Exhibition dates: 16th June – 18th September, 2009
Artist duo George (left) and Gilbert (right) pose in front of their work “The Church of England” in Berlin, Germany
That pair of agent provocateurs are at it again!
Marcus
Many thankx to Arndt & Partner for allowing me to publish the photographs in the posting. Please click on the photographs for a larger version of the image.
Gilbert & George (Gilbert Prousch, English born Italy, b. 1943) (George Passmore, English, b. 1942) DATING 2008 Mixed media
Gilbert & George (Gilbert Prousch, English born Italy, b. 1943) (George Passmore, English, b. 1942) BRITISHISM 2008 Mixed media
Gilbert & George (Gilbert Prousch, English born Italy, b. 1943) (George Passmore, English, b. 1942) JESUS JACK 2008 Mixed media
Gilbert & George (Gilbert Prousch, English born Italy, b. 1943) (George Passmore, English, b. 1942) ROUND FLAG 2008 Mixed media
As the international tour of the last Gilbert & George retrospective (2007-2009) did not include Berlin, Arndt & Partner are now presenting a solo exhibition of the celebrity artist duo in its gallery rooms behind the Hamburger Bahnhof. It is the first Gilbert & George solo show in Berlin for 14 years. The exhibition features a selection of 20 large-scale pieces from the Jack Freak Pictures, the largest Gilbert & George group of pictures to date. The thrust of the content is given by the colours and shapes of the Union Jack flag that dominate the bulk of the pictures as well as the recurring motive of medals, emblems and trees. In the Jack Freak Pictures the artist duo explores aspects of nationhood and of the sentient individual in the nets of society. In his essay published in the catalogue accompanying the exhibition the British writer Michael Bracewell describes these pictures as “the most iconic, philosophically astute and visually violent works that Gilbert & George have ever created …”
Gilbert & George, who met as students of sculpture at St. Martin’s School of Art in London 42 years ago, embarked on a joint artistic career that was to encompass a wide range of media from drawing to video and their trademark pictures. Further, the pair revolutionised the concept of sculpture by presenting themselves as “living sculptures” dressed in the quintessentially British tailored suit, shirt and tie. But it was their monumental trademark pictures composed of a grid like array of smaller images which they began to create in the early 70s that first brought them international fame. Figures, cityscapes, symbols, plants, bodily fluids, excrements and text interlock in pictorial messages as visually powerful as their content is provocative. The pictures, which started out in black and white and later assumed increasingly luminous, bold colours, generally also depict portraits of the artists themselves and seize on taboo subjects like sexuality, race, religion and national identity with a brash and fearless candour.
The Jack Freak Pictures again feature the bodies and/or faces of the artists. In these compositions, their bodies function as stylised representatives of the individual in society, whose relationship to social norms and categories, to national, religious and sexual identification processes is relentlessly explored and commented upon. Departing from their earlier oeuvre, some of their new pictures split the raw images into much smaller fragments before merging them into new forms. The result is a fascinating kaleidoscopic mix of the monstrously grotesque with an intricate ornamental structure reminiscent of sacred art. In ever new variations, Gilbert & George order the signs and fragments of social life they find in their neighbourhood – the multicultural East End of London – where solidarity and friendship are as visible as intolerance and marginalisation.
Press release from the Arndt & Partner website [Online] Cited 04/07/2009. No longer available online
Gilbert & George installation photographs of their exhibition Jack Freak Pictures at Arndt & Partner, Berlin
Gilbert & George (Gilbert Prousch, English born Italy, b. 1943) (George Passmore, English, b. 1942) JESUS SUITS 2008 Mixed media
Gilbert & George (Gilbert Prousch, English born Italy, b. 1943) (George Passmore, English, b. 1942) CHURCH OF ENGLAND 2008 Mixed media
Gilbert & George (Gilbert Prousch, English born Italy, b. 1943) (George Passmore, English, b. 1942) POSTER DANCE 2008 Mixed media
Gilbert & George (Gilbert Prousch, English born Italy, b. 1943) (George Passmore, English, b. 1942) REALM 2008 Mixed media
Gilbert & George (Gilbert Prousch, English born Italy, b. 1943) (George Passmore, English, b. 1942) SPIDER 2008 Mixed media
Gilbert & George (Gilbert Prousch, English born Italy, b. 1943) (George Passmore, English, b. 1942) UNION WALL DANCE 2008 Mixed media
Many thankx to the Paine Art Center for allowing me to publish the photographs in the posting. Please click on the photographs for a larger version of the image.
Alvin Langdon Coburn (English born United States, 1882-1966) The Singer Building, New York c. 1910 Gum bichromate over platinum print
Edward Weston (American, 1886-1958) Nautilus 1927 Gelatin silver print 9 1/2 by 7 1/2 in. (24 by 19cm)
Like their painter counterparts, many photographers experimented with abstraction in the 1920s and 1930s, exploring relations of form, tonality, and space. Here, Weston isolates a nautilus shell against a solid black ground, creating a study of curves, subtle shadows, and contrasts between light and dark. As in many of his close-ups of natural forms, the nautilus appears both recognisable and yet strangely unfamiliar. Unlike the rigorously nonrepresentational compositions of photographers like László Moholy-Nagy, Weston’s abstractions always remained grounded in objects from the real world; as he wrote in 1930, “To see the Thing Itself is essential.”
Text from the Metropolitan Museum of Art website
Nautilus is now recognised as one of Weston’s greatest photographs, but all of his images of shells have a greater-than-life quality to them. Weston biographer Ben Maddow has said that what is so remarkable about them “is not in the closeness nor in the monumentality of the forms; or at least, not in these alone. It is instead in the particular light, almost an inward luminescence, that he saw implicit in them before he put them before the lens. Glowing with an interior life … one is seeing more than form.”
Lewis W. Hine (American, 1874-1940) Italian family looking for lost baggage, Ellis Island 1905 Gelatin silver print
The largest exhibition of masterpieces of American photography ever presented in Wisconsin, Seeing Ourselves features over a hundred iconic images from the internationally acclaimed George Eastman House Collections of Rochester, New York. This extraordinary exhibition dramatically illustrates our country’s landscape, people, culture, and historic events through works ranging from vast western scenes to fascinating documentary photographs to intimate celebrity portraits. Artists represented include such masters of the medium as Ansel Adams, Alfred Stieglitz, Paul Strand, Edward Weston, Lewis Hine, Dorothea Lange, and dozens of other accomplished photographers.
