Archive for the 'Uncategorized' Category

09
Feb
18

Review: ‘Rosemary Laing’ at TarraWarra Museum of Art, Healesville, Victoria

Exhibition dates: 2nd December 2017 – 11th February 2018

Curator: Victoria Lynn

 

Rosemary Laing. 'weather (Eden) #1' 2006

 

Rosemary Laing
weather (Eden) #1
2006
From the series weather
C Type photograph
110 x 221.5 cm
Private Collection
© Rosemary Laing, Courtesy Tolarno Galleries, Melbourne

 

 

Disjunction and displacement in the Australian landscape

On a suitably apocalyptic day – in terms of our relationship to landscape, environment, elements and shelter – I drove up the Yarra Valley to the beautiful TarraWarra Museum of Art to see an exhibition of the works of Rosemary Laing. Through teeming rain, headlights gleaming, windshield wipers at full bore listening to Beethoven symphonies, I undertook an epic drive up to that most beautiful part of Victoria. The slightly surreal, disembodied experience of the drive continued once I stepped inside the gallery to view Laing’s work.

Laing’s work has always been a favourite, whether it be the floating brides, the carpet laid through the forest, or the melting newsprint after rain. I have always thought of her sensitive conceptual, performative work as evidenced through large, panoramic photographs as strong and focused, effective in challenging contemporary cultural cliché relating to the land, specifically the possession and inhabitation of it. As such, perhaps I was expecting too much of this exhibition but to put it bluntly, the presentation was a great disappointment.

There are various contributing factors that do not make this exhibition a good one.

Firstly, as the curator Victoria Lynn observes, “Laing’s photographs are conceived in series, so that each photograph is part of a larger cluster of images that are often arrange in specific sequences.” This exhibition, “includes 28 large-scale works selected from ten series over a thirty-year period” that focus on the themes of land and landscape in Laing’s oeuvre. The problem with this approach to Laing’s work is that the photographs from the different series sit uncomfortably together. The transitions between the photographs and different bodies of work as evidenced in this exhibition, simply do not work. Minor White’s ice/fire – that frisson of intensity between two disparate images that makes both images relevant to each other – is non-existent here. What might have more successful in displaying Laing’s work would have been a larger selection from a more limited number of series. It would have given the viewer a more holistic sense of belonging and investment in the work. This is the problem working in series and specific sequences… once the work leaves that cluster of energy, that magical place of nurture, nature and conceptualisation, how does it reintegrate itself into other states of being and display?

Secondly, the light levels in the gallery were so low the photographs seemed drained of all their energy. I understand that the “lux levels are quite particular according to museum requirements considering many works are lent from various institutions around Australia,” having done a conservation subject during my Master of Art Curatorship, but this is where the surreal experience from the drive continued: upon entering the gallery it was like navigating a stygian gloom, as can be seen in the installation photographs of the exhibition below. This is a museum of art situated in the most beautiful landscape and these are photographs, captured with light! that need light to bring them alive. I remember seeing Laing’s work leak at Tolarno galleries in Melbourne, and being amazed by their presence, their energy. Not here. Here the blues of the sky and the reds of the carpet seemed drained of energy, the vibrations of being of the forest and land victim to overzealous preservation.

Thirdly, and this relates to the first point, there was one work How we lost poor Flossie (fires) (1988, below) from Laing’s early series Natural Disasters. The work appeared out of nowhere at the end of the exhibition, had nothing that it related to around it, and had no explanation as to why it was there. I really would have liked to have known more about how Laing got from this work to the later series in the exhibition. What was her process of discovery, of change and experimentation. How did Laing go from Flossie – slicing together the spectacle and graphic imagery from media coverage of the Ash Wednesday fires – to the embeddedness [definition: the dependence of a phenomenon on its environment, which may be defined alternatively in institutional, social, cognitive, or cultural terms] of performances within the landscape of the later work? This would have been a more cogent, pungent and relevant investigation into the rigours of Laing’s art practice.

I emerged into the world and it was still pouring with rain. I rejoiced. It was as though I was alive again. Laing’s work is always strong and interesting. It was just such a pity that this iteration of it, specifically its closeted choreography, was not as restless as the landscape the works imagine.

