
Nov
19

Putting it out there!

November 2019

 

Marcus Bunyan. 'Untitled' from the series 'How I) Wish You Were Here' 2020

 

Marcus Bunyan (Australian, b. 1958)
Untitled from the series (How I) Wish You Were Here
2020
Colour photograph
© Marcus Bunyan

 

 

Dear friends of Art Blart. A call for help!

Just putting this out there in the ether of the cosmos because you never know, its spirit might hear you.

I am looking for a research fellowship or postdoc work in photography anywhere in the world.

I have been working at Faculty of Arts at the University of Melbourne for years, 4 days a week making websites. This is because of my bipolar and anxiety disorder. It has been a job to get me through the tough times. But after my recent photographic research trip to Europe, I realise that I need more stimulus – to fully concentrate on photography at an elite level. To research and write a book on photography.

In 2021 I will have been an artist for 30 years and my first writings date from 1998. I have been writing Art Blart now for 10 years… a lot of research and writing for this cultural memory archive, perhaps used as the basis for a book on the spirit of photography in the 21st century. But I am open to any research project. I have to do something to be able to immerse myself fully in photography.

If you have any ideas or knowledge of friends with connections please let me know at
bunyanth@netspace.net.au.

Thank you!

Marcus

 

New work

All photographs are from a new body of art work I am working on for 2020, provisionally titled ‘(How I) Wish You Were Here’, taken during my recent European research trip. These are difficult photographs to understand but please take the time (critical in looking at photographs) to feel them.

My mentor and friend said: “This is the most difficult work to organise yet. There is something to see in every picture – but it is so subtle – not everyone will see it, but it is for people who look at pictures a lot. MG0028 (the yellow entrance with stone pillars) is lovely – the entrance painted a warm sickish colour, a sort of terrible colour aesthetically – and the cropping is just a little brutal: what is it really showing at this camera to subject distance?

But it all works brilliantly, and they are all like that – there are subtle things that can’t be traced: i.e. are they the photographer: or are they the camera or are they just inevitable in this world? It is a type of anti-spirituality meets spirituality… and any number of other meeting points.”

And my friend Elizabeth Gertsakis said: “Spatial as well as surface tactile. Fascinated randomness. The human figure appears as a singular frozen device. Post-apocalyptic as well.”

I said: the spirit has left the earth, the body; something NQR. Eventually, the whole purpose of the series is not to tell the viewer where they are in the world, just give little clues as the viewer moves through time and space… something that photography is very good at: disrupting time and space.

Marcus

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

 

 

Marcus Bunyan. 'Untitled' from the series 'How I) Wish You Were Here' 2020

 

Marcus Bunyan (Australian, b. 1958)
Untitled from the series (How I) Wish You Were Here
2020
Colour photograph
© Marcus Bunyan

 

Marcus Bunyan. 'Untitled' from the series 'How I) Wish You Were Here' 2020

 

Marcus Bunyan (Australian, b. 1958)
Untitled from the series (How I) Wish You Were Here
2020
Colour photograph
© Marcus Bunyan

 

Marcus Bunyan. 'Untitled' from the series 'How I) Wish You Were Here' 2020

 

Marcus Bunyan (Australian, b. 1958)
Untitled from the series (How I) Wish You Were Here
2020
Colour photograph
© Marcus Bunyan

 

Marcus Bunyan. 'Untitled' from the series 'How I) Wish You Were Here' 2020

 

Marcus Bunyan (Australian, b. 1958)
Untitled from the series (How I) Wish You Were Here
2020
Colour photograph
© Marcus Bunyan

 

Marcus Bunyan. 'Untitled' from the series 'How I) Wish You Were Here' 2020

 

Marcus Bunyan (Australian, b. 1958)
Untitled from the series (How I) Wish You Were Here
2020
Colour photograph
© Marcus Bunyan

 

Marcus Bunyan. 'Untitled' from the series 'How I) Wish You Were Here' 2020

 

Marcus Bunyan (Australian, b. 1958)
Untitled from the series (How I) Wish You Were Here
2020
Colour photograph
© Marcus Bunyan

 

Marcus Bunyan. 'Untitled' from the series 'How I) Wish You Were Here' 2020

 

Marcus Bunyan (Australian, b. 1958)
Untitled from the series (How I) Wish You Were Here
2020
Colour photograph
© Marcus Bunyan

 

Marcus Bunyan. 'Untitled' from the series 'How I) Wish You Were Here' 2020

 

Marcus Bunyan (Australian, b. 1958)
Untitled from the series (How I) Wish You Were Here
2020
Colour photograph
© Marcus Bunyan

 

Marcus Bunyan. 'Untitled' from the series 'How I) Wish You Were Here' 2020

 

Marcus Bunyan (Australian, b. 1958)
Untitled from the series (How I) Wish You Were Here
2020
Colour photograph
© Marcus Bunyan

 

Marcus Bunyan. 'Untitled' from the series 'How I) Wish You Were Here' 2020

 

Marcus Bunyan (Australian, b. 1958)
Untitled from the series (How I) Wish You Were Here
2020
Colour photograph
© Marcus Bunyan

 

Marcus Bunyan. 'Untitled' from the series 'How I) Wish You Were Here' 2020

 

Marcus Bunyan (Australian, b. 1958)
Untitled from the series (How I) Wish You Were Here
2020
Colour photograph
© Marcus Bunyan

 

Marcus Bunyan. 'Untitled' from the series 'How I) Wish You Were Here' 2020

 

Marcus Bunyan (Australian, b. 1958)
Untitled from the series (How I) Wish You Were Here
2020
Colour photograph
© Marcus Bunyan

 

Marcus Bunyan. 'Untitled' from the series 'How I) Wish You Were Here' 2020

 

Marcus Bunyan (Australian, b. 1958)
Untitled from the series (How I) Wish You Were Here
2020
Colour photograph
© Marcus Bunyan

 

Marcus Bunyan. 'Untitled' from the series 'How I) Wish You Were Here' 2020

 

Marcus Bunyan (Australian, b. 1958)
Untitled from the series (How I) Wish You Were Here
2020
Colour photograph
© Marcus Bunyan

 

Marcus Bunyan. 'Untitled' from the series 'How I) Wish You Were Here' 2020

 

Marcus Bunyan (Australian, b. 1958)
Untitled from the series (How I) Wish You Were Here
2020
Colour photograph
© Marcus Bunyan

 

Marcus Bunyan. 'Untitled' from the series 'How I) Wish You Were Here' 2020

 

Marcus Bunyan (Australian, b. 1958)
Untitled from the series (How I) Wish You Were Here
2020
Colour photograph
© Marcus Bunyan

 

Marcus Bunyan. 'Untitled' from the series 'How I) Wish You Were Here' 2020

 

Marcus Bunyan (Australian, b. 1958)
Untitled from the series (How I) Wish You Were Here
2020
Colour photograph
© Marcus Bunyan

 

 

Marcus Bunyan writings

Marcus Bunyan website

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10
Nov
19

European photographic research tour exhibition: ‘Ara Güler: Two Archives, One Selection: Tracing Ara Güler’s Footsteps in Istanbul’ at the Istanbul Museum of Modern Art

Exhibition dates: 29th May – 17th November 2019

 

Installation view of the exhibition 'Ara Güler: Two Archives, One Selection: Tracing Ara Güler's Footsteps in Istanbul' at the Istanbul Museum of Modern Art

 

Installation view of the exhibition Ara Güler: Two Archives, One Selection: Tracing Ara Güler’s Footsteps in Istanbul at the Istanbul Museum of Modern Art
Photo: Istanbul Museum of Modern Art

 

 

“A moment of experience”

This is the first of my catch up postings on exhibitions and art I saw during my European art and photographic research tour.

I know very little about the history of Turkish photography, and knew nothing of the work of “The eye of Istanbul”, Ara Güler, before I saw this exhibition.

Visually, Güler’s images are atmospheric renditions of people and place, grounding the representation of a city in the people who live and work there. They share a mainly male gaze, a patriarchal perspective on the treasured secrets of Istanbul, for this perspective is how the culture at that time (and possibly now?) was structured.

Güler’s visual histories of rare and subtle perception, “make visible the unseen, the unknown, and the forgotten.”1 They implicate “the urban discourse as a system in which culture enlists the medium (of photography) for representational tasks – nation building, identity construction, city scapes2,” highlighting photography’s ineradicable role for interpretation in the construction of knowledge and memory.3

As the press release states, Güler’s photographs have made a very significant contribution to the formation of the public’s collective imagination and memories of the city, but these memories of the city can only ever be reflections of concepts of identity that have developed across the social spectrum from within the self, within the culture, and within the political arena. One informs the other.

Güler’s cityscapes can only be a partial representation of what a city was and what it was moving to become. Paraprashing Eyelet Carmi when she talks of Sally Mann’s landscape photographs of the Deep South of America, we might say that the urban landscape, the photograph shows us, is never a neutral space. It is always historically constructed, politically used and emotionally complex.4 It is where national history is mediated by and intertwines with patriarchal assumptions, emotions, memories and personal experiences of everyday life. The personal is national and vice versa, for “the notion of home and place (national and personal alike) is inevitably unfixed, unstable and partial.”5

In an erudite and instructive piece of writing by Zeynep Uğur, “After Ara Güler: Capturing the Feeling of Loss in Modernizing Istanbul”, an extract of which is presented below, Uğur expertly places Güler’s photographs in the era of their composition, filling in the cultural background that surrounds their creation… depictions of the urban poor and their small routines – smoking, having a cup of tea, coffee, or an alcoholic drink – mainly men in their coffee shops and old fashioned bars, enacting traditions that have not changed for centuries, swept up in the modernisation of the city. “An emotional relation is established between people and the space they inhabit by enacting the space in the body and the body in the public sphere, hence humanizing the city and spatially contextualizing the people. As Jacques Lecoq announces in his pedagogy of movement in theater, only the body engaged in the work can feel, and thus reflect the evidence of the space. Güler’s urban poor portrayed in their work express the social reality with their bodies.”6

Where I disagree with Uğur is in her proposal that that these men, who are “waiting” instead of actively circulating or producing, proffer “a sense of disbelonging, being removed from the context, being out of place, a sense of invisibility, immobility and arbitrariness.”7 In other words, a sense of alienation from the existence and surroundings in which they find themselves (alienation of the individual in modernity is a trope that goes back to the beginnings of Romanticism). Uğur proposes that Güler’s photographs possess hüzün, “a feeling of melancholia, nostalgia and loss in a multilayered city where multiple spatialities and temporalities are superposed. Guler’s photography reflects this singularity of Istanbul, its vibe and the ambiance experienced when wandering in the city.”8

This idea of a singularity is a very modernist way of perceiving the world. In this singular world a unified self can be easily alienated from itself (through concepts such as social alienation, the alienated body (Sartre), the phenomenologists’ ‘body for others’, the objectified body, the social body), and objectified by the gaze and discourse of others.9 “… Marx expresses his conceptualization of the state of alienation as a loss of sensuous fulfilment, poorly replaced by a pride of possession, and a lack of self-consciousness and hence actualization of one’s own real desires and abilities.”10 Leading to the feelings of melancholia, nostalgia and loss allegedly seen in the work of Ara Güler.

Postmodernism on the other hand sees no decentering of the self from the centre to the periphery for there is no centre, no periphery, only fragmentation. Fredric Jameson wrote that, “in the postmodern world, the subject is not alienated but fragmented. He explained that the notion of alienation presumes a centralized, unitary self who could become lost to himself or herself. But if, as a postmodernist sees it, the self is decentred and multiple, the concept of alienation breaks down. All that is left is an anxiety of identity.”11 Through the fragmentation of the subject the “existential model of “authenticity” and “inauthenticity” is thus challenged.”12 When there is no centre, no periphery – where one cannot move to the centre because there is no unified centre – there can be no unified self and therefore no alienation or, alien nation. There is no unified self, no appeal to nostalgia and melancholy, for the people in the photographs just are: and this is my point here, Güler was a visual archivist who documented life as it exists, not how we now look back on those times through the misty eyes of loss.

All we are left with, then, is the fact that Güler’s photographs are “a moment of experience” which document change not loss. His photographs document people and places that are not being lost (for that proposes a unified perspective), but images which picture an anxiety (and presence) in their radical potential, in their political context, which is both then and now – the receiver (the subject) and the viewer recognising the categories of perception and appreciation as it applies to him or her.13 An experience, existence and anxiety that is both then and now. As Garry Winogrand has observed, “The photograph isn’t what was photographed. It’s something else. It’s a new fact.” Time after time, again and again.

Dr Marcus Bunyan

Word count: 1,040

.
Many thankx to the Istanbul Museum of Modern Art for allowing me to publish the photographs in the posting. Please click on the photographs for a larger version of the image. All iPhone images © Marcus Bunyan and the Istanbul Museum of Modern Art.

 

  1. Marianne Fulton, Eyes of Time: Photojournalism in America, Boston: Little, Brown, 1988, p. 107
  2. -scape. a combining form extracted from landscape, with the meaning “an extensive view, scenery,” or “a picture or representation” of such a view, as specified by the initial element: cityscape; moonscape
  3. Alison Winter, Memory: Fragments of a Modern History. Chicago and London: University of Chicago Press, 2012, p. 5
  4. Ayelet Carmi, “Sally Mann’s American vision of the land,” in Journal of Art Historiography Number 17 December 2017, p. 25
  5. Ibid., p. 13
  6. Zeynep Uğur, “After Ara Güler: Capturing the Feeling of Loss in Modernizing Istanbul,” on the Ajam Media Collective website 26 November 2018 [Online] Cited 22/10/2019
  7. Ibid.,
  8. Ibid.,
  9. Jean-Paul Sartre, Being and Nothingness. London: Methuen, 1969, pp. 339-351
  10. Harry Brod, “Pornography and the Alienation of Male Sexuality,” in Kimmel, Michael and Messner, Michael. Men’s Lives. Boston: Allyn and Bacon, 1989, p. 397
  11. Sherry Turkle, Life on The Screen: Identity in the Age of the Internet. New York: Simon and Schuster, 1995, p. 49
  12. Katarzyna Marciniak, “Introduction,” in Fredric Jameson. Postmodernism, or the Cultural Logic of late Capitalism. Duke University Press, 1991
  13. Pierre Bourdieu, Distinction: A Social Critique of the Judgement of Taste. (trans. Richard Nice). London: Routledge and Kegan Paul, 1986, p. 207

 

 

‘I believe that photography is a form of magic by which a moment of experience is seized for transmission to future generations,’ Güler once said when asked to explain his art

 

 

Anonymous photographer. 'Ara Güler' Nd

 

Anonymous photographer
Ara Güler
Nd
Gelatin silver print
Photo: Istanbul Museum of Modern Art

 

Installation view of the exhibition 'Ara Güler: Two Archives, One Selection: Tracing Ara Güler's Footsteps in Istanbul' at the Istanbul Museum of Modern Art

Installation view of the exhibition 'Ara Güler: Two Archives, One Selection: Tracing Ara Güler's Footsteps in Istanbul' at the Istanbul Museum of Modern Art

Installation view of the exhibition 'Ara Güler: Two Archives, One Selection: Tracing Ara Güler's Footsteps in Istanbul' at the Istanbul Museum of Modern Art

 

Installation views of the exhibition Ara Güler: Two Archives, One Selection: Tracing Ara Güler’s Footsteps in Istanbul at the Istanbul Museum of Modern Art
Photo: Istanbul Museum of Modern Art

 

Installation view of the exhibition 'Ara Güler: Two Archives, One Selection: Tracing Ara Güler's Footsteps in Istanbul' at the Istanbul Museum of Modern Art

Installation view of the exhibition 'Ara Güler: Two Archives, One Selection: Tracing Ara Güler's Footsteps in Istanbul' at the Istanbul Museum of Modern Art

Installation view of the exhibition 'Ara Güler: Two Archives, One Selection: Tracing Ara Güler's Footsteps in Istanbul' at the Istanbul Museum of Modern Art

Installation view of the exhibition 'Ara Güler: Two Archives, One Selection: Tracing Ara Güler's Footsteps in Istanbul' at the Istanbul Museum of Modern Art

 

Installation views of the exhibition Ara Güler: Two Archives, One Selection: Tracing Ara Güler’s Footsteps in Istanbul at the Istanbul Museum of Modern Art

 

 

Istanbul Modern, in collaboration with the Ara Güler Museum, presents an exhibition of works by Ara Güler, “the man who writes history with his camera.” Titled “Two Archives, One Selection: Tracing Ara Güler’s Footsteps in Istanbul” the exhibition follows the changes that have taken place in the city since the 1950s, and is open to public between May 29 – November 17, 2019.

