Curator: Lauren Hinkson, Associate Curator of Collections at the Guggenheim Museum in New York
Organised by The Solomon R. Guggenheim Foundation, New York
Josef Albers (American, born Germany 1888-1976) Study for Homage to the Square, Closing
1964
Acrylic on Masonite
Solomon R. Guggenheim Museum, New York, Gift, The Josef Albers Foundation, Inc., 1996
It is fascinating to see “the influence and connectivity between the work of Josef Albers and the abstracted geometric vocabulary of pre-Columbian art, architecture and material culture” … and the press release might add, between Albers, architecture and the flattened, geometric vocabulary of his photographs.
The lesser-known photographs and collages are “a visual conversation Albers created in response to his frequent visits to Mexico to view archaeological sites as early as the 1930s, illustrating the nuanced relationship between the geometry and design elements of pre-Columbian monuments and the artist’s iconic abstract canvases and works on paper.”
But these photographic collages stand as works of art in their own right, for they are music not just notation. Just look at the elegance and tension between the lower images in Mitla (1956, below). You don’t group photographs together like this so that they sing, so that the ‘ice-fire’ as Minor White would say (that space between each image that acts as tension between two or more images), enacts powerful attractors of light, form and energy (or spirit, if you like) … without knowing what you are doing, without feeling the presence of what you are photographing.
While artists have used photographs as “models” for other forms of art for years (for example Atget’s “documents for artists”), and we acknowledge that purpose, these images stand on their own two feet as visually nuanced, cerebral and finished works of art.
Dr Marcus Bunyan
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Many thankx to the Heard Museum for allowing me to publish the photographs in the posting. Please click on the photographs for a larger version of the image.
Josef Albers (American, born Germany 1888-1976) Study for Sanctuary 1941-1942
Ink on paper
The Josef and Anni Albers Foundation, Bethany, Connecticut, 1976
Josef Albers (American, born Germany 1888-1976) Ballcourt at Monte Alban, Mexico
c. 1936-37
Gelatin silver print
The Josef and Anni Albers Foundation, Bethany, Connecticut, 1976
Josef Albers (American, born Germany 1888-1976) Tenayuca I
1942
Oil on Masonite
The Josef and Anni Albers Foundation, Bethany, Connecticut, 1976
Josef Albers (American, born Germany 1888-1976) The Pyramid of the Magician, Uxmal
1950
Gelatin silver print
Solomon R. Guggenheim Museum, New York, Gift, The Josef Albers Foundation, Inc., 1996
Josef Albers (American, born Germany 1888-1976) Governor’s Palace, Uxmal
1952
Gelatin silver print
Solomon R. Guggenheim Museum, New York, Gift, The Josef Albers Foundation, Inc., 1996
Josef Albers (American, born Germany 1888-1976) Luminous Day
1947-1952
Oil on Masonite
The Josef and Anni Albers Foundation, Bethany, Connecticut, 1976
Josef Albers (American, born Germany 1888-1976) Platform of the Eagles, Chichen Itza
1952
Gelatin silver print
The Josef and Anni Albers Foundation, Bethany, Connecticut, 1976
The Heard Museum is presenting Josef Albers in Mexico. The exhibition demonstrates the influence and connectivity between the work of Josef Albers (German, 1888-1976) and the abstracted geometric vocabulary of pre-Columbian art, architecture and material culture. The Heard Museum is the third and final stop of the exhibition which opened in New York in 2017 then traveled to the Peggy Guggenheim Collection in Venice in 2018.
Josef Albers in Mexico is organised by the Solomon R. Guggenheim Foundation, and curated by Lauren Hinkson, Associate Curator of Collections at the Guggenheim Museum in New York. Drawing from the collections of the Solomon R. Guggenheim Museum and the Josef and Anni Albers Foundation, Josef Albers in Mexico presents an opportunity to learn about a little-known aspect of the artist’s practice and the influences he absorbed in his travels.
“Through his close attention to ancient architecture, Josef Albers developed new modes of seeing the modern world,” says Lauren Hinkson. “This exhibition of his celebrated paintings, along with lesser-known photographs and collages, reveals the complex and often surprising roles of place, time, and spirituality in Albers’s body of work.”
Included in the exhibition are rarely seen early paintings by Albers, including Homage to the Square and Variant/Adobe series, works on paper, and a rich selection of photographs and photocollages, many of which have never before been on view. The photographic works reveal a visual conversation Albers created in response to his frequent visits to Mexico to view archaeological sites as early as the 1930s, illustrating the nuanced relationship between the geometry and design elements of pre-Columbian monuments and the artist’s iconic abstract canvases and works on paper. Accompanying the artworks are a series of letters, personal photographs, studies and other ephemera.
Josef Albers was born in Bottrop, Germany in 1888 and was a fixture at the pioneering school of art, architecture, and design, the Bauhaus, until its forced closure by the Nazis. Albers and his wife, Anni Albers (1899-1994), an accomplished artist and textile designer, relocated to the United States in 1933, where he first accepted a position as head of the department of art at Black Mountain College outside of Asheville, North Carolina, a position he held until 1949. He then went on to be the head of the design department at Yale University in New Haven, Connecticut. Josef and Anni Albers traveled often to Latin America with particular interest in Mexico – visiting the country more than a dozen times from the 1930s to the 1960s. Albers’ fascination with the visual culture of Mexico left an indelible mark on his own artistic production and methodology, with sites like Teotihuacán, Chichén Itza, Monte Albán, and Mitla resonating within his paintings and stimulating new experiments in his photography.
The Heard also produced a series of public programs co-curated by the Heard Museum’s Fine Arts Curator, Erin Joyce. Topics include explorations of colour theory with some of todays’ leading artists, designers, and architects; the influence of Indigenous art and aesthetics on broader visual art, the role it has on informing artistic production and investigations into formalism and politics. Josef Albers in Mexico runs through Monday, May 27, 2019 at the Heard Museum.
Press release from the Heard Museum [Online] Cited 25/02/2019
Josef Albers (American, born Germany 1888-1976) Mitla
1956
Gelatin silver prints and postcards, mounted to paperboard
The Josef and Anni Albers Foundation, Bethany, Connecticut, 1976
Josef Albers (American, born Germany 1888-1976) Mitla (detail)
1956
Gelatin silver prints and postcards, mounted to paperboard
The Josef and Anni Albers Foundation, Bethany, Connecticut, 1976
Josef Albers (American, born Germany 1888-1976) Mitla (detail)
1956
Gelatin silver prints and postcards, mounted to paperboard
The Josef and Anni Albers Foundation, Bethany, Connecticut, 1976
Josef Albers (American, born Germany 1888-1976) Mitla (detail)
1956
Gelatin silver prints and postcards, mounted to paperboard
The Josef and Anni Albers Foundation, Bethany, Connecticut, 1976
Josef Albers (American, born Germany 1888-1976) Mitla (detail)
1956
Gelatin silver prints and postcards, mounted to paperboard
The Josef and Anni Albers Foundation, Bethany, Connecticut, 1976
Anni Albers (American, born Germany 1899-1994) Josef Albers, Mitla
1935-39
The Josef and Anni Albers Foundation, Bethany, Connecticut, 1976
Heard Museum
2301 N. Central Avenue
Phoenix, Arizona 85004
I have always loved the ordered forms, the elegiac simplicity of Clement Meadmore’s designs. Therefore, I very much looked forward to seeing this exhibition. Unfortunately, the installation left me feeling a little alienated both towards the objects themselves but more importantly, the artist and designer.
Simply put, the installation of the works was too clinical and cold, the designs either raised on white boxes or enclosed in metal frames… or both. If their presentation was to engender the idea that this was “art” – the art of mid-century design – by placing them in a “white cube”, isolating them from their functional context (in modernist homes, cafés and restaurants), then I was not buying what the exhibition was selling. The metal frames reminded me of the frame that surrounds some of Francis Bacon’s painting series, Study after Velázquez’s Portrait of Pope Innocent X (1946-mid-1960s), making this viewer want to scream at the museum control evidenced here.
The use of black and white walls didn’t help. In a jazz age (Meadmore was the most ardent admirer of jazz music) of music, colour and movement, and when Meadmore painted one of the interiors of his café in bold primary colours, the use of such bland colours seemed puzzling. Both I and my esteemed friend Joyce Evans, who knew Meadmore in New York and often went to the jazz clubs with him there, felt that the exhibition failed to capture the spirit of the artist, his wonderful personality – or the spirit of the age. The closest that the exhibition comes to that spirit, that sense of joie de vivre after the privations of the Second World War, are not works by Meadmore at all, but paintings that appeared on the wall of the Legend Expresso and Milk Bar interior c. 1956 by Leonard French titled The Legend of Sinbad the Sailor (1956, below). Here is a cacophony of sound, colour and movement redolent of the era.
Other things rankle. The importance of his contribution to the changing nature of the Melbourne art scene, and the Australian art scene in general, cannot be underestimated. Joyce Evans said to me that, as director of Gallery A, Meadmore’s influence on the direction of contemporary art in Melbourne was incredible, his influence in this sphere much more important than any of the designs he ever made. Other than a brief paragraph of wall text (below), there is little investigation into this aspect of Meadmore’s career in Australia. This is not the thrust of this exhibition as shown by its title, but to ignore his curatorial influence on contemporary art in Melbourne is, I believe, a mistake.
Further, while his groundbreaking designs are now presented as “art” – the hypothesis for the exhibition – at the time Meadmore’s sculpture was his art, his passion; his furniture and lighting was his business. What he did to pay the bills. Two facts are pertinent here: the fact that Meadmore did move to New York in 1963 to achieve international prominence as a sculptor, and the fact that after he moved to America he never made another chair. It says a lot about where his passion really lay.
Looking beyond all of these comments, it was absolutely fantastic to see the ordered forms, the simple functionality and elegant design of Meadmore’s objects, with his use of basic, everyday materials such as steel rod and cord to make his now iconic designs. Two things stood out for me. The ingenious sculptural steel base that enables the Calyx lamps to rest in two positions; and the most beautiful and sophisticated design and construction of the structure under a coffee table. The exhibition is worth visiting just to see these two design elements alone. But the work that most captures the spirit of the man better than anything else in this exhibition, and not the “art” on a pedestal, is that of a small welded steel and brass sculpture called The Trumpeter from 1957 (below). This is the man, the artist, in all his effervescence and gregariousness. It’s a pity the exhibition didn’t capture this spirit.
Marcus
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Many thankx to the Ian Potter Museum of Art for allowing me to publish the photographs in the posting. Please click on the photographs for a larger version of the image.
“Space should reveal itself to the wandering eye. Furniture should enhance a feeling of space by its non-obstructing presence.”
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Clement Meadmore
GALLERY 1
Installation views of Gallery 1 of the exhibition Clement Meadmore: The art of mid-century design at the Ian Potter Museum of Art, Melbourne
Clement Meadmore: The art of mid-century design is the first major survey to focus on the industrial design practice of one of Australia’s most internationally successful artists. Curated by Dean Keep and Jeromie Maver, the exhibition charts the evolution of Clement Meadmore’s design aesthetic in the 1950s and early 60s, before he shifted his focus to sculpture, and highlights the role Meadmore played alongside Australia’s most innovative and progressive designers of the mid-century period.
The exhibition sheds light on a time when mid-century tastemakers sought to shape post-war Melbourne into a thriving and cosmopolitan city that, through the intersection of art, design and architecture, embodied the ideals and principles of the modernist aesthetic. Meadmore’s first furniture design, a steel rod and corded dining chair created in 1951, became an instant hit, catching the attention of the highly influential modernist architect Robin Boyd and receiving the Good Design Award from the Society of Interior Designers of Australia (SIDA). The chair would later form part of the iconic thirteen-piece series known as the Meadmore Originals.
For just over a decade, Meadmore produced a small range of innovative furniture and lighting designs, popular with architects, artists and designers of the period. The ground-breaking modern homes designed by architects such as Robin Boyd, Neil Clerehan and Peter McIntyre were not complete without Meadmore furniture or lighting, often placed alongside pieces by Frances Burke, Grant Featherston, Fred Lowen and Douglas Snelling. Meadmore’s furniture and designs were regularly featured in journals such as Australian Home Beautiful and Architecture and Arts, and sold at Marion Hall Best’s showrooms in Sydney and Frances Burke’s New Design store in Melbourne.
In 1955, prior to the 1956 Melbourne Olympics, Meadmore was commissioned by Ion Nicolades to design the interiors of the Legend Espresso and Milk Bar and the Teahouse, both in Melbourne. Drawing upon international modernism and a new-found passion for Italian culture, the Legend Espresso and Milk Bar is arguably one of Meadmore’s greatest achievements and became a touchstone for many young creatives in 1950s Melbourne.
In the latter part of the 1950s, Meadmore’s attention increasingly shifted to his sculptural practice and the gallery scene, whilst maintaining his industrial design practice. He would also play a pivotal role in establishing and managing Max Hutchinson’s Gallery A. Known as the Little Bauhaus, the gallery championed non-figurative art and industrial design, with Meadmore responsible for designing the gallery’s line of contract furniture.
The result of 10 years research, Clement Meadmore: The art of mid-century design presents many pieces for the first time, alongside newly discovered Meadmore designs. The exhibition also presents a rare opportunity to see original furniture and lighting designed by Meadmore for the modernist interiors of the Legend Espresso and Milk Bar and the Teahouse. The iconic designs in this exhibition – including chairs, tables, light fixtures, and graphics – are enlivened by archival images and documents, alongside interviews with the artist’s family and colleagues connected to the Melbourne art, jazz and design scenes of the 1950s. Clement Meadmore: The art of mid-century design showcases Meadmore’s rich design practice and shines a light on the important cultural shifts that shaped mid-century Melbourne.
Text from the Ian Potter Museum of Art website [Online] Cited 10/02/2019
On the wall at rear is Erica McGilchrist (1926-2014) Frigidity from the series Moods 1954 and Clement Meadmore’s custom made frame. Pen and ink on paper; steel rod and hardwood (frame) Heide Museum of Modern Art, gift of Erica McGilchrist
Installation views of Gallery 2 the exhibition Clement Meadmore: The art of mid-century design at the Ian Potter Museum of Art, Melbourne
Calyx Lighting
The Calyx lighting range takes design cues from Meadmore’s interest in international modernism, and represents an important shift in his practice. A distinctive feature of the Calyx range is the ingenious sculptural steel base, that enables the lamp to rest in two positions.
Using low-cost materials, readily available from local suppliers, the lamps required no welding and were designed to be easily manufactured and assembled in the workshop. Aluminium shades were hand-painted in a range of matt enamel colours, then baked in a beehive kiln in the backyard of Meadmore’s Burwood Road shop. All components were cut to size by Meadmore for quick assembly: the shade was easily fixed to the metal bracket using two metal pins and tap washers, then with the addition of a length of electrical flex, the finished product was ready or sale. The Calyx range was featured at the Anderson’s Furniture stand (also designed by Meadmore) at the Homes Exhibition in 1954.
Clement Meadmore (Australian, 1929-2005) Calyx pendant lamp 1954
Steel, enamel paint on aluminium, steel
Harris/Atkins Collection
Installation views of Gallery 2 the exhibition Clement Meadmore: The art of mid-century design at the Ian Potter Museum of Art, Melbourne
The work of Clement Meadmore (1929-2005), one of Australia’s most innovative and progressive designers from the mid-century period, will be on display at the Ian Potter Museum of Art from 20 November. This will be the first major survey of the influential industrial design work Meadmore undertook in Australia, before he moved to New York in 1963 and achieved international prominence as a sculptor.
The exhibition focuses on the crossover of art, design and architecture, featuring Meadmore’s iconic designs including chairs, tables and light fixtures. Rare archival images and documents, and interviews with the artist’s family and colleagues connected to the Melbourne art, jazz and design scenes of the 1950s will be on display alongside sculptures and structures.
Curated by Dean Keep and Jeromie Maver, the exhibition shines a light on Meadmore’s rich design practice and the important cultural shifts that shaped mid-century Melbourne. The display charts the evolution of the artist’s design aesthetic in the 1950s and early 1960s, cementing the role he played with the Australian design scene of this time.
Curator Dean Keep said, “The exhibition is an important retrospective showing a snapshot of time when mid-century tastemakers sought to turn Melbourne into a thriving and cosmopolitan city.”
It was in 1951 that Meadmore designed his first piece of furniture; a steel rod and corded dining chair which would form part of the iconic thirteen-piece series known as Meadmore Originals. This chair design became an instant hit, catching the attention of the highly influential modernist architect Robin Boyd.
For the next ten years, Meadmore produced a range of innovative furniture and lighting designs, popular with architects, artists and designers of the period. The ground-breaking modern homes designed by architects such as Robin Boyd, Neil Clerehan and Peter McIntyre were not complete without Meadmore furniture.
In the mid-1950s, Meadmore was commissioned to design the interiors of the Legend Espresso and Milk Bar in Melbourne, opening for the 1956 Melbourne Olympics. Before shifting towards sculpture in the late 1950s, Meadmore’s designs were regularly featured in popular lifestyle magazines and sold in designer department stores in Sydney and Melbourne.
Clement Meadmore: The art of mid-century design is on at Ian Potter Museum of Art, The University of Melbourne from 20 November 2018 to 3 March 2019.
This project has been assisted by a State Library Victoria Creative Fellowship.
Press release from the Ian Potter Museum of Art
GALLERY 3
Clement Meadmore (Australian, 1929-2005) Model for a six-hundered foot skyscraper
1978
Wood, gesso and paint
Collection of Rosalind Meadmore
Michael Hirst
The three tables presented here pose interesting questions about the business and design arrangements between Clement Meadmore and Michael Hirst, and ambiguous boundaries between authorship and attribution in some of the Hirst manufactured furniture.
The two tiled occasional tables, traditionally attributed to Hirst, were both made by Clement Meadmore and were presented by he designer as gifts to the Dallwitz family in Adelaide. Meadmore considered the tables as prototypes for a new design, sharing with the Dallwitz family his process of making them: first, the glass tiles were laid out to form a pattern, then affixed to adhesive paper and turned upside down. A square structure could then be built around them to hold the wet plaster or cement until it had set hard.
The Dining Table (c. 1959) manufactured by Hirst, was originally owned by the Rippin family, friends of both Hirst and Meadmore. Ailsa Rippin maintained throughout her life that the table was designed by Meadmore, an assertion supported by the aesthetic and structural similarities it shares with a coffee table Meadmore designed for Violet Dulieu and with one of his earliest welded sculptures (c. 1954).
Wall text
Installation views of Gallery 3 the exhibition Clement Meadmore: The art of mid-century design at the Ian Potter Museum of Art, Melbourne
GALLERY 4
At left: Clement Meadmore. Door handle (from Thomas’ music store) c. 1959 welded steel Collection of Ken Neale
At right: Clement Meadmore. Untitled c. 1962 welded steel Private collection, Melbourne
Installation views of Gallery 4 the exhibition Clement Meadmore: The art of mid-century design at the Ian Potter Museum of Art, Melbourne
GALLERY 5
Photograph at rear is of the Teahouse interior c. 1958
Artefacts relating to the Legend Expresso and Milk Bar including building application (1955), menu book and cups and saucers
Photograph at rear is of the Legend Expresso and Milk Bar interior c. 1956, 239 Bourke Street, Melbourne Victoria, with Leonard French’s painting The Legend of Sinbad the Sailor
(1956, below) on the wall behind the counter. Courtesy of I. A. Nicolades and L. French. Credit: Leonard Janiszewski and Effy Alexakis. In Their Own Image: Greek-Australians; and chair for Legend Expresso and Milk Bar c. 1956, steel, brass, Collection of Mr John and Ms Dora Dallwitz
Café culture: the Legend and the Tea House
A time of great cultural shifts, the 1950s saw Melbourne evolve into a multi-cultural city enriched by the contributions of post-war migrants. The introduction of European café culture at this time had an enduring influence on the character of the city, as did the preparations for the 1956 Olympic Games, which prompted a major program of rebuilding and revitalisation, providing Clement Meadmore with the opportunity to create two of the most imaginative and original interiors in Melbourne.
Ion Nicolades was one of many business owners to remodel their premises in anticipation of the number of visitors soon to descend upon the city. Owner of the Anglo-American Café, a Melbourne institution which had operated on the same site since 1904, Nicolades approached Meadmore with the idea of transforming his business into a contemporary café, renamed the Legend Expresso and Milk Bar. Located in the heart of the city on Bourke Street, the space was divided by an internal wall, with the café to the left, and milk bar to the right – and ideal mix that would capitalise on its proximity to nearby offices and cinemas.
Noted on the plans as the ‘superintending architect’, Meadmore designed every aspect of the Legend, from structural elements through to interior design. From the stools, tables and steel rod chairs, through to the black metal pendant lights. Meadmore crafted an interior that embodied a playful mix of European modernism and contemporary styling. The refurbished Legend quickly became a hub for the young art and design crowd.