Marcus

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

 

Installation view of the exhibition 'Rosemary Laing' at the TarraWarra Museum of Art

Installation view of the exhibition 'Rosemary Laing' at the TarraWarra Museum of Art

Installation view of the exhibition 'Rosemary Laing' at the TarraWarra Museum of Art

Installation view of the exhibition 'Rosemary Laing' at the TarraWarra Museum of Art

 

Installation view of the exhibition Rosemary Laing at the TarraWarra Museum of Art featuring the works welcome to Australia (2004, C Type photograph, Collection of the University of Queensland) from the series to walk on a sea of salt

 

 

“… the detention centre images, so that you’ve got the Heysen, you know, trees that you want to belong to, and then you’ve got this endless vista – though it be a difficult journey across a horizon that never ends – and then you have the raised wire fence, completely closing off access to that land, and that place, and those images of belonging and heritage.”

Art Talk with Rosemary Laing

 

Installation view of the exhibition 'Rosemary Laing' at the TarraWarra Museum of Art

 

Installation view of the exhibition Rosemary Laing at the TarraWarra Museum of Art featuring the works after Heysen (2004) at left, and to walk on a sea of salt (2004) at right, from the series to walk on a sea of salt

 

Installation view of the exhibition 'Rosemary Laing' at the TarraWarra Museum of Art

 

Installation view Rosemary Laing’s after Heysen (2004, C Type photograph, Collection of Carey Lyon and Jo Crosby) from the series to walk on a sea of salt

 

 

The question of how to belong in Australia permeates Laing’s work. Australia has one of the highest immigrant populations in the world so that the question of arrival, and of making oneself at home, continues to be part of the everyday reality. We also have one of the world’s harshest policies for asylum seekers so that – in the political imaginary of contemporary Australia – land is conceived as a border that has to be protected.

The artist’s most potent response to the contested issue of being at home in Australia is the 2004 series to walk on a sea of salt, where images of Woomera detention ventre, combined with photographs inspired by quintessential Australian imagery and stories, remind us that home does not travel with the asylum seeker. In after Heysen, Laing photographs the trees that Hans Heysen transformed into an Arcadian image of the Australian bush, but bleaches the image to invoke a sense of nationalistic nostalgia. By contrast, the spatial potential and magnitude of the Australian landscape is invoked by the image to walk on a sea of salt. (Wall text)

 

Installation view of the exhibition 'Rosemary Laing' at the TarraWarra Museum of Art

Installation view of the exhibition 'Rosemary Laing' at the TarraWarra Museum of Art

 

Installation view of the exhibition Rosemary Laing at the TarraWarra Museum of Art featuring works from the series The Paper (2013)

 

Installation view of the exhibition 'Rosemary Laing' at the TarraWarra Museum of Art

 

Installation view of Rosemary Laing’s work The Paper, Tuesday (2013, C Type photograph, Monash University Collection) from the series The Paper (2013)

 

Installation view of the exhibition 'Rosemary Laing' at the TarraWarra Museum of Art

 

Installation view of Rosemary Laing’s work The Paper, Thursday (2013, C Type photograph, Monash University Collection) from the series The Paper (2013)

 

 

Laing choreographs situations in the landscape, invoking a unique set of circumstances that reflect upon historic, social, environmental, economic and material conditions. Incongruous items are carefully positioned to flow with the compositional logic of a place.

On a hillside in Bundanon, New South Wales is a Casuarina forest sprinkled with Burrawang (cycads), an ancient plant that dates back to the Palaeozoic. The series The Paper was created on this hillside. The forest floor is covered in newspaper and photographed after the rains. The paper has literally been pressed into the forest floor by the torrent. It has been weathered. The sensationalism, headlines, imagery and opinion of the newspaper merge into a feathery ground cover of soft white, cream and beige hues. It is as if the area has flooded, not with water, but with paper. Words, colour and dates are dissolved into a tonal carpet. There is no light and shadow. This misalignment suggests the death of the daily paper, and here it inevitably returns to its natural habitat, its original ‘home’. (Wall text)

 

Installation view of the exhibition 'Rosemary Laing' at the TarraWarra Museum of Art