A collaboration between Istanbul Modern and the Ara Güler Museum, the exhibition draws on the archives of both institutions to portray the changes that have taken place in the city from the mid-20th century to the present.

It also shows the influential role of Ara Güler’s photographs in the development of the public’s collective memory of Istanbul following these changes.

All signed by him

The exhibition brings together photographs from different periods that were signed by him, as well as various dark room prints, objects and ephemera from the archives of the Istanbul Modern Photography Collection and the Ara Güler Museum, and maps that situate the works in different neighbourhoods and angles. As a whole, the exhibition aims to address the relationship between photography and a photographer’s subjectivity through the works of Güler, who defines himself as a photojournalist and photojournalists as “people who write history with their cameras.”

When it comes to Istanbul, Ara Güler’s photographs have made a very significant contribution to the formation of the public’s collective imagination and memories of the city. The exhibition combines Ara Güler’s photographs, which invite viewers to look at them again and again, with archival materials in order to highlight Güler’s practice as well as his role in the creation of our perception of Istanbul.

Curated by Demet Yıldız, Photography Department Manager at the Istanbul Museum of Modern Art, with Umut Sülün, Manager of the Ara Güler Museum and Research Center, acting as consultant, the exhibition can be visited until November 17. Throughout the duration of the exhibition, there will be talks and various programs that focus on the city and collective memory.

 

About Ara Güler

As a youth he was greatly influenced by the cinema, and while in high school he worked at film studios in every branch of the industry. In 1951 Güler graduated from the Getronagan Armenian High School and began training in theatre and acting under Muhsin Ertugrul, aspiring to be either a director or a scriptwriter. At that time, some of his stories were published in literary magazines and Armenian newspapers. He continued his education in the Faculty of Economics at Istanbul University. However, on deciding to become a photojournalist, he left the university and completed his military service.

He began his journalism career with the newspaper Yeni İstanbul in 1950. He became a photojournalist for Time Life in 1956, and for Paris Match and Stern in 1958. Around the same time, the Magnum Agency started distributing his photographs internationally. One of his first features was on the ruins of Noah’s Ark, and more than one hundred of those photographs were distributed by Magnum. Also during these years he reported on Mount Nemrut, introducing it to the world. Another of his important features was on the rediscovery of the forgotten city of Aphrodisias, through which it likewise was revealed to the world.

From 1956 until 1961 Güler headed the photography section of Hayat magazine. In the 1961 edition of the British Journal of Photography Year Book, he was named one of the seven best photographers in the world. That same year he was accepted as a member of the ASMP (American Society of Media Photographers) and was its only Turkish member. In 1962 he received the Master of Leica award in Germany and was the subject of a special issue of the journal Camera, then the most important photography publication in the world. His works were exhibited at the “Man and His World” show in Canada in 1967; and at the Photokina Fair in Cologne in 1968. He took the photographs for Lord Kinross’s book about Hagia Sophia, published in 1971.

His photograph was on the cover of the English, French, and German editions of the book Picasso: Métamorphose et Unité, published by Skira on the occasion of Picasso’s ninetieth birthday. In 1974 Güler was invited to the United States, where he photographed many famous personalities; the images were later exhibited under the title Creative Americans in many cities around the world. Also in 1974 he made a documentary film called End of a Hero about the scrapping of the battle cruiser Yavuz. His photographs on art and art history were used in articles in Time-Life, Horizon, and Newsweek, and published around the world by Skira. Starting in 1989 Güler joined the project A Day in the Life of… and collaborated with some the world’s most famous photographers in Indonesia, Malaysia, and Brunei.

In 1992 his photographs of the great architect Mimar Sinan’s works, which he had been working on for many years, were published under the title Sinan, Architect of Süleyman the Magnificent in France by Editions Arthaud, and in the United States and the UK by Thames & Hudson. In the same year his book Living in Turkey was published by Thames & Hudson in the United States and the UK, in Singapore by Archipelago under the title Turkish Style, and as Demeures Ottomanes de Turquie by Albin Michel in France.

In 2002, France decorated Güler with the Legion d’Honneur Officier des Arts et des Lettres, and in 2009 he received La Médaille de la Ville Paris from the city of Paris. He was awarded honorary doctorates by Yıldız Technical University in 2004, Mimar Sinan Fine Art University in 2013, and Boğaziçi University in 2014; the Presidential Culture and Arts Grand Award in 2005; the Award for Service to Culture and the Arts of the Ministry of Culture and Tourism in 2008; and the Outstanding Service Award of the Grand National Assembly of Turkey in 2009. Also in 2009 he received a lifetime achievement award from the Lucie Foundation in the United States.

Hundreds of exhibitions all over the world have featured Güler’s work, and his images have been published in dozens of books. Güler interviewed and photographed numerous celebrities, from Bertrand Russell and Winston Churchill to Arnold Toynbee, Pablo Picasso, and Salvador Dalí. As an outcome of the partnership created between Güler and Doğuş Group, two art institutions, Ara Güler Museum and Ara Güler Archives and Research Center, have opened their doors to visitors in Istanbul.

Ara Güler passed away on October 17, 2018, at the age of ninety.

Text from the Istanbul Modern Photography Gallery website

 

Installation view of the exhibition 'Ara Güler: Two Archives, One Selection: Tracing Ara Güler's Footsteps in Istanbul' at the Istanbul Museum of Modern Art

 

Installation view of the exhibition Ara Güler: Two Archives, One Selection: Tracing Ara Güler’s Footsteps in Istanbul at the Istanbul Museum of Modern Art

 

Ara Güler (Turkish, 1928-2018) 'Taşlıtarla, Gaziosmanpaşa' 1959

 

Ara Güler (Turkish, 1928-2018)
Taşlıtarla, Gaziosmanpaşa
1959
Gelatin silver print
Ara Güler Archive and Research Center Collection
Photo: Istanbul Museum of Modern Art

 

Ara Güler (Turkish, 1928-2018) 'Feriköy' (installation view) 1985

 

Ara Güler (Turkish, 1928-2018)
Feriköy (installation view)
1985
Gelatin silver print
Ara Güler Archive and Research Center Collection

 

Ara Güler (Turkish, 1928-2018) 'Galata' (installation view) 1950

 

Ara Güler (Turkish, 1928-2018)
Galata (installation view)
1950
Gelatin silver print
Ara Güler Archive and Research Center Collection

 

Ara Güler (Turkish, 1928-2018) 'Hallç, Vapuru'nda [In the Golden Horn Ferry]' (installation view) 1969

 

Ara Güler (Turkish, 1928-2018)
Hallç, Vapuru’nda [In the Golden Horn Ferry] (installation view)
1969
Gelatin silver print
Ara Güler Archive and Research Center Collection

 

Installation view of the exhibition 'Ara Güler: Two Archives, One Selection: Tracing Ara Güler's Footsteps in Istanbul' at the Istanbul Museum of Modern Art

 

Installation view of the exhibition Ara Güler: Two Archives, One Selection: Tracing Ara Güler’s Footsteps in Istanbul at the Istanbul Museum of Modern Art

 

Ara Güler (Turkish, 1928-2018) 'Persembe Pazan, Karaköy [Thursday Market, Karaköy]' (installation view) 1957

 

Ara Güler (Turkish, 1928-2018)
Persembe Pazan, Karaköy [Thursday Market, Karaköy] (installation view)
1957
Gelatin silver print
Istanbul Museum of Modern Art Photography Collection

 

Ara Güler (Turkish, 1928-2018) 'Persembe Pazan, Karaköy [Thursday Market, Karaköy]' 1957

 

Ara Güler (Turkish, 1928-2018)
Persembe Pazan, Karaköy [Thursday Market, Karaköy]
1957
Gelatin silver print
Istanbul Museum of Modern Art Photography Collection
Photo: Istanbul Museum of Modern Art

 

Installation view of the exhibition 'Ara Güler: Two Archives, One Selection: Tracing Ara Güler's Footsteps in Istanbul' at the Istanbul Museum of Modern Art

 

Installation view of the exhibition Ara Güler: Two Archives, One Selection: Tracing Ara Güler’s Footsteps in Istanbul at the Istanbul Museum of Modern Art

 

Ara Güler (Turkish, 1928-2018) 'Hazzopulo Pasajl, Beyoglu [Hazzopulo Passage, Beyoglu]' (installation view) 1958

 

Ara Güler (Turkish, 1928-2018)
Hazzopulo Pasajl, Beyoglu [Hazzopulo Passage, Beyoglu] (installation view)
1958
Gelatin silver print
Istanbul Museum of Modern Art Photography Collection

 

Ara Güler (Turkish, 1928-2018) 'Hazzopulo Pasajl, Beyoglu [Hazzopulo Passage, Beyoglu]' 1958

 

Ara Güler (Turkish, 1928-2018)
Hazzopulo Pasajl, Beyoglu [Hazzopulo Passage, Beyoglu]
1958
Gelatin silver print
Istanbul Museum of Modern Art Photography Collection

 

Ara Güler (Turkish, 1928-2018) 'Eyüp Sultan Camii [Eyüp Sultan Mosque]' (installation view) 1965

 

Ara Güler (Turkish, 1928-2018)
Eyüp Sultan Camii [Eyüp Sultan Mosque] (installation view)
1965
Gelatin silver print
Istanbul Museum of Modern Art Photography Collection

 

Ara Güler (Turkish, 1928-2018) 'Eyüp Sultan Camii [Eyüp Sultan Mosque]' 1965

 

Ara Güler (Turkish, 1928-2018)
Eyüp Sultan Camii [Eyüp Sultan Mosque]
1965
Gelatin silver print
Istanbul Museum of Modern Art Photography Collection

 

Ara Güler (Turkish, 1928-2018) 'Tarlabaşi' 1965 (installation view)

 

Ara Güler (Turkish, 1928-2018)
Tarlabaşi (installation view)
1965
Gelatin silver print
Istanbul Museum of Modern Art Photography Collection

 

Installation view of the exhibition 'Ara Güler: Two Archives, One Selection: Tracing Ara Güler's Footsteps in Istanbul' at the Istanbul Museum of Modern Art

 

Installation view of the exhibition Ara Güler: Two Archives, One Selection: Tracing Ara Güler’s Footsteps in Istanbul at the Istanbul Museum of Modern Art

 

Installation view of the exhibition 'Ara Güler: Two Archives, One Selection: Tracing Ara Güler's Footsteps in Istanbul' at the Istanbul Museum of Modern Art

 

Installation view of the exhibition Ara Güler: Two Archives, One Selection: Tracing Ara Güler’s Footsteps in Istanbul at the Istanbul Museum of Modern Art

 

Ara Güler (Turkish, 1928-2018) 'Sirkeci' (installation view) 1956

 

Ara Güler (Turkish, 1928-2018)
Sirkeci (installation view)
1956
Gelatin silver print
Istanbul Museum of Modern Art Photography Collection

 

Ara Güler (Turkish, 1928-2018) 'Sirkeci' 1956

 

Ara Güler (Turkish, 1928-2018)
Sirkeci
1956
Gelatin silver print
Istanbul Museum of Modern Art Photography Collection
Photo: Istanbul Museum of Modern Art Photography

 

Ara Güler (Turkish, 1928-2018) 'Cagaloglu Hamami' (installation view) 1965

 

Ara Güler (Turkish, 1928-2018)
Cagaloglu Hamami (installation view)
1965
Gelatin silver print
Ara Güler Archive and Research Center Collection

 

Ara Güler (Turkish, 1928-2018) 'Sokollu Mehmet Paşa Camii, Kadirga [Sokollu Mehmet Pasha Mosque, Kadirga]' (installation view) 1988

 

Ara Güler (Turkish, 1928-2018)
Sokollu Mehmet Paşa Camii, Kadirga [Sokollu Mehmet Pasha Mosque, Kadirga] (installation view)
1988
Gelatin silver print
Ara Güler Archive and Research Center Collection

 

Installation view of the exhibition 'Ara Güler: Two Archives, One Selection: Tracing Ara Güler's Footsteps in Istanbul' at the Istanbul Museum of Modern Art

 

Installation view of the exhibition Ara Güler: Two Archives, One Selection: Tracing Ara Güler’s Footsteps in Istanbul at the Istanbul Museum of Modern Art

 

Ara Güler (Turkish, 1928-2018) 'Kandilli [A Bosphorus passenger boat leaving the European shores of Istanbul for the Asian shore]' 1965

 

Ara Güler (Turkish, 1928-2018)
Kandilli [A Bosphorus passenger boat leaving the European shores of Istanbul for the Asian shore]
1965
Gelatin silver print
Istanbul Museum of Modern Art Photography Collection

 

Ara Güler (Turkish, 1928-2018) 'Büyükdere' (installation view) 1972

 

Ara Güler (Turkish, 1928-2018)
Büyükdere (installation view)
1972
Gelatin silver print
Ara Güler Archive and Research Center Collection

 

Ara Güler (Turkish, 1928-2018) 'Büyükdere' 1972

 

Ara Güler (Turkish, 1928-2018)
Büyükdere (installation view)
1972
Gelatin silver print
Ara Güler Archive and Research Center Collection

 

Ara Güler (Turkish, 1928-2018) 'Kandilli' (installation view) 1985

 

Ara Güler (Turkish, 1928-2018)
Kandilli (installation view)
1985
Gelatin silver print
Ara Güler Archive and Research Center Collection

 

Installation view of the exhibition 'Ara Güler: Two Archives, One Selection: Tracing Ara Güler's Footsteps in Istanbul' at the Istanbul Museum of Modern Art

 

Installation view of the exhibition Ara Güler: Two Archives, One Selection: Tracing Ara Güler’s Footsteps in Istanbul at the Istanbul Museum of Modern Art

 

Ara Güler (Turkish, 1928-2018) 'Kapaliçarsi [The Grand Bazaar]' (installation view) 1972

 

Ara Güler (Turkish, 1928-2018)
Kapaliçarsi [The Grand Bazaar] (installation view)
1972
Gelatin silver print

 

Ara Güler (Turkish, 1928-2018) 'Eminönü' (installation view) 1954

 