Spanning more than 150 years of photography, Seeing Ourselves is organised according to five broad themes: American Masterpieces, American Faces, America at War, America the Beautiful, and American Families. Each section features renowned photographs documenting the American experience. The exhibition begins with “American Masterpieces,” which sheds light on celebrated images like Yosemite Valley, Summer by Ansel Adams, Nautilus by Edward Weston, and The Steerage by Alfred Stieglitz. Other highlights include Oshkosh native Lewis Hine’s Powerhouse Mechanic, a dynamic image symbolising the arrival of a new Industrial Age, and Dorothea Lange’s unforgettable photograph Migrant Mother, Nipomo, California, which gave a human face to poverty and suffering during the Great Depression.
“American Faces” illustrates the diversity of our nation, including subjects ranging from Native Americans whose ancestors have lived here for thousands of years to immigrants at Ellis Island who had just arrived in America that day. Photographs of everyday people are juxtaposed with portraits of illustrious political and civil rights leaders, artists, celebrities, and athletes, including Abraham Lincoln, Martin Luther King, Marilyn Monroe, Babe Ruth, and many other familiar faces. Master photographers who portrayed these individuals include Mathew Brady, Edward S. Curtis, Walker Evans, Richard Avedon, Alfred Stieglitz, and Edward Steichen.
Some of the most famous, memorable, and shocking images in the history of American photography are photographs of war. While photographs of war may be difficult to look at, they serve as an important record of America’s past. “America at War” displays images from the American Civil War, World Wars I and II, the Korean War, and the Vietnam War, as well as contemporary photographs created in response to 9/11.
“America the Beautiful” features timeless photographs that capture the beauty and power of unspoiled nature, as well as scenes of westward expansion, urban America, and the intimate spaces we call home. Dramatic images of Alaskan glaciers, majestic western views, and tranquil dunes are contrasted with big-city skyscrapers, small-town neighborhoods, and backyard gardens. Major works in this section include Alvin Langdon Coburn’s beautifully atmospheric view of New York’s Singer Building and landscapes by Ansel Adams and Edward Weston.
The final section, “American Families,” brings together families from all walks of life, exploring their differences and commonalities. A variety of examples by such notable photographers as Weegee, Lewis Hine, Aaron Siskind, Margaret Bourke-White, and Mary Ellen Mark are included. Some works portray idealised scenes of American life, while others capture a glimpse of everyday life and the serious challenges many families face, such as poverty or illness. Highlights include Hine’s photograph of an Italian family seeking lost luggage at Ellis Island and a tender portrait of a mother and son from the series Black in America by Eli Reed, an award-winning member of Magnum, the prestigious photojournalists’ cooperative.
Seeing Ourselves: Masterpieces of American Photography from George Eastman House Collections is organised by George Eastman House International Museum of Photography and Film and is made possible through a grant from the National Endowment for the Arts as part of the American Masterpieces program. George Eastman House is the world’s oldest photography museum, founded in 1947 on the estate of Kodak founder George Eastman, the father of popular photography. The museum has unparalleled collections of 400,000 photographs from 14,000 photographers dating from the beginnings of the medium to the present day.”
Text from The Paine Art Center website [Online] Cited 01/07/2009. No longer available online
Benedict J. Fernandez (American, 1936-2021) Dick Gregory with MLK [Martin Luther King, JR.] New Politics Convention, Chicago, ILL. October, 1967 1967 Gelatin silver print
Eli Reed (American, b. 1946) A Mother and Her Son at Her Home In Bed Sty in Brooklyn c. 1990 Gelatin silver print
Apocrypha (from the Greek word ἀπόκρυφα, meaning “those having been hidden away”) are texts of uncertain authenticity, or writings where the authorship is questioned.
Julie Davis (Australian, b. 1959) and Alex Rizkalla (Australian, b. 1950) Apocrypha #1 (left) and Apocrypha #4 (right) 2008
“Intuitively we know the definition of the output from this process lies hidden within each object, seemingly carved into the underside of their skin, although we cannot see it. But actually it is not carved, it is the three-dimensional tracing of the original. The original becomes a throw-away. It is obsolete. The point of origin lies no longer within an object but at the heart of the creative impulse.”
Vanessa Mooney
Apocrypha is an interesting, if slight, exhibition of eleven photographs by Julie Davis and Alex Rizkalla at Place Gallery in Richmond. Conceptually the work is resolved if not pushed to any great depth, the small photographs of sarcophagi like casements and moulds addressing issues surrounding the absence / presence of the original object and the subsequent loss of identity. In their masking, the objects photographed hide an inner identity that has gone missing; the headless figures, like faceless mummies, protect something that has existed since early man – the inner spiritual machinations of belief – that are embedded within the existential nature of our being. Identity has been rubbed out and spirit is splitting apart the moulds trying to escape the confines of mortality, only held in check by the wooden pegs and ropes.
Like the sutures of the human skull, the marks on the casements (see below right image) try to align form across space and time but these objects are grounded in a contextless backgrounds, seemingly floating free of earthly constraints. Here we have a double tracing – that of the tracing of the original object that has been thrown away (see Vanessa Mooney quotation above) and the tracing of the indexicality of the object by the photograph – the re-presentation of an original that no longer exists. There is a double loss through this re-retracing that fits perfectly with the title Apocrypha – as the photographs become texts of uncertain authenticity.
Where the exhibition is less successful is in the physical presence of the photographs and their aesthetic qualities. While Vanessa Mooney asserts that the photographs are “meticulous in their detail and exact in their depth and texture” this assertion is untrue. From a technical point of view the photographs are soft in focus and lack depth of field. The ropes are fuzzy and the lack of depth of field in the focus plane from front to back adds to a lack of presence that the photographs needed to counterbalance the conceptual idea of apocrypha. I am also unsure about the scale of the photographs – there seems something in-between about the size of the images, neither here nor there. Aesthetically they needed either more presence (through being bigger), or more intensity through a jewel like nature in being smaller, again to counterbalance the conceptual themes. Finally, being surrounded by these eleven photographs in the gallery gives you the feeling of a ‘one shot’ idea that needed further investigation and refinement, an idea that needed to be pushed further. While the actual ideas themselves are interesting the work itself is too simple, too slight to hold the attention and reveal layers of meaning over time.
Dr Marcus Bunyan
Many thankx to Place Gallery for allowing me to publish the photographs in the posting.
Julie Davis (Australian, b. 1959) and Alex Rizkalla (Australian, b. 1950) Apocrypha #5 (left) and Apocrypha #7 (right) 2008
The Father, The Son And Apocrypha
We all have faith that we must lodge somewhere: you; the microscope, me; the earth, and the artist? There are two stories present. The first is Apocrypha, a series of works by Davies and Rizkalla and the second is something you cannot see but will soon know.