Installation view of the exhibition 'Rosemary Laing' at the TarraWarra Museum of Art

Installation view of the exhibition 'Rosemary Laing' at the TarraWarra Museum of Art

Installation view of the exhibition 'Rosemary Laing' at the TarraWarra Museum of Art

Installation view of the exhibition 'Rosemary Laing' at the TarraWarra Museum of Art

Installation view of the exhibition 'Rosemary Laing' at the TarraWarra Museum of Art

Installation view of the exhibition 'Rosemary Laing' at the TarraWarra Museum of Art

Installation view of the exhibition 'Rosemary Laing' at the TarraWarra Museum of Art

 

Installation views of the exhibition Rosemary Laing at the TarraWarra Museum of Art

 

Installation view of the exhibition 'Rosemary Laing' at the TarraWarra Museum of Art

 

Installation view of Rosemary Laing’s work weather (Eden) #1 (2006, C Type photograph, Collection of Peter and Anna Thomas) from the series weather

 

 

The idea of a natural disaster in the Australian landscape occupies the same intensity for Laing as the human or ‘unnatural’ disasters. The each speak of the endless transformation of the landscape, its unfolding stories and its capacity to conjure anxiety and fear.

the series weather, located on the south coast of New South Wales, was inspired by the impact of natural phenomena – coastal storms – on the area. The flash of red fish netting snagged unawares by the battered grey melaleucas in weather (Eden) #1 also signals the historic Indigenous and colonial whaling in the area and the more recent slow demise of the fishing industry. These images seem haunted. (Wall text)

 

Installation view of the exhibition 'Rosemary Laing' at the TarraWarra Museum of Art

 

Installation view of Rosemary Laing’s works The Flowering of the Strange Orchid (2017) left, from the series Buddens, and at right weather (Eden) #2 from the series weather

 

Installation view of the exhibition 'Rosemary Laing' at the TarraWarra Museum of Art

 

Detail of Rosemary Laing’s work The Flowering of the Strange Orchid (2017)

 

Installation view of the exhibition 'Rosemary Laing' at the TarraWarra Museum of Art

 

Installation view of Rosemary Laing’s work still life with teapot and daisies (2017, archival pigment print, Courtesy of the artist and Tolarno Galleries, Melbourne) from the series Buddens

 

 

In the most recent series Buddens, Laing turns again to the ‘unnatural disasters’ that impact ‘country’. The stream is covered in rolls of discarded clothing. It leads down to Wreck Bay, on the south coast of New South Wales, and is the site of multiple ship disasters. Historically these waters were used to transport convicts, goods, troops and settlers up and down the coast and they are littered with relics from shipwrecks including those of the vessels ‘Rose of Australia’ and ‘Walter Hood’.

The roof truss is like a piece of wreckage in amongst the trees, as if torn by the winds from an urban development on the outskirts of a city. Recalling the upside down house in the series leak (2010), it meets a natural A-frame in the foliage, yet the two don’t make a safe house.

The clothes seem to push through the landscape, like the rush of a river, perhaps in search of a safe haven. There is a mixture of metaphors in Buddens, highlighting the delicate balance between nature and culture required for survival.

 

Installation view of the exhibition 'Rosemary Laing' at the TarraWarra Museum of Art

 

Installation view of Rosemary Laing’s work brumby mound #5 (2003, C Type photograph, National Gallery of Victoria, Melbourne) from the series one dozen unnatural disasters in the Australian landscape

 

Installation view of the exhibition 'Rosemary Laing' at the TarraWarra Museum of Art

 

Installation view of Rosemary Laing’s work brumby mound #6 (2003, C Type photograph, National Gallery of Victoria, Melbourne) from the series one dozen unnatural disasters in the Australian landscape

 

 

Landscape has a past, present an future; it is never the same as it used to be. In the face of wars, wrecks, and both natural and ‘unnatural’ destruction, we build shelters. We fence and furnish these landscape as we try to impose order on the precariousness and relative insignificance of life.  As can be seen in a number of Laing’s series, the introduction of elements from our ‘settled’ environment including carpet, clothing , architectural structures, newspapers and the like – creates a disjunction. Some thing is literally awry.