Ara Güler (Turkish, 1928-2018)
Eminönü (installation view)
1954
Gelatin silver print
Istanbul Museum of Modern Art Photography Collection

 

Ara Güler (Turkish, 1928-2018) 'Eminönü' 1954

 

Ara Güler (Turkish, 1928-2018)
Eminönü
1954
Gelatin silver print
Istanbul Museum of Modern Art Photography Collection
Photo: Istanbul Museum of Modern Art

 

Ara Güler (Turkish, 1928-2018) 'Sehzadebaşı' 1958

 

Ara Güler (Turkish, 1928-2018)
Sehzadebaşı
1958
Gelatin silver print
Ara Güler Archive and Research Center Collection
Photo: Istanbul Museum of Modern Art

 

Ara Güler (Turkish, 1928-2018) 'Tahtakale' (installation view) 1966

 

Ara Güler (Turkish, 1928-2018)
Tahtakale (installation view)
1966
Gelatin silver print
Ara Güler (Turkish, 1928-2018) 'Zeyrek' (installation view) 1974

 

Ara Güler (Turkish, 1928-2018)
Zeyrek (installation view)
1974
Gelatin silver print

 

Ara Güler (Turkish, 1928-2018) 'Zeyrek' (installation view) 1960

 

Ara Güler (Turkish, 1928-2018)
Zeyrek (installation view)
1960
Gelatin silver print

 

Ara Güler (Turkish, 1928-2018) 'Nightfall in the district of Zeyrek, Istanbul' 1960

 

Ara Güler (Turkish, 1928-2018)
Nightfall in the district of Zeyrek, Istanbul
1960
Gelatin silver print

 

Installation view of the exhibition 'Ara Güler: Two Archives, One Selection: Tracing Ara Güler's Footsteps in Istanbul' at the Istanbul Museum of Modern Art

 

Installation view of the exhibition Ara Güler: Two Archives, One Selection: Tracing Ara Güler’s Footsteps in Istanbul at the Istanbul Museum of Modern Art

 

Installation view of the exhibition 'Ara Güler: Two Archives, One Selection: Tracing Ara Güler's Footsteps in Istanbul' at the Istanbul Museum of Modern Art

 

Installation view of the exhibition Ara Güler: Two Archives, One Selection: Tracing Ara Güler’s Footsteps in Istanbul at the Istanbul Museum of Modern Art

 

Ara Güler (Turkish, 1928-2018) 'Tophane' (installation view) 1954

 

Ara Güler (Turkish, 1928-2018)
Tophane (installation view)
1959
Gelatin silver print
Istanbul Museum of Modern Art Photography Collection

 

Ara Güler (Turkish, 1928-2018) 'A drunk man at a bar in Tophane' 1959

 

Ara Güler (Turkish, 1928-2018)
A drunk man at a bar in Tophane
1959
Gelatin silver print
Istanbul Museum of Modern Art Photography Collection

 

Ara Güler (Turkish, 1928-2018) 'Tophane' (installation view) 1954

 

Ara Güler (Turkish, 1928-2018)
Tophane [Atrium of a house] (installation view)
1954
Gelatin silver print
Ara Güler Archive and Research Center Collection

 

Ara Güler (Turkish, 1928-2018) 'Tophane [Atrium of a house]' 1954

 

Ara Güler (Turkish, 1928-2018)
Tophane [Atrium of a house]
1954
Gelatin silver print
Ara Güler Archive and Research Center Collection

 

Ara Güler (Turkish, 1928-2018) 'Galata' (installation view) 1955

 

Ara Güler (Turkish, 1928-2018)
Galata (installation view)
1955
Gelatin silver print
Istanbul Museum of Modern Art Photography Collection

 

 

Extract from “After Ara Güler: Capturing the Feeling of Loss in Modernizing Istanbul”

Our focus is Güler’s portrayal of Istanbul in black and white in 1950s and 1960s, where Istanbul appears as a metropole “in progress”, or under construction. As described by the sociologist Nilüfer Göle, in the context of non-Western countries modernization, involves a cultural shift, a process of changing habitus, aesthetic norms, values, and lifestyles in the public sphere. The economic development of the country goes along with this social and cultural transformation. In 1950s and 60s Turkey, the construction of highways and railways connected the national periphery to the center. Istanbul received a mass wave of migration and expanded with slums during this improvised, unplanned urbanization process. The city became the scene where center and periphery, modern and traditional lifestyles encountered, confronted, and transformed one another and found ways to coexist. Urban poverty became an issue with this contrast becoming more and more visible in the city. …

Güler starts from the micro level, photographing people in their small routines: working, smoking, having a cup of tea, coffee, or an alcoholic drink. These people can be defined as the urban poor, not synchronized with the rapid urban growth and the modern ideal of progress. They are portrayed in the public sphere rather than in the intimacy of their private sphere. Their eyes, facial expressions, hands, and postures incarnates their poverty, highlighting modes of being that contrast sharply with the Westernizing public sphere they have entered. An emotional relation is established between people and the space they inhabit by enacting the space in the body and the body in the public sphere, hence humanizing the city and spatially contextualizing the people. As Jacques Lecoq announces in his pedagogy of movement in theater, only the body engaged in the work can feel, and thus reflect the evidence of the space. Güler’s urban poor portrayed in their work express the social reality with their bodies. …

People are also photographed in coffee shops and old fashioned bars where they socialize. Coffee shops have a particular significance in Istanbul’s urban culture, as they emerged as alternative public spheres to mosques in the 16th century. Coffee houses became popular by offering a venue for social occasions including leisure and political dialogue between men in the Ottoman world, thus creating a public culture, as noted by the historian Cemal Kafadar. As gender-mixed modern coffee houses gained popularity, traditional kahvehane became considered places of unproductive time pass activity. These alternative spaces, in turn, become a shelter for men alienated from the emerging modern public sphere and lifestyles. Güler’s men in coffee houses are “waiting”, as the opposite of circulating or producing that increasingly characterized the fast rhythm of the modern city.

In the absence of plans in the present and for the deferred future, a temporal slowing manifests itself. Hence, it points out to a suspension referring to the interruption of social ties, the feeling of being cut-off, a sense of disbelonging, being removed from the context, being out of place, a sense of invisibility, immobility and arbitrariness. These traits resonate with people waiting in the photographs, who seem slightly erased, detached from the space and time surrounding them. Güler’s choice of décor, the Ottoman ruins, emphasizes this detachment by fixing our regard on the remains of the past embodied in the present and the obsolete corners of the city, not “illuminated” yet by the city lights.

Perhaps this is the very reason why Güler’s Istanbul appears as the visual reflection of the Nobel winning author Orhan Pamuk’s description of the grayscale Istanbul, marked by the feeling of hüzün. Comparable to Baudelaire’s description of Paris Spleenhüzün is a feeling of melancholia, nostalgia and loss in a multilayered city where multiple spatialities and temporalities are superposed. Guler’s photography reflects this singularity of Istanbul, its vibe and the ambiance experienced when wandering in the city. Given that urban heritage is never patrimonialized and the events of the imperial and republican past haven’t been confronted, they haunt city’s present. …

Ara Güler might be referred as a Proustian in search of lost time, however his madeleine would be persons; the urban poor in the streets of Istanbul. His quest to seize what is being lost is not an interior process of romanticization, but comes from the external world. He always insisted that he is not an artist who proposes an interpretation of reality, but a visual archivist who documents life as it exists. In his photographs, it is the people who craft the urban sphere by sitting, waiting, settling, investing, appropriating it. Güler composes the cityscape of Istanbul by parting from the margins to join the center, the core of the city. This composition identifies the singularity of Istanbul, hüzün, a feeling of loss of firm ground, a loss of an emotional root, which opens up a wide range of emotions and experiences.

Zeynep Uğur. “After Ara Güler: Capturing the Feeling of Loss in Modernizing Istanbul,” on the Ajam Media Collective website 26 November 2018 [Online] Cited 22/10/2019. Reproduced with the kind permission of the author.

Zeynep Uğur Academia website

 

Installation view of the exhibition 'Ara Güler: Two Archives, One Selection: Tracing Ara Güler's Footsteps in Istanbul' at the Istanbul Museum of Modern Art

 

Installation view of the exhibition Ara Güler: Two Archives, One Selection: Tracing Ara Güler’s Footsteps in Istanbul at the Istanbul Museum of Modern Art

 

Ara Güler (Turkish, 1928-2018) 'Children playing in Tophane, Istanbul' 1986

 

Ara Güler (Turkish, 1928-2018)
Children playing in Tophane, Istanbul
1986
Gelatin silver print
Istanbul Museum of Modern Art Photography Collection

 

 

Istanbul Museum of Modern Art
Asmalımescit Mahallesi, Meşrutiyet Caddesi, No: 99, Beyoğlu, 34430 İstanbul

Opening hours:
Tuesday, Wednesday, Friday, Saturday: 10.00 am – 6.00 pm
Thursday: 10.00 am – 8.00 pm
Sunday: 11.00 am – 6.00 pm
Monday: Closed

Istanbul Museum of Modern Art website

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07
Nov
19

Exhibition: ‘Gordon Parks: The Flávio Story’ at the J. Paul Getty Museum, Getty Center, Los Angeles

Exhibition dates: 9th July – 10th November 2019

Curator: Amanda Maddox and Paul Roth

 

 

Gordon Parks (American, 1912-2006) 'Flavio' 1978

 

Gordon Parks (American, 1912-2006)
Flavio
1978
Paper Closed: 21.6 × 15.1 cm (8 1/2 × 5 15/16 in.)
Collection of the Ryerson Image Centre
© The Gordon Parks Foundation

 

Playing God can be a tricky business

 

 

“Playing God can be a tricky business”

There are some heartbreaking images (in particular by French/Brazilian photographer Henri Ballot), but in Parks photographs we never seem to hear Flavio’s voice – just his representation through the image. Despite Parks coming from a similar background of poverty and disenfranchisement and wanting the best for the boy, one can only wonder about the psychological effects of showing him the promised land and then having it all taken away.

The only time we come close to hearing Flavio’s wishes and his voice is in a snippet: “In spite of his wish to remain in the United States, Flávio was sent back to Brazil in 1963. Now 70 years old, he has never returned to the United States.”

Marcus

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

 

On assignment to document poverty in Brazil for Life magazine, American photographer Gordon Parks encountered one of the most important subjects of his career: Flávio da Silva. Parks featured the resourceful, ailing boy from an impoverished Rio favela (Portuguese for shantytown) and his family in the heart-rending 1961 photo essay “Freedom’s Fearful Foe.” It resulted in donations from Life readers but sparked controversy in Brazil. This exhibition explores the celebrated photo essay, tracing the extraordinary chain of events it triggered and Parks’ representation of Flávio over several decades.

 

 

Gordon Parks (American, 1912-2006) 'Untitled (Flávio da Silva), Rio de Janeiro, Brazil' 1961

 

Gordon Parks (American, 1912-2006)
Untitled (Flávio da Silva), Rio de Janeiro, Brazil
1961
Gelatin silver print
Image (approx.): 35.6 × 27.9 cm (14 × 11 in.)
The Gordon Parks Foundation
© The Gordon Parks Foundation

 

Gordon Parks (American, 1912-2006) 'Family's Day Begins, Rio de Janeiro, Brazil' Negative 1961, printed later

 

Gordon Parks (American, 1912-2006)
Family’s Day Begins, Rio de Janeiro, Brazil
Negative 1961, printed later
Gelatin silver print
Image: 27.3 × 35.6 cm (10 3/4 × 14 in.)
The J. Paul Getty Museum, Los Angeles, Purchased with funds provided by the Photographs Council
© The Gordon Parks Foundation

 

Gordon Parks (American, 1912-2006) 'Untitled (The da Silva Children Climbing the Hillside), Rio de Janeiro, Brazil' 1961

 

Gordon Parks (American, 1912-2006)
Untitled (The da Silva Children Climbing the Hillside), Rio de Janeiro, Brazil
1961
Gelatin silver print
Image: 33.7 × 23.2 cm (13 1/4 × 9 1/8 in.)
The J. Paul Getty Museum, Los Angeles, Purchased in part with funds provided by the Photographs Council, Trish and Jan de Bont, Daniel Greenberg and Susan Steinhauser, Manfred Heiting, Lyle and Lisi Poncher, and Devon Susholtz and Stephen Purvis
© The Gordon Parks Foundation

 

Gordon Parks (American, 1912-2006) 'Mário da Silva, Crying after Being Bitten by Dog, Rio de Janeiro, Brazil' Negative 1961, printed later

 

Gordon Parks (American, 1912-2006)
Mário da Silva, Crying after Being Bitten by Dog, Rio de Janeiro, Brazil
Negative 1961, printed later
Gelatin silver print
Image: 20 × 13.3 cm (7 7/8 × 5 1/4 in.)
The J. Paul Getty Museum, Los Angeles, Purchased with funds provided by the Photographs Council
© The Gordon Parks Foundation

 

Gordon Parks (American, 1912-2006) 'Catacumba Favela, Rio de Janeiro, Brazil' Negative 1961, printed later

 

Gordon Parks (American, 1912-2006)
Catacumba Favela, Rio de Janeiro, Brazil
Negative 1961, printed later
Gelatin silver print
Image: 17.9 × 18.7 cm (7 1/16 × 7 3/8 in.)
The J. Paul Getty Museum, Los Angeles, Purchased with funds provided by the Photographs Council
© The Gordon Parks Foundation

 

Gordon Parks (American, 1912-2006) 'Flávio da Silva, Rio de Janeiro, Brazil' 1961

 

Gordon Parks (American, 1912-2006)
Flávio da Silva, Rio de Janeiro, Brazil
1961
Gelatin silver print
Image: 33.7 × 22.2 cm (13 1/4 × 8 3/4 in.)
The J. Paul Getty Museum, Los Angeles, Purchased with funds provided by the Photographs Council
© The Gordon Parks Foundation

 

Gordon Parks (American, 1912-2006) 'Isabel da Silva, Rio de Janeiro, Brazil' Negative 1961, printed later

 

Gordon Parks (American, 1912-2006)
Isabel da Silva, Rio de Janeiro, Brazil
Negative 1961, printed later
Gelatin silver print
Image: 32.7 × 22.2 cm (12 7/8 × 8 3/4 in.)
The J. Paul Getty Museum, Los Angeles, Purchased with funds provided by the Photographs Council
© The Gordon Parks Foundation

 

Gordon Parks (American, 1912-2006) 'Abia and Isabel da Silva, Rio de Janeiro, Brazil' Negative 1961, printed later

 

Gordon Parks (American, 1912-2006)
Abia and Isabel da Silva, Rio de Janeiro, Brazil
Negative 1961, printed later
Gelatin silver print
Image: 23 × 29.9 cm (9 1/16 × 11 3/4 in.)
The J. Paul Getty Museum, Los Angeles, Purchased with funds provided by the Photographs Council
© The Gordon Parks Foundation

 

Gordon Parks (American, 1912-2006) 'Untitled (Nair da Silva, Holding Zacarias), Rio de Janeiro, Brazil' Negative 1961, printed later

 

Gordon Parks (American, 1912-2006)
Untitled (Nair da Silva, Holding Zacarias), Rio de Janeiro, Brazil
Negative 1961, printed later
Gelatin silver print
Image: 30.5 × 22.9 cm (12 × 9 in.)
The J. Paul Getty Museum, Los Angeles, Purchased with funds provided by the Photographs Council
© The Gordon Parks Foundation