Davies and Rizkalla present to us Apocrypha; a series of photographs that are meticulous in their detail and exact in their depth and texture. It is an evocative title and encapsulates the resonance of the objects. What we can see is clear – plaster moulds used by someone, somewhere for casting objects. The clarity of the details of rope, wedges of wood and the depth of the seam tell us of the real working nature of them. The inversion here from background process to foreground subject matter is not for irony’s sake but to evoke the simultaneous banality and sacredness of the transformative creative process. It is documented honestly before the viewer, and yet, the mystery remains. Intuitively we know the definition of the output from this process lies hidden within each object, seemingly carved into the underside of their skin, although we cannot see it. But actually it is not carved, it is the three-dimensional tracing of the original. The original becomes a throw-away. It is obsolete. The point of origin lies no longer within an object but at the heart of the creative impulse.
Tony Scalzo, my father-in-law, was drawn to this process. While the creation of a religious icon amused his communist leanings the irresistible pull of the transformation from dust and water to artefact must have, I feel, fulfilled a greater need to live through making. Countless times he would present to us his recent army of saints or holy persons (Padre Pio was a boom time) to be sold through his community, and would scoff and laugh at how he could make an object that to others was an icon. He would point to the shed, the latex, the plaster dust as if to dispel the mystery, and yet the mystery remained.
Perhaps the final mystery is the process, the collaboration that has come about since Tony passed away and his son Stefano came into possession of the simple and unusual collection. Stefano like his father is drawn to the creative process. So innately aware of the artist, his father, he approached Julie and Alex with these as gifts that are, in a way, not his to give. As a custodian might he passed on the objects and communicated his intuitive knowledge of their meaning. One plus one equals three. The result, Apocrypha, is like a window that was obscured and now has been opened. We can see with clarity what was unseen, but known, before. Apocrypha silently demonstrates the entwining of faith and mystery in the creative life of all.”
Vanessa Mooney
Text from the Place Gallery website [Online] Cited 09/03/2019. No longer available online
Julie Davis (Australian, b 1959) and Alex Rizkalla (Australian, b. 1950) Apocrypha #8 (left) and Apocrypha #9 (right) 2008
Marcus Bunyan (Australian, b. 1958) Spire of der Dom, 1 – 52 2009 From the series The Shape of Dreams Gelatin silver print
The Shape of Dreams
I am pleased to announce a body of work, the second for 2009, is now online on my website.
The photographs are a sequence: one tone follows another (much like a piece of music) until the final coda. With this in mind please view the work sequentially. Below are a selection of photographs from the whole work.
Dr Marcus Bunyan
Please click on the photographs for a larger version of the image.
Photographs are available from this series for purchase. As a guide, a digital colour 16″ x 20″ costs $1000 plus tracked and insured shipping. For more information please see my Store web page.
Photographs from the series The Shape of Dreams 2009
“the form of formlessness the shape of dreams”
Marcus Bunyan (Australian, b. 1958) Untitled 2009 From the series The Shape of Dreams Gelatin silver print
Marcus Bunyan (Australian, b. 1958) Untitled 2009 From the series The Shape of Dreams Gelatin silver print
Marcus Bunyan (Australian, b. 1958) Untitled 2009 From the series The Shape of Dreams Gelatin silver print
Marcus Bunyan (Australian, b. 1958) 9/24/52 2009 From the series The Shape of Dreams Gelatin silver print
Marcus Bunyan (Australian, b. 1958) Untitled 2009 From the series The Shape of Dreams Gelatin silver print
Marcus Bunyan (Australian, b. 1958) Navy Base, Unidentified 2009 From the series The Shape of Dreams Gelatin silver print
Marcus Bunyan (Australian, b. 1958) Untitled 2009 From the series The Shape of Dreams Gelatin silver print
Marcus Bunyan (Australian, b. 1958) Part of the French Riviera taken while Whit held me at the door! 2009 From the series The Shape of Dreams Gelatin silver print
Marcus Bunyan (Australian, b. 1958) Untitled 2009 From the series The Shape of Dreams Gelatin silver print
Marcus Bunyan (Australian, b. 1958) Untitled 2009 From the series The Shape of Dreams Gelatin silver print
All the photographs from the series are now on my website.
Kay Westhues (American) CSX railroad building, Walkerton 2005
I really like this work. An insightful eye, sensitive, tapped into the community that the artist is documenting. Attuned to its inflections and incongruities, the isolation and loneliness of a particular culture in time and place. There are further strong photographs from the series on the Kay Westhues website. It’s well worth your time looking through these excellent photographs. And observing the wonderful light!
Kay Westhues (American) Man with patriotic cast, Original Famous Fish of Stroh 2005
Kay Westhues (American) Knox laundromat 2005
The Snite Museum of Art announces the opening of the exhibition: Fourteen Places to Eat: a Narrative: Photographing Rural Culture in the Midwest, opening on Sunday, May 31,2009.
Kay Westhues is a photographer who is interested in documenting the ways in which rural tradition and history are interpreted and transformed in the present day. Kay shares her intention for this series of work:
“For the past five years I have been working on a series of photographs depicting rural culture in Indiana and the Midwest. This project was inspired by my memories of growing up on a farm in Walkerton, Indiana, and observing first hand the shifting cultural identity that has occurred over time and through changing economic development. I moved back to Walkerton in order to help care for my ageing parents in 2001.
These photos mirror my personal history, but I am also capturing a people’s history grounded in a sense of place. My intention is to celebrate rural life, without idealising it.
The overall theme since the project’s inception is the effect of the demise of local economies that have historically sustained rural communities. Many of my images contain the remains of an earlier time, when locally owned stores and family farms were the norm. Today chain stores and agribusiness are prevalent in rural communities. These communities are struggling to thrive in the global economy, and my images reflect that reality.
Most recently I have focused on the complex relationship between farmers and domesticated animals. I make many of my images at Animal Swap Meets and sale barns, places where animals are bought and sold. Family farms are quickly being replaced by large-scale food production, and these events still draw smaller farmers and the local people who support them.”
Why fourteen places to eat?
“One of my biggest complaints after moving to Walkerton was that there were not enough places to eat out. Or, rather, practically no places to eat out. So I was happy when news arrived that a new restaurant was opening there. Imagine my surprise when I read a letter to the editor in the local paper against the new restaurant. The letter stated we already had enough places to eat in this town. The writer counted a total of fourteen places to eat, which included four restaurants, three gas stations, four bars, a truck stop, a convenience mart, and a bowling alley.”
Ms. Westhues studied photography at Rhode Island School of Design and Indiana University, Bloomington. She has a BS degree in Photography and Ethnocentrism from the Indiana University Individualised Major Program (1994), and an MS in Instructional Systems Technology at Indiana University (1998). She currently lives in Elkhart, Indiana, and is completing a five-year project photographing rural culture in the Midwest. This series is a visual exploration of the ways rural identity is defined in contemporary society.