In the one dozen unnatural disasters in the Australian landscape series, red interior furniture occupies and unsuccessfully domesticates this landscape. Painted in red earth and glue, these items almost disappear in the desert landscape. they are both like relics of a lost civilisation, but also seem to have become attuned to the terrain.

In the series leak, Laing continues her poetic and political engagement with the Australian landscape whereby powerful and dynamic tensions are elicited through the construction and insertion of foreign objects in the natural environment. Although the land depicted has already been altered through years of cleating and grazing practices, these works metaphorically signal that the continued ‘leak’ of residential development into both remnant bushland and farmland owned by generations of families is an unwelcome accident or breach that threatens to overturn the ecological balance between nature and culture. (Wall text)

 

Installation view of the exhibition 'Rosemary Laing' at the TarraWarra Museum of Art

 

Installation view of Rosemary Laing’s work Aristide (2010, C Type photograph, Collection of the University of Queensland) from the series leak

 

 

“Landscape changes; its restless. It moves with the wind and rhymes with the seasons. It burns and floods. It is spatial, offering the visitor several perspectives that can be contradictory, paradoxical and durational. Landscape is also a ‘situation’, a complex interplay of historical and environmental conditions. Landscape has a past, present and future; it is never the same as it used to be. When we gaze out over a bay, or ponder and Indigenous site, we can’t help but wonder what it used to look like, how it used to be occupied, what tragedies and serendipities happened there. Landscape can be both a place of belonging and a destination, and depending on one’s perspective, it can embody the familiarity of home and the promise of adventure; the discomfort of displacement or the tragedy of invasion. Landscape is formed as much by natural forces as it is by human knowledge. …

Rosemary Laing introduces us to these histories by creating projects in the Australian landscape. These projects are sustained by her continuing search for understanding the multiple attitudes to belonging in the landscape. Miwon Kwon has argued that today ‘feeling out of place is the cultural symptom of late capitalism’s political and social reality’, so much so, that to be ‘situated’ is to be ‘displaced’. In Australia, the notion of displacement has a history that goes back to colonisation. Questions of who owns the land, how we inhabit it, and who feels displaced, are an intrinsic part of the Australian consciousness. Laing’s work also asks how we encounter the landscape; who or what is out of  place; who or what does not belong; are ‘we’ the alien? …

Laing choreographs situations in the landscape, invoking a unique set of circumstances that reflect upon historic, social, environmental and material conditions…

Doherty argues that rather than being site specific, art has shifted from a fixed location, to one that, in the words of Kwon, is ‘constituted through social, economic, cultural and economic processes’. Such artworks are not located in a single place, but rather take the form of interactive activities, collective actions, and spatial experiences. They are constitutive rather than absolute; propositional rather than conclusive. Rosemary Laing’s mise-en-scènes are not public, events or performances, but they forge a compositional dialogue with the natural environment that provokes a social, economic and environmental conscience.

Laing’s photographs are conceived in series, so that each photograph is part of a larger cluster of images that are often arrange in specific sequences. Moreover, the spatial tableaux and the photographic outcome have an intrinsic connection. The installations cannot be seen without the photographic apparatus and yet each mise-en-scène is presented from a variety of perspectives and angles, so that we cannot necessarily rely on the photographic outcome to be ‘truthful’. The photograph is not simply documentation. It is an activator. In many respects Laing places us in the landscape, so that we fell part of the image. She does this through both the size and relative height of the image, along with the point of view and our relation with the horizon line. Laing tests the limits of the photograph, and also provokes the viewer to rearticulate their connection to landscape, and re-energise it. She comes to be the interlocutor between the histories and meanings embedded in landscape, the installation, the photograph and the viewer.”

Victoria Lynn. “Rosemary Laing – Co-belonging with the Landscape,” in Rosemary Laing exhibition catalogue, TarraWarra Art Museum, 2017, pp. 7-9.