 

Paulo Muniz (Brazilian, 1918-1994) 'Untitled (Gordon Parks and Flávio da Silva at Airport, Soon to Fly to United States), Rio de Janeiro, Brazil' Negative July 5, 1961, printed later

 

Paulo Muniz (Brazilian, 1918-1994)
Untitled (Gordon Parks and Flávio da Silva at Airport, Soon to Fly to United States), Rio de Janeiro, Brazil
Negative July 5, 1961, printed later
Gelatin silver print
Framed: 72.9 × 57.6 cm (28 11/16 × 22 11/16 in.)
The Gordon Parks Foundation Courtesy of the artist’s estate/IMS

 

Unknown maker. 'Untitled (Four Officials Inspect Catacumba Favela)' August 7, 1967

 

Unknown maker
Untitled (Four Officials Inspect Catacumba Favela)
August 7, 1967
Gelatin silver print
Image: 18.1 × 24 cm (7 1/8 × 9 7/16 in.)
Diários Associados Collection-Rio de Janiero/Instituto Moreira Salles

 

Unknown maker. 'Untitled (Removal of Residents' Possessions, Catacumba Hill, Avenida Epitácio Pessoa)' October 15, 1970

 

Unknown maker
Untitled (Removal of Residents’ Possessions, Catacumba Hill, Avenida Epitácio Pessoa)
October 15, 1970
Gelatin silver print
Image: 24.1 × 18 cm (9 1/2 × 7 1/16 in.)
Diários Associados Collection-Rio de Janiero/Instituto Moreira Salles

 

José Gonçalves (American, born 1927) 'Flávio Catches His First Fish, Denver, Colorado' Negative about 1962, print about 1977

 

José Gonçalves (American, born 1927)
Flávio Catches His First Fish, Denver, Colorado
Negative about 1962, print about 1977
Gelatin silver print
Sheet: 25.4 × 20.3 cm (10 × 8 in.)
The Gordon Parks Foundation
© José Gonçalves

 

José Gonçalves (American, born 1927) 'Untitled (Snapshot of Flávio da Silva and the Gonçalves Family)' Negative 1961-63; printed 1976

 

José Gonçalves (American, born 1927)
Untitled (Snapshot of Flávio da Silva and the Gonçalves Family)
Negative 1961-63; printed 1976
Chromogenic print
Sheet: 12.7 × 8.9 cm (5 × 3 1/2 in.)
The Gordon Parks Foundation
© José Gonçalves

 

José Gonçalves (American, born 1927) 'Untitled (Snapshot of Flávio da Silva and the Gonçalves Family)' Negative 1961-63; printed 1976

 

José Gonçalves (American, born 1927)
Untitled (Snapshot of Flávio da Silva and the Gonçalves Family)
Negative 1961-63; printed 1976
Chromogenic print
Sheet: 8.9 × 12.4 cm (3 1/2 × 4 7/8 in.)
The Gordon Parks Foundation
© José Gonçalves

 

José Gonçalves (American, born 1927) 'Flávio Waves Goodbye to the Gonçalves Family from the Train That Will Take Him to New York, Denver, Colorado' Negative July 27, 1963, print about 1977

 

José Gonçalves (American, born 1927)
Flávio Waves Goodbye to the Gonçalves Family from the Train That Will Take Him to New York, Denver, Colorado
Negative July 27, 1963, print about 1977
Gelatin silver print
Sheet: 20.3 × 25.4 cm (8 × 10 in.)
The Gordon Parks Foundation
© José Gonçalves

 

 

The J. Paul Getty Museum announced today an exhibition of photographs by celebrated artist Gordon Parks (American, 1912-2006). On view July 9-November 10, 2019 at the J. Paul Getty Museum, Getty Center, Gordon Parks: The Flávio Story explores one of the most important photo essays Parks produced for Life magazine and traces how its publication prompted an extraordinary sequence of events over several decades. The exhibition is co-organised by the Getty and the Ryerson Image Centre in Toronto, Canada in partnership with Instituto Moreira Salles, Brazil, and The Gordon Parks Foundation, New York.

“Gordon Parks’ photographs chronicling social justice, civil rights, and the African-American experience in the United States are both a vital historical document and a compelling body of artistic work,” says Timothy Potts, director of the J. Paul Getty Museum. “And, of all his varied projects, Parks considered the photographs of Flávio among his most important achievements. The great impact that it had, and still has today, can only be appreciated by presenting these photographs in their full socio-political context, which is what this exhibition does for the first time.”

An accomplished filmmaker, composer, writer and poet, Parks is best remembered for his prolific career as a photographer. He became the first African-American photographer on staff at Life magazine, where he covered subjects ranging from fashion to social injustice. In 1961 the magazine sent him to Brazil with a specific assignment: to document poverty in Rio de Janeiro for a special series on Latin America. Told to photograph the hardworking father of a large, impoverished household, Parks all but disregarded these instructions and turned his attention instead to one resident in particular – an industrious, severely asthmatic twelve-year-old boy named Flávio da Silva who lived in Catacumba, one of Rio’s working class neighbourhoods known as favelas.

Over the course of several weeks Parks photographed Flávio as he performed household chores and entertained his seven brothers and sisters – daily activities that were often interrupted by debilitating asthma attacks. Having himself grown up in abject poverty in Kansas, Parks felt deep sympathy for his subject and forged an emotional bond with him. Ultimately Parks advocated for a comprehensive photo essay dedicated to Flávio’s story in the pages of Life; editors responded by publishing a twelve-page piece, titled “Freedom’s Fearful Foe: Poverty,” in June 1961. The exhibition will include images from this spread, as well as outtakes from the assignment.

Within days of its publication in the magazine, Flávio’s story emerged as a blockbuster. Moved by Parks’ heartbreaking coverage, Life‘s readers wrote thousands of letters and spontaneously donated money to support the da Silva family and the revitalisation of the favela. Upon seeing the images, the president of the Children’s Asthma Research Institute and Hospital (CARIH) in Denver, Colorado offered to treat Flávio as a patient, free of charge. In July 1961, Life sent Parks back to Rio as part of the magazine’s follow-up efforts. After helping to move the da Silva family from Catacumba, Parks accompanied Flávio from Rio to the United States. For the next two years Flávio lived and received treatment at CARIH but spent most weekends with a Portugeuse-speaking host family who introduced him to various aspects of American culture.

Anticipating a compelling story about Flávio’s medical progress and experience in the U.S., Life assigned a local photographer, Hikaru “Carl” Iwasaki, to document the boy’s arrival in Denver, admission to the hospital, and acclimation at school. A selection of these images will be on view in the exhibition, including some that Life never published, alongside snapshots made by Flávio’s host father in Denver, José Gonçalves. In spite of his wish to remain in the United States, Flávio was sent back to Brazil in 1963. Now 70 years old, he has never returned to the United States.

When published in 1961, “Freedom’s Fearful Foe: Poverty” was also met with criticism, particularly within the Brazilian press. Outraged and determined to retaliate against Life‘s negative portrayal of the Catacumba favela and its residents, the Brazilian magazine O Cruzeiro sent staff photographer Henri Ballot to report on poverty in New York, where Life was headquartered. While exploring the Lower East Side in Manhattan, Ballot documented an immigrant family from Puerto Rico – Felix and Esther Gonzalez and their children – who lived in a derelict one-bedroom apartment. Arguing that poverty was equally endemic in the United States, O Cruzeiro published Ballot’s photographs in October 1961 in the photo essay “Nôvo recorde americano: Miséria” (New American Record: Misery). Photographs from this story, as well as from an investigative exposé on Parks’ reportage also published in O Cruzeiro in 1961, will be on view in the exhibition.

Over the years Parks periodically returned to Flávio as a subject. In 1976 he published Flávio, which recounted and updated the story through words and pictures. In the book’s introduction, Parks provided insight into his own conflicted engagement with certain photographic assignments that focused on people like the da Silva family, acknowledging that he “was perhaps playing God” by digging “deeper and deeper into the privacy of these lives, hoping … to reshape their destinies into something much better.” Following this admission, Parks returned to Brazil only once in the 1990s; it marked the last time Parks and Flávio saw each other prior to Parks’ death in 2006.

“Parks regarded poverty as ‘the most savage of all human afflictions,’ in no small part because he was born into destitution,” says Amanda Maddox, co-curator of the exhibition and an associate curator at the Getty Museum. “As a photographer he consciously wielded his camera as a weapon – his chosen term – in an attempt to combat economic and racial inequality. Viewed in this context, his documentation of Flávio da Silva – for Life and beyond – reveals the complexity of his empathetic approach and the inherent difficulties of representing someone else’s personal story – a story that resonated with many people over many years – in any form.”

In addition to more than 100 photographs, the exhibition will also include original issues of Life that featured Flávio’s story, previously unseen ephemera related to Flávio’s time in Denver, and private memos, correspondence, and records held by Life and Parks.

Gordon Parks: The Flávio Story is on view July 9-November 10, 2019 at the J. Paul Getty Museum, Getty Center. The exhibition is co-curated by Amanda Maddox, associate curator of photographs at the J. Paul Getty Museum, and Paul Roth, director of the Ryerson Image Centre. An accompanying book is available, published by Steidl Verlag, with essays by Maddox and Roth, as well as Sergio Burgi, curator at Instituto Moreira Salles; Beatriz Jaguaribe, professor of comparative communications, School of Communications, Universidade Federal do Rio de Janeiro; and Maria Alice Rezende de Carvalho, professor of sociology, Catholic University of Rio de Janeiro.

Press release from the J. Paul Getty Museum Cited 27/10/2019

 

 

Henri Ballot (French / Brazilian, 1921-1997) 'Ely-Samuel Gonzalez on His Bed, Manhattan, New York' 1961

 

Henri Ballot (French / Brazilian, 1921-1997)
Ely-Samuel Gonzalez on His Bed, Manhattan, New York
1961
Gelatin silver print
Image: 23.5 × 15.8 cm (9 1/4 × 6 1/4 in.)
Henri Ballot/Instituto Moreira Salles Collection

 

Henri Ballot (French / Brazilian, 1921-1997) 'Apartment Building Where the Gonzalez Family lives, Manhattan, New York' 1961

 

Henri Ballot (French / Brazilian, 1921-1997)
Apartment Building Where the Gonzalez Family lives, Manhattan, New York
1961
Gelatin silver print
Image: 16 × 23.9 cm (6 5/16 × 9 7/16 in.)
Henri Ballot/Instituto Moreira Salles Collection

 

Henri Ballot (French / Brazilian, 1921-1997) 'Child Playing Surrounded by Trash, Manhattan, New York' 1961

 

Henri Ballot (French / Brazilian, 1921-1997)
Child Playing Surrounded by Trash, Manhattan, New York
1961
Gelatin silver print
Image: 16 × 24 cm (6 5/16 × 9 7/16 in.)
Henri Ballot/Instituto Moreira Salles Collection

 

Henri Ballot (French / Brazilian, 1921-1997) 'Bedroom in the Gonzalez Family Apartment, Manhattan, New York' 1961

 

Henri Ballot (French / Brazilian, 1921-1997)
Bedroom in the Gonzalez Family Apartment, Manhattan, New York
1961
Gelatin silver print
Image: 18.3 × 24 cm (7 3/16 × 9 7/16 in.)
Henri Ballot/Instituto Moreira Salles Collection

 

Henri Ballot (French / Brazilian, 1921-1997) 'Child Crying at the Window, Manhattan, New York' 1961

 

Henri Ballot (French / Brazilian, 1921-1997)
Child Crying at the Window, Manhattan, New York
1961
Gelatin silver print
Image: 24.2 × 18 cm (9 1/2 × 7 1/16 in.)
Henri Ballot/Instituto Moreira Salles Collection

 

Henri Ballot (French / Brazilian, 1921-1997) 'Photographer Henri Ballot with Ely-Samuel (on the Left) and His Brothers, Manhattan, New York' 1961

 

Henri Ballot (French / Brazilian, 1921-1997)
Photographer Henri Ballot with Ely-Samuel (on the Left) and His Brothers, Manhattan, New York
1961
Gelatin silver print
Image: 17.8 × 24.4 cm (7 × 9 5/8 in.)
Henri Ballot/Instituto Moreira Salles Collection

 

Henri Ballot (French / Brazilian, 1921-1997) 'Maria Penha da Silva, Flávio's Grandmother, and Her Other Grandchildren, Reading 'Life', Guadalupe, Rio de Janeiro, Brazil' 1961

 

Henri Ballot (French / Brazilian, 1921-1997)
Maria Penha da Silva, Flávio’s Grandmother, and Her Other Grandchildren, Reading ‘Life’, Guadalupe, Rio de Janeiro, Brazil
1961
Gelatin silver print
Image: 16 × 24 cm (6 5/16 × 9 7/16 in.)
Henri Ballot/Instituto Moreira Salles Collection

 

Henri Ballot (French / Brazilian, 1921-1997) 'Aracy, a Neighbour of the da Silva Family, Pointing out Where the Photographs for Gordon Parks's Reportage Were Taken in the da Silvas' Former Home, Catacumba Hill, Rio de Janeiro, Brazil' 1961

 

Henri Ballot (French / Brazilian, 1921-1997)
Aracy, a Neighbour of the da Silva Family, Pointing out Where the Photographs for Gordon Parks’s Reportage Were Taken in the da Silvas’ Former Home, Catacumba Hill, Rio de Janeiro, Brazil
1961
Gelatin silver print
Image: 23.8 × 15.9 cm (9 3/8 × 6 1/4 in.)
Henri Ballot/Instituto Moreira Salles Collection

 

Gordon Parks (American, 1912-2006) 'Untitled (The da Silva Family), Rio de Janeiro, Brazil' Negative 1976, printed later

 

Gordon Parks (American, 1912-2006)
Untitled (The da Silva Family), Rio de Janeiro, Brazil
Negative 1976, printed later
Gelatin silver print
Image: 22.9 × 34 cm (9 × 13 3/8 in.)
The J. Paul Getty Museum, Los Angeles, Purchased with funds provided by the Photographs Council
© The Gordon Parks Foundation

 

Gordon Parks (American, 1912-2006) 'Untitled (Flávio da Silva), Rio de Janeiro, Brazil' Negative 1976, printed later

 

Gordon Parks (American, 1912-2006)
Untitled (Flávio da Silva), Rio de Janeiro, Brazil
Negative 1976, printed later
Gelatin silver print
Image: 34.3 × 23.5 cm (13 1/2 × 9 1/4 in.)
The J. Paul Getty Museum, Los Angeles, Purchased with funds provided by the Photographs Council
© The Gordon Parks Foundation

 

Gordon Parks (American, 1912-2006) 'Untitled (Flávio da Silva), Rio de Janeiro, Brazil' 1976

 

Gordon Parks (American, 1912-2006)
Untitled (Flávio da Silva), Rio de Janeiro, Brazil
1976
Gelatin silver print
Sheet: 35.6 × 27.9 cm (14 × 11 in.)
The Gordon Parks Foundation
© The Gordon Parks Foundation

 

Gordon Parks (American, 1912-2006) 'Flávio da Silva Looking at Gordon Parks's Book 'Moments Without Proper Names', Rio de Janeiro, Brazil' 1976

 