Nicolades soon commissioned Meadmore for a second project, the Tea House (also known as the T House). In contrast to the Italophile interiors of the Legend, this project blended British culture and Asian aesthetics with motifs from the botanical world. Meadmore’s subtle inclusion of visual metaphors can be seen in the shape of the chair backs, which reference tea leaves, and in the shape of his lighting: an allusion to the hats worn by plantation workers who picked the tea [see last installation photograph below]. Meadmore’s passion for geometry informed both the design and spatial arrangement of the interior and furnishings, creating a striking display of ordered forms. The rows of simple steel rod tables and chairs, enveloped by curtained walls that draw the eye deep into the room, demonstrate his ability to minimise visual weight and create a sense of light and space.
Wal text
Leonard French (Australian, 1928-2017) The Legend of Sinbad the Sailor
1956
Duco and enamel on board
La Trobe University Art Collection
Donated under the Australian Government Cultural Gifts Program by Mr Ion Nicolades 1999
Gallery A
Gallery A was an art gallery in Melbourne’s Flinders Lane, established in 1959 by Max Hutchinson and Clement Meadmore, who took the role of gallery director. The inaugural exhibition included work b the Italian abstract expressionist Franco Meneguzzo (Italian, b. 1924), who Meadmore had met in Milan six years earlier, alongside a group of Australia abstract painters, such as Meadmore’s housemate Peter Upward (Australian, 1932-1983). In a climate of conservatism within the Australian art scene, Gallery A was unapologetically progressive, showcasing non-figurative and abstract art alongside design. An exhibition featuring the work of Ludwig Hirschfield-Mack (1893-1965, German 1893-1939, arrived Australia 1940) in 1961 helped earn Gallery A the title of ‘Little Bauhaus’. In keeping with the Bauhaus principle of bridging the gap between art and industry, Gallery A’s activities extended beyond the exhibition of art and design to the production of a range of furniture, designed by Meadmore and manufactured by Hutchison’s company Adroit Manufacturing. Described as ‘contract furniture’, these designs were intended for commercial projects and were advertised in the gallery’s brochures.
Wall text
Installation views of Gallery 5 the exhibition Clement Meadmore: The art of mid-century design at the Ian Potter Museum of Art, Melbourne
The Ian Potter Museum of Art
The University of Melbourne,
Swanston Street (between Elgin and Faraday Streets)
Parkville, Melbourne, Victoria Phone: +61 3 8344 5148
Opening hours:
Tuesday to Friday 10 am – 5 pm
Saturday and Sunday 12 – 5 pm
Germaine Krull (photographer)
Cover design by M. Tchimoukow (Louis Bonin) MÉTAL cover
1928
Librairie des Arts décoratifs
A. Calavas, Editeur
Portfolio comprising a title page, a preface by Florent Fels and sixty four (64) loose photogravures, each mentioning the photographer’s name, titled ‘MÉTAL’, plate number and publisher’s name. Original dust jacket.
folio 30 x 23.5 cm; 11 ¾ x 9 ¼ in.
plate 29.2 x 22,5 cm; 11 ½ x 8 ¾ in.
image 23.6 x 17.1 cm; 9 ¼ x 6 ½ in.
“Dans toute sa force” (In full force)
For my new body of work I have been researching the concept of The Oblique Function which was first developed in the 1960’s by Architecture Principe (Claude Parent and Paul Virilio). “The idea was to tilt the ground in order to revolutionise the old paradigm of the vertical wall. In fact, being inclined, the wall becomes experiencable and so are the cities imagined by the two French architects. The oblique is fundamentally interested in how a body physically experiences a space. The slope implies an effort to climb up and a speed to climb down; this way the body cannot abstract itself from the space and feel the degrees of inclination.”1
The key to the concept is: The oblique is fundamentally interested in how a body physically experiences a space.
Perhaps we can transfer this concept to the portfolio MÉTAL by Germaine Krull, one of the most important photobooks every produced … and ask how does Krull, her camera, and by extension the viewer, inhabit the spaces she creates.
In this portfolio Krull, through “extreme angles, producing dizzying compositions of overlapping and intersecting details”, one upside down image and two multiple exposures, “one showing two overlapped power generators and the other several layered bicycle parts printed at right angles to one another to create an effect of circular motion”2 – produces and directs (Krull was also an avant-garde filmmaker) the creation of a molecular structure – both grand and intimate, macro and micro at one and the same time. Probing further, we can link her filmic structure, this oblique mass of machines and images, to Eisenstein’s dynamic comprehension of a work of art, that is, “The logic of organic form vs. the logic of rational form [which] yields, in collision, the dialectic of the art-form.”3
This dialectic (the tension that exists between two conflicting or interacting forces, elements, or ideas; and, the process, in Hegelian and Marxist thought, in which two apparently opposed ideas, the thesis and antithesis, become combined in a unified whole, the synthesis) rests on Eisenstein’s definition of the organic form as “the passive principle of being”, defining its limit to be nature, and his definition of the rational form as “the active principle of production”, defining its limit to be industry, with art falling where nature and industry intersects.4 How these two forces interact “produces and determines Dynamism”, in which:
The spatial form of this dynamism is expression. The phases of its tension: rhythm.5
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These new concepts and viewpoints are the result of a constantly dynamic evolution from old perceptions to new perceptions which produce contradictions within the spectator’s mind. Eisenstein observes, “That which is not slightly distorted lacks sensible appeal; from which it follows that irregularity – that is to say, the unexpected, surprise and astonishment, are an essential part and characteristic of beauty.”6 “And Baudelaire wrote in his journal: That which is not slightly distorted lacks sensible appeal; from which it follows that irregularity-that is to say, the unexpected, surprise and astonishment, are an essential part and characteristic of beauty. Upon closer examination of the particular beauty of irregularity as employed in painting, whether by Grünewald or by Renoir, it will be seen that it is a disproportion in the relation of a detail in one dimension to another detail in a different dimension. The spatial development of the relative size of one detail in correspondence with another, and the consequent collision between the proportions designed by the artist for that purpose, result in a characterization – a definition of the represented matter.”7
What could me appropriate for Krull’s multi-layered, distorted, scaled, twisted representations of the new temples of industry than this definition of represented matter – a symbiosis between nature and industry, acknowledging, through emotion, beauty in the nature of industry, and landscapes of plenty in a people-less world?
An anonymous author on the Cinema Confessions blog comments, “Any art form ought to be understood as a communicative medium in which the thing being communicated is not an idea, but an emotion. Language communicates intellect, whereas art communicates sensation. The two are certainly compatible, as in poetry, but also just as certainly inimitably unique. And as communication requires the process of a message being sent and received, we must acknowledge that distinct communication is impossible without the process of time. Thus, as words in a sentence are given meaning through context of contiguous words in the same sentence, and sentences are given sub-textual meaning through context of other sentences within a conversation, given shots within a scene will conform to an over-tonal meaning intrinsically contextualized by other shots within the same scene, and in a broader sense, other scenes throughout the film.”
They continue: “In the essay The Filmic Fourth Dimension, Eisenstein compares film to music thusly, “There, along with the vibration of a basic dominant tone, comes a whole series of similar vibrations … Their impacts against each other … envelop the basic tone in a whole host of secondary vibrations … We find the same thing in optics, as well. All sorts of aberrations, distortions, and other defects, which can be remedied by systems of lenses, can also be taken into account compositionally, providing a whole series of definite compositional effects.” To simplify, he is describing the methods by which musicians and filmmakers are capable of manipulating audience emotion.”8
Thus, through Krull’s definitive compositional effects, her tonal montages capture more than just linear time, construct more than the spectator’s eye directed along the lines of some immobile object … for her holistic movement of the piece is perceived in a wider sense: where the “montage is based on the characteristic emotional sound of the piece – of its dominant. The general tone of the piece… I do not mean to say that the emotional sound of the piece is to be measured “impressionistically.” The piece’s characteristics in this respect can be measured with as much exactitude as in the most elementary case of “by the ruler” measurement in metrical montage. But the units of measurement differ. And the amounts to be measured are different.”9
This is the key to the effective nature of Krull’s portfolio, the power of the emotional sound of the piece: her understanding of the compositional effects of tonal montage as a piece of theatre measured in a different unit – through rhythm, through the interruption of sequences, through the distortion of spaces – to create a single unit of sensory and emotional experience. As Eisenstein notes, “In the Kabuki … a single monistic sensation of theatrical “provocation” takes place. The Japanese regards each theatrical element, not as an incommensurable unit among the various categories of affect (on the various sense-organs), but as a single unit of theatre . . .. Directing himself to the various organs of sensation, he builds his summation [of individual “pieces”] to a grand total provocation of the human brain, without taking any notice which of these several paths he is following.”10
Pace Krull. Her holistic compositions are intertextual and multi-faceted at a time when “straight” photography and even avant-garde photography could not string an adequate sentence together, let alone a multi-dimensional visual, sensual and emotional narrative. This is why Krull’s portfolio is so revolutionary for its time. And just to reinforce this shock of the new, of surprise and astonishment, Krull gets the writer Florent Fels – a traditionalist who by this time (1928) did not like contemporary art – to write a romantic eulogy of an introduction to the new gods of the sky, an introduction which gives the reader a sense of the soaring romanticism which is ascribed to these machinic megaliths. Citing Dostoyevsky, Rousseau and Cocteau, Fels’ florid fornications are, just like Krull’s stunning images, a joy for the senses:
“The trains break the horizon with a deafening roar. They leave the ground and glide there on the ether into the inevitable advance of progress, dragging the living with wonder towards the astral stations.
The strong and soft movement of the hammer softens the ingots like lead elephants. And see the Eiffel Tower, now a bell tower of acoustic waves, its improper monstrosity has provided for surprise and confusion. Now lovers are treated there, three hundred metres above the ground, to a rendezvous with the birds. And the poets, from the old Douanier Rousseau to Jean Cocteau, claim that on beautiful spring evenings fairies ride tobogan on its wing.
This giant was missing a heavenly glow: One has been given to it. The luminous progress of industry is evident in every majestic metre of its height.
Aeroplane, elevator and wheel, with which some humans soar up to the kingdom of the birds, are suddenly transformed into elements of our nature.”11
Dr Marcus Bunyan for Art Blart
Word count: 1,438
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All of the photographs in this posting are published under “fair use” conditions for the purpose of educational research and academic comment. Please click on the photographs for a larger version of the image.
Sergei Eisenstein. Film Form: Essay in Film Theory. Edited and translated by Jay Leyda. New York and London: A Harvest/HBJ Book, 1949, p. 46
Ibid.,
Ibid., p. 47
Charles Baudelaire, Intimate Journals (13 May 1 856), translated by Christopher Isherwood. New York, Random House, 1930, quoted in Sergei Eisenstein. Film Form: Essay in Film Theory. Edited and translated by Jay Leyda. New York and London: A Harvest/HBJ Book, 1949, p. 51
Extract of the Preface from Florent Fels to the first edition of MÉTAL. Librairie des Arts décoratifs, A. Calavas, Editeur, 68, Rue la Fayette, Paris, 1928
I did not have a special intention or design when I took the Iron photographs. I wanted to show what I see, exactly as the eye sees it.
‘MÉTAL’ is a collection of photographs from the time. ‘MÉTAL’ initiated a new visual era and open the way or a new concept of photography.
‘MÉTAL’ was the starting point which allowed photography to become an artisanal trade and which made an artist of the photographer, because it was part of this new movement, of this new era which touched all art.
.
Germaine Krull. Extract from the Preface to the 1976 edition of ‘MÉTAL’
Roland Barthes was skeptical of Krull’s experimental photographs. In his famous 1980 meditation on photography, ‘Camera Lucida’, he wrote: “There are moments when I detest Photographs: what have I to do with Atget’s old tree trunks, with Pierre Boucher’s nudes, with Germaine Krull’s double exposures (to cite only the old names).”3 Barthes discounts what he calls photographic “contortions of technique: superimpressions, anamorphoses, deliberate exploitation of certain defects (blurring, deceptive perspectives, trick framing),” and comments that “great photographers (Germaine Krull, Kertész, William Klein) have played on these surprises, without convincing me, if I understand their subversive bearing.”4 But while such photographs are sometimes subversive, to be sure, they are often celebratory in tone. Krull and her colleagues carried out their “contortions of technique” to produce metaphors for the swirling, confusing, exhilarating urban life in their post-World War I decade.
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Roland Barthes. Camera Lucida, p. 33 quoted in Kim Sichel. “Contortions of Technique: Germaine Krull’s Experimental Photography,” on the MoMA website [Online] Cited 25/11/2018
Krull’s most renowned photographs are not street scenes but abstracted views of the Eiffel Tower, and three of these images, accompanied by a short text by Florent Fels and laid out in overlapping fashion, appeared in a ‘Vu’ article titled “Dans toute sa force” (In full force) published in May 1928, just before the tower’s fortieth birthday (fig. 8).19 According to Krull’s memoirs, Vogel told her, “Go and photograph the Eiffel Tower, Germaine. Photograph it as you really see it, and make sure that you don’t bring me a postcard view.”20 As Krull wrote, she did not see much in the “dead old form” until she began climbing the staircases and experiencing the tower from various vantage points. Some of the resultant images – vertiginous views of the wrought iron structure - appeared in the German magazine UHU and Philippe Lamour’s journal ‘Grand’route’ as well as in ‘Vu’, and others (eleven in all) grace the pages of ‘Métal’.21
.
“Protest gegen ein unmögliches Bauwerk,” ‘UHU’ 4 (December 1927): 106-11; Eric Hurel, “La Confusion des arts,” ‘Grand’route’ 1, no. 3 (May 1930): 71-74; and Krull, ‘Métal’, cover and pls. 2, 11, 19, 26, 28, 33, 37, 50, 54, 57. Footnote 21 in Kim Sichel. “Contortions of Technique: Germaine Krull’s Experimental Photography,” on the MoMA website [Online] Cited 25/11/2018
Although a portfolio, rather than a book, MÉTAL is widely considered to be among the most important photographic publications of the 1920s. Not only was Krull able to create work that stood the test of time, but she managed it in a profession dominated by men. It is interesting that with MÉTAL, she embraces a clearly masculine theme.
Krull’s photographs, whether of bridges, cranes, or the Eiffel Tower, tend towards the unconventional. It seems as if her initial approach is quite conservative, but then she questions common rules of composition, avoiding the more obvious ways her subjects would have been photographed at the time. Krull consequently avoids implementing a strict visual language. Instead of striving for a “realistic” documentation of her subject in her photographs she chooses her angles instinctively, cropping the images tightly, or even reversing them. It is exactly this unexpected approach that makes MÉTAL stand out. …
The photographs were taken in Paris, Amsterdam, Rotterdam, Marseille and Saint-Malo.
Curiously the cover image of the portfolio (also plate 37) is actually presented upside down. This decision was presumably taken by M. Tchimoukow (real name Louis Bonin), the designer of the portfolio’s cover. There appear to have been at least two versions of the portfolio. One with a black spine and band, and one with a brown spine and band. The brown cloth version (shown below) seems to be the rarer of the two. The portfolio consists of 64 plates with images printed on one side, and two folded sheets unbound resulting in 8 pages which include a two and a half page text by Florent Fels in French and a short explanatory text by Germaine Krull.
Germaine Krull (1897-1985) In the port of Amsterdam
1924
Image from the portfolio MÉTAL
1928
Collotype
Germaine Krull (1897-1985) Museum of Technology, Paris
1925
Image from the portfolio MÉTAL
1928
Collotype
Germaine Krull (1897-1985) Antwerp
1924
Image from the portfolio MÉTAL
1928
Collotype
Preface from Florent Fels to the first edition of MÉTAL
The industrial activity of our times spreads a spectacle before our eyes, to which they have not yet become accustomed. Its newness captures and frightens us like that of a large natural phenomenon. In turn it expresses an attitude of mind, to which painters and poets are among those who devote themselves.
Europe’s cities appear to us as outdated and anachronistic. The provincial towns with their promenades, pleasant fountains and music pavilion suddenly become somewhat old fashioned, whilst the lyricism of our time succeeds in writing itself in concrete and steel cathedrals. Yet we are witness to the paradoxical fact, that the largest enterprises serve as forms of progress with exception of those who can contribute to an improvement in human dwellings. Except for a privileged few the accommodation of our contemporaries shows a similarity with that of our forebears at the time of Richelieu and Cromwell. The people of the cities succumb to the push of commercial practises. We demand houses with windows, which give a free view of the garden. Modern housing for modern people in which the sun and the fresh air find an unhindered inlet. Concrete and steel are their most important constituents: Ten years after the end of the war steel will at last serve a noble purpose, it will perhaps be rehabilitated.
Steel changes our landscape. Forests of masts replacing trees centuries old. Blast furnaces replacing hills.
From this new expression of the world some aspects have no been captured by beautiful photographs representative of a new romanticism.
Germaine Krull is the Marceline Desbores-Valmore of this lyricism and her photographs are sonnets of shining, piercing verse. Like an orchid is the driving force of Farcot and like frightening insects are the cogs.
Double exposure lends to the finest mechanisms a fantastic appearance and in considering a milling machine covered in muddy oil and detritus and from water dripping, one thinks of Dostoyevsky. In the halo that surrounds them the powerful, noiseless and quietly working dynamos seem to radiate luminous vibrations, and whose chimneys ring out whose fanfare tones to the heavens, these new godly concepts laid out before us. The bridges penetrate into the space. The trains break the horizon with a deafening roar. They leave the ground and glide there on the ether into the inevitable advance of progress, dragging the living with wonder towards the astral stations.
The strong and soft movement of the hammer softens the ingots like lead elephants. And see the Eiffel Tower, now a bell tower of acoustic waves, its improper monstrosity has provided for surprise and confusion. Now lovers are treated there, three hundred metres above the ground, to a rendezvous with the birds. And the poets, from the old Douanier Rousseau to Jean Cocteau, claim that on beautiful spring evenings fairies ride tobogan on its wing.
This giant was missing a heavenly glow: One has been given to it. The luminous progress of industry is evident in every majestic metre of its height.
Aeroplane, elevator and wheel, with which some humans soar up to the kingdom of the birds, are suddenly transformed into elements of our nature.
The Tower is and remains the highest symbol of the modern age. As he left New York and its vapour crowned palaces it was the Eiffel Tower, this beacon of the air, which Lindbergh envisaged, in order to reach Paris in the sentimental heart of the modern world.
Florent Fels.
The Eiffel Tower, the cranes and bridges of Amsterdam, Rotterdam, Marseille and Saint-Malo provided me with the material for a number of plates which form this album. I am indebted to others for the extreme kindness with which I was welcomed, by the Director of the Conservatoire des Arts-et-Métiers to his museum, by the Director of the CPDE at the Saint-Quen Power Station, and by M. André Citroën in his factories.
The cover of the book is a composition by M. Tchimoukow.
Germaine Krull
Cover design by M. Tchimoukow
Librairie des Arts décoratifs,
A. Calavas, Editeur, 68, Rue la Fayette, Paris, 1928
Portfolio
23.5 x 29.9cm (Portfolio)
22.5 x 29cm (Plates)
64 plates and 2 leaves
Marceline Desbores-Valmore
Marceline Desbordes-Valmore (20 June 1786 – 23 July 1859) was a French poet and novelist…
She published Élégies et Romances, her first poetic work, in 1819. Her melancholy, elegiacal poems are admired for their grace and profound emotion. In 1821 she published the narrative work Veillées des Antilles. It includes the novella Sarah, an important contribution to the genre of slave stories in France…
The publication of her innovative volume of elegies in 1819 marks her as one of the founders of French romantic poetry. Her poetry is also known for taking on dark and depressing themes, which reflects her troubled life. She is the only female writer included in the famous Les Poètes maudits anthology published by Paul Verlaine in 1884. A volume of her poetry was among the books in Friedrich Nietzsche’s library. (Text from Wikipedia)
Germaine Krull (1897-1985) Eiffel Tower
1927
Image from the portfolio MÉTAL
1928
Collotype
Germaine Krull (1897-1985) Railway lifting bridge, Rotterdam
1923-24
Image from the portfolio MÉTAL
1928
Collotype
Germaine Krull (1897-1985) Factory in Rotterdam
1923
Image from the portfolio MÉTAL
1928
Collotype
Florent Fels
Ferdinand Florent Fels (1891-1977) was a French journalist, publisher and author prominent in discussing art in France. He often used the pseudonym Felsenberg. Fels launched the art magazine Action: Cahiers individualistes de philosophie et d’art in 1919. Here he expressed his individualist anarchist philosophy. (Text from Wikipedia)
Fels as an art critic before 1925
I now feel the need to make a step back on Fels. Born in 1891, he was recruited as a soldier-interpreter in the First World War thanks to his knowledge of English, and here became an anti-militaristic minded person. His experience at the front was quite parallel to that of Georg Grosz, the only German artist in his anthology, whose sad pages on the role of artists and critics during World War I corresponded largely to the thoughts of the French author. The experience of war convinced the young Fels of the need to overcome the traditional aesthetic models, linked to symbolism, but also of the emptiness of contemporary art, which had propagated or somehow supported the war effort. It is no coincidence that his friend de Vlaminck – in the Propos dedicated to him – used disdainful words on the role of Cubism in the years leading up to the war. According to Fels, the only art that, after the slaughter at the front, could still be trusted was the Dada movement, born in Zurich in 1916 and spread rapidly in Europe (it is also what can be read in the pages of Grosz, an artist about whom Fels published – in addition to the pages in the anthology – several other articles in the French world [14]).