 

Installation view of the exhibition 'Rosemary Laing' at the TarraWarra Museum of Art

 

Installation view of Rosemary Laing’s work effort and rush #9 (swanfires) (2013-15, C Type photograph, Collection of Alex Cleary) from the series effort and rush

 

Installation view of the exhibition 'Rosemary Laing' at the TarraWarra Museum of Art

 

Detail of Rosemary Laing’s work effort and rush #9 (swanfires) (2013-15)

 

Installation view of the exhibition 'Rosemary Laing' at the TarraWarra Museum of Art

 

Installation view of Rosemary Laing’s work burning Ayer #12 (2003, C Type photograph, Art Gallery of New South Wales, Sydney) from the series one dozen unnatural disasters in the Australian landscape

 

 

The fire in burning Ayer #12 gives us some clues to the relationship between fire and the artist’s quest to reimagine belonging in the Australian landscape. The earth-encrusted items of mass-produced domestic wooden furniture – a reference, once more, to the idea of ‘housing’, home and belonging. Their ashes fold back into the earth. The strength of the red desert plain holds its ground, as it were, as the stage for this enactment of both sacrifice and return. Fire comes to be a metaphor for the ways in which the Indigenous landscape refuses our presence and escapes from our control.

In effort and rush #9 (swanfires), the blur of movement across tall thin tree trunks, captured in a smoky black hue, considers both the rush of the fire, and the rush of escape. It is as if the camera has become a paintbrush. (Wall text)

 

Installation view of the exhibition 'Rosemary Laing' at the TarraWarra Museum of Art

 

Installation view of Rosemary Laing’s work swanfires, Chris’s shed (2002-04, C Type photograph, Monash Gallery of Art) from the series swanfires

 

Installation view of the exhibition 'Rosemary Laing' at the TarraWarra Museum of Art

 

Detail of Rosemary Laing’s work swanfires, Chris’s shed (2002-04)

 

Installation view of the exhibition 'Rosemary Laing' at the TarraWarra Museum of Art

 

Installation view of Rosemary Laing’s work How we lost poor Flossie (fires) (1988, Gelatin silver photograph, Art Gallery of South Australia, Adelaide) from the series Natural Disasters

 

 

When Laing first tackled disasters in her 1988 Natural Disasters series, it was from the point of view of the media phenomenon. Slicing together imagery from media coverage of the Ash Wednesday fires, the series, including works such as How we lost poor Flossie (fires) was more to do with the slipstream of spectacle in the wake of the bicentennial of Australia. At the time, competing propositions about our cultural identity jostled for attention: 200 years of settlement, Aboriginal calls for recognition, the tourist panorama, and the sensationalism of fire in the landscape.

After every significant fire near her house in Swanhaven, on the south cost of New South Wales, Laing takes photographs in the aftermath of the blaze, like a marker of the irreconcilable yet continuing presence of natural and unnatural disasters.

In the series swanfires there is an overwhelming sense of loss. These two images speak of the abject disaster of fire, before the clean up.  They depict situations that exceed our comprehension. In swanfires, John and Kathy’s auto services, the intersecting forms of corrugated iron – the quintessential material of rural Australia – are unexpectedly bathed in the softest of pink, their forms reflecting the tree line behind. (Wall text)

 

Installation view of the exhibition 'Rosemary Laing' at the TarraWarra Museum of Art

 

Installation view of Rosemary Laing’s work swanfires, John and Kathy’s auto services (2002-04, C Type photograph,Courtesy of the artist and Tolarno Galleries, Melbourne) from the series swanfires

 

 

TarraWarra Museum of Art will stage an exhibition of the works of Rosemary Laing, one of Australia’s most significant and internationally-renowned photo-based artists, 2 December 2017 – 11 February 2018.

Focusing on the theme of land and landscape in Laing’s oeuvre, the Rosemary Laing exhibition includes 28 large scale works selected from 10 series over a thirty-year period. The exhibition, which is the first large-scale showing of Laing’s work in Victoria, will be accompanied by an exhibition of works by Fred Williams focusing on a single year of the artist’s oeuvre, Fred Williams – 1974. Curated by Anthony Fitzpatrick, the Williams exhibition reveals the ways in which colour and human intervention in the landscape became a focus for the artist.

Born in Brisbane and based in Sydney, Laing has worked with the photographic medium since the mid-1980s. Her projects have engaged with culturally and historically resonant sites in the Australian landscape, as well as choreographed performances. TarraWarra director, Victoria Lynn, curator of the exhibition, says Laing’s work is highly representative of the Museum’s central interest in the exchange between art, place and ideas.