Gordon Parks (American, 1912-2006)
Flávio da Silva Looking at Gordon Parks’s Book ‘Moments Without Proper Names’, Rio de Janeiro, Brazil
1976
Gelatin silver print
Sheet: 35.6 × 27.9 cm (14 × 11 in.)
The Gordon Parks Foundation
© The Gordon Parks Foundation

 

Gordon Parks (American, 1912-2006) 'Untitled (Flávio and Cleuza da Silva), Rio de Janeiro, Brazil' 1976

 

Gordon Parks (American, 1912-2006)
Untitled (Flávio and Cleuza da Silva), Rio de Janeiro, Brazil
1976
Gelatin silver print
Sheet: 35.6 × 27.9 cm (14 × 11 in.)
The Gordon Parks Foundation
© The Gordon Parks Foundation

 

Gordon Parks (American, 1912-2006) 'Untitled (Flávio da Silva), Rio de Janeiro, Brazil' 1999

 

Gordon Parks (American, 1912-2006)
Untitled (Flávio da Silva), Rio de Janeiro, Brazil
1999
Gelatin silver print
Image: 20.3 × 25.4 cm (8 × 10 in.)
The Gordon Parks Foundation
© The Gordon Parks Foundation

 

Gordon Parks (American, 1912-2006) 'Untitled (Flávio da Silva), Rio de Janeiro, Brazil' 1999

 

Gordon Parks (American, 1912-2006)
Untitled (Flávio da Silva), Rio de Janeiro, Brazil
1999
Gelatin silver print
Sheet: 25.4 × 20.3 cm (10 × 8 in.)
The Gordon Parks Foundation
© The Gordon Parks Foundation

 

 

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

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

The J. Paul Getty Museum website

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31
Oct
19

Text and photos: Marcus Bunyan. “Punk jacket,” in Chris Brickell and Judith Collard (eds.,). ‘Queer Objects’ MUP, 2019

November 2019

 

Marcus Bunyan (Australian, b. 1958) 'Self-portrait with punk jacket and The Jesus and Mary Chain T-shirt' 1992

 

Marcus Bunyan (Australian, b. 1958)
Self-portrait with punk jacket and The Jesus and Mary Chain T-shirt
1992
Gelatin silver print
© Marcus Bunyan

 

 

Many thankx to University of Otago academics Chris Brickell and Judith Collard for inviting me to write a chapter for this important book… about my glorious punk jacket of the late 1980s (with HIV/AIDS pink triangle c. 1989). Aaah, the memories!

Please come along to the Australian launch of the book at Hares Hyenas bookshop (63 Johnston Street, Fitzroy, Melbourne) on Wednesday, November 6, 2019 at 6pm – 7.30pm. The book is to be launched by Jason Smith (Director Geelong Gallery). Click on the photographs for a larger version of the image.

Marcus

 

 

“Gay and lesbian identity (and, by extension, queer identity) is predicated on the idea that, as sexualities, they are invisible, because sexuality is not a visible identity in the ways that race or sex are visible. Only by means of individual expression are gay and lesbian sexualities made discernible.”

.
Ari Hakkarainen. “‘The Urgency of Resistance’: Rehearsals of Death in the Photography of David Wojnarowicz” 2018

 

 

Punk Jacket

 

I arrived in Melbourne in August 1986 after living and partying in London for 11 years. I had fallen in love with an Australian skinhead boy in 1985. After we had been together for a year and a half together his visa was going to expire and he had to leave Britain to avoid deportation. So I gave up my job, packed up my belongings and went to Australia. All for love.

We landed in Melbourne after a 23-hour flight and I was driven down Swanston Street, the main drag (which in those days was open to traffic) and I was told this was it; this was the centre of the city. Bought at a milk bar, the Australian version of the corner shop, the first thing I ever ate in this new land was a Violet Crumble, the Oz equivalent of a Crunchie. Everything was so strange: the light, the sounds, the countryside.

I felt alienated. My partner had all his friends and I was in a strange land on my own. I was homesick but stuck it out. As you could in those days, I applied for gay de facto partnership status and got my permanent residency. But it did not last and we parted ways. Strange to say, though, I did not go back to England: there was an opportunity for a better life in Australia. I began a photography course and then went to university. I became an artist, which I have now been for over 30 years.

Melbourne was totally different then from the international city of today: no café culture, no big events, no shopping on Sundays, everything shut down early. At first living there was a real culture shock. I was the only gay man in town who had tattoos and a shaved head, who wore Fred Perrys, braces and Doc Martens. All the other gay men seemed to be stuck in the New Romantics era. In 1988 I walked into the Xchange Hotel on Commercial Road, then one of the pubs on the city’s main gay drag, and said to the manager, Craig, ‘I’m hungry, I’m starving, give me a job’, or words to that effect. He thought a straight skinhead had come to rob the place, but he gave me a job, sweet man. He later died of AIDS.

I went to my first Mardi Gras in Sydney the same year, when the party after the parade was in the one pavilion, the Horden at the showgrounds, and there were only 3000 people there. I loved it. Two men, both artists who lived out in Newtown, picked me up and I spent the rest of the weekend with them, having a fine old time. I still have the gift Ian gave me from his company, Riffin Drill, the name scratched on the back of the brass belt buckle that was his present. I returned the next year and the party was bigger. I ventured out to Newtown during the day, when the area was a haven for alternatives, punks and deviants (not like it is now, all gentrified and bland) and found an old second-hand shop quite a way up from the train station. And there was the leather jacket, unadorned save for the red lapels. It fitted like a glove. Somehow it made its way back with me to Melbourne. Surprise, surprise!

Then I started making the jacket my own. Studs were added to the red of the lapel and to the lower tail at the back of the jacket with my initials MAB (or MAD as I frequently referred to myself) as part of the design. A large, Gothic Alchemy patch with dragon and cross surrounded by hand-painted designs by my best mate and artist, Frederick White, finished the back of the jacket. Slogans such as ‘One Way System,’ ‘Oh Bondage, Up Yours!’ and ‘Anarchy’ were stencilled to both arms and the front of the jacket; cloth patches were pinned or studded to the front and sides: Doc Martens, Union Jack, Southern Cross … and Greenpeace. I added metal badges from the leather bar, The Gauntlet, and a British Skins badge with a Union Jack had pride of place on the red lapel. And then there was one very special homemade badge. Made out of a bit of strong fabric and coloured using felt-tip pens, it was attached with safety pins to the left arm. It was, and still is, a pink triangle. And in grey capital letters written in my own hand, it says, using the words of the Latin proverb, ‘SILENCE IS THE VOICE OF COMPLICITY’.

I have been unable to find this slogan anywhere else in HIV/AIDS material, but that is not to say it has not been used. This was my take on the Silence = Death Collective’s protest poster of a pink triangle with those same words, ‘Silence = Death’ underneath, one of the most iconic and lasting images that would come to symbolise the Aids activist movement. Avram Finkelstein, a member of the collective who designed the poster, comments eloquently on the weight of the meaning of ‘silence’: ‘Institutionally, silence is about control. Personally, silence is about complicity.’1 In a strange synchronicity, in 1989 I inverted the pink triangle of the ‘Silence = Death’ poster so that it resembled the pink triangle used to identify gay (male) prisoners sent to Nazi concentration camps because of their homosexuality; the Pink Triangles were considered the ‘lowest’ and ‘most insignificant’ prisoners. It is estimated that the Nazis killed up to 15,000 homosexuals in concentration camps. Only in 2018, when writing this piece, did I learn that Avram Finkelstein was a Jew. He relates both variants of the pink triangle to complicity because ‘when you see something happening and you are silent, you are participating in it, whether you want to or not, whether you know it or not’.2

Finishing the jacket was a labour of love that took several years to reach its final state of being. I usually wore it with my brown, moth-eaten punk jumper, bought off a friend who found it behind a concert stage. Chains and an eagle adorned the front of it, with safety pins holding it all together. On the back was a swastika made out of safety pins, to which I promptly added the word ‘No’ above the symbol, using more safety pins, making my political and social allegiances very clear. Both the jumper and the jacket have both been donated to the Australian Lesbian and Gay Archives.

By 1993 I had a new boyfriend and was at the beginning of a 12-year relationship that would be the longest of my life. We were both into skinhead and punk gear, my partner having studied fashion design with Vivienne Westwood in London. We used to walk around Melbourne dressed up in our gear, including the jacket, holding hands on trams and trains, on the bus and in the street. Australia was then such a conservative country, even in the populated cities, and our undoubtedly provocative actions challenged prevailing stereotypes of masculinity. We wore our SHARP (Skinheads Against Racial Prejudice) T-shirts with pride and opposed any form of racism, particularly from neo-fascists.3

Why did we like the punk and skinhead look so much? For me, it had links to my working-class roots growing up in Britain. I liked the butch masculinity of the shaved head and the Mohawk, the tattoos, braces, Docs and Perrys – but I hated the racist politics of straight skinheads. ‘SHARPs draw inspiration from the biracial origins of the skinhead subculture … [they] dress to project an image that looks hard and smart, in an evolving continuity with style ideals established in the middle-to-late 1960s. They remain true to the style’s original purpose of enjoying life, clothes, attitude and music. This does not include blanket hatred of other people based on their skin colour.’4

By the very fact of being a ‘gay’ punk and skinhead, too, I was effectively subverting the status quo: the hetero-normative, white patriarchal society much in evidence in Australia at the time. I was subverting a stereotypical masculinity, that of the straight skinhead, by turning it ‘queer’. Murray Healy’s excellent book, Gay Skins: Class, Masculinity and Queer Appropriation, was critical to my understanding of what I was doing intuitively. Healy looks into the myths and misapprehensions surrounding gay skins by exploring fascism, fetishism, class, sexuality and gender. Queer undercurrents ran through skinhead culture, and shaven heads, shiny DMs and tight Levis fed into fantasies and fetishes based on notions of hyper-masculinity. But Healy puts the boot into those myths of masculinity and challenges assumptions about class, queerness and real men. Tracing the historical development of the gay skin from 1968, he assesses what gay men have done to the hardest cult of them all. He asks how they transformed the gay scene in Britain and then around the world, and observes that the ‘previously sublimated queerness of working class youth culture was aggressively foregrounded in punk. Punk harnessed the energies of an underclass dissatisfied with a sanitised consumer youth culture, and it was from the realm of dangerous sexualities that it appropriated its shocking signifiers.’5 There is now a whole cult of gay men who like nothing better than displaying their transformative sexuality by shaving their heads and putting on their Docs to go down the pub for a few drinks. Supposedly as hard as nails and as gay as fuck, the look is more than a costume, as much leatherwear has become in recent years: it is a spiritual attitude and a way of life. It can also signify a vulnerable persona open to connection, passion, tenderness and togetherness.

In 1992 I took this spiritual belonging to a tribe to a new level. For years I had suffered from depression and self-harm, cutting my arms with razor blades. Now, in an act of positive energy and self-healing, skinhead friend Glenn performed three and a half hours of cutting on my right arm as a form of tribal scarification. There was no pain: I divorced my mind from my body and went on a journey, a form of astral travel. It was the most spiritual experience of my life. Afterwards we both needed a drink, so we put on our gear and went down to the Exchange Hotel on Oxford Street in Sydney with blood still coming from my arm. I know the queens were shocked – the looks we got reflected, in part, what blood meant to the gay community in that era – but this is who I then was. The black and white photograph in this chapter (below) was taken a day later. Paraphrasing Leonard Peltier, I was letting who I was ring out and resonate in every deed. I was taking responsibility for my own being. From that day to this, I have never cut myself again.

These tribal belongings and deviant sexualities speak of a desire to explore the self and the world. They cross the prohibition of the taboo by subverting gender norms through a paradoxical masculinity that ironically eroticises the desire for traditional masculinity. As Brian Pronger observes,
.

“Paradoxical masculinity takes the traditional signs of patriarchal masculinity and filters them through an ironic gay lens. Signs such as muscles [and gay skinheads], which in heterosexual culture highlight masculine gender by pointing out the power men have over women and the power they have to resist other men, through gay irony emerge as enticements to homoerotic desire – a desire that is anathema to orthodox masculinity. Paradoxical masculinity invites both reverence for the traditional signs of masculinity and the violation of those signs.”6

.
Violation is critical here. Through violation gay men are brought closer to a physical and mental eroticism. I remember going to dance parties with my partner and holding each other at arm’s length on the pumping dance floor, rubbing our shaved heads together for what seemed like minutes on end among the sweaty crowd, and being transported to another world. I lost myself in another place of ecstatic existence. Wearing my punk jacket, being a gay skinhead and exploring different pleasures always took me out of myself into another realm – a sensitive gay man who belonged to a tribe that was as sexy and deviant as fuck.

Dr Marcus Bunyan

 

Marcus Bunyan. “Punk Jacket,” in Chris Brickell and Judith Collard (eds.,). Queer Objects. Manchester University Press, 2019, pp. 342-349.

Word count: 2,055

Endnotes

  1. Anonymous. ‘The Artist Behind the Iconic Silence = Death Image’, University of California Press Blog, 1 June 2017: https://www.ucpress.edu/blog/27892/the-artist-behind-the-iconic-silence-death-image
  2. Silence Opens Door, ‘Avram Finkelstein: Silence=Death,’ YouTube, 4 March 2010:
    https://youtu.be/7tCN9YdMRiA
  3. Skinheads Against Racial Prejudice was started in 1987 in New York as a response to the bigotry of the growing white power movement in 1982
  4. Anonymous, ‘Skinheads Against Racial Prejudice’:
    https://en.wikipedia.org/wiki/Skinheads_Against_Racial_Prejudice
  5. Murray Healy, Gay Skins: Class, masculinity and queer appropriation (London: Cassell, 1996), p. 397
  6. Brian Pronger, The Arena of Masculinity: Sports, homosexuality, and the meaning of sex (New York: St Martin’s Press, 1990), p. 145

 

 

Marcus Bunyan. 'Punk Jacket' c. 1989-1991

Marcus Bunyan. 'Punk Jacket' c. 1989-1991

Marcus Bunyan. 'Punk Jacket' c. 1989-1991 (detail)

 

Marcus Bunyan (Australian, b. 1958)
Punk Jacket
c. 1989-1991
Mixed media
Collection of the Australian Lesbian and Gay Archives (ALGA)
© Marcus Bunyan and ALGA

 

Marcus Bunyan (Australian, b. 1958) 'Self-portrait with punk jacket, flanny and 14 hole steel toe capped Docs' 1991

 

Marcus Bunyan (Australian, b. 1958)
Self-portrait with punk jacket, flanny and 14 hole steel toe capped Docs
1991
Gelatin silver print
© Marcus Bunyan

 

Marcus Bunyan (Australian, b. 1958) 'Marcus (after scarification), Sydney' 1992

 

Marcus Bunyan (Australian, b. 1958)
Marcus (after scarification), Sydney
1992
Gelatin silver print
© Marcus Bunyan

 

 

Other Marcus photographs in the Queer Objects book

 

Marcus Bunyan (Australian, b. 1958) 'Two torsos' 1991

 

Marcus Bunyan (Australian, b. 1958)
Two torsos
1991
Gelatin silver print
© Marcus Bunyan

 

Marcus Bunyan (Australian, b. 1958) 'Fred and Andrew, Sherbrooke Forest, Victoria' 1992

 

Marcus Bunyan (Australian, b. 1958)
Fred and Andrew, Sherbrooke Forest, Victoria
1992
Gelatin silver print
© Marcus Bunyan

 

 

Marcus Bunyan website

Marcus Bunyan black and white archive

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26
Sep
19

Exhibition: ‘Terracotta Warriors: Guardians of Immortality’ at the National Gallery of Victoria, Melbourne

Exhibition dates: 24th May – 13th October 2019

 

Censer 灰陶熏炉 Qin dynasty, 221 - 207 BCE

 

Censer
灰陶熏炉
Qin dynasty, 221 – 207 BCE
Earthenware
Xi’an Museum, Xi’an

 

 

The best thing about this exhibition were the beautiful lidded containers, flasks, everyday vessels and censers; cows, sows, goats, mythical creatures and smaller soldiers. The female attendant was divine.