Returning from the war front, in 1919, the twenty-eighty year old Fels launched with Robert Mortier (painter and poet) and Marcel Sauvage (poet) the journal Action. Cahiers individualistes de philosophie et d’art (Action. Individualist Notebooks on Philosophy and Art), which would have a short life (the last issue was 1922). The editors were young ex-soldiers who invested the money they had got from the state at the time they left the army, to launch the new journal. The founders of Action attempted to both awake and open the French culture. In the field of literature, Action hosted a series of poets, writers and literary critics such as Andre Malraux, Max Jacob, Jean Cocteau and Antonin Artaud; in the area of art, the journal liaised with all contemporary avant-garde movements (dada, fauves, cubists), discussed and exalted the production of the greatest artists (Claude Monet, Picasso, Matisse, Henri Rousseau Le Douanier) and gave great emphasis to African art. Looking at the journal’s issues, all available on the Internet [15], it is also easy to find that Action also housed reproductions of paintings and prints by many of the painters who later on were included in Propos d’Artistes: Derain, Kisling, Léger, Lhote, Pascin, Utrillo, Vlaminck. There were also art criticism articles of Duret and poems by Vlaminck.
Within Dadaism, Action preached a ‘subjectivist’, or individualist, version of vanguard aesthetics. It did not propagate revolutions, but proclaimed the need for the absolute freedom of the artists. Fels’ points of reference were in fact the individualistic anarchist movements inspired by Rousseau and Proudhon; in March 1920, he held a conference on “Les Classiques de l’Esprit nouveau” and published the text in the journal L’un [16]: he rejected the traditional Dadaist attitude of total destruction of the past and identified the new classics (Monet, Cézanne, Renoir, Van Gogh) that were due to be the basis of the new art. Fels took distance from the anti-social attitudes typical of Dadaism, and animated a controversy over the direction of new art movements: for him, everyone should make his personal revolution, without destroying any social foundations. At the root of Fels’s aesthetic theory there was “the enhancement of individual psychologies, the free but orderly expression of the heart, the sense ofart, inspiration, and individuality” [17].
In 1922, Action‘s experience ended: money was over and the attempt to counter the revolutionary drift within Dadaism had failed. Starting with 1924, André Breton imposed surrealism, inspired by a much more corrosive aesthetic and social criticism. Fels condemned it.
Florent Fels between 1923 and 1925
Once the experience of Action was concluded in 1922, Fels joined in 1923 the editorial staff of Les Nouvelles Littéraires. There he dealt not only with contemporary art, but with reviews of exhibitions of all kinds (from Renaissance to Art of Polynesia). Often, his articles updated the public on the developments of decorative arts (in those years, he published his already mentioned essay on French tapestries and carpets).
I already mentioned that Fels stated in the postscript of the anthology: “I wanted to produce a document dated 1925” [18]. The idea was therefore to offer the reader almost an instant book. In fact, as we have already said, the book gave readers a real-time image of the art discussion in 1923-1924. 1925 was however a very important year for Fels. In addition to the anthology, he published a monograph on Claude Monet with Gallimard and became chief editor of the new art journal “L’Art Vivant“, founded by Jacques Guenne (1896-1945) and Maurice Martin du Gard (1896-1970), i.e. the two directors of “Les Nouvelles Littéraires“. The new publication was in fact presented as the artistic attachment (complément artistique) to the literary weekly. Art Vivant. It was published by the house Larousse since January 1925.
As previously mentioned, Fels’s aesthetic taste (think again that only a few years before he had been forced to finance his own publication with the liquidation of the time spent in war as a simple soldier) was becoming closer to those of the great French progressive publishing companies (Gallimard, Larousse). In other words, he was taking on more and more classic aesthetic orientations. The Art Vivant magazine (which will have long life: Fels was his chief editor until 1939, when the magazine closed its doors in the wake of the war) became therefore one of the favourite targets of the communist intellectual and surrealist leader Louis Aragon (1897-1982), who called Fels “Paysan de Paris“, the peasant of Paris. From Aragon’s perspective, the only veritable surrealist anthology of art literature with a Marxist orientation will be published twenty years later by Paul Éluard.
Germaine Krull (1897-1985) Electricity France, Paris
1925
Image from the portfolio MÉTAL
1928
Negative collotype print
Detail of a centrifugal speed governor?
Germaine Krull (1897-1985) Technical Museum, Paris
1926
Image from the portfolio MÉTAL
1928
Collotype
Germaine Krull (1897-1985) Motor industry Citreon, Paris
1926-27
Image from the portfolio MÉTAL
1928
Collotype
Germaine Krull (1897-1985) Technical Museum, Paris
1926
Image from the portfolio MÉTAL
1928
Collotype
Her book MÉTAL contains only two multiple exposures, one showing two overlapped power generators and the other several layered bicycle parts printed at right angles to one another to create an effect of circular motion.
Germaine Krull
Germaine Luise Krull (20 November 1897 – 31 July 1985) was a photographer, political activist, and hotel owner. Her nationality has been categorized as German, French, and Dutch, but she spent years in Brazil, Republic of the Congo, Thailand, and India. Described as “an especially outspoken example” of a group of early 20th-century female photographers who “could lead lives free from convention”, she is best known for photographically-illustrated books such as her 1928 portfolio MÉTAL.
Krull was born in Posen-Wilda, a district of Posen (then in Germany; now Poznań, Poland), of an affluent German family. In her early years, the family moved around Europe frequently; she did not receive a formal education, but instead received homeschooling from her father, an accomplished engineer and a free thinker (whom some characterised as a “ne’er-do-well”). Her father let her dress as a boy when she was young, which may have contributed to her ideas about women’s roles later in her life.[6] In addition, her father’s views on social justice “seem to have predisposed her to involvement with radical politics.”
Between 1915 and 1917 or 1918 she attended the Lehr- und Versuchsanstalt für Photographie, a photography school in Munich, Germany, at which Frank Eugene’s teaching of pictorialism in 1907-1913 had been influential. She opened a studio in Munich in approximately 1918, took portraits of Kurt Eisner and others, and befriended prominent people such as Rainer Maria Rilke, Friedrich Pollock, and Max Horkheimer.
Krull was politically active between 1918 and 1921. In 1919 she switched from the Independent Socialist Party of Bavaria to the Communist Party of Germany, and was arrested and imprisoned for assisting a Bolshevik emissary’s attempted escape to Austria. She was expelled from Bavaria in 1920 for her Communist activities, and traveled to Russia with lover Samuel Levit. After Levit abandoned her in 1921, Krull was imprisoned as an “anti-Bolshevik” and expelled from Russia.
She lived in Berlin between 1922 and 1925 where she resumed her photographic career. She and Kurt Hübschmann (later to be known as Kurt Hutton) worked together in a Berlin studio between 1922 and 1924. Among other photographs Krull produced in Berlin were a series of nudes (recently disparaged by an unimpressed 21st-century critic as “almost like satires of lesbian pornography”).
Having met Dutch filmmaker and communist Joris Ivens in 1923, she moved to Amsterdam in 1925. After Krull returned to Paris in 1926, Ivens and Krull entered into a marriage of convenience between 1927 and 1943 so that Krull could hold a Dutch passport and could have a “veneer of married respectability without sacrificing her autonomy.”
In Paris between 1926 and 1928, Krull became friends with Sonia Delaunay, Robert Delaunay, Eli Lotar, André Malraux, Colette, Jean Cocteau, André Gide and others; her commercial work consisted of fashion photography, nudes, and portraits. During this period she published the portfolio MÉTAL (1928) which concerned “the essentially masculine subject of the industrial landscape.” Krull shot the portfolio’s 64 black-and-white photographs in Paris, Marseille, and Holland during approximately the same period as Ivens was creating his film De Brug (“The Bridge”) in Rotterdam, and the two artists may have influenced each other. The portfolio’s subjects range from bridges, buildings (e.g., the Eiffel Tower), and ships to bicycle wheels; it can be read as either a celebration of machines or a criticism of them. Many of the photographs were taken from dramatic angles, and overall the work has been compared to that of László Moholy-Nagy and Alexander Rodchenko. In 1999-2004 the portfolio was selected as one of the most important photobooks in history.
By 1928 Krull was considered one of the best photographers in Paris, along with André Kertész and Man Ray. Between 1928 and 1933, her photographic work consisted primarily of photojournalism, such as her photographs for Vu, a French magazine. Also in the early 1930s, she also made a pioneering study of employment black spots in Britain for Weekly Illustrated (most of her ground-breaking reportage work from this period remains immured in press archives and she has never received the credit which is her due for this work). Her book Études de Nu (“Studies of Nudes”) published in 1930 is still well-known today. Between 1930 and 1935 she contributed photographs for a number of travel and detective fiction books.
In 1935-1940, Krull lived in Monte Carlo where she had a photographic studio. Among her subjects during this period were buildings (such as casinos and palaces), automobiles, celebrities, and common people. She may have been a member of the Black Star photojournalism agency which had been founded in 1935, but “no trace of her work appears in the press with that label.”
In World War II, she became disenchanted with the Vichy France government, and sought to join the Free French Forces in Africa. Due to her Dutch passport and her need to obtain proper visas, her journey to Africa included over a year (1941-1942) in Brazil where she photographed the city of Ouro Preto. Between 1942 and 1944 she was in Brazzaville in French Equatorial Africa, after which she spent several months in Algiers and then returned to France.
After World War II, she traveled to Southeast Asia as a war correspondent, but by 1946 had become a co-owner of the Oriental Hotel in Bangkok, Thailand, a role that she undertook until 1966. She published three books with photographs during this period, and also collaborated with Malraux on a project concerning the sculpture and architecture of Southeast Asia.
After retiring from the hotel business in 1966, she briefly lived near Paris, then moved to Northern India and converted to the Sakya school of Tibetan Buddhism. Her final major photographic project was the publication of a 1968 book Tibetans in India that included a portrait of the Dalai Lama. After a stroke, she moved to a nursing home in Wetzlar, Germany, where she died in 1985.
Germaine Krull (1897-1985) Eiffel Tower, Paris
1927
Image from the portfolio MÉTAL
1928
Collotype
Germaine Krull (1897-1985) Railway lifting bridge, Rotterdam
1923-24
Image from the portfolio MÉTAL
1928
Collotype
Germaine Krull (1897-1985) Eiffel Tower, Paris
1927
Image from the portfolio MÉTAL
1928
Collotype
Germaine Krull (1897-1985) Eiffel Tower, Paris
1927
Image from the portfolio MÉTAL
1928
Collotype
Curiously the cover image of the portfolio (also plate 37) is actually presented upside down. This decision was presumably taken by M. Tchimoukow (real name Louis Bonin), the designer of the portfolio’s cover.
Germaine Krull
Germaine Krull was a pioneer in the fields of avant-garde photomontage, the photographic book, and photojournalism, and she embraced both commercial and artistic loyalties. Born in Wilda-Poznań, East Prussia, in 1897, Krull lived an extraordinary life lasting nine decades on four continents – she was the prototype of the edgy, sexually liberated Neue Frau (New Woman), considered an icon of modernity and a close cousin of the French garçonne and the American flapper. She had a peripatetic childhood before her family settled in Munich in 1912. She studied photography from 1916 to 1918 at Bayerische Staatslehranstalt für Lichtbildwesen (Instructional and Research Institute for Photography), and in 1919 opened her own portrait studio. Her early engagement with left-wing political activism led to her expulsion from Munich. Then, on a visit to Russia in 1921, she was incarcerated for her counterrevolutionary support of the Free French cause against Hitler. In 1926, she settled in Paris, where she became friends with artists Sonia and Robert Delaunay and intellectuals André Malraux, Jean Cocteau, Colette, and André Gide, who were also subjects of her photographic portraits.
Krull’s artistic breakthrough began in 1928, when she was hired by the nascent VU magazine,the first major French illustrated weekly. Along with photographers André Kertész and Éli Lotar, she developed a new form of reportage rooted in a freedom of expression and closeness to her subjects that resulted in intimate close-ups, all facilitated by her small-format Icarette, a portable, folding bed camera. During this period, she published the portfolio, Metal(MÉTAL)(1928), a collection of 64 pictures of modernist iron giants, including cranes, railways, power generators, the Rotterdam transporter bridge, and the Eiffel Tower, shot in muscular close-ups and from vertiginous angles. Krull participated in the influential Film und Foto, or Fifo, exhibition (1929-30), which was accompanied by two books, Franz Roh’s and Jan Tschichold’s Foto-Auge(Photo-Eye) and Werner Gräff’s Es kommt der neue Fotograf!(Here Comes the New Photographer!). Fifo marked the emergence of a new critical theory of photography that placed Krull at the forefront of Neues Sehen or Neue Optik (New Vision) photography, a new direction rooted in exploring fully the technical possibilities of the photographic medium through a profusion of unconventional lens-based and darkroom techniques. After the end of World War II, she traveled to Southeast Asia, and then moved to India, where, after a lifetime dedicated to recording some of the major upheavals of the twentieth century, she decided to live as a recluse among Tibetan monks.
Introduction by Roxana Marcoci, Senior Curator, Department of Photography, 2016 on the MoMA website [Online] Cited 25/11/2018
Métal and Filmic Montage
For Krull, metal was the most powerful metaphor for the modern world, and her book Métal includes many of the industrial forms she saw in Europe. It features both multiple exposures and straight images, and the entire volume is structured according to the principles of film montage. As noted earlier, Krull was a member of the Dutch avant-garde film collective Filmliga, which was cofounded by Joris Ivens, who in 1927 became her husband. Both of them published work in Arthur Lehning’s related avant-garde journal i10.
They saw screenings of Soviet avant-garde films by Vsevolod Pudovkin and Sergei Eisenstein, and Krull made a portrait of Eisenstein when he visited Paris in 1930. Eisenstein’s theories of montage were particularly important to the couple, and Krull’s Métal serves to demonstrate them. She actively adopted the Soviet filmmaker’s ideas of rupture and “visual counterpoint,” involving graphic, planar, volumetric, and spatial conflicts.26
The book is technically an album, with sixty-four numbered but unbound collotype reproductions that can ostensibly be rearranged at will. There are no captions and no identifying markers, and the images include both vertical and horizontal compositions. In a brief note beneath an introductory text by Florent Fels, Krull tells us that these photographs include a lifting bridge over the Meuse River in Rotterdam (also the subject of Ivens’s renowned avant-garde montage film, The Bridge [De Brug], from that same year); the cranes in the Amsterdam port; the Eiffel Tower; Marseille’s transporter bridge; and other industrial forms she found.27 But it would be difficult to decipher these subjects from the photographs themselves. Although there are eleven Eiffel Tower images in the book, for example, they are often so abstracted that the subject is unidentifiable, and none are on contiguous pages. …
Scholars have often read Métal as a purely formal experiment, but Krull used it as a commentary on contemporary life, producing the kind of montage that her friend Walter Benjamin championed, in which “the superimposed element disrupts the context in which it is inserted. … The discovery is accomplished by means of the interruption of sequences. Only interruption here has not the character of a stimulant but an energizing function.”29 The quality of interruption, according to Benjamin, differentiates truly revolutionary work from the mere aping of the modern world, an approach that he scornfully attributes to the work of Albert Renger-Patzsch.30 For Krull, interruption could occur in a multiple exposure, as in the aforementioned Métal image depicting overlapping views of bicycle parts. Or interruption can be found while turning a book’s pages, moving from a drive-belt detail to ominously large-scale cargo cranes, or from the Rotterdam Bridge over the Meuse to a detail of a centrifugal speed governor. Whether portraying a roller coaster, documenting the Eiffel Tower, or creating her book of industrial fragments, Krull engaged the decade’s cacophony and used provocative experimental techniques to capture its allure.
Kim Sichel. “Contortions of Technique: Germaine Krull’s Experimental Photography,” p. 7 on the MoMA website [Online] Cited 25/11/2018.
Kim Sichel. “Contortions of Technique: Germaine Krull’s Experimental Photography,” in Mitra Abbaspour, Lee Ann Daffner, and Maria Morris Hambourg, eds. Object: Photo. Modern Photographs: The Thomas Walther Collection 1909-1949. An Online Project of The Museum of Modern Art. New York: The Museum of Modern Art, 2014.
27. Sergei Eisenstein, “A Dialectic Approach to Film Form” (1929), in Jay Leyda, ed., Film Form: Essays in Film Theory (New York: Harcourt, Brace, 1949), pp. 52-54
29. Walter Benjamin, “The Author as Producer” (1934), in Reflections: Essays, Aphorisms, Autobiographical Writings (New York: Schocken Books, 1986), pp. 234-35
30. Benjamin, “The Author as Producer,” p. 230
The empty yet altered landscape takes on different moods with Rosemary Laing’s, One Dozen Considerations Totem 1 – Emu (2013) monument marking the site of an weapon’s test with a British flag flying behind it. Both look like conqueror’s claims to territory, powerful images of the attempts to colonise Indigenous space, to write a colonial history through markers of significance, to write out the Indigenous voice but at the same time to appropriate Indigenous ideas and language. (Larissa Behrendt on the Artlink website)
Field of thunder ~ big devil spirit ~ colonial fireworks
a/atom
late 15th century: from Old French atome, via Latin from Greek atomos ‘indivisible’, based on a- ‘not’ + temnein ‘to cut’.
a/secret
something that is not properly understood; a mystery
a/secretion
from French sécrétion or Latin secretio(n- ) ‘separation’, from secret- ‘moved apart’, from the verb secernere
a/desecration
late 17th century: from de- (expressing reversal) + a shortened form of consecrate
a/segregation
the enforced separation of different racial groups in a country, community, or establishment
Lest we forget what was bequeathed the land, Traditional Owners and servicemen by the British and Australian governments. Death, disease, displacement from Country and radioactivity so they can never return. Literally sickening. Shame, shame and more shame.
Marcus
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Many thankx to the National Museum of Australia for allowing me to publish the art work in the posting. Please click on the photographs for a larger version of the image.
There was also a lot of tearing down of Aboriginal sites according to what I’ve heard and just sort of this blinkered vision, and I think it’s a horrible education to learn that’s the way Aboriginal in those areas were perceived… and then you look at the ramifications of the health of both the people and the land and how that has been totally compromised…
Whether it came to treatment of Aboriginal people or whether it came to treatment of the environment. Hopefully [the exhibition will] engender something that people will fight, fight for their rights and fight for their land.
Yami Lester, Walatinna Station, South Australia, 2006 – In 1953, Yami, a Yankunytjatjara man, was ten years old, living at Wallatinna Station when Totem One went off, it was part of a series of atmospheric atomic bombs that the British and Australian governments were testing during the 50’s and 60’s at Emu Field and Maralinga in South Australia and the Monte Bello Islands off the West Australian coast. He was blinded not long after the fallout. (Jessie Boylan)
Yami Lester (Boylan)
Yunkunytjatjara man Yami Lester talks about the mysterious poisonous ‘black mist’ that badly affected Aboriginal area after the Totem 1 atomic test in 1952
At Maralinga, the tests caused adverse effects on both the local people and military personnel, but in many cases it was difficult to determine the extent to which people had been affected. But for Yankunytjatjara Elder Tjamu Yami Lester it was devastating. He was blinded at 10 years old as a result of the ‘black mist’ that descended onto his country.
He died last year at the age of 75.
Much of his life was spent fighting for people affected by nuclear testing, subsequently becoming the public face of a tireless campaign. He led the push for the 1984 Royal Commission into British Nuclear Tests in Australia, which resulted in a clean-up of the testing ground and compensation for the Anangu people. While reparations can never repair the damage inflicted upon Yami Lester, his people and country, his remarkable legacy lives on.
The burnt, barren trees in Blak Douglas’s Tjarutja Tragedy are bent, leaning to one side with their branches split in two representing the letter Y.
“That’s because I’m asking why did this happened to us people?”
The Dunghutti artist’s work captures a land destroyed by atomic testing in Australia and speaks to the deep displacement of its Traditional Owners.
“I wanted to create a piece that really encapsulated the return of blackfellas to their country when your country has been blasted. It’s metaphoric for a lot of blackfellas… [And] effectively it’s a metaphor for the continent en masse, and how much of us can’t return to our tribal homelands including myself.”
“Whole peoples were dispossessed from their country and this was done complicity on behalf of the British government and the Australian people really had no say in it.” …
Blak Douglas says his own work was inspired by Mr Lester’s spirited crusade [see above].
“I remember seeing images of him and I googled Maralinga on YouTube a long time ago and I saw Uncle Yami as he was blinded as result of the atomic tests,” he said.
“I’ve dedicated this painting to that mob and I’m proud of that and I’m sure that Uncle Yami, or that mob there when I meet them in due time, will be embracing of it.”
He says Maralinga was one of the “worst atrocities any blackfella has suffered.”