Press release from the Snite Museum of Art Cited 20/06/2009. No longer available online
Kay Westhues (American) Chicken bingo, Francesville Fall Festival 2005
Kay Westhues (American) Patriotic hammers ($3.00) 2005
Kay Westhues (American) Parked trailer, Ligonier 2006
Kay Westhues (American) Lunch at the Crockpot, Walkerton (The Young and the Restless) 2007
Kay Westhues (American) Momence Speed Wash, Momence IL 2007
Kay Westhues (American) Mary Ann Rubio, Family Cafe, Knox 2007
The Snite Museum of Art at University of Notre Dame, Notre Dame, Indiana
Berenice Abbott (American, 1898-1991) Untitled (New York City) 1929-1933 Gelatin silver print 6 1/2 x 4 7/16 inches Philadelphia Museum of Art The Lynne and Harold Honickman Gift of the Julien Levy Collection, 2001
What a fantastic exhibition! Thank you to the Philadelphia Museum of Art for allowing me to reproduce the wonderful photographs below, many from photographers that I have never heard of before.
Lloyd Ullberg (American, 1904-1996) PSFS Building, Philadelphia c. 1932-1933 Gelatin silver print Image and sheet: 10 x 7 3/8 inches Philadelphia Museum of Art Purchased with the Lola Downin Peck Fund, 1999
At the turn of the 20th century when they first began to appear, skyscrapers were seen as symbols of modernity and testaments to human achievement. Stretching the limits of popular imagination, they captured the attention of visual artists working in a variety of mediums. This summer the Philadelphia Museum of Art presents Skyscrapers: Prints, Drawings, and Photographs of the Early Twentieth Century, an exhibition that traces the rise of the American skyscraper as an iconic image. The exhibition will feature more than 50 works from the Museum’s collection, dating from 1908 to 1941, which demonstrate the many ways artists chose to portray the new giants in their landscape.
Skyscrapers includes prints by John Marin and Charles Sheeler, photographs by Berenice Abbott and Alfred Stieglitz, and drawings by Earl Horter and Abraham Walkowitz. The works in Skyscrapers reflect a wide range of styles and practices, from Walkowitz’s loosely drawn “New York Improvisations” (1910) to Abbott’s luminous photograph “New York at Night” (c. 1932), which captures the dazzling allure of the city’s glowing evening skyline. The combination of mediums included in the show allows the viewer to consider the relationship between drawing, printmaking, and photography in this dynamic period.
“The visual impact of skyscrapers on the modern urban landscape is unmistakable, and for more than a century artists have been engaging with this theme,” John Vick, The Margaret R. Mainwaring Curatorial Fellow in the Department of Prints, Drawings, and Photographs and the exhibition’s organiser, said, noting that the Museum’s collection includes well over 500 works related to skyscrapers. Vick added that “their distinctive contours and exaggerated scale offered artists both a chance to experiment with modernist aesthetics and a subject on which to project personal or collective ideas and emotions.”
The exhibition also offers a view into the interaction of architecture and urban development with art’s role as a form of documentation. Among the famous buildings featured are Chicago’s gothic-ornamented Tribune Tower, New York City’s Art Deco Empire State Building, and Philadelphia’s modernist PSFS Building. An atmospheric etching of a rainy nighttime scene at One Broad Street in Philadelphia by artist Allan Randall Freelon (American, 1895-1960) shows how this important intersection at the heart of the city would have appeared in the 1930s.
The towering, occasionally menacing, physical presence of these structures is a frequent visual theme in the works – whether in Howard Norton Cook’s woodcut “Skyscraper” (1929, below) or Sherril Schell’s photograph “Window Reflection – French Building” dating from 1930-1932. Horter’s graphite drawing “Manhattan Skyline” (1916) shows a row of newly-built towers thrusting skyward in strong, vertical lines and overshadowing the residential rooftops in the foreground, an image that suggests the city’s emergence as a financial and commercial giant.
Other works take a more abstract approach, exploring the visual exciting patterns created by these massive new structures. Such works include Marin’s 1913 and 1917 prints of the Woolworth Building and Herbert Johnson’s aerial photograph of building rooftops from c. 1930-1932.
Philadelphia Museum of Art press release [Online] Cited 19/06/2009. No longer available online
Earl Horter (American, 1880-1940) Manhattan Skyline c. 1916 Graphite on cream wove paper Sheet: 11 7/16 x 8 3/4 inches (29.1 x 22.2cm) Philadelphia Museum of Art Gift of Carl Zigrosser, 1953
Like many of the drawings and etchings of New York made by Horter while he lived in the city during the first two decades of this century, this view of the Manhattan skyline was shown in his first one-man exhibition at the New York gallery of Frederick Keppel and Company in 1916. It was organised by Carl Zigrosser, research librarian at Keppel, who later became this Museum’s first curator of prints and drawings. Zigrosser bought the drawing from the exhibition and donated it to the Philadelphia Museum of Art thirty-seven years later.
Wendell MacRae (American, 1896-1980) Summer c. 1930-1932 Gelatin silver print Image and sheet: 6 9/16 x 4 5/8 inches Philadelphia Museum of Art The Lynne and Harold Honickman Gift of the Julien Levy Collection, 2001
Stella Simon (American, 1878-1973) 6th Avenue c. 1930-1932 Gelatin silver print Image and sheet: 9 1/2 x 7 3/16 inches Philadelphia Museum of Art The Lynne and Harold Honickman Gift of the Julien Levy Collection, 2001
Allan Randall Freelon (American, 1895-1960) Number One Broad Street c. 1934 Aquatint with roulette and burnishing Plate: 11 7/8 × 9 13/16 inches (30.2 × 24.9cm) Sheet: 15 1/8 × 12 1/16 inches (38.4 × 30.6cm) Philadelphia Museum of Art Purchased with the Thomas Skelton Harrison Fund, 1943
Sherril Schell (American, 1877-1964) Buildings on West 35th Street c. 1930-1932 Gelatin silver print Image and sheet: 8 x 6 5/16 inches Philadelphia Museum of Art The Lynne and Harold Honickman Gift of the Julien Levy Collection, 2001
Howard Norton Cook (American, 1901-1980) Skyscraper 1929 Woodcut Image: 17 15/16 x 8 5/8 inches (45.6 x 21.9cm) Sheet: 19 1/16 x 9 3/4 inches (48.4 x 24.8cm) Philadelphia Museum of Art Gift of Carl Zigrosser, 1960
Sherril Schell (American, 1877-1964) Window Reflection – French Building c. 1930-1932 Gelatin silver print Image and sheet: 7 15/16 x 6 1/8 inches Philadelphia Museum of Art The Lynne and Harold Honickman Gift of the Julien Levy Collection, 2001
Ralph Steiner (American, 1899-1986) Untitled (New York City) 1931 Gelatin silver print Image/Sheet/Mount (With Black Border from Negative): 9 15/16 x 7 15/16 inches Philadelphia Museum of Art The Lynne and Harold Honickman Gift of the Julien Levy Collection, 2001
Berenice Abbott (American, 1898-1991) New York at Night c. 1932 Gelatin silver print Image and sheet: 13 3/8 x 10 5/8 inches Philadelphia Museum of Art Gift of Theodore T. Newbold in memory of Lee Witkin, 1984
Philadelphia Museum of Art 26th Street and the Benjamin Franklin Parkway Philadelphia, PA 19130
Scott McFarland (Canadian, b. 1975) Fallen Oak Tree 2008 From the series Hampstead Inkjet print 27 x 24 inches (68.6 x 61cm) Edition of 5
Variations on a theme
Whether McFarland’s photographs are “straight” or composites, there always seems to an unnerving feel to them, a formal frontality that empowers the viewer into trying to unlock the photographs secret, like an enigmatic puzzle. Everything is presented front on, square to the camera, no oblique angles, relying in the straight photographs on the scale of the accumulated blocks of information, and in the composites, in the very unlikely, even theatrical, staging of the people within the mise en scène.