Other than that I refrain from comment for fear of incriminating myself!

(perhaps a yawn would suffice)

Marcus

 

Many thankx to the National Gallery of Victoria for allowing me to publish the photographs in the posting. All photographs are iPhone images © Marcus Bunyan and the National Gallery of Victoria. Please click on the photographs for a larger version of the image.

 

Epic accounts of China’s ruling dynasties, philosophies, inventions and social customs during ancient times have been passed down through the centuries in the writings of philosophers, imperial scribes and military strategists. However, it was not until archaeologists in the twentieth century unearthed evidence – masterful bronzes, delicately crafted jades and boldly decorated ceramics – that the advanced levels of civilisation, artistry and refined aesthetics that existed in the past were more fully revealed. This provided a greater understanding of the rituals, social customs, preparation for the afterlife and quest for immortality that remained central to Chinese culture.

The greatest discovery of all was in 1974, when local farmers digging an irrigation well in Lintong district, Xi’an, unearthed fragments of the terracotta warriors. With this astounding discovery the legends of ancient China’s first emperor, Qin Shihuang, were confirmed. In their size and number, the terracotta warriors are unique in world history and signify Qin Shihuang’s quest for immortality, his affiliation with China’s mythical rulers, and his supreme imperial mandate as the son of heaven.

Text from the National Gallery of Victoria website

 

 

Lacquered vessel, Ding 陶胎漆鼎 Warring States period, 475 - 221 BCE

 

Lacquered vessel, Ding
陶胎漆鼎
Warring States period, 475 – 221 BCE
Lacquer on earthenware
Shangluo City Museum, Shangluo

 

Lidded container, He (left) 彩绘陶盒 Han dynasty, 207 BCE - 220 CE

 

Lidded container, He (left)
彩绘陶盒
Han dynasty, 207 BCE – 220 CE
Earthenware, pigments
Ganquan County Museum, Yan’an

Lidded container, He (right)
彩绘陶盒
Han dynasty, 207 BCE – 220 CE
Earthenware, pigments
Ganquan County Museum, Yan’an

 

Jar for storing grain (left) 彩绘陶仓 Han dynasty, 207 BCE - 220 CE

 

Jar for storing grain (left)
彩绘陶仓
Han dynasty, 207 BCE – 220 CE
Earthenware, pigments
Ganquan County Museum, Yan’an

Jar for storing grain (right)
彩绘陶仓
Han dynasty, 207 BCE – 220 CE
Earthenware, pigments
Ganquan County Museum, Yan’an

 

 

Ceramic ware with boldly painted decoration became widely used as substitutes for bronze vessels during the Qin (221 – 207 BCE) and Han (207 BCE – 220 CE) dynasties. The spontaneous and energetic decoration indicates they were produced in large numbers and therefore affordable to the general public. Vessels like these were used as utensils in daily life as well as modest tomb ware to contain provisions for the afterlife, like grain, wine and other foods. Ceramic ware like water pourers or incense burners also served as affordable utensils used in ceremonies and rituals.

Wall text from the exhibition

 

Flask, Hu 彩绘陶壶 Spring and Autumn period, 771 - 475 BCE

 

Flask, Hu
彩绘陶壶
Spring and Autumn period, 771 – 475 BCE
Earthenware, pigments
Longxian County Museum, Baoji

 

 

These Han dynasty ceramic vessels maintain the elegant shapes and decorative features of Zhou dynasty bronze vessels produced 1000 years earlier. Free-flowing painted designs reference nature motifs and auspicious subjects like clouds and dragons. The Four-sided flask displays ringed handles in solid relief on either side in a direct reference to identically shaped bronze vessels from the Zhou dynasty.

Wall text from the exhibition

 

Hollow brick with snake and tortoise 玄武纹空心砖 Western Han dynasty, 207 BCE - 9 CE

 

Hollow brick with snake and tortoise
玄武纹空心砖
Western Han dynasty, 207 BCE – 9 CE
Earthenware
Maoling Museum, Xingping

 

 

The Qin state capital city changed location on numerous occasions before establishing its grandest city and ultimate capital at Xianyang in 350 BCE. Vast palaces were constructed with wooden structures and clay-tiled roofs. Palaces were decorated with magnificent murals that featured geometric and floral designs as well as figures and animals. At the fall of the Qin empire in 207 BCE, the palaces were destroyed, with the grandest of them, Epang Palace, so large it reportedly burned for more than three months. Today, nothing but foundations remain; however, an idea of their grandeur and decoration can be gained from bricks and roof tiles. Four of the bricks display the four protective spirits representing each of the cardinal directions: the turtle (north), dragon (east), vermilion bird (south) and tiger (west).

Wall text from the exhibition

 

Flask, Hu 彩绘陶壶 Spring and Autumn period, 771 - 475 BCE

 

Flask, Hu
彩绘陶壶
Spring and Autumn period, 771 – 475 BCE
Earthenware, pigments
Longxian County Museum, Baoji

 

 

Ritual objects and ancestral treasures

Before the establishment of a nationally unified state by Emperor Qin Shihuang in 221 BCE, China had a long history of opposing kingdoms, self-governing territories and dynasties whose customs, beliefs and refined artisanship influenced the Qin dynasty and its creativity. Family prestige, social harmony and a belief in immortality and the afterlife were central to the creation of auspicious and ceremonial objects used for burial rituals, ancestor worship and encouraging good fortune. This gallery displays some of the most exquisitely crafted of these objects, produced from the beginning of the Zhou dynasty to the end of the Han dynasty (1046 BCE – 220 CE).

Jade was believed to possess magical powers that could maintain the human life force of air or breath after death, and beautifully carved jade objects would often accompany bodies in burial to help purify the deceased’s soul for its journey to the afterlife. Bronze objects with decorative motifs and inscriptions were created to represent a symbolic connection to China’s earliest dynasties and a ‘mandate from heaven’ to rule. Gold is thought to have been introduced to China from Central Asia and was mostly used for decoration on clasps, buckles and ceremonial objects.

Wall text from the exhibition

 

Belt plaque 金牌饰 Western Han dynasty, 207 BCE - 9 CE

 

Belt plaque
金牌饰
Western Han dynasty, 207 BCE – 9 CE
Gold, jade, agate, turquoise
Shaanxi Provincial Institute of Archaeology, Xi’an

 

 

In contrast to jade, which symbolised wealth and spiritual purity, and bronze, used to produce ritual objects, gold was used to a lesser extent and served a primarily decorative purpose. The tradition of using gold for personal adornment is believed to have come to China from Central Asia, and gold became a favoured material from the Spring and Autumn period (771 – 475 BCE) onwards. Objects that represented personal status, such as belt hooks, belt plaques and personal adornments, were usually cast in solid gold and often featured stylised geometric dragon motifs and inlaid semiprecious stones like turquoise and agate.

Wall text from the exhibition

 

Door ring holder in the form of a mythological beast, Pushou 四神兽面纹玉铺首 Han dynasty, 207 BCE - 220 CE

Door ring holder in the form of a mythological beast, Pushou 四神兽面纹玉铺首 Han dynasty, 207 BCE - 220 CE

 

Door ring holder in the form of a mythological beast, Pushou
四神兽面纹玉铺首
Han dynasty, 207 BCE – 220 CE
Jade
Maoling Museum, Xingping

 

 

This impressive door ring holder (pushou) in the form of a taotie mythological beast mask would support a large ring from its lower section and be positioned in the centre of doors or gateways. Its size is evidence of the grandeur of the palace or mausoleum building it once adorned. Its fierce appearance, with bulging eyes, was believed to ward off evil spirits, and its curling motifs ingeniously incorporate the four protective spirits in each corner. The four holy creatures are (clockwise from top left) the white tiger, the azure dragon, the vermilion bird and the black tortoise.

Wall text from the exhibition

 

 

In a dual presentation of Chinese art and culture past and present, the Melbourne Winter Masterpieces series at the National Gallery of Victoria will present China’s ancient Terracotta Warriors alongside a parallel display of new works by one of the world’s most exciting contemporary artists, Cai Guo-Qiang, at NGV International, May 2019.

Terracotta Warriors: Guardians of Immortality is a large-scale presentation of the Qin Emperor’s Terracotta Warriors, which, discovered in 1974 in China’s Shaanxi province, are regarded as one of the greatest archaeological finds of the twentieth century and widely described as the eighth wonder of the world. The exhibition will feature eight warrior figures and two life-size horses from the Imperial Army, as well as two half-size replica bronze chariots, each drawn by four horses.

These sculptures will be contextualised by an unprecedented Australian presentation of more than 150 exquisite ancient treasures of Chinese historic art and design lent by leading museums and archaeological sites from across Shaanxi province. These include priceless gold, jade and bronze artefacts that date from the Western Zhou through to the Han dynasties (1046 BC – 220AD). Illuminating more than a millennium of Chinese history, the exhibition will showcase the magnificence and authority of the once-entombed figures and reveal, through the intricate display of accompanying objects and artefacts, the sophistication that characterised the formative years of Chinese civilisation.

Presented in parallel, Cai Guo-Qiang: The Transient Landscape, will see contemporary artist, Cai Guo-Qiang, create all new art works inspired by his home country’s culture and its enduring philosophical traditions, including a monumental installation of 10,000 suspended porcelain birds. Spiralling over visitors’ heads, the birds create a three-dimensional impression of a calligraphic drawing of the sacred Mount Li, the site of the ancient tomb of China’s first emperor, Qin Shihuang, and his warriors. Cai will collaborate on the exhibition’s design, creating breathtaking immersive environments for the presentation of both his work and the Terracotta Warriors.

Drawing on Cai’s understanding of ancient Chinese culture and his belief that a dialogue with tradition and history can invigorate contemporary art, he will also create a monumental porcelain sculpture of peonies, placed at the centre of a 360-degree gunpowder drawing.

Tony Ellwood AM, Director, NGV said: ‘Thirty-six years ago, in 1982, the National Gallery of Victoria presented the first international exhibition of China’s ancient Terracotta Warriors only several years after their discovery. History will be made again in 2019, when the Qin Emperor’s Terracotta Army will return to the NGV for the 2019 Melbourne Winter Masterpieces exhibition series – this time in a sophisticated dialogue with the work one of China’s most celebrated contemporary artists, Cai Guo-Qiang.’

Of the parallel presentation, Cai said: ‘They are two rivers of time separated by two millennia, each creating a course at their own individual speed across a series of shared galleries. The ancient and the contemporary – two surges of energy that crisscross, pull, interact and complement each other, generating a powerful tension and contrast, each attracting and resisting the other.’

Jeff Xu, Founder and Managing Director, Golden Age Group said: ‘This exhibition will inspire Australian and international audiences to delve deeper into the many rich and diverse facets of China’s heritage. As Principal Partner, Golden Age is pleased to support such an ambitious world-exclusive showing in Victoria,  demonstrating our commitment to Melbourne as the cultural capital. We believe this exhibition will leave a lasting impression on this city for decades to come.’

This exhibition was organised by the National Gallery of Victoria, Melbourne, in partnership with Shaanxi Provincial Cultural Relics Bureau, Shaanxi History Museum, Shaanxi Cultural Heritage Promotion Centre, and Emperor Qin Shihuang’s Mausoleum Site Museum of the People’s Republic of China.

Press release from the National Gallery of Victoria [Online] Cited 14/07/2019

 

Armoured general 铠甲将军俑 Qin dynasty, 221 - 207 BCE

Armoured general 铠甲将军俑 Qin dynasty, 221 - 207 BCE

Armoured general 铠甲将军俑 Qin dynasty, 221 - 207 BCE

 

Armoured general
铠甲将军俑
Qin dynasty, 221 – 207 BCE
Earthenware
Emperor Qin Shihuang’s Mausoleum Site Museum, Xi’an

 

 

This general, the largest of the terracotta warriors in the exhibition, has a distinguished beard and moustache and displays a stance of importance. His position of authority is indicated by his headdress, which is the same style as that of the adjacent unarmoured general, and is further enforced by decorative tassels on his chest and back that act as insignias of rank. Generals and other high-ranking officers wore long armoured tunics that tapered from the waist to a triangular shape at the front, protecting their vital organs.

Wall text from the exhibition

 

Armoured military officer 中级铠甲军吏俑 Qin dynasty, 221 - 207 BCE

Armoured military officer 中级铠甲军吏俑 Qin dynasty, 221 - 207 BCE

Armoured military officer 中级铠甲军吏俑 Qin dynasty, 221 - 207 BCE

Armoured military officer 中级铠甲军吏俑 Qin dynasty, 221 - 207 BCE

 

Armoured military officer
中级铠甲军吏俑
Qin dynasty, 221 – 207 BCE
Earthenware
Emperor Qin Shihuang’s Mausoleum Site Museum, Xi’an

 

 

Standing warriors weigh between 150 and 300 kilograms and usually consist of seven different parts: a plinth, feet, legs, torso, arms, hands and head. Clay was kneaded by foot, and the torso section was built up with a coil layering technique. Other parts were created by pressing soft clay into moulds, in a process similar to making roof tiles or drainage pipes. To give each warrior a unique appearance, different moulds were used and the position of fingers and arms was manipulated while the clay was soft. Folds of clothing or armour plates were added to the torso, and head features were developed with additional small pieces of clay to define the cheekbones, chin, ears, nose and hair.

Wall text from the exhibition

 

Standing archer 立射俑 Qin dynasty, 221 - 207 BCE

Standing archer 立射俑 Qin dynasty, 221 - 207 BCE

Standing archer 立射俑 Qin dynasty, 221 - 207 BCE

 

Standing archer
立射俑
Qin dynasty, 221 – 207 BCE
Earthenware
Emperor Qin Shihuang’s Mausoleum Site Museum, Xi’an

 

 

The release of energy and sense of movement at the moment of firing an arrow results in archers displaying the most elegant and dramatic stances of all the terracotta warriors. The standing archer’s feet are slightly parted for balance, and he stares intently into the distance as if following the flight of an arrow just released from his bow. Displaying the topknot and braiding of a warrior, he wears a simple gown that allows freedom of movement. When created, the warriors were painted in bright colours and coated with lacquer, but this colouring had mostly been lost by the time of their excavation. New techniques of colour preservation are currently being developed at the terracotta warriors site.

Wall text from the exhibition

 

Unarmoured infantryman 战袍武士俑 Qin dynasty, 221 - 207 BCE

 

Unarmoured infantryman
战袍武士俑
Qin dynasty, 221 – 207 BCE
Earthenware
Emperor Qin Shihuang’s Mausoleum Site Museum, Xi’an

 

 

Unarmoured or light infantrymen are distinguished by their hair gathered in a top knot and their absence of armour. Their simple robes and low-slung belts give them a less military appearance; however, their half-closed right hand would have originally held a sword. We can clearly see that this figure has been reconstructed from many small broken parts. Of more than 2000 warriors unearthed to date, none have been discovered intact. It is speculated that shortly after their completion at the fall of the Qin dynasty, the victorious Han entered the terracotta warriors’ underground passages, smashed the contents and set the wooden passages on fire.