“To blow bombs like that on country and to name them gammin white names or code names that’s just the epitome of colonial fireworks,” he says.
An award-winning national touring exhibition of artworks by over 30 Indigenous and non-Indigenous artists, commemorating the British atomic tests in Australia in the 1950s, opens today at the National Museum of Australia in Canberra.
Black Mist Burnt Country features artworks from the past seven decades, selected from public and private collections, including works by Sidney Nolan, Arthur Boyd, Pam Debenham, Toni Robertson, Rosemary Laing, Jonathan Kumintjarra Brown, Judy Watson, Hilda Moodoo and Yvonne Edwards.
Developed by the Burrinja Dandenong Ranges Cultural Centre, Black Mist Burnt Country revisits the history of the British atomic test program at Maralinga, Emu Field and Montebello Islands and examines the impact on people and land, as well as its on-going legacies.
It presents works across the mediums of painting, printmaking, sculpture, photography, new media and music, while exploring the varied perspectives and creative approaches of artists from post-Second World War modernists to contemporary artists.
A variety of interactive elements enable visitors to gain insights into the social, political and environmental dimensions, while placing the Australian atomic tests in the context of the nuclear arms race and its present-day realities.
Margo Neale, Head of the National Museum’s Indigenous Knowledge Centre and Advisor to the Director, said, ‘This potent exhibition by a cast of great artists broaches a number of thresholds in the telling of Australian history through art, and the role of museums in bringing these relatively little-known stories to life. These visual stories penetrate the heart while revealing little-known truths of human consequence about a tragic event in our shared history.’
Burrinja exhibition curator JD Mittmann said, ‘It is surprising how few people are aware that atomic bombs were exploded in Australia, and how little they know about the dislocation of Aboriginal people, the exposure of Australian servicemen and the contamination of the land. This exhibition offers some remarkable insights into a chapter of our history that has long-lasting consequences, while it poses some important questions in relation to contemporary nuclear issues’.
The project has been produced by Burrinja Dandenong Ranges Cultural Centre, Upwey, Victoria and has been on tour nationally since September 2016, when it marked the 60th anniversary of the first British test at Maralinga. The project has been assisted by the Australian Government’s Visions of Australia program and developed through the Exhibition Development Fund of National Exhibition Touring Support (NETS) Victoria. The project has also received financial assistance from the Gordon Darling Foundation.
Black Mist Burnt Country received the 2017 Museums Australia Victoria Archival Survival Award (Small Museums) and a Highly Commended at the Museums Australia National Conference (Touring and Temporary Exhibitions).
Press release from the National Museum of Australia
Adam Norton
Sydney-based artist Adam Norton talks about his work Prohibited Area, which is part of a series of reproduced signs he encountered in “nuclear badlands”.
Maralinga Prohibited Area sign on Emu/Nawa Road
1974
National Archives of Australia NAA: A6457, P042
British nuclear tests at Maralinga
Historical context
On 3 October 1952, the United Kingdom tested its first nuclear weapon, named “Hurricane”, at the Monte Bello Islands off the coast of Western Australia. A year later the first nuclear test on the Australian mainland was Totem 1 (9.1 kilotonnes of TNT (38 TJ)) at Emu Field in the Great Victoria Desert, South Australia, on 15 October 1953. Totem 2 (7.1 kilotonnes of TNT (30 TJ)) followed two weeks later on 27 October. The Supply Minister, Howard Beale, stated in 1955 that “England has the know how; we have the open spaces, much technical skill and a great willingness to help the Motherland. Between us we should help to build the defences of the free world, and make historic advances in harnessing the forces of nature.”
The British government formally requested a permanent test facility on 30 October 1953. Due to concerns about nuclear fallout from the previous tests at Emu Field and the site’s inadequate infrastructure and water supply, the recently surveyed Maralinga site was selected for this purpose. The new site was announced in May 1955. It was developed as a joint, co-funded facility between the British and Australian governments.
Prior to selection, the Maralinga site was inhabited by the Pitjantjatjara and Yankunytjatjara Aboriginal people, for whom it had a great spiritual significance. Many were relocated to a new settlement at Yalata, and attempts were made to curtail access to the Maralinga site. These were often unsuccessful. (My emphasis) …
A Department of Veterans’ Affairs study concluded that “Overall, the doses received by Australian participants were small. … Only 2% of participants received more than the current Australian annual dose limit for occupationally exposed persons (20 mSv).” However, such findings are contested. Australian servicemen were ordered to: repeatedly fly through the mushroom clouds from atomic explosions, without protection; and to march into ground zero immediately after bomb detonation. Airborne drifts of radioactive material resulted in “radioactive rain” being dropped on Brisbane and Queensland country areas. A 1999 study for the British Nuclear Test Veterans Association found that 30 per cent of involved veterans had died, mostly in their fifties, from cancers.
Successive Australian governments failed to compensate servicemen who contracted cancers following exposure to radiation at Maralinga. However, after a British decision in 1988 to compensate its own servicemen, the Australian Government negotiated compensation for several Australian servicemen suffering from two specific conditions, leukaemia (except lymphatic leukaemia) and the rare blood disorder multiple myeloma.
One author suggests that the resettlement and denial of aboriginal access to their homelands “contributed significantly to the social disintegration which characterises the community to this day. Petrol sniffing, juvenile crime, alcoholism and chronic friction between residents and the South Australian police have become facts of life.” In 1994, the Australian Government reached a compensation settlement with Maralinga Tjarutja, which resulted in the payment of $13.5 million in settlement of all claims in relation to the nuclear testing. (My emphasis)
Media coverage
According to Liz Tynan from James Cook University, the Maralinga tests were a striking example of what can happen when the popular media are unable to report on activities that the government may be trying to hide. Maralinga was an example of extreme secrecy, but by the late 1970s there was a marked change in how the Australian media covered the British nuclear tests. Some resourceful investigative journalists emerged, whistle-blowers such as Avon Hudson [see photograph below] spoke out and political scrutiny became more intense. The investigative journalist Brian Toohey ran a series of stories in the Australian Financial Review in October 1978, based in part on a leaked Cabinet submission.
In June 1993, New Scientist journalist Ian Anderson wrote an article entitled “Britain’s dirty deeds at Maralinga” and several related articles. They are a detailed analysis of the legacy of Vixen B and the Australian government’s prolonged negotiations with the United Kingdom on cleaning up Maralinga and sharing the cost of “safe-sealing” waste plutonium. Previously, much of this highly toxic nuclear waste had simply been lightly bulldozed into the soil rather than buried in deep, secure, purpose-built, concrete bunkers. In 1993, Anderson won two Michael Daley Awards for his Maralinga articles.
Maralinga: Australia’s Nuclear Waste Cover-up is a book by Alan Parkinson about the clean-up following the British nuclear tests at Maralinga, published in 2007. Parkinson, a nuclear engineer, explains that the clean-up of Maralinga in the late 1990s was compromised by cost-cutting and simply involved dumping hazardous radioactive debris in shallow holes in the ground. Parkinson states that “What was done at Maralinga was a cheap and nasty solution that wouldn’t be adopted on white-fellas land.”
Australian servicemen and nomadic Aboriginals reveal the devastating effects of atomic weapons testing carried out in Australia by the British during the 1950s. For the first time, members of the Royal Australian Army, Air Force and Navy describe former top secret aspects of those tests. With the use of rare archival film and photographs, as well as eye witness accounts, Australian Atomic Confessions chronicles the hidden history and exposes previously hidden Government cover-ups. The consequences of nuclear testing imposed on the Australian people and land are not just skeletons of the past. Sydneys’ new nuclear reactor continues to pose a threat to the environment and civilians, and the problem of removing and disposing of the old nuclear reactor remains an unanswered question. Prominent Aboriginal Elders also warn that an imminent catastrophe may occur in Central Australia as a result of two uranium mines. Australian Atomic Confessions is a chilling expose of nuclear testing and its damaging legacy, one that continues to this day.
Jessie Boylan (b. 1986) Portrait of a whistleblower: Avon Hudson was a leading aircraftman for the RAAF during the nuclear tests in Maralinga
2011-2015
Image: Burrinja Cultural Centre
This series chronicles Avon Hudson’s life, from early years growing up in regional South Australia, to service in the Royal Australian Air Force as a Leading Aircraftman, through the experience of British atomic bomb tests, to his “whistle blower” act of revealing Maralinga’s deadly legacy.
What Avon knew, and was prepared to tell publically about Maralinga, contributed to the establishment of the Royal Commission into British Nuclear Tests in Australia (1984-85). His motivation was to put a halt to government plans to return Maralinga to its traditional owners, pending a full clean-up of land still contaminated by radioactive debris.
The story of nuclear testing is unknown to most Australians. Between 1952 and 1963, after a decision made by Prime Minister Menzies alone, nine atomic bombs were exploded and hundreds of ‘minor’ experiments were conducted at the British-run testing ranges at Emu and Maralinga in South Australia. Three bombs were also exploded at Monte Bello Islands in Western Australia.
The impacts of these experiments continue to play out in the ill health and changed lives of both Aboriginal and non-Aboriginal communities, who were exposed to or involved in the tests, over multiple generations. The tests have also left a deep-future legacy of environmental contamination.
It is a portrait of someone with a photographic memory, capable of grasping and articulating every detail of the atomic age as he experienced it.
It depicts a committed citizen and serviceman, husband and father, always an advocate and an activist, who in civilian life became a Wakefield councillor for over 20 years. It shows a practical man – mechanic, wood-turner and furniture maker; and portrays a nature-enthusiast and an educator on environmental and social issues.
It is also a portrait of someone who has invariably lived by his convictions – as that’s what whistleblowers do. Since the 1970s, Avon has campaigned for recognition of nuclear veterans and civilian personnel. As his co-authored book “Beyond Belief” records, “His life has been deeply affected by a sense of injustice and by the callousness of successive Australian and British governments ignoring the plight of those caught up in ‘the grand game’.”
This series is a recognition and celebration of the significant role Avon has played South Australia’s unfolding atomic history. His life as an activist seems to belong to the present, as the future of nuclear science and technology is considered anew.
Boylan is a photomedia artist who explores issues relating to human impacts on the land and communities in relation to environmental and social devastation – nuclear testing, mining and war. Through her work Boylan’s has expressed ideas of history and place in relation to contemporary Australian identity, community and activism. She recently completed her MFA on the topic of photography, the campsite and the anti-nuclear movement in Australia.
Jessie Boylan is a key member of the Atomic Photographers Guild, an international group who aim to render visible all aspects of the nuclear age. She won first place in Images of Justice at Adelaide University 2015 and has been a finalist for the Josephine Ulrick and Win Schubert Photography Award in 2007, 2009 & 2012, the Spirit of Youth Award in 2009, the Head On Alternative Portrait Awards, ACP, Sydney in 2009 & 2010. (Text from the Black Mist Burnt Country website)
Taranaki test site-and cleanup-area (image source: Google Earth)
Jonathan Kumintjarra Brown
Pitjantjatjara artist Jonathan Kumintjarra Brown talks about his country and the effects the atomic tests had on it
Jonathan Brown was removed from his parents at Ooldea and grew up with foster parents in Melbourne and Sydney. At a later stage of his life he located his parents at Yalata and learnt about the atomic tests, the removal of his people from their traditional lands and the destruction of country. Jonathan first came to recognition as artist when he worked with Lin Onus for the 1990 exhibition Balance at the Queensland Art Gallery. His later paintings were heavily influenced by the experiences of the Pitjantjatjara / Anangu which became the focus of his work. (Text from the Black Mist Burnt Country website)
Jonathan Kumintjarra Brown (1960-1997) Maralinga before the Atomic Test
1994
Ochres, sand and kapok on linen
227 x 205 cm
Yarra Ranges McLeod Gift Collection
Much of the exhibition centres on the story of artist Jonathan Kumintjara Brown who was removed from his family at Ooldea Mission, located on the transcontinental railway near Watson about 250 kilometres west of Ceduna.
Three of his works feature in the exhibition, and grainy textures bring his pieces to life. One in particular, Black Rain, powerfully illustrates the destruction of country through a black sky punctured by white thick stripes of rain and cloud.
“He did it with such a great sense of power and visual impact,” says Burrinja Executive Director Ross Farnell.
“He would depict the landscape and then basically throw a whole heap of ochre, sand and glue over the top of it and then just obliterate most of the painting and then go that’s Maralinga after the test, ‘that’s what happened to my country’,” Mr Farnell told NITV News.
One of the central stories of Black Mist Burnt Country is the story of artist Jonathan Kumintjarra Brown. Jonathan was removed from his parents at Ooldea mission station at very early age and grew up with in a foster family in Melbourne and Sydney. At a later stage of his life he located his parents at Yalata and went back to be reunited with them.
The return to his people was traumatic. Neither could he speak Pitjantjatjara, nor did he know he had a brother. He learned about the removal of his people from their country and the destruction of country through atomic testing.
Fabian Peel, who worked as a nurse in the community at the time and is now director of Tullawon Health Clinic in Yalata, took Jonathan around the country. He remembers: “It was very painful. Jonathan cried all the way.”
Jonathan went on to make several paintings depicting the impacts of the nuclear testing program on Anangu and the land, some of which will be included in the exhibition.
Kate studied graphic design at Newcastle-upon-Tyne College of Art and worked in London during the 1970s as an illustrator and layout artist in various publishing houses. In the 1980s she studied painting at Exeter College of Art, graduating with a BA in Fine Art and Literature and concentrated on her purely abstract paintings in the tradition of the St. Ives School of painters with whom she trained. In the mid 1990s her working style changed dramatically and abstraction became a background element in new works where a variety of figurative styles and painting techniques were used within the same image. Since then she has worked to combine both painterly and graphic imagery to narrative effect. A life-long interest in textiles, quilting and the language of stitching is also evident in her work.
Since emigrating to Australia Kate has been concentrating on a series of paintings whose theme is the fragmentary and personal nature of memory and the process of memorialisation, as with the paintings she presents in this exhibition. Here she is using the naive imagery of rural community quilting to bring together varied scraps of information and family anecdotes about the British Australian nuclear tests. Kate’s father was a seismologist for the Atomic Weapons Research Institute and he was closely involved in the development and testing of the H Bomb during the 1950s. Her work here is a deeply personal response to historical events. (Text from the Black Mist Burnt Country website)
Kate Downhill
Kate Downhill talks about her father’s involvement in the British atomic test program as a seismologist and explains her painting’s reference to quilting.
Hilda Moodoo (b. 1952) and Jeffrey Quema (1947-2009) Destruction II
2002
Synthetic polymer paint on canvas
101 x 122 cm
Santos Fund for Aboriginal Art 2002, Art Gallery of South Australia, Adelaide
Courtesy of the artists
Hilda Moodoo painting began at Oak Valley in December 2001 when Victorian Yorta Yorta artist Lance Atkinson spent two months in the community teaching the technical skills for painting on canvas. Hilda Moodoo and Kunmanara Queama’s collaborative paintings Destruction I and II were included in the resulting Desert Oaks exhibition at the Adelaide Festival Centre in March 2002 and are now in the collection of the Art Gallery of South Australia. The Desert Oaks project was a deliberate expression of identity and an opportunity to pass on knowledge through painting. (Text from the Black Mist Burnt Country website)
Queama, a Pitjantjatjara man, was born at Ooldea, on the eastern edge of the Nullabor Plain. With the dispersal of residents after the closure of the United Aborigines Mission (UAM) at Ooldea in 1952, he was sent to the Lutheran mission school at Koonibba, near Ceduna. He worked for many years on land conservation and management boards, and lobbied tirelessly for the return of the Maralinga-Tjarutja lands to the traditional owners. In 1984 the lands were been returned, and he and his wife Hilda Moodoo among others founded Oak Valley community, 150 kilometres northwest of Maralinga. (Text from the Black Mist Burnt Country website)
In Arthur Boyd’s Jonah on the Shoalhaven – Outside the City (1976), the iconic cloud sits on the horizon, almost like a puff of dust rising off the white sand. Boyd had been conscripted into the army and became a pacifist. For him, the threat of nuclear destruction sits in the backdrop, no less menacing than Nolan’s apocalyptic response two decades earlier. (Larissa Behrendt on the Artlink website)
Sidney Nolan (1917-1992) Central Desert Atomic Test 1952-57
Oil on canvas
Nolan’s landscape sits harsh and red under a blue sky and the mushroom cloud of the bomb. Nolan was living in London at the time but news of the tests started appearing in the media. The cloud and dust were added to one of Nolan’s desert paintings as an act of protest over the events taken place back in Australia and the addition turns a rugged landscape into an image that seethes with anger at the act of destruction. In Nolan’s landscape, the bomb looms large. (Larissa Behrendt on the Artlink website)
Toni Robertson (b. 1953) The Royal Nuclear Show – 6
1981
Screen print on paper (set of 6 screenprints)
Prints, screenprints, printed in colour inks, each from four hand-cut and three photo-stencils
Flinders University Art Museum Collection
Image courtesy of National Gallery of Australia, Canberra
Toni Robertson studied fine arts at the University of Sydney in the 1970s and was a founding member of the influential Earthworks Poster Collective (1971-80) at the University’s Tin Sheds. Robertson’s work has appeared in many group exhibitions in the 1970s and 1980s, and along with Chips Mackinolty and others she is recognised as a leading figure in Australian political printmaking. Her work is held in many public collections, including the National Gallery of Australia, the Art Gallery of New South Wales, the National Gallery of Victoria, the Australian War Memorial, Artbank and the Museum of Contemporary Art, Sydney as well as tertiary, state library and union collections. (Text from the Black Mist Burnt Country website)
The political poster movement in Australia was at its height in the 1970s, supporting anti-war, anti-uranium, pro-land rights and pro-feminist causes. Members of the Earthworks Poster Collective, opposed to the egotism of individual artistic fame, worked from the Tin Sheds (University of Sydney Art Workshop). In Daddy what did you do in the nuclear war? Toni Robertson and Chips Mackinolty appropriated a British recruiting poster from the First World War, adapting the children’s bodies to reflect the genetic consequences of radiation.
Christine Dixon
Victorian-born artist Chips Mackinolty was involved in the campaigns against the war in Vietnam by producing protest posters. He was a key figure in the radical poster movement and was introduced to screen printing in Goulburn Street, Sydney. During the 1970s posters became an art form artists using the cheap posters as a political tool. The Earthworks Poster Collective, established in 1971, was the most active and well-known of these groups. Earthworks operated from the Sydney University Art Workshop, commonly known as the Tin Sheds, finally demolished in 2007. Mackinolty used sharp, flat colours and increasingly professional techniques to produce posters such as “For the man who said life wasn’t meant to be easy – make life impossible.” The poster is a multi-imaged send-up of former Australian Prime Minister Malcolm Fraser. It was posted up at night around Sydney, helping to politicise a generation. His work is held in major national and international institutions. (Text from the Black Mist Burnt Country website)
Pam Debenham
Launceston, Tasmania, Australia | born 1955 Tin Sheds Posters
Sydney, New South Wales, Australia | commenced 1984 (organisation) Tin Sheds Art Workshop
commenced 1969 | print workshop (organisation) No nukes in the Pacific
1984
Prints, posters, screenprint, printed in colour inks, from multiple stencils
Printed image 88.0 h x 62.0 w cm
Sheet 91.0 h x 65.0 w cm
National Gallery of Australia, purchased 1990
Curators: Simon Baker, Senior Curator, International Art (Photography) and Shoair Mavlian, Assistant Curator, Tate Modern, with Emmanuelle de l’Ecotais, Curator for Photographs
Pierre Dubreuil (1872-1944) Interpretation Picasso, The Railway
1911
Gelatin silver print on paper
238 x 194 mm
Centre Pompidou, Paris
Musée National d’Art Moderne / Centre de Création Industrielle
Purchased, 1987
An interesting premise –
“a premise is an assumption that something is true. In logic, an argument requires a set of (at least) two declarative sentences (or “propositions”) known as the premises or premisses along with another declarative sentence (or “proposition”) known as the conclusion” (Wikipedia)
– that the stories (the declarative sentences) of abstract art and abstract photography are intertwined (the conclusion). The two premises and one conclusion forms the basic argumentative structure of the exhibition.
Unfortunately in this exhibition, the abstract art and abstract photographs (declarations), seem to add up to less than the sum of its parts (conclusion).
Why is this so?
.
The reason these two bedfellows sit so uncomfortably together is that they are of a completely different order, one to the other.
Take painting for example. There is that ultimate linkage between brain, eye and hand as the artist “reaches out” into the unknown, and conjures an abstract representation from his imagination. This has a quality beyond my recognition. The closest that photography gets to this intuition is the cameraless Photogram, as the artist paints with light, from his imagination, onto the paper surface, the physical presence of the print.
Conversely, we grapple with the dual nature of photography, its relation to reality, to the real, and its interpretation of that reality through a physical, mechanical process – light entering a camera (metal, glass, digital chips, plastic film) to be developed in chemicals or on the computer, stored as a physical piece of paper or in binary code – but then we LOOK and FEEL what else a photograph can be. What it is, and what else it can be.