These are very cinematic photographs, some, literally, with their panoramic aesthetic, others built by assembling their scudding skies and stiff, neatly placed people. Too neatly placed in my opinion but that’s McFarland’s hook, his aesthetic cough which prompts the viewer to question the veracity of the image, its link to the photographs indexical reality. His multiple exposures push the boundaries of truth or dare, hyperreal solutions to a disengaged world. Personally, I prefer his straight photographs which are built on a fabulous eye, a masterful understanding of pictorial space (monumental elements held in balance) and wonderful previsualisation. You don’t need anything more.
Dr Marcus Bunyan
Many thankx to Regen Projects for allowing me to publish the photographs in the posting. Please click on the photographs for a larger version of the image.
Scott McFarland (Canadian, b. 1975) The Admiral’s House as seen from the Upper Garden at Fenton House 2006 From the series Hampstead Inkjet print Edition of 5
“Regen Projects is pleased to announce an exhibition of new work by Canadian artist Scott McFarland. This exhibition will feature new photographs including 3 large panorama works, smaller works from the “Hampstead” series, and introduce the new “Niagara” series.
Scott McFarland’s photography reconsiders the traditional concept of a photograph as the depiction of a single captured moment in time. Through digital means he is able to manipulate composition, colour, light, space, shape, and form. McFarland’s photographs combine multiple negatives to represent simultaneous temporalities and interweave selected elements into a cohesive whole. Several different moments are packed into what appears to be one densely constructed instant. The photographs are meticulously crafted illusions created within the formal language of documentary photography.
McFarland’s consideration of photography and the built picture was brought about by the artist’s own understanding of the artificial “nature” found in built environments such as gardens and zoos. Taking the relationship of the constructed space/constructed image one step further, McFarland has photographed a modernist architectural landmark: the Berthold Lubetkin designed penguin pool at the London zoo. Through two very distinct works, McFarland investigates the elliptical structure of the famous penguin pool vis-à-vis the elliptical / arcing motion of his camera rotating on a tripod. One photograph is an objective colour rendering where the camera has been left level while rotating; the other is a larger black and white version where the camera arcs along a non-level plane distorting and altering the curve of the structure from right to left.
The new square format photographs from McFarland’s “Niagara” series have a rough unfinished quality unlike any photographs he has taken to date. These softer focus images with odd shifts in light and glare are location studies for the large panorama A Horse Drawn Hearse, Queens Royal Tours, 174 Anne, Niagara on the Lake, Ontario (2009, below). This work depicts an old carriage business and its surroundings during the dead of Canadian winter. In this visually captivating work, a black funeral carriage contrasts against the white snow. The acreage, surrounded by newer suburban homes, evokes the question of how long can this structure resist the modern urban pressures it faces. These straight photographs presented alongside his precise digitally mastered compositions illustrate how the photographic process and the history of art and photography have always informed McFarland’s work.
“Over the last decade, Scott McFarland has produced bodies of work that engage with different aspects of photography … McFarland’s approach is both descriptive and metaphoric … The images, rich in cultural significance, express the complementary workings of conceptual and aesthetic factors all the while holding various characteristics of art and photography in ambiguous relation.”
Andrea Kunard. Scott McFarland: A Cultivated View, published by the National Gallery of Canada, Ottawa, 2009, p. 12.
Text from the Regen Projects press release [Online] Cited 16/06/2009. No longer available online.
Scott McFarland (Canadian, b. 1975) A Horse Drawn Hearse, Queens Royal Tours, 174 Anne, Niagara on the Lake, Ontario 2009 From the series Niagara Inkjet print 59.5 x 124 inches (151.1 x 315cm) Edition of 5
Scott McFarland (Canadian, b. 1975) Boathouse with Moonlight 2002 From the series Boathouse Digital C-print 71 x 91 inches (180 x 231cm) Edition of 5, 2 AP
“Boathouse with Moonlight” is an exploration of the technical advancements afforded by digital photography, created by assembling multiple exposures taken over the space of two hours under the light of a full moon. Unlike traditional photography, this image does not represent one specific moment captured at a particular site; rather, it shows an accumulation of moments that have been manipulated and layered to create a revised version of the boathouse and its surroundings. McFarland’s use of multiple exposures to produce the final image emphasises not only the duration of the photographic act, but also the many facets of the boathouse’s character. This type of building on British Columbia’s “Sunshine Coast” is disappearing with the construction of new, suburban-style retirement housing.
Text from the National Gallery of Canada website [Online] Cited 02/03/2019
Scott McFarland (Canadian, b. 1975) Gorse and Broom, West Heath, Hampstead 2006 From the series Hampstead Inkjet print Edition of 5
Scott McFarland (Canadian, b. 1975) Women Drying Laundry on the Gorse, Vale of Health, Hampstead Heath 2007 From the series Hampstead Inkjet print 29 x 45 inches (73.7 x 114.3cm) Edition of 5
Scott McFarland (Canadian, b. 1975) Inspecting, Allan O’connor Searches for Botrytis cinerea 2003 From the series Gardens Digital C-print 40 x 48 inches (102 x 122cm) Edition of 7
Scott McFarland (Canadian, b. 1975) Orchard View with the Effects of Seasons (Variation #1) 2003-2006 From the series Gardens Digital C-print 42 x 122 inches (106.7 x 309.9cm) Edition of 3
Scott McFarland (Canadian, b. 1975) [Huntington Botanical Gardens in San Marino, Calif] 2005 From the series Empire Inkjet print
Scott McFarland (Canadian, b. 1975) Echinocactus grusonii [Huntington Botanical Gardens in San Marino, Calif] 2006 From the series Empire Inkjet print 24.5 x 27.5 inches (62 x 70cm) Edition of 3 Private collection/Vancouver Art Gallery
This picture comes from Empire, a series on desert vegetation shot in the Huntington Botanical Gardens in San Marino, Calif. Henry E. Huntington, an art collector who made his fortune building railroads, founded the garden in 1919.