Wall text from the exhibition

 

 

Terracotta warriors

The discovery of the terracotta warriors, one of the most significant archaeological finds of the twentieth century, was made by chance. In March 1974, seeking water during a period of drought, local farmers began digging an irrigation well in Lintong district, Xi’an. Little more than a metre below ground, they unearthed fragments of the terracotta army, including a warrior’s head and a group of bronze arrowheads. Had the farmers commenced their digging a metre to the east, the warriors may have remained undetected.

The enormous tomb mound of China’s first emperor, Qin Shihuang, is located 1.5 kilometres from the terracotta warriors. While this has been the Qin emperor’s recognised tomb site over the centuries, astoundingly the creation of the warriors who guarded it was never recorded and knowledge of their existence was lost over time. It was recorded that the emperor employed and conscripted up to 700,000 workers to construct his mausoleum, the terracotta army and other buried items, making it the largest and most ambitious mausoleum construction in China’s history. To date, approximately 2000 of an estimated 8000 warriors have been excavated, and the pieces on display here represent the variety of individuals created, their positions within the army and their styles of apparel.

 

The first emperor’s mausoleum, according to the grand historian

Han dynasty historian and scribe Sima Qian (145 – 86 BCE) wrote a detailed account of the construction and interior of Qin Shihuang’s mausoleum in his text Records of the Grand Historian – Basic Annals of Qin:

‘In the ninth month, the First Emperor was interred at Mount Li. When he first came to the throne, the digging and preparation work began. Later, when he had unified China, 700,000 men were sent there from all over the empire. They dug through three layers of groundwater, and poured in bronze for the outer coffin. Palaces and scenic towers for a hundred officials were constructed, and the tomb was filled with rare artefacts and wonderful treasure. Craftsmen were ordered to make crossbows and arrows primed to shoot at anyone who entered the tomb. Mercury was used to simulate the hundred rivers, the Yangtze and Yellow River, and the great sea, and set to flow mechanically. Above were representations of the heavenly constellations, below were the features of the land. Candles were made from fat of “man-fish”, calculated to burn and not extinguish for a long time. The Second Emperor said: “It would be inappropriate for the concubines of the late emperor who have no sons to be out free”, [and] ordered that they should accompany the dead, and a great many died. After the burial, it was suggested that it would be a serious breach if the craftsmen who constructed the mechanical devices and knew of its treasures were to divulge those secrets.

Therefore after the funeral ceremonies had completed and the treasures [had been] hidden away, the inner passageway was blocked, and the outer gate lowered, immediately trapping all the workers and craftsmen inside. None could escape. Trees and vegetation were then planted on the tomb mound such that it resembles a hill.’

Wall text from the exhibition

 

Armoured military officer 中级铠甲军吏俑 Qin dynasty, 221 - 207 BCE

 

Armoured military officer
中级铠甲军吏俑
Qin dynasty, 221 – 207 BCE
Earthenware
Emperor Qin Shihuang’s Mausoleum Site Museum, Xi’an

 

Civil official 文官俑 Qin dynasty, 221 - 207 BCE

Civil official 文官俑 Qin dynasty, 221 - 207 BCE

Civil official 文官俑 Qin dynasty, 221 - 207 BCE

 

Civil official
文官俑
Qin dynasty, 221 – 207 BCE
Earthenware
Emperor Qin Shihuang’s Mausoleum Site Museum, Xi’an

 

 

In preparation for the afterlife, Emperor Qin Shihuang not only produced a terracotta army for his protection, but also ceramic administrators to look after government and civil affairs. This terracotta figure was discovered at a site adjacent to the emperor’s tomb, more than a kilometre from the terracotta army. Twelve civil officials were discovered, as well as the bones of twenty actual horses, one chariot and one charioteer. The officials all feature moustaches and a small tuft of chin hair and wear small hats believed to symbolise their status as officials or public conveyances. The attire of some civil officials includes baggy robes and a belt from which a pouch (presumably carrying a sharpening stone) and knife (to inscribe bamboo slats used for record keeping) hang.

Wall text from the exhibition

 

Chariot horse 车马 Qin dynasty, 221 - 207 BCE

Chariot horse 车马 Qin dynasty, 221 - 207 BCE

Chariot horse 车马 Qin dynasty, 221 - 207 BCE

Chariot horse 车马 Qin dynasty, 221 - 207 BCE

 

Chariot horse
车马
Qin dynasty, 221 – 207 BCE
Earthenware
Emperor Qin Shihuang’s Mausoleum Site Museum, Xi’an

 

 

Horses were fundamental to the strength of Chinese rulers and sacrificial horse burials had been practised since the Shang dynasty (c. 1600 – 1046 BCE). This is particularly notable at the tomb of Duke Jing of Qi (reigned 547 – 490 BCE), which contained a pit with the remains of over 600 horses. At several separate excavation sites in the vicinity of Emperor Qin Shihuang’s tomb, the remains of real horses and chariots have been discovered. However, the first emperor is significantly noted as the first to create life-sized horse replicas as an integral part of the terracotta army’s military formation. While the adjacent horse features a hole on each side to prevent cracking during firing, this example was ventilated through its detachable tail.

Wall text from the exhibition

 

Tomb gate 画像石 Eastern Han dynasty, 25 - 220 CE

Tomb gate 画像石 Eastern Han dynasty, 25 - 220 CE

Tomb gate 画像石 Eastern Han dynasty, 25 - 220 CE

Tomb gate 画像石 Eastern Han dynasty, 25 - 220 CE

 

Tomb gate
画像石
Eastern Han dynasty, 25 – 220 CE
Stone, pigments
Suide County Museum

 

 

This graphically decorated tomb gate depicts animated events and scenes of daily life typical of the Qin (221 – 207 BCE) and Han (207 BCE – 220 CE) dynasties. The lintel displays a hunting scene with men on horseback galloping at full speed – some with lances and others shooting arrows – in pursuit of wild animals. The inner left and right supports feature images of people wrestling, playing instruments, nursing children, performing acrobatics, walking with a horse, carrying goods or climbing stairs. Mythical birds, creatures and people are pictured on the rooftops and on the curling vines of the outer supports.

Wall text from the exhibition

 

Mythical creatures 石兽 Eastern Han dynasty, 25 - 220 CE

Mythical creatures 石兽 Eastern Han dynasty, 25 - 220 CE

 

Mythical creatures
石兽
Eastern Han dynasty, 25 – 220 CE
Stone
Xi’an Beilin Museum, Xi’an

 

 

Large stone beasts lined ‘spirit paths’ leading to the tombs of emperors, royals and aristocrats to protect them in the afterlife. These two magnificent Han dynasty examples stride forward with teeth displayed and powerful tails gracefully balanced behind. The female rests her front paw on a playful infant beast, representing natural harmony, and the male beast places his paw on a ball, representing his supremacy.

Wall text from the exhibition

 

Female attendant 粉彩女俑 Western Han dynasty, 207 BCE - 9 CE

Female attendant 粉彩女俑 Western Han dynasty, 207 BCE - 9 CE

 

Female attendant
粉彩女俑
Western Han dynasty, 207 BCE – 9 CE
Earthenware, pigments
Shaanxi Provincial Institute of Archaeology, Xi’an

 

 

Excavated from the Yangling tomb of the fourth Han emperor, Jing, this female attendant displays the rounded shoulders typical of a Han dynasty beauty. She wears multi-layered robes with wide sleeves and the splayed lower section fashionable among women of the time. The position of her hands, concealed in her sleeves, elegant stance and gentle expression suggest that she is waiting to attend the imperial household members.

Wall text from the exhibition

 

Standing soldiers 彩绘步兵俑 Western Han dynasty, 207 BCE - 9 CE

 

Standing soldiers
彩绘步兵俑
Western Han dynasty, 207 BCE – 9 CE
Earthenware, pigments
Xianyang Museum, Xianyang

 

Large cavalrymen 彩绘骑马俑 Western Han dynasty, 207 BCE - 9 CE

Large cavalrymen 彩绘骑马俑 Western Han dynasty, 207 BCE - 9 CE

Large cavalrymen 彩绘骑马俑 Western Han dynasty, 207 BCE - 9 CE

Large cavalrymen 彩绘骑马俑 Western Han dynasty, 207 BCE - 9 CE

Large cavalrymen 彩绘骑马俑 Western Han dynasty, 207 BCE - 9 CE

 

Large cavalrymen
彩绘骑马俑
Western Han dynasty, 207 BCE – 9 CE
Earthenware, pigments
Xianyang Museum, Xianyang

 

 

A terracotta army of more than 2400 horses with riders and standing figures was discovered in 1965 by villagers levelling land at Yangjiawan, approximately twenty-two kilometres north-east of Xi’an. Due to the large number of military objects found, the site is believed to be a satellite tomb in the burial complex of the first Han emperor, Gaozu, associated with the military generals Zhou Bo and his son Zhou Yafu. Each standing warrior carries a shield and wears a loose rove, and one has painted armour. Colour remains visible on these figures and provides a good indication of their original appearance.

Label text from the exhibition

 

Goat 陶山羊 Western Han dynasty, 207 BCE - 9 CE

Goat 陶山羊 Western Han dynasty, 207 BCE - 9 CE

 

Goat
陶山羊
Western Han dynasty, 207 BCE – 9 CE
Earthenware
Han Yangling Museum, Xianyang

 

Cow 陶牛 Western Han dynasty, 207 BCE - 9 CE

Cow 陶牛 Western Han dynasty, 207 BCE - 9 CE

 

Cow
陶牛
Western Han dynasty, 207 BCE – 9 CE
Earthenware
Han Yangling Museum, Xianyang

 

Wild male dog 陶狼犬(公) Western Han dynasty, 207 BCE - 9 CE; Domestic female dog 陶家犬(母) Western Han dynasty, 207 BCE - 9 CE

 

Wild male dog
陶狼犬(公)
Western Han dynasty, 207 BCE – 9 CE
Earthenware
Han Yangling Museum, Xianyang

Domestic female dog
陶家犬(母)
Western Han dynasty, 207 BCE – 9 CE
Earthenware
Han Yangling Museum, Xianyang

 

Sow 陶母猪 Western Han dynasty, 207 BCE - 9 CE

 

Sow
陶母猪
Western Han dynasty, 207 BCE – 9 CE
Earthenware
Shaanxi Provincial Institute of Archaeology, Xi’an

 

Group of ten soldiers 男武士俑--十人组 Western Han dynasty, 207 BCE - 9 CE

Group of ten soldiers 男武士俑--十人组 Western Han dynasty, 207 BCE - 9 CE

 

Group of ten soldiers
男武士俑–十人组
Western Han dynasty, 207 BCE – 9 CE
Earthenware
Han Yangling Museum, Xianyang

 

 

More than 40,000 small-scale terracotta warriors were discovered and excavated during the 1990s from pits adjacent to the Han Yangling tomb of Emperor Jing. Created seventy years after Qin Shihuang’s life-sized terracotta warriors, they served the same purpose as tomb guardians but were of a scale that could be more practically produced. The torsos, legs and heads were moulded separately then joined with moist clay before firing. Arms, made from wood, clothing, made from cloth, and armour, made from leather, have all perished during their 2000 years underground. The variety of faces produced from different moulds suggest a multicultural nation and the many regions and ethnicities present in the Han dynasty army.

Label text from the exhibition

 

Wellhead 绿釉陶井 Han dynasty, 207 BCE - 220 CE

 

Wellhead
绿釉陶井
Han dynasty, 207 BCE – 220 CE
Glazed earthenware
Xi’an Museum, Xi’an

 

 

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27
Aug
19

Exhibition: ‘Lee Krasner: Living Colour’ at the Barbican Art Gallery, London

Exhibition dates: 30th May – 1st September 2019

 

Lee Krasner: Living Colour

 

Lee Krasner: Living Colour
Installation view at the Barbican Art Gallery
30 May – 1 September 2019
© Tristan Fewings/Getty Images

 

 

The augur of passion, the fire of movement, the colour of the embrace!

She used to ask herself, “does it work?”, as every artist should… not seeking affirmation from others but just being focused in her own mind on what she wanted to say, on that inner experience.

She was the equal of men, surpassing most. Krasner is finally getting the accolades she so richly deserves.

Marcus

 

Many thankx to the Barbican Art Gallery for allowing me to publish the art work in the posting. Please click on the photographs for a larger version of the image. The black and white photographs have been digitally cleaned by myself.

 

 

Lee Krasner: Living Colour

 

Lee Krasner: Living Colour
Installation view at the Barbican Art Gallery
30 May – 1 September 2019
© Tristan Fewings/Getty Images

 

Lee Krasner (1908-1984) 'Untitled' 1946

 

Lee Krasner (American, 1908-1984)
Untitled
1946
Collection of Bobbi and Walter Zifkin
© The Pollock-Krasner Foundation
Photo: Jonathan Urban

 

Lee Krasner (1908-1984) 'Abstract No. 2' 1947

 

Lee Krasner (American, 1908-1984)
Abstract No. 2
1947
IVAM Centre, Spain
Courtesy IVAM
© The Pollock-Krasner Foundation

 

Lee Krasner (1908-1984) 'Mosaic Table' 1947

 

Lee Krasner (American, 1908-1984)
Mosaic Table
1947
Private Collection
© The Pollock-Krasner Foundation. Courtesy Michael Rosenfeld Gallery LLC, New York

 

 

The cold winter on Long Island, where Krasner and Pollock were now living, forced her to work downstairs by the stove, where she made two brilliantly coloured mosaic tables using wagon wheels she found in the barn.

 

Lee Krasner: Living Colour

 

Lee Krasner: Living Colour
Installation view with Composition 1949 and Stop and Go c. 1949
Barbican Art Gallery 30 May – 1 September 2019
© Tristan Fewings/Getty Images

 

Lee Krasner: Living Colour

 

Installation view with Stop and Go c. 1949
Barbican Art Gallery 30 May – 1 September 2019
© Tristan Fewings/Getty Images

 

Lee Krasner (American, 1908-1984) 'Blue Level' 1955

 

Lee Krasner (American, 1908-1984)
Blue Level
1955
Private Collection
© The Pollock-Krasner Foundation
Photo: Diego Flores

 

Lee Krasner (American, 1908-1984) 'Desert Moon' 1955

 

Lee Krasner (American, 1908-1984)
Desert Moon
1955
Los Angeles County Museum of Art
© The Pollock-Krasner Foundation
© 2018 Digital Image Museum Associates/ LACMA/Art Resource NY/ Scala, Florence

 

Lee Krasner (American, 1908-1984) 'Bald Eagle' 1955

 

Lee Krasner (American, 1908-1984)
Bald Eagle
1955
Collection of Audrey Irmas, Los Angeles
© The Pollock-Krasner Foundation
Photo: Jonathan Urban

 

Lee Krasner: Living Colour

 

Lee Krasner: Living Colour
Installation view with Bird Talk 1955 and Bald Eagle 1955
Barbican Art Gallery 30 May – 1 September 2019
© Tristan Fewings/Getty Images

 

Lee Krasner: Living Colour

 

Lee Krasner: Living Colour
Installation view with Bird Talk 1955
Barbican Art Gallery 30 May – 1 September 2019
© Tristan Fewings/Getty Images

 

Lee Krasner (American, 1908-1984) 'Prophecy' 1956

 

Lee Krasner (American, 1908-1984)
Prophecy
1956
Private Collection
© The Pollock-Krasner Foundation
Courtesy Kasmin Gallery, New York
Photo: Christopher Stach

 

Lee Krasner (American, 1908-1984) 'Embrace' 1956

 

Lee Krasner (American, 1908-1984)
Embrace
1956
Photograph © The Pollock-Krasner Foundation
Photo: Christopher Stach

 

 

 

Lee Krasner: Living Colour

 

Lee Krasner: Living Colour
Installation view with Embrace 1956
Barbican Art Gallery 30 May – 1 September 2019
© Tristan Fewings/Getty Images

 

 

“I like a canvas to breathe and be alive. Be alive is the point.”