Initially, to take a photograph is to recognise something physical in the world which can then be abstracted. Here is a tree, a Platonic ideal, now here is the bark of the tree, or cracks in dried mud, or Aaron Siskind’s Pleasures and Terrors of Levitation in which, in our imagination, the body is no longer human. This archaeology of photography is a learnt behaviour (from the world, from abstract paintings) where ones learns to turn over the truth to something else, a recognition of something else. Where one digs a clod of earth, inspects it, and then turns it over to see what else it can be.
We can look at something in the world just for what it is and take a photograph of it, but then we can look at the same object for what else it can be (for example, Man Ray’s image Dust Breeding (1920), which is actually dust motes on the top of Duchamp’s Large Glass). Photographers love these possibilities within the physicality of the medium, its processes and outcomes. Photographers love changing scale, perspective, distortion using their intuition to perhaps uncover spiritual truths. Here I are not talking about making doodles – whoopee look what I can make as a photographer! it’s important because I can do it and show it and I said it’s important because I am an artist! the problem with lots of contemporary photography – it is something entirely different. It is the integrity of the emotional and intellectual process.
Not a reaching out through the arm and hand, but an unearthing (a reaching in?) of the possibilities of what else photography can be (other than a recording process). As Stieglitz understood in his Equivalents, and so Minor White espoused through his art and in one of his three canons:
When the image mirrors the man
And the man mirrors the subject
Something might take over
.
And that revelation is something completely different from the revelation of abstract art.
Dr Marcus Bunyan
.
Many thankx to the Tate Modern for allowing me to publish the art work in the posting. Please click on the photographs for a larger version of the image.
For the first time, Tate Modern tells the intertwined stories of photography and abstract art. The birth of abstract art and the invention of photography were both defining moments in modern visual culture, but these two stories are often told separately.
Shape of Light is the first major exhibition to explore the relationship between the two, spanning the century from the 1910s to the present day. It brings to life the innovation and originality of photographers over this period, and shows how they responded and contributed to the development of abstraction.
Key photographs are brought together from pioneers including Man Ray and Alfred Stieglitz, major contemporary artists such as Barbara Kasten and Thomas Ruff, right up to exciting new work by Antony Cairns, Maya Rochat and Daisuke Yokota, made especially for the exhibition.
“Despite its roll call of stellar names, the show’s adrenaline soon slumps. A rhythm sets in, as each gallery offers perhaps a single non photographic work and dozens of medium format black and white abstracts arranged on an allied theme: extreme close ups, engineered structures, worms’ and birds’ eye views, moving light, the human body, urban fabric.
Individually each photograph is quite wonderful, but they echo each other so closely in their authors’ attraction to diagonal arrangements, rich surface textures, dramatic shadows, odd perspectives and close cropping, that the same ‘point’ is being made a dozen times with little to distinguish between the variants. …
By the present day, abstract photography has given in to its already Ouroboros-like tendencies, and swallowed itself whole, offering abstract photographs about the process of photography, and the action of light on its materials. This is a gesture I relished in Wolfgang Tillmans’s show in the same space this time last year, when it was broken up by a plethora of other ideas and perspectives on photography. Here it feels like another level of earnest self-absorption with a century-long backstory.”
Tate Curator, Simon Baker, meets Caroline von Courten from leading photography Magazine, Foam. Together they explore the exhibition Shape of Light: 100 Years of Photography and Abstract Art at Tate Modern.
László Moholy-Nagy (1895-1946) K VII
1922
Oil paint and graphite on canvas
Frame: 1308 x 1512 x 80 mm
Tate
Purchased 1961
The ‘K’ in the title of K VII stands for the German word Konstruktion (‘construction’), and the painting’s ordered, geometrical forms are typical of Moholy-Nagy’s technocratic Utopianism. The year after it was painted, he was appointed to teach the one year-preliminary course at the recently founded Bauhaus in Weimar. Moholy-Nagy’s appointment signalled a major shift in the school’s philosophy away from its earlier crafts ethos towards a closer alignment with the demands of modern industry, and a programme of simple design and unadorned functionalism.
László Moholy-Nagy (1895-1946) Photogram
c. 1925
Gelatin silver print on paper Photo: Jack Kirkland Collection, Nottingham
Wassily Kandinsky (1866-1944) Swinging
1925
Oil paint on board
705 x 502 mm
Tate
Edward Steichen (1879-1973) Bird in Space [L’Oiseau dans l’espace]
1926
Gelatin silver print on paper
253 x 202 mm
Bequest of Constantin Brancusi, 1957
Centre Pompidou, Paris
Musée National d’Art Moderne / Centre de Création Industrielle
Luigi Veronesi (1908-1998) Construction
1938
Gelatin silver print on paper
286 x 388 mm
Tate
Accepted under the Cultural Gifts Scheme by HM Government from Massimo Prelz Oltramonti and allocated to Tate 2015
Luigi Veronesi (1908-1998) Photo n.145
1940, printed 1970s
Gelatin silver print on paper
310 x 280 mm
Tate
Accepted under the Cultural Gifts Scheme by HM Government from Massimo Prelz Oltramonti and allocated to Tate 2015
Luigi Veronesi (1908-1998) Photo n.152
1940, printed 1970s
Gelatin silver print on paper
320 x 298 mm
Tate
Accepted under the Cultural Gifts Scheme by HM Government from Massimo Prelz Oltramonti and allocated to Tate 2015
A major new exhibition at Tate Modern will reveal the intertwined stories of photography and abstract art. Shape of Light: 100 Years of Photography and Abstract Art will be the first show of this scale to explore photography in relation to the development of abstraction, from the early experiments of the 1910s to the digital innovations of the 21st century. Featuring over 300 works by more than 100 artists, the exhibition will explore the history of abstract photography side-by-side with iconic paintings and sculptures.
Shape of Light will place moments of radical innovation in photography within the wider context of abstract art, such as Alvin Langdon Coburn’s pioneering ‘vortographs’ from 1917. This relationship between media will be explored through the juxtaposition of works by painters and photographers, such as cubist works by George Braque and Pierre Dubreuil or the abstract expressionism of Jackson Pollock and Otto Steinert’s ‘luminograms’. Abstractions from the human body associated with surrealism will include André Kertesz’s Distorsions, Imogen Cunningham’s Triangles and Bill Brandt’s Baie des Anges, Frances 1958, exhibited together with a major painting by Joan Miró. Elsewhere the focus will be on artists whose practice spans diverse media, such as László Moholy-Nagy and Man Ray.
The exhibition will also acknowledge the impact of MoMA’s landmark photography exhibition of 1960, The Sense of Abstraction. Installation photographs of this pioneering show will be displayed with some of the works originally featured in the exhibition, including important works by Edward Weston, Aaron Siskind and a series by Man Ray that has not been exhibited since the MoMA show, 58 years ago.
The connections between breakthroughs in photography and new techniques in painting will be examined, with rooms devoted to Op Art and Kinetic Art from the 1960s, featuring striking paintings by Bridget Riley and installations of key photographic works from the era by artists including Floris Neussis and Gottfried Jaeger. Rooms will also be dedicated to the minimal and conceptual practices of the 1970s and 80s. The exhibition will culminate in a series of new works by contemporary artists, Tony Cairns, Maya Rochat and Daisuke Yokota, exploring photography and abstraction today.
Shape of Light is curated by Simon Baker, Senior Curator, International Art (Photography) and Shoair Mavlian, Assistant Curator, Tate Modern, with Emmanuelle de l’Ecotais, Curator for Photographs, Musée d’Art Moderne de la Ville de Paris. The exhibition will be accompanied by a fully illustrated catalogue from Tate Publishing and a programme of talks and events in the gallery.
Untitled c.1950s is a black and white photograph by the French photographer Guy Bourdin. The entirety of the frame is taken up by a close-up of peeling paint. The paint sections fragment the image into uneven geometric shapes, which are interrupted by a strip of the dark surface beneath that winds from the top to the bottom of the frame. There is little sense of scale or contextual detail, resulting in a near-abstract composition.
Bourdin is best known for his experimental colour fashion photography produced while working for French Vogue between 1955 and 1977. This photograph belongs to an earlier period of experimentation, before he began to use colour and work in fashion. Taken outside the studio, it shows Bourdin’s sensitivity to the natural world and his attempt to transform the everyday into abstract compositions, bridging the gap between surrealism and subjective photography. Bourdin’s early work was heavily influenced by surrealism, as well as by pioneers of photography as a fine art such as Edward Weston, Paul Strand and Bill Brandt. His surrealist aesthetic can be attributed to his close relationship with Man Ray, who wrote the foreword to the catalogue for Bourdin’s first solo exhibition of black and white photographs at Galerie 29, Paris, in 1952.
This and other early works in Tate’s collection (such as Untitled (Sotteville, Normandy) c. 1950s, Tate P81205, and Solange 1957, Tate P81216) are typical of Subjektive Fotografie (‘subjective photography’), a tendency in the medium in the late 1940s and early 1950s. Led by the German photographer and teacher Otto Steinert, who organised three exhibitions under the title Subjektive Fotografie in 1951, 1954 and 1958, the movement advocated artistic self-expression – in the form of the artist’s creative approach to composition, processing and developing – above factual representation. Subjektive Fotografie’s emphasis on, and encouragement of, individual perspectives invited both the photographer and the viewer to interpret and reflect on the world through images. Bourdin’s interest in this can be seen in his early use of texture and abstraction, evident in close-up studies of cracked paint peeling off an external wall or a piece of torn fabric. These still lives were often dark in subject matter and tone, highlighting Bourdin’s interest in surrealist compositions and the intersection between death and sexuality. The works made use of the photographer’s urban environment, with deep black and high contrast printing techniques employed to create a sombre mood.
This approach was also important for Bourdin’s early portraiture, which anticipated his subsequent work in fashion. The subject of his portraits – often Solange Gèze, to whom the artist was married from 1961 until her death in 1971 – is usually framed subtly, rarely appearing in the centre or as the main focus of the image. In these works the figure is secondary, showing how Bourdin let the natural or urban environment frame the subject and integrate the body into its immediate surroundings. Bourdin was meticulous about the creative process from start to finish, sketching out images on paper and then recreating them in the landscape, using the natural environment as a stage set for his work.
The Jazzmen is a section of what Jacques Villeglé termed affiches lacérées, posters torn down from the walls of Paris. These particular ones were taken on 10 December 1961. Following his established practice, Villeglé removed the section from a billboard and, having mounted it on canvas, presented it as a work of art. In ‘Des Réalités collectives’ of 1958 (‘Collective Realities’, reprinted in 1960: Les Nouveaux Réalistes, pp. 259-60) he acknowledged that he occasionally tore the surface of the posters himself, although he subsequently restricted interventions to repairs during the mounting process. The large blue and green advertisements for Radinola (at the top right and lower left) provide the main visible surface for The Jazzmen. These establish a compositional unity for the accumulated layers. Overlaid are fragmentary music posters and fly-posters, some dated to September 1961, including the images of the red guitarists that lend the work its title. The artist’s records give the source as rue de Tolbiac, a thoroughfare in the 13th arrondissement in south-east Paris. Villeglé usually uses the street as his title, but has suggested (interview with the author, February 2000) that the title The Jazzmen may have been invented for the work’s inclusion in the exhibition L’Art du jazz (Musée Galliera, Paris 1967).
Villeglé worked together with Raymond Hains (b. 1926) in presenting torn posters as works of art. They collaborated on such works as Ach Alma Manetro, 1949 (Musée nationale d’art moderne, Centre Georges Pompidou, Paris), in which typography dominates the composition. They first showed their affiches lacérées in May 1957 at the Galerie Colette Allendy, Paris, in a joint exhibition named Loi du 29 juillet 1881 ou le lyrisme à la sauvette (The Law of 29 July 1881 or Lyricism through Salvage) in reference to the law forbidding fly-posting. Villeglé sees a social complexity in the developments in the style, typography and subject of the source posters. He also considers the processes of the overlaying and the pealing of the posters by passers-by to be a manifestation of a liberated art of the street. Both aspects are implicitly political. As Villeglé points out, anonymity differentiates the torn posters from the collages of the Cubists or of the German artist Kurt Schwitters. In ‘Des Réalités collectives’ Villeglé wrote: ‘To collages, which originate in the interplay of many possible attitudes, the affiches lacérées, as a spontaneous manifestation, oppose their immediate vivacity’. He saw the results as extending the conceptual basis of Marcel Duchamp’s readymades, whereby an object selected by an artist is declared as art. However, this reduction of the artist’s traditional role brought an end to Villeglé’s collaboration with Hains, who held more orthodox views of creative invention.
In 1960 Villeglé, Hains and François Dufrêne (1930-82), who also used torn posters, joined the Nouveaux Réalistes group gathered by the critic Pierre Restany (b.1930). Distinguished by the use of very disparate materials and techniques, the Nouveaux Réalistes – who also included Arman (b.1928), Yves Klein (1928-62) and Jean Tinguely (1925-91) – were united by what Villeglé has called their ‘distance from the act of painting’ as characterised by the dominant abstraction of the period (interview February 2000). In this way, Klein’s monochromepaintings (see Tate T01513) and Villeglé’s affiches lacérées conform to the group’s joint declaration of 27 October 1960: ‘The Nouveaux Réalistes have become aware of their collective singularity. Nouveau Réalisme = new perceptual approaches to reality.’ The Jazzmen, of the following year, embodies Villeglé’s understanding of his ‘singularity’ as a conduit for anonymous public expression.
Sigmar Polke (1941-1910) Untitled (Uranium Green) (detail)
1992
10 Photographs, C-print on paper
Image, each: 610 x 508 mm
The Estate of Sigmar Polke / VG Bild-Kunst Bonn 2017 Photo: Adam Reich/The Estate of Sigmar Polke / VG Bild-Kunst Bonn and DACS London, 2018
Process is at the core of Yokota’s photographs. For his black-and-white work, such as the series Linger or Site/Cloud, Yokota sifts through an archive of more than 10 years of photographs in his Tokyo apartment. When he finds something that speaks to him – a nude figure, a chair, a building, a grove of trees – he makes a digital image of it, develops it, and rephotographs the image up to 15 times, until it becomes increasingly degraded. He develops the film in ways that are intentionally “incorrect,” allowing light to leak in, or singeing the negatives, using boiling water, or acetic acid. The purported subject fades, and shadows, textures, spots and other sorts of visual noise emerge. For his recent colour work, trippy, sensual abstractions, the process is similar, except that it is cameraless; he doesn’t start with a preexisting image. “I wanted to focus on the emulsion, on the different textures, more than on a subject being photographed,” says Yokota.
Curators: This exhibition is co-curated by David Kiehl, Curator Emeritus, and David Breslin, DeMartini Family Curator and Director of the Collection.
David Wojnarowicz (1954-1992) with Tom Warren Self-Portrait of David Wojnarowicz
1983-84
Acrylic and collaged paper on gelatin silver print
60 × 40 in. (152.4 × 101.6 cm)
Collection of Brooke Garber Neidich and Daniel Neidich Photo: Ron Amstutz
Man on fire
… and two important ones I forgot: earth and spirit!
What an unforgettable, socially aware artist.
His work, and the concepts it investigates, have lost none of their relevance. With the rise of the right, Trump, fake news, discrimination and the ongoing bigotry of religion his thoughts and ideas, his writing, and his imagination are as critical as ever to understanding the dynamics of power and oppression. As Olivia Laing observes, ” …the forces he spoke out against are as lively and malevolent as ever.”
Remember: silence is the voice of complicity.
Although in his lifetime he never achieved the grace he desired, through his art the grace of his spirit lives on. Love and respect.
Marcus
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Many thankx to the Whitney Museum of American Art for allowing me to publish the photographs in the posting. Please click on the photographs for a larger version of the image.
This exhibition will be the first major, monographic presentation of the work of David Wojnarowicz (1954-1992) in over a decade. Wojnarowicz came to prominence in the East Village art world of the 1980s, actively embracing all media and forging an expansive range of work both fiercely political and highly personal. Although largely self-taught, he worked as an artist and writer to meld a sophisticated combination of found and discarded materials with an uncanny understanding of literary influences. First displayed in raw storefront galleries, his work achieved national prominence at the same moment that the AIDS epidemic was cutting down a generation of artists, himself included. This presentation will draw upon recently-available scholarly resources and the Whitney’s extensive holdings of Wojnarowicz’s work.
“I want to throw up because we’re supposed to quietly and politely make house in this killing machine called America and pay taxes to support our own slow murder, and I’m amazed that we’re not running amok in the streets and that we can still be capable of gestures of loving after lifetimes of all this.”
“It is exhausting, living in a population where people don’t speak up if what they witness doesn’t directly threaten them…”
“When I was told that I’d contracted this virus it didn’t take me long to realize that I’d contracted a diseased society, as well.”
“I’ve always painted what I see, and what I experience, and what I perceive, so it naturally has a place in the work. I think not all the work I do is about AIDS or deals with AIDS, but I think the threads of it are in the other work as well.”
“I think what I really fear about death is the silencing of my voice… I feel this incredible pressure to leave something of myself behind.”
“To make the private into something public is an action that has terrific ramifications.”
“I’m beginning to believe that one of the last frontiers for radical gesture is the imagination…”
“Smell the flowers while you can.”
“All I want is some kind of grace.”
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David Wojnarowicz
The image of Rimbaud as a loner bad boy – shooting up, masturbating, prowling Times Square – embodied Wojnarowicz’s early view of what an artist should be: a guerrilla infiltrator, disrupter of what he called the “pre-invented world” that we’re all told is normal, a world of fake borders, gated hierarchies and controlling insider laws. …
A salon-like central gallery is lined with large-scale pictures from the mid-1980s that are basically the equivalent of the history paintings produced by Nicolas Poussin and Thomas Cole, big-thinking panoramas that addressed contemporary politics in a classical language of mythology and landscape. …
Wojnarowicz unabashedly turned, as he said, “the private into something public.” He collapsed political, cultural and personal history in a way that he hadn’t before. He took his outsider citizenship as a subject and weaponized it. The move was strategically effective: It got a lot of attention, including a barrage of right-wing attacks that have persisted into the near-present.”
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Holland Cotter. “He Spoke Out During the AIDS Crisis. See Why His Art Still Matters,” on the New York Times website, July 12, 2018
“Wojnarowicz, the writer, painter, photographer, poet, printmaker and activist, was gay himself, and in his work addressed same-sex desire, the Aids crisis, the persecution of sexual minorities and the Reagan administration’s refusal to acknowledge their existence. But his work is really about America, a place he had described in his 1991 essay collection ‘Close to the Knives’ as an “illusion”, a “killing machine”, a “tribal nation of zombies … slowly dying beyond our grasp”.
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Jake Nevins. “David Wojnarowicz: remembering the work of a trailblazing artist,” on The Guardian website 13 July 2018
“Long before the word intersectionality was in common currency, Wojnarowicz was alert to people whose experience was erased by what he called “the pre‑invented world” or “the one-tribe nation”. Politicised by his own sexuality, by the violence and deprivation he had been subjected to, he developed a deep empathy with others, a passionate investment in diversity.”
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Olivia Laing. “David Wojnarowicz: still fighting prejudice 24 years after his death,” on The Guardian website 13 May 2016
“AIDS is not history. The AIDS crisis did not die with David Wojnarowicz,” reads a mission statement displayed by protesters at the museum. “We are here tonight to honor David’s art and activism by explicitly connecting them to the present day. When we talk about HIV/AIDS without acknowledging that there’s still an epidemic—including in the United States – the crisis goes quietly on and people continue to die… The danger is when you look right now at young people, they think AIDS is over with. They don’t think anyone is living with HIV. They go to the museum and they see it as art – they don’t see AIDS as an urgent problem…”
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Sarah Cascone. “‘AIDS Is Not History’: ACT UP Members Protest the Whitney Museum’s David Wojnarowicz Show, Claiming It Ignores an Ongoing Crisis,” on Art News website 30 July 2018
David Wojnarowicz’s Untitled (Buffalo) is one of the artist’s best-known works and perhaps one of the most haunting artistic responses to the AIDS crisis of the 1980s. The work depicts a herd of buffalo falling off a cliff to their deaths. The artist provides very little context for why and how the creatures got there. The work is in reality, a photograph of a diorama from a museum in Washington, DC depicting an early Native American hunting technique. Through appropriation of this graphic image, the artist evokes feelings of doom and hopelessness, making the work extremely powerful and provocative. Made in the wake of the artist’s HIV-positive diagnosis, Wojnarowicz’s image draws a parallel between the AIDS crisis and the mass slaughter of buffalo in America in the nineteenth century, reminding viewers of the neglect and marginalization that characterized the politics of HIV/AIDS at the time.
Beginning in the late 1970s, David Wojnarowicz (1954-1992) created a body of work that spanned photography, painting, music, film, sculpture, writing, and activism. Largely self-taught, he came to prominence in New York in the 1980s, a period marked by creative energy, financial precariousness, and profound cultural changes. Intersecting movements – graffiti, new and no wave music, conceptual photography, performance, and neo-expressionist painting – made New York a laboratory for innovation. Wojnarowicz refused a signature style, adopting a wide variety of techniques with an attitude of radical possibility. Distrustful of inherited structures – a feeling amplified by the resurgence of conservative politics – he varied his repertoire to better infiltrate the prevailing culture.