“The plantings [of the garden] are dense, and the soil is mostly hidden beneath the thriving vegetation,” writes Grant Arnold in a catalogue essay for the exhibition, “the fullness of the planting continually reminding the visitor of Huntington’s beneficence.” To many gallery visitors, however, these images of lush desert vegetation will simply be appealing to the eye.
Scott McFarland (Canadian, b. 1975) The Granite Bowl in the Berlin Lust Garden 2006 Inkjet print 43 x 62 inches (109.2 x 157.5cm) Edition of 5
At first the photograph appeared to be a simple scene, one of no importance. The two young children, obviously related based on their similar physical features, seemed a bit awkward and posed, but otherwise, I thought it to be a snapshot, much like the one I took of the bowl while in Berlin. Upon learning how McFarland created this and many of his other photographs, I learned how complex of a scene this really is. McFarland uses multiple negatives, often taken over a matter of days, weeks, and even months, and combines them digitally into a seamless print. His interest is in breaking through the concept of a photograph being an image of a single instant in time and space.
A fuller narrative is created as well. With just one negative, there may only be one or two people depicted. We may just have the dog with his owner half shown, or even only half of the brother-sister group. But by overlapping the various negatives, Mr McFarland manipulates his work into a greater piece. We can now ask ourselves, why are the brother and sister so psychologically distant? Or, who is the small girl with the accordion and where is her mother? Is her mother the woman with the baby carriage? How long has that man been sleeping under the bowl? These are all questions that can be asked together because the negatives are combined that couldn’t be asked if we had just the single frame.
Scott McFarland (Canadian, b. 1975) View of Vale of Health, looking towards Hampstead 2007 From the series Hampstead Inkjet print 27 x 42.5 inches (68.6 x 108 cm) Edition of 5
With the stiff figures of a historical painting, Scott McFarland’s View of Vale of Health, Looking Towards Hampstead muddles ideas of what’s real and what’s not.
From the get-go, painting and photography have been inextricably bound together. The Pictorialists tried to make their photographs look like paintings. The Futurists, in their paintings, mimicked the blurred and segmented movement found in Etienne-Jules Marey’s chronophotographs. The photorealists created paintings whose subject was the photograph itself. And in his large-scale, backlit photo-transparencies, Jeff Wall has alluded to paintings by Nicolas Poussin, Edouard Manet, and Paul Cézanne, among others. The digital age has done nothing to diminish each medium’s obsession with the other.
This continued entwining of art forms is evident in Scott McFarland’s computer-montaged photographs, on view at the Vancouver Art Gallery. So is the parallel entanglement of nature and culture. Both conditions are conspicuous in his 2006 series, “Hampstead”, inspired by the landscapes of the early-19th-century English painter John Constable. McFarland’s colour photos, shot in various locations around London’s immense Hampstead Heath, pay homage to Constable’s attraction to the same place. They also play variations on that painter’s rendering of multiple versions of the same scene, and on his open-air studies of the changing effects of light and weather. …
Over the past decade, McFarland’s working methods have changed from straightforward analog photography to the creation of highly manipulated images in which he digitally splices together multiple segments of the same landscape or structure, shot over a period of days, weeks, or even months. In both variations of Orchard View With the Effects of the Seasons, for instance, the blossoms and foliage of spring, summer, and fall are contained within the same seamless panorama.
The digital assist means that there are no constraints of time, space, or documentary veracity in McFarland’s work: he can build whatever impossible pictures he wants and they will look “real”. At least until they’re closely scrutinised, revealing incongruities of light, shadow, time, and figuration. In this sense, his art challenges our understanding of the nature of the photograph and its relationship with the truth. There’s nothing really new about this project – as long as photography’s been around, it’s been manipulated by its practitioners. Photoshop, however, has added a vast digital dimension to the darkroom antics of earlier photo artists.
Josephine Kuperholz presents a beautifully engineered set of photographs in her exhibition Blight at Gallery 101, Melbourne. Featuring hand coloured silver gelatin photographs of endangered Australian insects sourced from the Entomology collection of the Victoria Museum, Kuperholz literally weaves multiple narratives into the photographs. The execution (an apt word for the circumstances of extinction facing these insects) of these images is fastidious, the weaving superlative, almost clinical.
The layering of the photographs disrupts their surface tension. There is a disjunction between the dead specimen and the singular photograph of it, a disruption of the smooth surface of the photograph by the hand colouring and a further fragmentation of the original photograph by cutting and weaving. Through these processes the photographs become intertextual in their construction, assemblages, creating new tissues of past citations: animal, colour, silver, artist, text, photograph, environment. At their best the work subverts the concept of the text as self-sufficient and hermetically sealed, blurring the outlines of the fixed image, “dispersing its image of totality into an unbounded, illimitable tissue of connections and associations, paraphrases and fragments, texts and con-texts.”1
Kuperholz’s mutations, ‘differance’ in Derrida’s terminology, produce spaces that are both fluid and fixed at one and the same time; neither her nor there.Though the original specimens and photographs are already narrativised, already textualised, Kuperholz disrupts this marking, the continual reiteration of norms, by weaving a lack of fixity into her objects; in her reconceptualisations of space and matter Kuperholz redefines the significations of the body of the animal in the fold of inscription, through a process of materialisation. Kuperholz attempts to ground these re-inscriptions through the naming of these disrupted surfaces, equating the images back to the scientific labels for the original specimen, Trapezites eliena for example (see below), and through the box frames surrounding the work that are much like museum cases. Unfortunately I found the constant reference to the habitat of the insect, it’s Latin name inscribed in pencil under the images and the use of plain brown box frames somewhat irritating. These tropes are not necessary for the work is strong enough to stand on it’s own without having to tell the viewer what to think.
The singular beetles (as seen above) are beautiful images and the multiple images where the weaving intermingles, the self decentred and multiple, fluttering and vibrating like the strobing of a time lapse photograph caught in three-dimensional space, are fantastic. Other photographs are less successful: the reflected beetles are a little passe, while the grid photographs of insects lack presence and intensity (see bottom installation photograph below). Where the concept works it is pushed hard, the fragmentation and interweaving causes an anxiety of identity and a meditation on the problematic nature of existence, revealing the changing sizes, shapes and rhythms of space and structure.
Perhaps a loosening of the rigid structure surrounding the works (the text, the frame, the incantations) would have let the photographs ascend into the ether, further releasing the work from the constraints of author, text and earth. It will be interesting to see future developments of this work. Perhaps the incorporation of gentle, subtle physical elements into the photographs (through the sowing of patterns, through the sowing of objects directly onto the photograph?), will elevate these already beautiful photographs to an-other plane of existence.