“Painting is a revelation, an act of love… as a painter I can’t experience it any other way.”

“I was a woman, Jewish, a widow, a damn good painter, thank you, and a little too independent…”

“Aesthetically I am very much Lee Krasner. I am undergoing emotional, psychological, and artistic changes but I hold Lee Krasner right through.”

“Painting is not separate from life. It is one. It is like asking – do I want to live? My answer is yes – and I paint.”

“I couldn’t run out and do a one-woman job on the sexist aspects of the art world, continue my painting, and stay in the role I was in as Mrs Pollock… What I considered important was that I was able to work and other things would have to take their turn.”

“Jackson always treated me as an artist… he always acknowledged, was aware of what I was doing… I was a painter before I knew him, and he knew that, and when we were together, I couldn’t have stayed with him one day if he didn’t treat me as a painter.”

“[The Surrealists] treated their women like French poodles, and it sort of rubbed off on the Abstract Expressionists. The exceptions were Bradley Walker Tomlin, Franz Kline, and Jackson Pollock. That might be the end of my listing. The other big boys just didn’t treat me at all. I wasn’t there for them as an artist.”

“I go on the assumption that the artist is a highly sensitive, intellectual and aware human being… It’s a total experience which has to do with the sensitivity of being a painter. The painter’s form of expressing [them]self is through painting.”

.
Lee Krasner

 

“… their blossoming was remarkable. In fact “blossoming” is hardly the word, for it suggests a soft, floral, ethereal event, adjectives one would not pick for the tough paintings, often full of barely controlled anger, that she was to produce after 1960… Is there a less “feminine” woman artist of her generation? Probably not.”

.
Robert Hughes

 

 

Lee Krasner: Living Colour

 

Lee Krasner: Living Colour
Installation view with The Eye is the First Circle 1960
Barbican Art Gallery 30 May – 1 September 2019
© Tristan Fewings/Getty Images

 

Lee Krasner (American, 1908-1984) 'Polar Stampede' 1960

 

Lee Krasner (American, 1908-1984)
Polar Stampede
1960
The Doris and Donald Fisher Collection at the San Francisco Museum of Modern Art
© The Pollock-Krasner Foundation
Courtesy Kasmin Gallery, New York

 

 

Polar Stampede 1960, one of a series of paintings she made at night during bouts of insomnia and which her friend, the poet Richard Howard, called her ‘Night Journeys’

 

Lee Krasner (American, 1908-1984) 'The Guardian' 1960

 

Lee Krasner (American, 1908-1984)
The Guardian
1960
Oil and house paint on canvas
53 1/8 × 58 1/8 in. (134.9 × 147.6 cm)
Whitney Museum of American Art
Purchase, with funds from the Uris Brothers Foundation, Inc.

 

Lee Krasner: Living Colour

 

Lee Krasner: Living Colour
Installation view with Assault on the Solar Plexus 1961
Barbican Art Gallery 30 May – 1 September 2019
© Tristan Fewings/Getty Images

 

Lee Krasner (American, 1908-1984) 'Through Blue' 1963

 

Lee Krasner (American, 1908-1984)
Through Blue
1963
Private Collection, New York City
© The Pollock-Krasner Foundation
Photo: Christopher Stach

 

Lee Krasner: Living Colour

 

Lee Krasner: Living Colour
Installation view with Through Blue 1963
Barbican Art Gallery 30 May – 1 September 2019
© Tristan Fewings/Getty Images

 

Lee Krasner: Living Colour

 

Lee Krasner: Living Colour
Installation view with Another Storm 1963
Barbican Art Gallery 30 May – 1 September 2019
© Tristan Fewings/Getty Images

 

Lee Krasner (American, 1908-1984) 'Another Storm' 1963

 

Lee Krasner (American, 1908-1984)
Another Storm
1963
Private Collection
© The Pollock-Krasner Foundation
Courtesy Kasmin Gallery, New York

 

Lee Krasner (American, 1908-1984) 'Icarus' 1964

 

Lee Krasner (American, 1908-1984)
Icarus
1964
Thomson Family Collection, New York
© The Pollock-Krasner Foundation
Courtesy Kasmin Gallery, New York
Photo: Diego Flores

 

Lee Krasner: Living Colour

 

Lee Krasner: Living Colour
Installation view with Chrysalis 1964 and Icarus 1964
Barbican Art Gallery 30 May – 1 September 2019
© Tristan Fewings/Getty Images

 

Lee Krasner: Living Colour

 

Lee Krasner: Living Colour
Installation view with Combat 1965
Barbican Art Gallery 30 May – 1 September 2019
© Tristan Fewings/Getty Images

 

Lee Krasner (American, 1908-1984) 'Siren' 1966

 

Lee Krasner (American, 1908-1984)
Siren
1966
Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, Washington D.C.
© The Pollock-Krasner Foundation
Photo: Cathy Carver, Hirshhorn Museum and Sculpture Garden

 

Lee Krasner (American, 1908-1984) 'Untitled' 1969

 

Lee Krasner (American, 1908-1984)
Untitled
1969
The Pollock-Krasner Foundation, New York City
© The Pollock-Krasner Foundation
Courtesy Kasmin Gallery, New York

 

Lee Krasner: Living Colour

 

Lee Krasner: Living Colour
Installation view with Portrait in Green 1969
Barbican Art Gallery 30 May – 1 September 2019
© Tristan Fewings/Getty Images

 

Lee Krasner, who died in 1984, at work in her studio in the 60s, painting 'Portrait in Green'

 

 

Lee Krasner: Living Colour

 

Lee Krasner: Living Colour
Installation view with Palingenesis 1971
Barbican Art Gallery 30 May – 1 September 2019
© Tristan Fewings/Getty Images

 

Lee Krasner (American, 1908-1984) 'Palingenesis' 1971

 

Lee Krasner (American, 1908-1984)
Palingenesis
1971
Collection Pollock-Krasner Foundation
© The Pollock-Krasner Foundation
Courtesy Kasmin Gallery, New York

 

 

Palingenesis noun Biology: the exact reproduction of ancestral characteristics in ontogenesis (the development of an individual organism or anatomical or behavioural feature from the earliest stage to maturity).

When Krasner showed 12 new paintings at the Marlborough Gallery in New York the critic Robert Hughes described this pink as rapping ‘hotly on the eyeball at 50 paces’.

 

Lee Krasner: Living Colour

 

Lee Krasner: Living Colour
Installation view with Olympic 1974
Barbican Art Gallery 30 May – 1 September 2019
© Tristan Fewings/Getty Images

 

Lee Krasner (American, 1908-1984) 'Imperative' 1976

 

Lee Krasner (American, 1908-1984)
Imperative
1976
National Gallery of Art, Washington D.C.
© The Pollock-Krasner Foundation
Courtesy National Gallery of Art, Washington D.C

 

 

Barbican Art Gallery is pleased to stage the first retrospective in Europe for over 50 years of American artist Lee Krasner (1908-1984). One of the pioneers of Abstract Expressionism, Krasner made work reflecting the feeling of possibility and experiment in New York in the post-war period. Lee Krasner: Living Colour features nearly 100 works – many on show in the UK for the first time – from across her 50-year career, and tells the story of a formidable artist whose importance has often been eclipsed by her marriage to Jackson Pollock.

The exhibition celebrates Krasner’s spirit for invention – including striking early self-portraits; a body of energetic charcoal life drawings; original photographs of her proposed department store window displays, designed during the war effort; and her acclaimed ‘Little Image’ paintings from the 1940s with their tightly controlled geometries. It also features collages comprised of torn-up earlier work and a selection of her most impressive large-scale abstract paintings. This work is accompanied by rare photography and film from the period, in an elegant exhibition design by David Chipperfield Architects.

Jane Alison, Head of Visual Arts, Barbican, said: ‘We are thrilled to be staging Lee Krasner: Living Colour. Despite featuring in museum collections around the world and being one of the few women to have had a solo show at New York’s Museum of Modern Art, in 1984, Krasner has not received the recognition that she deserves in Europe, making this an exciting opportunity for visitors here to experience the sheer impact of her work’.

Krasner was determined to find new ways to capture inner experience. As the playwright Edward Albee commented at her memorial at the Metropolitan Museum of Art, in both her life and her work, ‘…she looked you straight in the eye, and you dared not flinch’. Born in Brooklyn in 1908 in a family recently emigrated from Russia, she chose to attend Washington Irving High School (which at the time was the only school in New York to offer an art course for girls) before going on to study at the National Academy of Design. She was inspired by the opening of MoMA in 1929; joined the Hans Hofmann School of Fine Arts, where she made lifelong friends including renowned designer Ray Eames; was a member of the American Abstract Artists; and became a friend to many leading artists of the day including Willem de Kooning and Franz Kline.

In 1945, Krasner married Jackson Pollock and they moved to Springs, Long Island, borrowing $2000 from collector and dealer Peggy Guggenheim to buy a run-down clapboard farmhouse. Krasner worked in the living room and then an upstairs bedroom – intimate make-shift studio spaces, which are mirrored in the Barbican Art Gallery’s upstairs rooms – while Pollock worked in a converted barn outside. After Pollock’s early death in a car crash in 1956, Krasner made the courageous decision to claim his studio as her own, which allowed her to work for the first time on large, un-stretched canvas tacked to the wall. The result would be the remarkable ‘Umber’ and ‘Primary’ series paintings, in which her exploration of scale, biomorphic form and colour collided into some of her most celebrated work. Examples on show include The Guardian, 1960; Happy Lady, 1963; Icarus, 1964; and Siren, 1966.

Lee Krasner: Living Colour draws from more than 50 international collections: from museums, including the Metropolitan Museum of Art, Los Angeles County Museum of Art, San Francisco Museum of Modern Art, the National Gallery of Washington, the Whitney Museum of American Art, Hirshhorn Museum and Sculpture Garden, Philadelphia Museum of Art, the Jewish Museum and the Museum of Fine Arts Houston, as well as from a large number of private collections. Many works are being exhibited in Europe for the first time, such as the monumental Combat (1965), which is over 4 metres long, and has travelled from the National Gallery of Victoria in Australia.

The exhibition is curated and organised by Barbican Centre, London, in collaboration with Schirn Kunsthalle Frankfurt, Zentrum Paul Klee, Bern and Guggenheim Museum Bilbao.

Press release from the Barbican Art Gallery [Online] Cited 14 June 2019

 

Unknown Photographer. 'Lee Krasner and her younger sister, Ruth' c. 1915-16

 

Unknown Photographer
Lee Krasner and her younger sister, Ruth
c. 1915-16

 

“I was brought up to be independent. I made no economic demands on my parents so in turn they let me be… I was not pressured by them, I was free to study art. It was the best thing that could have happened.” ~ Lee Krasner

 

Lee Krasner. 'Self-Portrait' c. 1928

 

Lee Krasner (American, 1908-1984)
Self-Portrait
c. 1928
The Jewish Museum, New York
© The Pollock-Krasner Foundation
Courtesy the Jewish Museum, New York

 

Unknown photographer. 'Lee Krasner' c. 1938

 

Unknown photographer
Lee Krasner
c. 1938
Gelatin silver print

 

Maurice Berezov (American, 1902-1989) 'Lee Krasner in her New York studio' 1939

 

Maurice Berezov (American, 1902-1989)
Lee Krasner in her New York studio
1939
Gelatin silver print
© Copyright A.E. Artworks, LLC

 

Fred Prater. 'Lee Krasner at the WPA Pier, New York City, where she was working on a WPA commission' c. 1940

 

Fred Prater
Lee Krasner at the WPA Pier, New York City, where she was working on a WPA commission
c. 1940
Gelatin silver print
Lee Krasner Papers, c. 1905-1984
Archives of American Art, Smithsonian Institution

 

'Lee Krasner photo booth images' Nd

 

Lee Krasner photo booth images
1940s-50s?

 

With Jackson Pollock in Springs, London Island, 1949

 

With Jackson Pollock in Springs, London Island, 1949
Photo: Wilfred Zogbaum

 

 

“She would ask me to the studio. One didn’t just go there. One waited for an invitation. But she didn’t talk about her painting. The most distinct thing for her was the question: does it work? That was the big way that she thought. She wasn’t insecure about it. She wasn’t asking my opinion. She was asking herself.

“She had a very strong conviction about herself as a painter. She saw her own worth. She saw herself as equal to the men. She didn’t have the attention Pollock had, but she’d grown inured to that. Lee knew all about brands: she was Mrs Pollock, and sometimes she took advantage of it. But she also had great feeling for him as a painter. He wasn’t an easy person, but she never disparaged him, and he never disparaged her, either. The most powerful attraction between them was their intellectual acknowledgement of each other.”

Krasner’s nephew Jason McCoy quoted in Rachel Cooke. “Reframing Lee Krasner, the artist formerly known as Mrs Pollock,” on The Guardian website Sunday 12 May 2019 [Online] Cited 22 June 2019

 

Halley Erskine. 'Lee Krasner standing on a ladder in front of 'The Gate' (1959) before it was completed, Springs, July or August 1959' 1959

 

Halley Erskine
Lee Krasner standing on a ladder in front of ‘The Gate’ (1959) before it was completed, Springs, July or August 1959
1959
Gelatin silver print

 

Hans Namuth (German, 1915-1990) 'Lee Krasner in her studio in the barn, Springs' 1962

 

Hans Namuth (German, 1915-1990)
Lee Krasner in her studio in the barn, Springs
1962
Gelatin silver print
Lee Krasner Papers, Archives of American Art, Smithsonian Institution, Washington, D.C.

 

Irving Penn (American, 1917-2009) 'Lee Krasner, Springs, NY' 1972

 

Irving Penn (American, 1917-2009)
Lee Krasner, Springs, NY
1972
Gelatin silver print
© The Irving Penn Foundation

 

 

Barbican Art Gallery
Barbican Centre
Silk Street, London, EC2Y 8DS

Opening hours:
Mon – Sat: 9am – 11pm
Sun: 11am – 11pm
Bank Holidays: 12 noon – 11pm

Barbican Art Gallery website

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Dr Marcus Bunyan

Dr Marcus Bunyan is an Australian artist and writer. His art work explores the boundaries of identity and place. He writes Art Blart, a photographic archive and form of cultural memory, which posts mainly photography exhibitions from around the world. He holds a Dr of Philosophy from RMIT University, Melbourne, a Master of Arts (Fine Art Photography) from RMIT University, and a Master of Art Curatorship from the University of Melbourne.

Marcus Bunyan black and white archive: ‘Mask’ 1994

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