Wojnarowicz saw the outsider as his true subject. Queer and later diagnosed as HIV-positive, he became an impassioned advocate for people with AIDS when an inconceivable number of friends, lovers, and strangers were dying due to government inaction. Wojnarowicz’s work documents and illuminates a desperate period of American history: that of the AIDS crisis and culture wars of the late 1980s and early 1990s. But his rightful place is also among the raging and haunting iconoclastic voices, from Walt Whitman to William S. Burroughs, who explore American myths, their perpetuation, their repercussions, and their violence. Like theirs, his work deals directly with the timeless subjects of sex, spirituality, love, and loss. Wojnarowicz, who was thirty-seven when he died from AIDS-related complications, wrote: “To make the private into something public is an action that has terrific ramifications.”
Text from the Whitney Museum of American Art
David Wojnarowicz in 1988
Beginning in the late 1970s, David Wojnarowicz (1954-1992) created a body of work that spanned photography, painting, music, film, sculpture, writing, and activism. Largely self-taught, he came to prominence in New York in the 1980s, a period marked by creative energy, financial precariousness, and profound cultural changes. Intersecting movements – graffiti, new and no wave music, conceptual photography, performance, and neo-expressionist painting – made New York a laboratory for innovation. Wojnarowicz refused a signature style, adopting a wide variety of techniques with an attitude of radical possibility. He saw the outsider as his true subject. Queer and later diagnosed as HIV-positive, he became an impassioned advocate for people with AIDS when an inconceivable number of friends, lovers, and strangers were dying due to government inaction. – Whitney Museum of American Art
This summer, the most complete presentation to date of the work of artist, writer, and activist David Wojnarowicz will be on view in a full-scale retrospective organised by the Whitney Museum of American Art. David Wojnarowicz: History Keeps Me Awake at Night is the first major re-evaluation since 1999 of one of the most fervent and essential voices of his generation.
Beginning in the late 1970s, David Wojnarowicz (1954-1992) created a body of work that spanned photography, painting, music, film, sculpture, writing, performance, and activism. Joining a lineage of iconoclasts, Wojnarowicz (pronounced Voyna-ROW-vich) saw the outsider as his true subject. His mature period began with a series of photographs and collages that honoured – and placed himself among – consummate countercultural figures like Arthur Rimbaud, William Burroughs, and Jean Genet. Even as he became well-known in the East Village art scene for his mythological paintings, Wojnarowicz remained committed to writing personal essays. Queer and HIV-positive, Wojnarowicz became an impassioned advocate for people with AIDS at a time when an inconceivable number of friends, lovers, and strangers – disproportionately gay men – were dying from the disease and from government inaction.
Scott Rothkopf, Deputy Director for Programs and Nancy and Steve Crown Family Chief Curator, remarked, “Since his death more than twenty-five years ago, David Wojnarowicz has become an almost mythic figure, haunting, inspiring, and calling to arms subsequent generations through his inseparable artistic and political examples. This retrospective will enable so many to confront for the first time, or anew, the groundbreaking multidisciplinary body of work on which his legacy actually stands.”
David Breslin noted, “With rage and beauty, David Wojnarowicz made art that questioned power, particularly why some lives are visible and others are hidden. Wojnarowicz wrote, ‘To make the private into something public is an action that has terrific ramifications.’ Present throughout his work and this exhibition is the will to show the desires, dreams, and politics of outsiders – like him – queer, economically marginalised, sick, vulnerable, and vibrantly idiosyncratic.”
Largely self-taught, Wojnarowicz came to prominence in New York in the 1980s, a period marked by great creative energy and profound cultural changes. Intersecting movements – graffiti, new and no wave music, conceptual photography, performance, neo-expressionist painting – made New York a laboratory for innovation. Unlike many artists, Wojnarowicz refused a signature style, adopting a wide variety of techniques with an attitude of radical possibility. Distrustful of inherited structures, a feeling amplified by the resurgence of conservative politics, Wojnarowicz varied his repertoire to better infiltrate the culture.
Wojnarowicz was a poet before he was a visual artist. His mature period began with Rimbaud in New York (1978-79), in which he photographed friends wearing a mask of the nineteenth-century French poet’s face and posing throughout New York City. He became, in the 1980s, a figure in the East Village art scene, showing his paintings, photographs, and installations at galleries like Civilian Warfare, Gracie Mansion, and P.P.O.W. During a time when AIDS was ravaging the artistic community of New York, Wojnarowicz emerged as a powerful activist and advocate for the rights of people with AIDS and the queer community, becoming deeply entangled in the culture wars.
His essay for the catalogue accompanying the exhibition Witnesses: Against Our Vanishing (curated by Nan Goldin at Artists Space in 1989-90) came under fire for its vitriolic attack on politicians and leaders who were preventing AIDS treatment and awareness. The National Endowment for the Arts (NEA) threatened to defund the exhibition, and Wojnarowicz fought against this and for the first amendment rights of artists.
The Whitney retrospective will include an excerpt of footage shot by Phil Zwickler, a filmmaker, fellow activist, and friend of Wojnarowicz who also died of AIDS, in which Wojnarowicz is seen preparing to talk to the press in the wake of the NEA controversy. Important text-photo works from this period, which incorporated writings from Close to the Knives: A Memoir of Disintegration, a collection of essays published a year prior to Wojnarowicz’s death, will also be in the Whitney show, including When I Put My Hands on Your Body (1990), Untitled (One day this kid…) (1989), and the iconic photograph Untitled (Falling Buffalo) (1988-89).
The Whitney exhibition begins with the artist’s early experiments in collage and photography that were contemporaneous with the Rimbaud in New York series and features three of Wojnarowicz’s original journals that he kept during the time he was living in Paris and conceiving the Rimbaud photographs. Also on view will be the original Rimbaud mask the artist had his friends wear to pose for the photographs.
Wojnarowicz’s early stencil works first appeared on the streets of downtown Manhattan. These show him developing an iconographic language that he also used on the walls of the abandoned piers on the Hudson River and would figure in the more complex studio paintings that characterise his art later in the decade. An important group of spray and collage paintings in 1982 focus on an image of the artist Peter Hujar, his great friend and mentor. A group of Hujar’s photographs of Wojnarowicz will be shown in conversation with these paintings. By the mid-1980s, Wojnarowicz’s paintings combined mythological subject matter with elements that explored urbanism, technology, religion, and industry.
His masterful suite of four paintings from 1987, each named for one of the four elements, will be shown in their own gallery both to emphasise the centrality of painting and image-making during this moment and to mark the beginning of a period of mourning, rage, and action (both aesthetic and activist) marked by the death of Hujar and others to AIDS-related complications. His never-completed film, Fire in My Belly, will be shown among other unfinished film work that later would become the source for much of his photographic work from 1988-89: the Ant Series, The Weight of the World, and Spirituality (for Paul Thek). A gallery will be devoted to a recording of Wojnarowicz reading from his own writings in 1992 at The Drawing Center in Soho.
Installation view of David Wojnarowicz: History Keeps Me Awake at Night (Whitney Museum of American Art, New York, July 13-September 30, 2018). Clockwise, from top left: Andreas Sterzing, Something Possible Everywhere: Pier 34, NYC, 1983-84; David Wojnarowicz, Fuck You Faggot Fucker, 1984; Peter Hujar, Untitled (Pier), 1983; Peter Hujar, Canal Street Piers: Krazy Kat Comic on Wall [by David Wojnarowicz], 1983; David Wojnarowicz, Untitled, 1982; David Wojnarowicz, Untitled (Slam Click), 1983. Photograph by Ron Amstutz
Installation view of David Wojnarowicz: History Keeps Me Awake at Night (Whitney Museum of American Art, New York, July 13-September 30, 2018). Photograph by Ron Amstutz
Installation view of David Wojnarowicz: History Keeps Me Awake at Night (Whitney Museum of American Art, New York, July 13-September 30, 2018). From left to right: Queer Basher/Icarus Falling, 1986; Unfinished Film (A Fire in My Belly), 1986-87; Unfinished Film (Mexico, etc… Peter, etc…), 1987; Unfinished Film (with sequence in memory of Peter Hujar), c. 1987; Unfinished Film (Mexico Film Footage II), c. 1988; A Worker, 1986. Photograph by Ron Amstutz
Installation view of David Wojnarowicz: History Keeps Me Awake at Night (Whitney Museum of American Art, New York, July 13-September 30, 2018). From left to right: He Kept Following Me, 1990; I Feel A Vague Nausea, 1990; Americans Can’t Deal with Death, 1990; We Are Born into a Preinvented Existence, 1990. Photograph by Ron Amstutz
About the Artist
After hitchhiking across the U.S. and living for several months in San Francisco, and then in Paris, David Wojnarowicz settled in New York in 1978 and soon after began to exhibit his work in East Village galleries. He was included in the 1985 and 1991 Whitney Biennials, and was shown in numerous museum and gallery exhibitions throughout the United States and Europe. Previous exhibitions to focus on Wojnarowicz include “Tongues of Flame” at the University Galleries of Illinois State University (1990) and “Fever: The Art of David Wojnarowicz” at the New Museum (1999). Wojnarowicz was the author of a number of books, including Close to the Knives: A Memoir of Disintegration (1991). His artwork is in numerous private and public collections including the Whitney Museum of American Art; the Metropolitan Museum of Art; The Museum of Modern Art, New York; The Art Institute of Chicago; the Broad Art Foundation, Los Angeles; and Museo Nacional Centro de Arte Reina Sofía, Madrid, Spain.
Press release from the Whitney Museum of American Art
Gallery 1
Wojnarowicz, who aspired to be a writer in the 1970s, immersed himself in the work of William S. Burroughs and Jean Genet – two collages here feature them – but he felt a particular kinship to the iconoclastic nineteenth-century French poet Arthur Rimbaud. In the summer of 1979, just back from a stay in Paris with his sister, the twenty-four-year-old Wojnarowicz photographed three of his friends roaming the streets of New York wearing life-size masks of Rimbaud. Using a borrowed camera, Wojnarowicz staged the images in places important to his own story: the subway, Times Square, Coney Island, all-night diners, the Hudson River piers, and the loading docks in the Meatpacking District, just steps away from the Whitney Museum. Born one hundred years, almost to the month, before Wojnarowicz, Rimbaud rejected established categories and wanted to create new and sensuous ways to participate in the world. He, like Wojnarowicz, was the forsaken son of a sailor father, made his queerness a subject of his work, and knowingly acknowledged his status as an outsider (“Je est un autre” – “I is an other” – is perhaps Rimbaud’s most famous formulation).
David Wojnarowicz (1954-1992) Arthur Rimbaud in New York
1978-79 (printed 1990)
Gelatin silver print
8 × 10 in. (20.3 × 25.4 cm)
Collection of the Estate of David Wojnarowicz; Courtesy P.P.O.W, New York
David Wojnarowicz (1954-1992) Arthur Rimbaud in New York (On Subway)
1978-79 (printed 1990)
Gelatin silver print
8 × 10 in. (20.3 × 25.4 cm)
Collection of the Estate of David Wojnarowicz; Courtesy P.P.O.W, New York
David Wojnarowicz (1954-1992) Arthur Rimbaud in New York (Duchamp, Pier)
1978-79 (printed 2004)
Gelatin silver print, 10 × 8 in. (25.4 × 20.3 cm)
Collection of Philip E. Aarons and Shelley Fox Aarons
Image courtesy the Estate of David Wojnarowicz and P.P.O.W., New York
David Wojnarowicz (1954-1992) Untitled (Genet after Brassaï)
1979
Collage of offset-lithographs and coloured pencil
12 × 15in. (30.5 × 38.1 cm)
Private collection Photo: Carson Zullinger
At the same time as he conceived the Rimbaud series, Wojnarowicz created homages to other personal heroes, including Jean Genet (1910-1986), the French novelist, poet, and political activist. Genet resonated with Wojnarowicz for his erotic vision of the universe, his embrace of the outsider, and his frank writing on gay sex. For Untitled (Genet after Brassaï), Wojnarowicz transforms the iconoclast writer into a saint; in the background, a Christ figure appears to be shooting up with a syringe. When later criticised by religious conservatives, Wojnarowicz explained that he saw drug addiction as a contemporary struggle that an empathetic Christ would identify with and forgive.
Gallery 2
In the early 1980s Wojnarowicz had no real income. He scavenged materials like supermarket posters and trashcan lids as well as cheap printed materials available in his Lower East Side neighborhood. Incorporating them in his art, Wojnarowicz found radical possibilities in these discarded, forgotten artefacts and in the city itself. He embraced the abandoned piers on the Hudson River, particularly Pier 34 just off Canal Street, for the freedom they offered. He cruised for sex there, and he also wrote and made art on site. He appreciated their proximity to nature and the solitude he could find there.
Wojnarowicz began using stencils out of necessity. He was a member of the band, 3 Teens Kill 4, whose album, No Motive, can be played on the website. He produced posters for their shows, and to prevent their removal started making templates to spray-paint his designs on buildings, walls, and sidewalks. These images – the burning house, a falling man, a map outline of the continental United States, a dive-bombing aircraft, a dancing figure – became signature elements in his visual vocabulary, creating an iconography of crisis and vulnerability. Wojnarowicz frequently railed against what he called the “pre-invented world”: a world colonised and corporatised to such an extent that it seems to foreclose any alternatives. For him, using found objects, working at the abandoned piers for an audience of friends and strangers, and creating a language of his own were ways to shatter the illusion of the pre-invented world and make his own reality.
David Wojnarowicz (1954-1992) Diptych II
1982
Spray paint with acrylic on composition board
48 × 96 in. (121.9 × 243.8 cm)
Collection of Raymond J. Learsy. Image courtesy Raymond J. Learsy Photo: Brian Wilcox
David Wojnarowicz (1954-1992) Jean Genet Masturbating in Metteray Prison (London Broil)
1983
Screenprint on supermarket poster
34 × 25 in. (86.4 × 63.5 cm)
Whitney Museum of American Art, New York; purchase, with funds from the Print Committee Photo: Mark-Woods.com
David Wojnarowicz (1954-1992) Fuck You Faggot Fucker
1984
Four black-and-white photographs, acrylic, and collaged paper on Masonite
48 × 48 in. (121.9 × 121.9 cm)
Collection of Barry Blinderman
Image courtesy Barry Blinderman, Normal, Illinois Photo: Jason Judd
This work was one of Wojnarowicz’s first to directly tackle homophobia and gay bashing and to embrace same-sex love. Its title comes from a scrap of paper containing a homophobic slur that Wojnarowicz found and affixed below the central image of two men kissing. Made with one of his stencils, these anonymous men are archetypes, stand-ins for a multitude of personal stories. Using photographs taken at the piers and in an abandoned building on Avenue B, Wojnarowicz also includes himself and his friends John Hall and Brian Butterick in this constellation. Maps like those in the background here often appear in Wojnarowicz’s work; for him, they represented a version of reality that society deemed orderly and acceptable. He often cut and reconfigured the maps to gesture toward the groundlessness, chaos, and arbitrariness of both man-made borders and the divisions between “civilization” and nature.
David Wojnarowicz (1954-1992) Fuck You Faggot Fucker (details)
1984
Four black-and-white photographs, acrylic, and collaged paper on Masonite
48 × 48 in. (121.9 × 121.9 cm)
Collection of Barry Blinderman
Image courtesy Barry Blinderman, Normal, Illinois
David Wojnarowicz (1954-1992) Prison Rape
1984
Acrylic and spray paint on posters on composition board
48 × 48 in. (121.9 × 121.9 cm)
Private collection
Image courtesy Ted Bonin Photo: Joerg Lohse
Andreas Sterzing Something Possible Everywhere: Pier 34, NYC [Wojnarowicz’s Gagging Cow at the Pier]
1983
Courtesy the artist and Hunter College Art Galleries, New York
“So simple, the appearance of night in a room full of strangers, the maze of hallways wandered as in films, the fracturing of bodies from darkness into light, sounds of plane engines easing into the distance.” ~ David Wojnarowicz
Peter Hujar (1934-1992) Canal Street Piers: Krazy Kat Comic on Wall [by David Wojnarowicz] 1983
Gelatin silver print
8 x 8 inches (20.3 x 20.3 cm)
Peter Hujar Archive, courtesy Pace/MacGill Gallery, New York, and Fraenkel Gallery, San Francisco
David Wojnarowicz (1954-1992)
Untitled (Two Heads) 1984
Acrylic on commercial screenprint poster
41 × 47 ½ in. (104.1 × 120.7 cm)
Collection of the Ford Foundation
Image courtesy the Fales Library and Special Collections, New York University
David Wojnarowicz (1954-1992) Incident #2 – Government Approved
1984
Acrylic and collaged paper on composition board
51 × 51 × 7/8in. (129.5 × 129.5 × 2.2 cm) framed
Collection of Howard Bates Johnson
Gallery 3
For his exhibition at the East Village gallery Civilian Warfare in May 1984, Wojnarowicz created a group of cast-plaster heads that he individualised by applying torn maps and paint. He made twenty-three of them, a reference to the number of chromosome pairs in human DNA, and explained that the series was about “the evolution of consciousness.” At the gallery, he installed these “alien heads” on long shelves on a wall painted with a bull’s-eye. Suggesting a ring line, the installation evoked the conflicts then ravaging Central and South America, from the Contra War in Nicaragua to the Salvadoran Civil War to the Argentine Dirty War. The specter of torture, disappearance, and human-rights abuses cast a shadow over all of the Americas.
David Wojnarowicz (1954-1992) Untitled
1984
From the Metamorphosis series
Collaged paper and acrylic on plaster
9 1/2 × 9 1/2 × 9 1/2 in. (24.1 × 24.1 × 24.1 cm)
Collection of Beth Rudin DeWoody
Image courtesy Beth Rudin DeWoody Photo: Monica McGivern
Gallery 4
Wojnarowicz met Peter Hujar in 1980. They were briefly lovers, but the relationship soon transitioned and intensified into a friendship that defied categorisation. The two frequently made artworks using the other as subject. Twenty years Wojnarowicz’s senior, Hujar was a photographer and a known figure in the New York art world, esteemed for his achingly beautiful, technically flawless portraits. At the time of their meeting, Wojnarowicz was still finding his way. It was Hujar who convinced him that he was an artist and, specifically, encouraged him to paint – something Wojnarowicz had never done. After Hujar’s death in 1987 due to complications from AIDS, Wojnarowicz would claim him as “my brother, my father, my emotional link to the world.”
David Wojnarowicz (1954-1992) Peter Hujar Dreaming/Yukio Mishima: Saint Sebastian
1982
Acrylic and spray paint on Masonite
48 × 48 in. (121.9 × 121.9 cm)
Collection of Matthijs Erdman
Image courtesy the Estate of David Wojnarowicz and P.P.O.W, New York
In this painting from 1982, Wojnarowicz composes a meditation on male desire. His friend and mentor Peter Hujar stretches across the bottom, reclining with his eyes closed, apparently dreaming the scene above. An image of the Japanese author Yukio Mishima (1925-1970) masturbating dominates the centre of the composition; it is inspired by the writer’s description of his first masturbatory experience, initiated by a reproduction of a Renaissance painting of Saint Sebastian. The torso of the Christian martyr – young, statuesque, and pierced with arrows – rises above, a glowing aura linking him to the night sky and offering him up as an icon of queerness.
This photograph of Wojnarowicz with his head bowed appeared on the cover of the June 28, 1983, edition of The Village Voice. It accompanied the article “Heartsick: Fear and Loving in the Gay Community” by Richard Goldstein. At the time of publication, very little was known about HIV and AIDS, including how it spread. Goldstein wrote: “If one were to devise a course of action based on incontrovertible evidence alone, there would be no conclusion to draw. Should I screen out numbers who look like they’ve been around? Should I travel to have sex? Should I look for lesions before I leap? How do I know my partner doesn’t have the illness in its (apparently protracted) dormant stage?” By the end of 1983, there were 2,118 reported AIDS-related deaths in the United States.
Peter Hujar (1934-1992) David Wojnarowicz with Hand Touching Eye 1981
Gelatin silver print
14 3/4 x 14 3/4″ (37.4 x 37.4 cm)
The Museum of Modern Art, New York
The Fellows of Photography Fund
Peter Hujar (1934-1992) David Wojnarowicz Reclining (II) 1981
Gelatin silver print
14 11/16 x 14 13/16 in. (37.3 x 37.6 cm)
Princeton University Art Museum, Princeton, NJ
Gift of Stephen Koch
David Wojnarowicz (1954-1992) Untitled (Green Head)
1982
Acrylic on composition board
48 × 96 in. (121.9 × 243.8 cm)
Collection of Hal Bromm and Doneley Meris
Gallery 5
In the mid-1980s Wojnarowicz began to incorporate his disparate signs and symbols into complex paintings. A fierce critic of a society he saw degrading the environment and ostracising the outsider, Wojnarowicz made compositions that were dense with markers of industrial and colonised life. These include railroad tracks and highways, sprawling cities and factory buildings, maps and currency, nuclear power diagrams and crumbling monuments. Interspersed among them are symbols that he connected to fragility, such as blood cells, animals and insects, and the natural world. Wojnarowicz used these depictions as metaphors for a culture that devalues the lives of those on the periphery of mainstream culture. He made these paintings at a time when AIDS was ravaging New York, particularly the gay community. Although AIDS was first identified in 1981, President Ronald Reagan did not mention it publicly until 1985. By the end of that year, in New York alone there already had been 3,766 AIDS-related deaths.