Dr Marcus Bunyan
Many thankx to Gallery 101 for allowing me to publish the photographs in the posting. Please click on the photographs for a larger version of the image.
Josephine Kuperholz (Australian) Trapezites eliena 2008 Common name – Eliena Skipper Woven hand coloured silver gelatin photographic image
Josephine Kuperholz (Australian) Dryococelus australis 2008 Common name – Lord Howe Island Phasmid Woven hand coloured silver gelatin photographic image
Josephine Kuperholz Blight exhibition, Gallery 101 website text
Josephine Kuperholz Blight exhibition installation views at Gallery 101, Melbourne Photos: Marcus Bunyan
Karen Halverson (American, b. 1941) Hite Crossing, Lake Powell, Utah from the Downstream series 1994-1995
As clear as a bell!
Marcus
Many thankx to the Huntington Library for allowing me to publish the photographs in the posting. Please click on the photographs for a larger version of the image.
Karen Halverson (American, b. 1941) Lodore Canyon, Dinosaur National Monument from the Downstream series 1994-1995
Karen Halverson (American, b. 1941) Boulder Beach, Lake Mead, Nevada from the Downstream series 1994-1995
Karen Halverson (American, b. 1941) Wahweap Pool, Lake Powell, Arizona from the Downstream series 1994-1995
To celebrate the expansion and reinstallation of the Virginia Steele Scott Galleries of American Art, The Huntington Library, Art Collections, and Botanical Gardens presents an exhibition of works from American photographer Karen Halverson’s Colorado River series, on view May 30 through Sept. 28, 2009. Downstream: Colorado River Photographs of Karen Halverson will be on display in the Scott Galleries’ Susan and Stephen Chandler Wing, inaugurating a new changing exhibition space that will highlight photography and works on paper that, because of the fragile nature of the medium, cannot be placed on permanent display.
The exhibition will feature 26 works from Halverson’s Downstream series as well as a sampling of images from The Huntington’s historic holdings related to the Colorado River region, including photographs from John Wesley Powell’s pioneering expedition down the Colorado in 1871 and a snapshot album compiled in 1940 by Mildred Baker, one of the first women to successfully navigate the river from Green River, Wyo., to Boulder (now Hoover) Dam.
Halverson (b. 1941) says she woke one wintry morning in 1994 convinced that she needed to photograph the Colorado River. An accomplished landscape photographer who had already spent 20 years exploring the American West, she embarked on a two-year encounter with the vast terrain along the river’s serpentine route.
The desire to explain, understand, and experience the 1,700-mile river – which originates in Wyoming and Colorado before converging in Utah toward its terminus in Mexico – has exerted a powerful influence on a long line of explorers, scientists, thrill seekers, writers, artists, and photographers. Once largely wild, the modern river has been tamed by dams built to slake the American West’s thirst for water and power. Today the river’s reservoirs supply 30 million people.
“In her resonant imagery, Halverson speaks both to this immutable, rugged past while confronting the river’s complicated and often contested present,” says Jennifer Watts, curator of photographs at The Huntington.
Lush green riverbanks frame a seemingly remote Colorado River in Shafer Trail, Near Moab, Utah – a dramatic departure from the river-turned-lake in Wahweap Marina, Lake Powell, Arizona, in which the setting sun illuminates a satellite dish, a trio of passersby, and a jumble of houseboats set against distant rock outcroppings. Davis Gulch, Lake Powell, Utah captures Halverson’s voice especially succinctly: the power of nature in the form of a gigantic sandstone wall dwarfing a tiny group of plastic lawn chairs, lined up along the river bank, with not a soul in sight.
“In my travels along the Colorado,” says Halverson, “sometimes I find beauty, sometimes desecration, often a perplexing and absurd combination.”
Halverson’s large-format colour photography references the 19th-century era of exploration when the United States, still reeling from the Civil War, saw photographers fan across the West to make pictures for scientific and commercial ends. Many of these iconic views by William H. Bell, John K. Hillers, Timothy O’Sullivan and others form the core of The Huntington’s superlative photography collection. Halverson consulted these works in preparation for her own trips.
The two years Halverson spent hiking, driving, and rafting along the Colorado brought her to a more profound understanding of the river and her relationship to it. During her travels, Halverson wrote, “I feel my place, small and finite in relation to space and time: I feel my self, expansive and trusting.”
Text from The Huntington Library website [Online] Cited 12/06/2009. No longer available online
Karen Halverson (American, b. 1941) Big River, California from the Downstream series 1994-1995
Karen Halverson (American, b. 1941) Davis Gulch, Lake Powell from the Downstream series 1994-1995
“In my travels along the Colorado, sometimes I find beauty, sometimes desecration, often a perplexing and absurd combination.”
Karen Halverson
One wintry morning in1994, Karen Halverson (b. 1941) awoke convinced she needed to photograph the Colorado River. An accomplished artist who had already spent 20 years exploring the American West, she set off on a two-year encounter with the vast, breathtaking terrain along the river’s serpentine route. “The impulse to photograph the Colorado River came to me out of the blue,” she writes, “but I acted on it as if it were my destiny.” Personal destiny and the Colorado River have long been linked in the lives of the explorers, scientists, writers, artists, and thrill seekers who have sought to understand and experience this remarkable river.
“Nature appears to have been partial to this stream,” noted “Captain” Samuel Adams, who described the river in 1869. The Colorado and its major tributary, the Green River, run 1,700 miles from headwaters in the Rocky Mountains and Wyoming’s Wind River Range to a terminus in Mexico. Sheer size helps explain the river’s enduring allure; the Colorado’s gargantuan watershed covers a quarter of a million miles and runs through seven states. The Colorado is the riparian centre and symbol of the American West. Once wild, the river has been tamed by dams built to slake the arid West’s demand for water and power; 30 million people are dependent on it today.
Halverson’s large-format colour photography alludes to a 19th-century era of exploration when photographers fanned out across the West to make pictures for scientific and commercial ends. Iconic views by William H. Bell (1830-1910), John K. Hillers (1843-1925), Timothy O’Sullivan (c. 1840-1882), and others captured timeless landscapes of fierce, often forbidding, beauty. Halverson looked at these works in preparation for her trips, viewing them as documentary and visual points of departure for her own image making. Beyond the debt she owes these photographic pioneers, Halverson is firmly rooted in a late 20th-century aesthetic that comments on humanity’s use, and misuse, of the environment.
Beginning in the 1970s, a group of photographers, almost all of them men – who are now sometimes called the “New Topographers” – used their cameras to criticise the effects of rampant urban and suburban growth on western lands. Sprawling cities like Los Angeles, Phoenix, and Las Vegas owe their existence almost entirely to the importation of water from the Colorado River. As Halverson rightly claims, today the river is a “water delivery system,” with its dozens of reservoirs, dams, and diversions ensuring the allocation of virtually every drop for human needs.