David Wojnarowicz (1954-1992) History Keeps Me Awake at Night (For Rilo Chmielorz)
1986
Acrylic, spray paint, and collaged paper on composition board
72 x 84 in. (170.2 x 200 cm)
Collection of John P. Axelrod Photo: Ron Cowie
In History Keeps Me Awake at Night (for Rilo Chmielorz) Wojnarowicz presents a dystopic vision of American life. Presenting simulated American currency and bureaucratic emblems alongside symbols of crime, monstrosity, and chaos, the painting’s threatening imagery runs counter to the apparently placid sleep of the man below. If the painting is about fear, perhaps the fear of staring down AIDS, Wojnarowicz presents it as an endemic condition in which new fears are built upon historical ones.
A nightmarish allegory of violence and capitalism, Das Reingold: New York Schism makes reference to Richard Wagner’s opera Das Rheingold (1854), in which the holder of a magical ring will gain the power to rule the world should he renounce love. This narrative assumed particular power at a moment when artists were joining the group ACT UP (AIDS Coalition to Unleash Power) to protest the profiteering of pharmaceutical companies and government mismanagement of the AIDS crisis.
The Death of American Spirituality contains a number of Wojnarowicz’s recurring symbols and imagery densely layered in a single composition. With its radically juxtaposed motifs that suggest different temporalities – from geologic landforms to emblems of the American West and the Industrial Revolution – the mythical tableau depicts destruction proliferating alongside technological advancement and geographic conquest.
David Wojnarowicz (1954-1992) I Use Maps Because I Don’t Know How to Paint 1984
Acrylic and collaged paper on composition board
48 x 48 in. (121.9 x 121.9 cm)
Rubell Family Collection, Miami
David Wojnarowicz (1954-1992)
The Birth of Language II 1986
Acrylic, spray paint, and collaged paper on wood
67 x 79 in. (170.2 x 200.7 cm)
Collection of Matthijs Erdman
David Wojnarowicz (1954-1992) Earth, Wind, Fire, and Water
1986
Acrylic and spray paint on canvas
78 ¾ in. × 157 ½ in. (200 × 400 cm)
Private collection
Image courtesy Daniel Buchholz and Christopher Müller, Cologne Photo: Nick Ash.
Gallery 6
Wojnarowicz filmed constantly during this period, bringing his Super 8 camera with him on his frequent travels. At the end of October 1986, he went to Mexico where he filmed the Day of the Dead festivities and other scenes at Teotihuacán. This footage includes fire ants climbing on objects such as clocks, currency, and a crucifix that Wojnarowicz brought with him. Wojnarowicz, who was raised Roman Catholic, would later speak of Jesus Christ as one who “took on the suffering of all people.” As the AIDS crisis intensified, he sought to find a symbolic language that encapsulated ideas of spirituality, mortality, vulnerability, and violence. He began to edit the Mexican footage into a film entitled A Fire in My Belly, but it was never finished. Ravenous for the world and its offerings, Wojnarowicz used film as form of second sight, a visual notebook, and a record for us to see the world – at least in ashes – as he did.
David Wojnarowicz (1954-1992) Still from an unfinished film
Super 8 film, black and white, silent, 3 minutes
Courtesy the Fales Library and Special Collections, New York University
David Wojnarowicz (1954-1992) Unfinished Film (A Fire in My Belly)
1986-1987
Super 8 film transferred to digital video, black-and-white and colour, silent; 20:56 min.
Fales Library and Special Collections, New York University
Gallery 7
On September 17, 1987, Gracie Mansion Gallery opened an exhibition of Wojnarowicz’s work called The Four Elements. These symbolically and technically dense paintings – allegorical representations of earth, water, fire, and wind – are Wojnarowicz’s take on a theme with a long history in European art. By linking his contemporary moment to a historical subject, he claims a lineage for his work as he suggests the particularity – and particular violence – of his time.
David Wojnarowicz (1954-1992) Water
1987
Acrylic, ink, and collaged paper on composition board
72 × 96 in. (182.9 × 243.8 cm)
Second Ward Foundation
Image courtesy the Estate of David Wojnarowicz and P.P.O.W, New York
David Wojnarowicz (1954-1992) Water (details)
1987
Acrylic, ink, and collaged paper on composition board
72 × 96 in. (182.9 × 243.8 cm)
Second Ward Foundation
Image courtesy the Estate of David Wojnarowicz and P.P.O.W, New York
David Wojnarowicz (1954-1992) Earth
1987
Acrylic and collaged paper on wood, two panels
72 × 96 in. (182.9 × 243.8 cm)
The Museum of Modern Art, New York
Gift of Agnes Gund
David Wojnarowicz (1954-1992) Wind (For Peter Hujar)
1987
Acrylic and collaged paper on composition board, two panels
72 × 96 in. (182.9 × 243.8 cm)
Collection of the Second Ward Foundation
Wind (For Peter Hujar) is the most personal and self-referential of Wojnarowicz’s Four Elements paintings. A red line running through an open window connects a baby – based on a photograph of his brother Steven’s newborn – to a headless paratrooper. Wojnarowicz, in his only painted self-portrait, stands behind. The bird’s wing dominating the upper left quarter of the painting is a copy of one of Hujar’s favorite works – a 1512 drawing by the German artist Albrecht Dürer. Hujar would die less than two months after this painting was first exhibited and Wojnarowicz later had the wing carved into his friend’s tombstone. Three days after Hujar’s death, Wojnarowicz wrote in his journal after visiting his grave: “He sees me, I know he sees me. He’s in the wind in the air all around me.”
David Wojnarowicz (1954-1992) Fire 1987
Acrylic and collaged paper on wood, two panels
72 x 96 in. (182.9 x 243.8 cm)
The Museum of Modern Art, New York
Gift of Agnes Gund and Barbara Jakobson Fund
Gallery 8: Sound Gallery
Writing and engaging in readings was an important part of David Wojnarowicz’s practice. The transcript on the website is text from audio recordings of Wojnarowicz reading his own work in 1992 at the Drawing Center, New York, at a benefit for Needle Exchange. He read excerpts from his books Close to the Knives: A Memoir of Disintegration (1991) and Memories That Smell Like Gasoline (1992); a short work, “Spiral,” which appeared in Artforum in 1992; and another brief piece that begins with the phrase “When I put my hands on your body,” which also appears in one of his photo-based works.
Gallery 9
Wojnarowicz was in the hospital room when Peter Hujar died from complications related to AIDS. He asked the others who were there to leave so that he could film and photograph his friend for the last time. The three tender images of Hujar’s head, hands, and feet installed here come from this final encounter. While Wojnarowicz would continue to draw and paint after Hujar’s death, photography and writing would preoccupy him until the end of his life. He moved into Hujar’s loft, which had a darkroom, enabling him to reconsider – and experiment with – the vast number of negatives he had accumulated over the years.
Wojnarowicz found himself at the center of political debates involving the National Endowment for the Arts (NEA). In a newsletter that the American Family Association distributed to criticise NEA funding of exhibitions with gay content, the religious lobby group excerpted Wojnarowicz’s work out of context. He sued for copyright infringement and won. Wojnarowicz’s hand-edited affdavit and related materials are included here. The searing essay he contributed to the catalogue for Witnesses: Against Our Vanishing, an exhibition curated by artist Nan Goldin in 1989, triggered the NEA to withdraw its funding. In it Wojnarowicz strenuously criticised – and personally demonised conservative policy-makers for failing to halt the spread of AIDS by discouraging education about safe sex practices. One of its most memorable passages is the pronouncement: “WHEN I WAS TOLD THAT I’D CONTRACTED THIS VIRUS IT DIDN’T TAKE ME LONG TO REALIZE THAT I’D CONTRACTED A DISEASED SOCIETY AS WELL.”
David Wojnarowicz (1954-1992) Bad Moon Rising 1989
Four gelatin silver prints, acrylic, string, and collage on composition board
36 3/4 x 36 5/8 x 2 1/4in. (93.3 x 93 x 5.7 cm)
Collection of Steven Johnson and Walter Sudol
Courtesy Second Ward Foundation
Phil Zwickler (b. 1954; Alexandria, VA; d. 1991; New York, NY) Footage of Wojnarowicz speaking about the National Endowment for the Arts controversy (extract)
1989
Video transferred to digital video, color, sound; 7:23 min.
Fales Library and Special Collections, New York University; courtesy the
Estate of Phil Zwickler
Artist David Wojnarowicz discusses right-wing backlash against the NEA and arts funding (circa 1989).
This 1989 video by Phil Zwickler, a filmmaker, journalist, and AIDS activist, was shot in Wojnarowicz’s apartment days before the opening of Witnesses: Against Our Vanishing, an exhibition that presented artists’ responses to the AIDS crisis. John Frohnmayer, the chairman of the National Endowment for the Arts (NEA), withdrew the NEA’s $10,000 grant to the exhibition in response to the essay that Wojnarowicz wrote for the catalogue. The grant was later partially reinstated, but with the stipulation that no money was to be used to support the catalogue. Zwickler filmed Wojnarowicz while the controversy was unfolding.
David Wojnarowicz (1954-1992) Untitled (Hujar Dead)
1988-89
Black-and-white photograph, acrylic, screenprint, and collaged paper on Masonite
39 × 32 in. (99.1 × 81.3 cm)
Whitney Museum of American Art, New York
Gift of Steven Johnson and Walter Sudol in memory of David Wojnarowicz
Image courtesy the Estate of David Wojnarowicz and P.P.O.W, New York
This painting presents an urgent condemnation of systemic homophobia and government inattention to people with AIDS – including, by that point, Wojnarowicz himself – and expresses the artist’s extreme anger at being at the mercy of those in power. The nine photographs at the centre of the painting are of Peter Hujar, taken shortly after his death. The painting was included in Witnesses: Against Our Vanishing at New York’s Artists Space from November 16, 1989, to January 6, 1990. Curated by Nan Goldin, the exhibition also included work by other artists responding to the AIDS crisis: David Armstrong, Tom Chesley, Dorit Cypris, Jane Dickson, Philip-Lorca DiCorcia, Darrel Ellis, Allen Frame, Peter Hujar, Greer Lankton, Siobhan Liddel, James Nares, Perico Pastor, Margo Pelletier, Clarence Elie Rivera, Vittorio Scarpati, Jo Shane, Kiki Smith, Janet Stein, Stephen Tashjian, Shellburne Thurber, and Ken Tisa.
David Wojnarowicz (1954-1992) Childhood
1988
Acrylic, watercolor, and collaged paper on canvas
42 × 47 ½ in. (106.7 × 120.7 cm)
Collection of Eric Ceputis and David W. Williams Photo: Michael Tropea
David Wojnarowicz (1954-1992) Something from Sleep III (For Tom Rauffenbart) 1989
Acrylic and spray paint on canvas
48 1/2 x 39 x 1 5/8in. (123.2 x 99.1 x 4.1 cm)
Collection of Tom Rauffenbart
Installation view of David Wojnarowicz: History Keeps Me Awake at Night at the Whitney Museum of American Art, New York showing some of the Ant series
David Wojnarowicz (1954-1992) Untitled (Time and Money)
1988-89
From the Ant Series
Gelatin silver print
16 × 20in. (40.6 × 50.8 cm)
Collection of Steve Johnson and Walter Sudol
Courtesy Second Ward Foundation
Image courtesy the Estate of David Wojnarowicz and P.P.O.W, New York
David Wojnarowicz (1954-1992) Untitled (Desire) 1988-89 From the Ant Series Gelatin silver print
16 x 20in. (40.6 x 50.8 cm)
Collection of Steven Johnson and Walter Sudol
Courtesy Second Ward Foundation
David Wojnarowicz (1954-1992) Untitled (Violence)
1988-89 From the Ant Series Gelatin silver print
16 x 20in. (40.6 x 50.8 cm)
Collection of Steven Johnson and Walter Sudol
Courtesy Second Ward Foundation
David Wojnarowicz (1954-1992) Spirituality (For Paul Thek)
1988-89
Gelatin silver prints on museum board
41 × 32 1/2 in. (104.1 × 82.6 cm)
Collection of Steve Johnson and Walter Sudol
Courtesy Second Ward Foundation
Image courtesy the Estate of David Wojnarowicz and P.P.O.W, New York
Wojnarowicz often presented a series of photographs as a single composition, as he does with Spirituality (For Paul Thek). This method allows the images to retain their singularity as they merge into one entity, and to serve as potent metaphors for the role – and importance – of the individual in the larger society. The central image of the crucifix was taken while Wojnarwicz was in Teotihuacán, north of Mexico City. He wanted to stage an image that suggested the eternal conflict between nature and man-made culture. Wojnarowicz considered ants to be evolved beings, writing in a 1989 text that they “are the only insects to keep pets, use tools, make war, and capture slaves.” The photograph of the reclining man was taken in 1980 and depicts Wojnarowicz’s friend Iola Carew, then a coworker at the nightclub Danceteria. Carew was the first person Wojnarowicz knew to be diagnosed with AIDS. The work is dedicated to the artist Paul Thek, who died of AIDS-related complications in 1988.
David Wojnarowicz (1954-1992) Spirituality (For Paul Thek) (details)
1988-89
Gelatin silver prints on museum board
41 × 32 1/2 in. (104.1 × 82.6 cm)
Collection of Steve Johnson and Walter Sudol
Courtesy Second Ward Foundation
Image courtesy the Estate of David Wojnarowicz and P.P.O.W, New York
The works in Wojnarowicz’s Sex Series are punctuated with circular insets containing an array of cropped details, including pornographic imagery. For Wojnarowicz, these voyeuristic “peepholes” evoked surveillance photos or objects under a microscope. This was one of his first projects after Hujar’s death and Wojnarowicz’s own diagnosis with HIV. “It came out of loss,” he said. “I mean every time I opened a magazine there was the face of somebody else who died. It was so overwhelming and there was this huge backlash about sex, even within the activist community… And it essentially came out of wanting some sexy images on the wall – for me. To keep me company. To make me feel better.”
The sole survey of Wojnarowicz’s work during his lifetime, David Wojnarowicz: Tongues of Flame, was held in 1990 at Illinois State University in Normal. In the lead-up to the exhibition, he began work on the four large-scale paintings of exotic flowers. Equating the beauty of the body with its very fragility, Wojnarowicz uses the flower as an allusion to the AIDS crisis, his own illness, and a continuum of loss. Importantly, the flower also suggests the possibility and necessity of beauty. The artist Zoe Leonard recalls showing Wojnarowicz, at the height of the AIDS crisis, her small work prints of clouds. Leonard, also an activist, recalls: “I felt guilty and torn. I felt detached – my work was so subtle and abstract, so apolitical on the surface. I remember showing those pictures to David and talking things over with him and he said – I’m paraphrasing – Don’t ever give up beauty. We’re fighting so that we can have things like this, so that we can have beauty again.”
David Wojnarowicz (1954-1992) Weight of the Earth I 1988
Fourteen gelatin silver prints and watercolor on paper on board
39 x 41 1/4 in. (99.1 x 104.8 cm)
The Museum of Modern Art, New York; The Family of Man Fund
David Wojnarowicz (1954-1992) Weight of the Earth II
1988-89
Fourteen gelatin silver prints and watercolor on paper on board
39 x 41 1/4 in. (99.1 x 104.8 cm)
Collection of Dunja Siegel
Through compositions like these Wojnarowicz sought to create a language out of images. To him, the combination of images described something painful but also mysterious about the experience of being alive – “about captivity in all that surrounds us,” in his words, and the “heaviness of the pre-invented experience we are thrust into.”
David Wojnarowicz (1954-1992) Fever
1988-89
Three gelatin silver prints on museum board
31 × 25 in. (78.7 × 63.5 cm)
Collection of Michael Hoeh
Image courtesy the Estate of David Wojnarowicz and P.P.O.W, New York
David Wojnarowicz (1954-1992) Something from Sleep IV (Dream)
1988-89
Gelatin silver print, acrylic, and collaged paper on Masonite
16 × 20 ½ in. (40.6 × 52.1 cm)
Collection of Luis Cruz Azaceta and Sharon Jacques
Image courtesy Luis Cruz Azaceta and Sharon Jacques Photo: by Dylan Cruz Azaceta
David Wojnarowicz (1954-1992) I Feel A Vague Nausea
1990
Five gelatin silver prints, acrylic, string, and screenprint on composition board
62 × 50 × 3in. (157.5 × 127 × 7.6 cm)
Collection of Michael Hoeh
Image courtesy the Estate of David Wojnarowicz and P.P.O.W, New York
David Wojnarowicz (1954-1992) Americans Can’t Deal with Death
1990
Two black-and-white photographs, acrylic, string, and screenprint on Masonite
60 × 48 in. (152.4 × 121.9 cm)
Collection of Eric Ceputis and David W. Williams
Image courtesy the Estate of David Wojnarowicz and P.P.O.W, New York
“Americans can’t deal with death unless they own it. If they own it they will celebrate it…”
Gallery 11
Wojnarowicz’s work concerns itself with the mechanisms, politics, and manipulations of power that make some lives visible and others not. The will to make bodies present – the compulsion to clear a space for queer representations not commonly seen through language and image – was threaded throughout his work, exacerbated by the AIDS crisis, and crystallised in his work. Untitled (One Day This Kid… ) (1990-91) is perhaps Wojnarowicz’s best-known work. Black script shapes the boundary of a boy’s body – a boy whom we know, with his high forehead, prominent teeth, and electric eyes, is Wojnarowicz as a child. He sits for what we assume is a school picture, and he’s no older than eight. The text that surrounds him projects the child into a future scarred by abuse and homophobia. This artwork, like many by Wojnarowicz, has rightly come to embody the spirit of protest, struggle, and resistance. Wojnarowicz died on July 22, 1992. By the end of that year, 38,044 others in New York had died from AIDS-related complications. In his essay “Postcards from America: X Rays from Hell,” Wojnarowicz states what is equally true of art and protest: “With enough gestures we can deafen the satellites and lift the curtains surrounding the control room.”
David Wojnarowicz (1954-1992) Sub-Species Helms Senatorius
1990
Silver dye bleach print (Cibachrome)
16 x 20 in. (40.6 x 50.8 cm)
Whitney Museum of American Art, New York
Gift of Steven Johnson and Walter Sudol
In this work, Senator Jesse Helms of North Carolina appears as a spider with a swastika on his back. In 1989, in response to the controversy regarding his essay for the Witnesses: Against Our Vanishing catalogue, Wojnarowicz drafted a press release that included a description of Helms as one of seven particularly bad actors in the fight against AIDS. It read, in part:
‘One of the more dangerous homophobes in the continental United States… Has introduced legislation that denies federal funding for any program that mentions homosexuality… Cut out any and all AIDS education funding that relates to gays and lesbians. Introduced legislation that we must now live with that prevents any HIV-positive people or PWA’s [people with AIDS] from entering any border of the U.S.A. as well as deporting people with green cards forcibly tested and found to be HIV-positive.’
David Wojnarowicz (1954-1992) Bread Sculpture
1988-89
Bread, string, and needle with newspaper
11 ½ × 14 1⁄8 in. × 6 in. (29.2 × 35.9 cm × 15.2 cm)
Collection of Gail and Tony Ganz Photo: Ed Glendinning
Wojnarowicz used red string as a material throughout his practice. From his early supermarket posters to the flower paintings, he stitched red string into the surface of his compositions to suggest the seams and irreconcilable breaks in culture. In his unfinished film A Fire in My Belly (1986-87, see above), Wojnarowicz included footage of the stitching together of a broken loaf of bread. This sculpture is a physical manifestation of that earlier idea. The film also included footage of what appeared to be a man’s lips being sewn together. A version of that image by Andreas Sterzing – picturing Wojnarowicz himself – would become one of the most galvanising images to come out of the AIDS crisis.
David Wojnarowicz (1954-1992) What Is This Little Guy’s Job in the World
1990
Gelatin silver print
13 ¾ × 19 1⁄8 in. (34.9 × 48.6 cm)
Collection of Penelope Pilkington
Image courtesy the Estate of David Wojnarowicz and P.P.O.W, New York
David Wojnarowicz (1954-1992) Untitled (When I Put My Hands on Your Body) 1990
Gelatin silver print and screenprint on board
26 x 38 in. (66 x 96.5 cm)
Collection of Eric Ceputis and David W. Williams
Promised gift to the Art Institute of Chicago
Wojnarowicz visited Dickson Mounds, a museum on the site of an ancient Indigenous community in Lewistown, Illinois, around the time of his 1989 exhibition at Illinois State University. There, he photographed a burial site displaying skeletons and artifacts that had been excavated in 1927. Wojnarowicz, facing his own mortality and the deaths of many whom he loved, returned to the photograph a few years later and layered it with his own text about loss to create this work. The exhibit at Dickson Mounds closed in 1992 after years of protests by Native American activists and their supporters who objected to the public display of human remains. Activists also were fighting at the national level around this time for legislation affirming Indigenous peoples’ right to protect the graves and remains of their ancestors. Wojnarowicz, who frequently wrote and spoke out in support of those who had been forgotten and disenfranchised due to U.S. policies, including Native Americans, recorded the following in an audio journal from 1989: “If I’m making a painting about the American West and I want to talk about the railroad bringing culture – white culture – across the country and exploiting or destroying Indian culture… I see that there’s a certain amount of information that is totally ignored in this country. That all this is built on blood.”
David Wojnarowicz (1954-1992) Untitled (Face in Dirt)
1991 (printed 1993)
Gelatin silver print
19 × 23 in. (48.3 × 58.4 cm)
Collection of Ted and Maryanne Ellison Simmons
Image courtesy the Estate of David Wojnarowicz and P.P.O.W, New York
This photograph was taken in late May 1991 at Chaco Canyon in New Mexico while Wojnarowicz and his friend Marion Scemama took a road trip around the American Southwest. Cynthia Carr, Wojnarowicz’s biographer, describes how the photograph came to be:
‘He had been there before and knew exactly where he wanted to stage this. “We’re going to dig a hole,” he told her, “and I’m going to lie down.” They began digging without saying a word, a hole for his upper body and a bit for the legs. They used their hands. The dirt was loose and dry. He lay down and closed his eyes. Marion put dirt around his face till it was halfway up his cheeks and then stood over him, photographing his half buried face first with his camera and then with hers.’
Whitney Museum of American Art
99 Gansevoort Street
New York, NY 10014 Phone: (212) 570-3600
Opening hours:
Mondays: 10.30 am – 6 pm
Tuesdays: Closed
Wednesdays, Thursdays and Sundays: 10.30 am – 6 pm
Friday and Saturdays: 10.30 am – 10 pm
No comment is really necessary. You just have to look at the spirit and inventiveness of the art. A pioneer of light and colour, a genius of plastic grid and form, is at play here!
The installation photographs show just how optically magnetic these works are. How they are holistic, singular works which then play magnificently off each other when placed in close proximity. Like the fugues of J.S. Bach these optical illusions create dazzlingly beautiful, intricate and powerful works, an earthly divination of a ‘planetary folklore’.
As my good friend Elizabeth Gertsakis said of the work of Robert Hunter, “he had the mind of abstract divination for a music of the spheres, of any geometry.”
Visit the VR Microsite for a Virtual Reality walk through of the exhibition.
Marcus
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Many thankx to the Museo Nacional Thyssen-Bornemisza for allowing me to publish the photographs in the posting. Please click on the photographs for a larger version of the image.
From 7 June to 9 September 2018, the Museo Nacional Thyssen-Bornemisza will be presenting a monographic exhibition devoted to Victor Vasarely (Pécs, 1906 – Paris, 1997), the founding father of Op Art. Comprising works from the Vasarely Museum in Budapest, the Victor Vasarely Museum in Pécs, the Fondation Vasarely in Aix-en- Provence and prominent loans from private collections, the exhibition will aim to offer an overall vision of the life and work of this Hungarian painter whose best output was created in France. The exhibition includes works from all the principal phases of Vasarely’s career in order to present a chronological survey of his artistic evolution. Visitors will thus be able to appreciate the key role played by the artist in the development of geometrical post-war abstraction and to learn about the experiments based on his artistic principles and theoretical reflections which he undertook with the aim of bringing art and society closer together.
Victor Vasarely is a towering figure in the history of abstract geometric art. The results of his experiments with spatially ambiguous, optically dynamic structures and their effects on visual perception burst into public consciousness in the mid-1960s under the name of Op Art, launching a short-lived yet extraordinarily popular wave of fashion.
The exhibition is organised in eight chronological sections and an introductory space devoted to Vega Structures, one of the best-known and most emblematic series produced by Vasarely at the height of his career named after the brightest star in the northern hemisphere’s summer night sky.
1. Vega Structures
Inspired by contemporary news reports about mysterious signals received from distant galaxies, Vasarely named many of his works after stars and constellations. The Vega pictures rely on convex-concave distortions of a grid-like network, a sophisticated combination of the cube and the sphere, symbolically referring to the two-way motion of the light that emanates from pulsating stars, and to the functioning of condensing galaxies and the expanding universe. The common denominator in these works is Vasarely’s realisation that two dimensions can be expanded into three simply by deforming the basic grid, and that, depending on the degree of enlargement or reduction, the elements in the deformed grid can be transformed into rhombuses or ellipses.
Blessed with exceptional drawing ability, Vasarely studied the basics of graphic design at Műhely (Workshop) from 1929 to 1930. The private school in Budapest was run by Sándor Bortnyik, a painter and graphic designer who had connections with the Bauhaus in Weimar. Through Bortnyik, Vasarely began to take an interest in the formal problems of the kind of art in which composition is based on geometric principles, and as such he adopted Piet Mondrian, Theo van Doesburg, El Lissitzky, Kazimir Malevich and László Moholy-Nagy as his spiritual masters. In the first period of the artist’s career, which lasted until 1939, the imagery had not yet broken away from the primary visual world, that is, it was not entirely abstract, but the paradoxical optical effects produced by his networks of lines and crosses already bore hints of the illusionistic spatiality to come.
Installation view of the exhibition Victor Vasarely. The Birth of Op Art at the Museo Nacional Thyssen-Bornemisza, Madrid showing the works Man in motion. Study of Motion (The Man) 1943 (left) and Material Study-Wood 1939 (right)
In 1951, the Galerie Denise René in Paris held an exhibition titled Formes et couleurs murales (Mural Forms and Colours). It was at this time that the Hungarian-French artist first considered representing the spatial problems of his pictures on a more monumental scale. At this exhibition, Vasarely used photographic methods to blow up his earlier pen-and-ink drawings, which he then arranged in series covering entire walls. These compositions were later rechristened Naissances (Births). The new name came about when the artist swept the photographic negatives of the drawings over one another, and disquieting, randomly arranged patterns emerged. In is Oeuvres profondes cinétiques (deep kinetic works), first exhibited in 1955, which Vasarely created following the same method of image-making, structuring them out of superimposed sheets of glass, acrylic or transparent foil, the sense of spatiality was combined with actual three-dimensional depth. Exploiting the physical laws of refraction and reflection, he produced spatial collages in a constant state of flux generated by the interference of two abstract patterns projected over each other, which were brought alive as the viewer changed position.
In 1947, while spending the summer on Belle Île, an island off the coast of Brittany, he discovered the internal geometry of nature. He took irregularly shaped glass tiles and pebbles polished by the ocean waves and stylised their abstract forms into ellipses. In 1948, he produced delicate pen-and-ink drawings that conjured up the strange meandering patterns of the hairline cracks that pervaded the ceramic tiles covering the Paris metro station named Denfert-Rochereau. From his sketches, which reveal a vivid imagination, he created evocative paintings composed with well unified colours. Those same years also saw the beginning of his Crystal period, which was inspired by the strict geometric structure of the stone houses in Gordes, a medieval town built on a cliff in the South of France. Vasarely strove to transpose reality into the two-dimensional plane with the help of the axonometric approach.
Installation view of the exhibition Victor Vasarely. The Birth of Op Art at the Museo Nacional Thyssen-Bornemisza, Madrid showing from left, the works Lan 2, 1953; Amir (Rima) 1953; and Vessant, 1952
Inspired by Kazimir Malevich’s Suprematist composition, Black and White (1915), which embodies the harmony of spirituality and is widely interpreted as the ‘end point’ of painting, Vasarely conceived of the picture titled Homage to Malevich. Its basic component, a square rotated about its axis so that it appears as a rhombus, became the starting point of his ‘kinetic’ works.
Installation view of the exhibition Victor Vasarely. The Birth of Op Art at the Museo Nacional Thyssen-Bornemisza, Madrid showing from left, the works Doupla, 1970-1975; Kotzka, 1973-1976 and Gixeh, 1955-1962
Installation view of the exhibition Victor Vasarely. The Birth of Op Art at the Museo Nacional Thyssen-Bornemisza, Madrid showing from left, the works Nethe, 1964; Noorum, 1960-1977 and Tlinko-F, 1956-1962
Installation view of the exhibition Victor Vasarely. The Birth of Op Art at the Museo Nacional Thyssen-Bornemisza, Madrid showing from left, the works Afa III, 1957-1973 Nethe, 1964; Noorum,
Installation view of the exhibition Victor Vasarely. The Birth of Op Art at the Museo Nacional Thyssen-Bornemisza, Madrid showing from left, the works Taymir II, 1956 and Afa III, 1957-1973
6. Universal systems built from a plastic alphabet
Vasarely presented the results of his analytical research into the Plastic Unit at an exhibition held in the Musée des Arts Décoratifs in Paris in 1963. His formula for this was built on the structural interplay of form and colour. He regarded colour-forms as the cells or molecules out of which the universe was made. ‘The form-color unit […] is to plasticity what the particle-wave is to nature’, he declared. In pictures based on the mutual association between forms and colours, he claimed to perceive a ‘grammar’ of visual language, with which a set of basic forms making up a composition could be arranged into a system similar to musical notation.
The plastic alphabet
The plastic alphabet is a kind of programmed language with an infinite number of form and colour variations. The basic unit of the alphabet is a coloured square containing smaller basic shapes like squares, triangles, circles and rectangles. Vasarely used these patterns and primary colours plus endless colour permutations as the duplicating and changing elements in his works. In each unit there was a number which determined its colour, tone, form and place in the whole.
Vasarely saw that his plastic alphabet, by enabling serial production, could open the way to countless applications. It could be used as the basis for planning houses and whole environments for cities: it offered countless permutations of form and colour, and the size of the basic unit could be changed or enlarged as required.
Installation view of the exhibition Victor Vasarely. The Birth of Op Art at the Museo Nacional Thyssen-Bornemisza, Madrid showing from centre to right, the works Villog, 1979; Zila, 1981 and Pavo II, 1979
Installation view of the exhibition Victor Vasarely. The Birth of Op Art at the Museo Nacional Thyssen-Bornemisza, Madrid showing from left to right, the works Vonal-Fegn, 1968-1971; Helios, 1964 (multiple) and Villog, 1979
Installation view of the exhibition Victor Vasarely. The Birth of Op Art at the Museo Nacional Thyssen-Bornemisza, Madrid showing from left, Doupla, 1970-1975; Kotzka, 1973-1976 and Vonal-Fegn, 1968-1971
Installation view of the exhibition Victor Vasarely. The Birth of Op Art at the Museo Nacional Thyssen-Bornemisza, Madrid showing from left, Bi-Octans, 1979; Doupla, 1970-1975; Kotzka, 1973-1976; Vonal-Fegn, 1968-1971 and Helios, 1964 (multiple)
Installation view of the exhibition Victor Vasarely. The Birth of Op Art at the Museo Nacional Thyssen-Bornemisza, Madrid showing from left Dirac, 1978 and Bi-Octans, 1979
Vasarely first discussed the necessity for his works to be duplicated and disseminated widely in 1953. Then, in his Yellow Manifesto of 1955 he outlined his ideas on the possibilities of re-creation, multiplication and expansion. He believed that a basic set of corpuscular elements, by virtue of their multiplicability and permutability, could be transformed using a pre-selected algorithm into a virtually infinite number of different compositions. The programmations that would record the picture-composition process onto graph paper assumed that the colours, shades and forms making up each image could be notated numerically, and even fed into an electronic brain to be retrieved at any time. Although Vasarely himself had never worked with computers, his principles led logically to the possibility of creating images with such technology. As conceived by the artist, in future, employing codes of colour and form that were objectively defined using alphanumerical data, his compositions could be recreated at anytime, anywhere in the world, by anybody at all.
Installation view of the exhibition Victor Vasarely. The Birth of Op Art at the Museo Nacional Thyssen-Bornemisza, Madrid showing from left Kekub, 1976-1978; Black Orion, 1970; Marsan-2, 1964-1974 and Eroed-Pre, 1978
Installation view of the exhibition Victor Vasarely. The Birth of Op Art at the Museo Nacional Thyssen-Bornemisza, Madrid showing from left Yllus, 1978; V.P. 102, 1979; Trybox, 1979 and Toro, 1973-1974
Installation view of the exhibition Victor Vasarely. The Birth of Op Art at the Museo Nacional Thyssen-Bornemisza, Madrid showing from left Stri-Oet, 1979; Cheiyt-Stri-F, 1975; Peer-Rouge, 1977; Woo, 1972-1975; Kekub, 1976-1978 and Black Orion, 1970
8. Planetary Folklore
In the early 1960s, Vasarely put forward a proposal for the use of a universal visual language formulated in accordance with the principle of the Plastic Unit, which he called ‘planetary folklore’. He believed that regularly arranged and numbered, homogeneous colours and constant forms, of the kind that could be manufactured industrially, could have meaning attached to them. His intention was for the opportunity of aesthetic pleasure to become part of the everyday environment. As Vasarely argued, artworks not only belonged in museums and galleries, but were also needed in every single segment of urban life. His concept, which built on the ideas of Le Corbusier and Fernand Léger, and which proclaimed a synthesis of the different fields of the arts, was for the building blocks of the cities of the future to consist of mass-produced, monumental ‘plastic’ works that could be extended to any desired size, which would provide limitless possibilities of variation. The first of his architectural integrations was implemented in Venezuela in 1954, on the campus of the Central University of Caracas; this was followed by monumental ‘plastic’ installations on buildings in Bonn, Essen, Paris and Grenoble.
An important part of Vasarely’s art philosophy was his conscious refusal to discriminate between an individual work and its duplicate. He was convinced that an artwork came alive again when multiplied, and that the multiple was the most democratic form of art. His aim was to topple the elitist concept of owning unique and unrepeatable works by replacing it with the notion of making pictures for mass distribution. The artist experimented with the most diverse assortment of materials and techniques, from the most modern to the most ancient. Weaving workshops in Aubusson, following traditions dating back centuries, produced tapestries from his designs. Vasarely was also especially fond of the serigraph. His individually signed and numbered screen prints were commercially available on the art market, as were the multiple objects composed of individually handcoloured or industrially reproduced sheets mounted on wooden or metal backing materials.
When the major exhibition titled The Responsive Eye opened at the New York Museum of Modern Art in 1965, it made Optical Art famous almost overnight. The limelight was stolen by two Europeans: Josef Albers, who continued the legacy of the Bauhaus in his art, and Victor Vasarely. Both men were represented at the show with six works each. But whereas Albers, oft neglected by the critics, was turned into the black sheep of the movement by contemporary art history writing, for Vasarely, who was just reaching the peak of his career, the show served as a launch pad to fame.(…)
The scientific definition of Op Art came soon afterwards, with the first attempt made in 1967 by the German art historian, Max Imdahl. Imdahl interpreted the art of Victor Vasarely as deriving from the Orphism of Robert Delaunay, which ascribed meaning to colour, the Neo-Plasticism of Piet Mondrian, which rested on the symmetry of two-dimensional structures, and the Mechano-Faktura of Henryk Berlewi, which borrowed its aesthetic principles from the schematism of mechanical production. Vasarely, meanwhile, preferred to call his own invention Kineticism, and he was fully justified in doing so, because if we accept the contents of his art philosophical writings, published in chronological order under the title of Notes brutes, then the artist was the first person to consistently use this name for the movement. He coined the phrase ‘kinetic art’ in 1953, basing the term on the description of the movement of gases written by Nicolas Sadi Carnot, the nineteenth-century French engineer who developed thermodynamics. In the light of Vasarely’s consistency of thought, his wide-ranging knowledge and his enthusiasm for science, it would have been the logical outcome of his principles to classify his works under a style or movement of his own construction. Kineticism, however, was regarded by Vasarely as something more than a simple art movement. He not only referred to it in a formal sense, but also accorded it ethical, economic, social and philosophical functions. He believed it to be of greater significance than Cubism, and he was convinced the Kineticism offered, for the first time since the Renaissance, a synthesis of ‘the two creative expressions of man: the arts and the sciences’. The simultaneous representation of movement, space and time had already found expression in Constructivist art in the 1920s, but Vasarely’s Op Art was fundamentally different, in that it aimed to generate a spatial effect through the use of a two-dimensional surface by creating the illusion of motion in macro-time, whereby the image formed on the retina underwent virtual manipulation. Consequently, the name Op Art can be given to any artwork ‘that shifts during the spectator’s act of perception’. (…).
‘Optical’ paintings
(…) Vibrant surfaces created from patterns of geometric figures arranged according to a particular algorithm can be found among the mosaics of Antiquity. The first stage in the history of the autonomisation of retina-based art, however, came at the end of the nineteenth century with Pointillist painting, which relied on the scientific theory of the optical combination of colours, and with the so-called Divisionists, who strove to separate optical effects using an analytical method. Georges Seurat’s ‘optical painting’, however, remained firmly attached to the real spectacle. Primary shapes became a means of generating illusions with the arrival of non-objective, abstract art styles, especially Cubism. Optical games derived from periodic series of geometric elements were incorporated into the repertoire of applied photography in the second half of the 1920s. During his studies in Budapest, Vasarely may have come across such depictions, even in the printed press, such as the photograph of the Hollywood actress, Alice White, in a room of mirrors decorated with abstract patterns.
Yet optical illusion was not enough to bring about Op Art, which also needed the dynamism of kinetics. It became inseparable from the concept of the fourth dimension of motion-time, which tipped the static work out of its fixed position by involving the viewer and turning the eye into the active organ of sight. In this sense, Vasarely’s optical kineticism also posed the question of the dematerialisation of the artwork, for in his works, the actual spectacle is not present on the canvas at rest in front of us, but comes about through interacting with the work and is generated on the retina. Vasarely was never concerned with the type of mechanical movement that brought about the works of Jean Tinguely or Marcel Duchamp. The Hungarian artist’s planar kineticism was in this respect far more closely connected to visual research than to the approach of works that emphasise their industrial nature. (…)
Op Art as Algorithm
(…) When it came to the aesthetic and market values of artworks that existed in multiple copies, opinion was split even among the artists participating in the exhibition. In terms of form, the experiments into perception conducted by Vasarely and Bridget Riley, for example, had much in common, and yet their views on the democratisation and interdisciplinarity of art differed sharply. Unlike Riley, who always insisted on her paintings being one of a kind, Vasarely’s programme of art targeted a re-evaluation of the aesthetic of reproduced, duplicated objects. It was in this regard that Vasarely came closest to Pop Art and to its iconic exponent, Andy Warhol. In spite of this, Vasarely was not in thrall to Pop Art. He spoke appreciatively of its achievements, but he considered it to be a movement outside the realm of painting, a parody or caricature of its own times. Pop Art, meanwhile, suffered greatly from the fact that Op Art ultimately proved far more popular. ‘I am “pop” in the sense that I would like to be popular’, Vasarely wittily replied when one journalist pressed him on his personal position in Op Art, shortly after it had found fame as a fashion phenomenon. A few years later, at a reception held in the Galerie Spiegel in Cologne in September 1971, where a work by Vasarely hung on the wall beside Tom Wesselmann’s Great American Nude, an iconic piece from the rival movement, the Hungarian-born artist was asked his opinion of Pop Art. He could not refrain from commenting that the essence of Pop was exaggeration. He then cast a malicious glance at Wesselmann’s painting before declaring, ‘Art is not about painting gigantic pictures for billionaires’. When it was subsequently suggested that his democratic views were not compatible with the high prices commanded by his works, he replied, ‘The critics compare me to hippies who loathe money but who want to get around by hitchhiking. And at such times it is of no concern to them that they are travelling with the help of General Motors, Shell and other billionaire companies’.
There was, however, a whole group of Pop-Art fans who would never have dreamed of denigrating Kineticism. Warhol, for instance, began to follow Vasarely’s career after seeing his works at the opening of The Responsive Eye. He was present at the artist’s exhibition held in 1965 in the Pace Gallery in New York, and his admiration endured until 1984, when he attended Vasarely’s birthday party, arranged by Yoko Ono. It was probably on this occasion that Warhol was given a handkerchief signed by Vasarely, decorated with a pre-kinetic zebra composition, which the American artist preserved among his relics up until his death. We would find few artists in the twentieth century who achieved more in rethinking the aesthetic of the multiplied artwork than Vasarely and Warhol, so there is a striking contradiction in the fact that the only work by Vasarely in Warhol’s collection was a monochromatic oil painting, titled Onix (1966)107, which actually represented the counterpoint to the paradigm expressing the latent artistic opportunities in duplication (including the entire spectrum of vibrant and saturated colours). (…)
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.
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