Yet Downstream is no visual jeremiad railing against environmental abuse. Nor is it a dispassionate travelogue of the two years Halverson spent hiking, driving, and rafting along the Colorado. The wild terrain that flabbergasted early explorers is still here in the Paleozoic strata of gigantic rock outcroppings, the ancient calm of ghostly canyons, the dizzying heights overlooking a ribbon of water far below. And the colours – ochre, cerulean blue, deep red, electric green – are all intensified against the palette of a dammed river running colder and deeper than if it flowed freely. A modern-day beauty even finds itself inscribed in steel and concrete, whether in the sleek form of a pipeline or the still surface of an irrigation canal.
But it is in the bizarre, sometimes humorous, intersections of past and present that Downstream gains its potency. Cheap plastic lawn chairs, sitting vacant, look puny and ridiculous against a looming canyon wall. Weekend revellers pump fists skyward on the shores of Lake Mead, a giant reservoir held in place by Hoover Dam. A garden hose waters a scrawny palm tree in a desert oasis populated by rows of RVs.
What is gained and what is lost by controlling the Colorado River? And what are the river’s limits? Halverson’s Downstream series asks the viewer to contemplate these questions in a time when the arid West’s thirsty population threatens to overwhelm technological as well as natural resources, and when our well-watered urban lives remain utterly disconnected from riparian realities. Through her resonant imagery, Halverson speaks to the immutability of the river’s past while confronting its complex, contested present and future.
Jennifer A. Watts, Curator of Photographs from “Colorado River Photographs of Karen Halverson,” The Huntington Library Halverson Gallery guide [Online] Cited 28/02/2019. No longer available online
Karen Halverson (American, b. 1941) Near Palo Verde, California from the Downstream series 1994-1995
Karen Halverson (American, b. 1941) Imperial Dam, near Yuma, Arizona from the Downstream series 1994-1995
Karen Halverson (American, b. 1941) Flaming Gorge Reservoir, Wyoming from the Downstream series 1994-1995
Karen Halverson (American, b. 1941) Shafer Trail, Near Moab, Utah from the Downstream series 1994-1995
The Huntington Library The Huntington Library, Art Collections, and Botanical Gardens 1151 Oxford Road San Marino, CA 91108
Installation view of the interior forecourt of the National Gallery of Victoria showing banners for the exhibition Salvador Dalí: Liquid Desire Photo: Marcus Bunyan
Installation photographs from the latest Winter Masterpieces blockbuster Salvador Dalí: Liquid Desire from the media preview on the day the exhibition opened at NGV International, Melbourne. Thank you to Jemma Altmeier, Media and Public Affairs Administrator at the NGV for the invitation. Photographs were taken using a digital camera, tripod and available light.
Fantastic to see my friend and curator of the exhibition, Dr Ted Gott, at the opening. Congratulations on a wonderful show!
Photographs proceed from the beginning to the end of the exhibition in chronological order.
Many thankx to the National Gallery of Victoria for allowing me to publish the photographs in the posting. Please click on the photographs for a larger version of the image.
Entrance to the Salvador Dalí: Liquid Desire Winter Masterpieces exhibition at the National Gallery of Victoria, Melbourne Photo: Marcus Bunyan
3 panel video installation of the Catalan countryside where Salvador Dali lived. 13 minutes duration from the exhibition Salvador Dalí: Liquid Desire Winter Masterpieces at the National Gallery of Victoria, Melbourne Photo: Marcus Bunyan
Early work from the Salvador Dalí: Liquid Desire Winter Masterpieces exhibition at the National Gallery of Victoria, Melbourne Photo: Marcus Bunyan
To the left View of the Cadaques from the Creus Tower 1923; to the right Table in front of the Sea. Homage to Eric Satie 1926 from the Salvador Dalí: Liquid Desire Winter Masterpieces exhibition at the National Gallery of Victoria, Melbourne Photos: Marcus Bunyan
In the centre The First Days of Spring 1929; to the right Surrealist composition 1928 from the Salvador Dalí: Liquid Desire Winter Masterpieces exhibition at the National Gallery of Victoria, Melbourne Photo: Marcus Bunyan
Installation view with The Age art critic Associate Professor Robert Nelson at centre right and The hand. The remorse of conscience 1930 at far right, from the Salvador Dalí: Liquid Desire Winter Masterpieces exhibition at the National Gallery of Victoria, Melbourne Photo: Marcus Bunyan
Installation view with Memory of the child-woman 1932 at right from the Salvador Dalí: Liquid Desire Winter Masterpieces exhibition at the National Gallery of Victoria, Melbourne Photo: Marcus Bunyan
Salvador Dalí (Spanish 1904-1989, worked in United States 1940-1948) Lobster Telephone (installation view) 1936 Photo: Marcus Bunyan
Jewellery gallery at the Salvador Dalí: Liquid Desire Winter Masterpieces exhibition at the National Gallery of Victoria, Melbourne Photos: Marcus Bunyan
Televisions with film installation from the Salvador Dalí: Liquid Desire Winter Masterpieces exhibition at the National Gallery of Victoria, Melbourne Photo: Marcus Bunyan
Installation of black and white photography from the exhibition Salvador Dalí: Liquid Desire Winter Masterpieces exhibition at the National Gallery of Victoria, Melbourne with Dr Ted Gott, curator of the exhibition, with back to camera at centre Photo: Marcus Bunyan
Reproduction of Gala foot. Stereoscopic paintings 1975-1976 in an installation using mirrors that would have been originally used to obtain the stereoscopic effect Photo: Marcus Bunyan
Final exhibition space from the Salvador Dalí: Liquid Desire Winter Masterpieces exhibition at the National Gallery of Victoria, Melbourne Photo: Marcus Bunyan
Final gallery space from the Salvador Dalí: Liquid Desire Winter Masterpieces exhibition at the National Gallery of Victoria, Melbourne featuring The Ecumenical Council 1960 Photos: Marcus Bunyan
National Gallery of Victoria (International) 180 St Kilda Road, Melbourne
Opening hours: Salvador Dalí: Liquid Desire is open 7 days a week and until 9pm every Wednesday from 17 June
Tickets Adult: $23 Concession: $18 Child: $11 (ages 5-15) Family (2 adults + 3 children): $60 NGV Member Adult: $16 NGV Member Family: $40
![Benedict J. Fernandez (American, 1936-2021) 'Dick Gregory with MLK [Martin Luther King, JR.] New Politics Convention, Chicago, ILL. October, 1967' 1967](https://artblart.com/wp-content/uploads/2009/07/benedict-j.-fernandez-dick-gregory-with-mlk.jpg "Benedict J. Fernandez (American, 1936-2021) 'Dick Gregory with MLK [Martin Luther King, JR.] New Politics Convention, Chicago, ILL. October, 1967' 1967")
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