“This exhibition reveals Laing’s compositional and technical ingenuity. It shows that Laing can create images of dazzling luminosity as well as solemnly subdued light. Flickers of bright red catch our eye, while passages of verdant greens create an all-over intensity. Her images take us to open and infinite plains as well as the depths of entangled forest trails.

“The artist builds structures and installations in coastal, farming, forest and desert landscapes from which she then creates photographic images. Whether it is papering the floor of a forest in the 2013 series The Paper, or creating a river of clothes displacing the water of a flowing creek in the new series Buddens 2017, Laing’s images reflect upon the historical and contemporary stories of human engagement with our continent. More specifically, the artist draws on colonisation and the impact of waves of asylum seekers, suggesting that the landscape is forever transformed both physically and metaphorically. The exhibition also includes works depicting the aftermath of fire, and the ways it too transforms what we thought we knew of the landscape,” Ms Lynn said.

Rosemary Laing comments: “The arrival of people, throughout history, shifts what happens in land, challenging those who have left their elsewhere, and disrupting the continuum of their destination-place. A disruption causes a reconfiguration. It elaborates both the beforehand and the afterward. The works are somewhere between – a narrative for the movement of people, the condition of landforms with a changing peopled condition, expectations of home and haven, flow and flooding, and the effect and affect of these passages.” The exhibition is supported by major exhibition partner the Balnaves Foundation, and will be accompanied by a catalogue authored by Judy Annear, funded by the Gordon Darling Foundation.

Annear, writes: “How to make sense of what humanity does in and to their environment regardless of whether that environment appears to be natural or made? What is the spectrum, the temperature of that activity? Laing is an artist who grapples with these questions and how to reflect and interpret the times in which she lives.”

Neil Balnaves AO, Founder The Balnaves Foundation said, “The exhibitions Rosemary Laing and Fred Williams – 1974 will be the third year that The Balnaves Foundation have supported the TarraWarra Museum of Art to deliver exhibitions of note by Australian artists. The Foundation is proud to partner in these major endeavours, providing vital opportunities for important Australian artists to be showcased, whilst providing art lovers – including inner-regional audiences – access to outstanding arts experiences.”

Laing has exhibited in Australia and abroad since the late 1980s. She has participated in various international biennials, including the Biennale of Sydney (2008), Venice Biennale (2007), Busan Biennale (2004), and Istanbul Biennial (1995). Her work is present in museums Australia-wide and international museums including: the Museo Nacional Centro De Arte Reina Sofia, Madrid; North Carolina Museum of Art, Raleigh; Modern Art Museum of Fort Worth, USA; 21st Century Museum of Contemporary Art, Kanazawa, Japan; Kunstmuseum Luzern, Lucerne, Switzerland; Wadsworth Atheneum Museum of Art, Hartford, Connecticut, USA.

Laing has presented solo exhibitions at several museums, including the Museum of Contemporary Art, Sydney; Kunsthallen Brandts Klædefabrik, Odense; Domus Artium 2002, Salamanca; Frist Center for the Visual Arts, Nashville; and National Museum of Art, Osaka. A monograph, written by Abigail Solomon-Godeau has been published by Prestel, New York (2012).

Press release from the TarraWarra Museum of Art

 

Rosemary Laing. 'brumby mound #6' 2003

 

Rosemary Laing
brumby mound #6
2003
From the series one dozen unnatural disasters in the Australian landscape
C Type photograph
109.9 x 225 cm
National Gallery of Victoria, Melbourne
Purchased with funds from the Victorian Foundation for Living Australian Artists, 2004
© Rosemary Laing, Courtesy Tolarno Galleries, Melbourne

 

Rosemary Laing. 'swanfires, John and Kathy's auto services' 2002-04

 

Rosemary Laing
swanfires, John and Kathy’s auto services
2002-04
From the series swanfires
C Type photograph
85 x 151 cm
Courtesy the artist and Tolarno Galleries, Melbourne
© Rosemary Laing, Courtesy Tolarno Galleries, Melbourne

 

Rosemary Laing. 'The Paper, Tuesday' 2013

 

Rosemary Laing
The Paper, Tuesday
2013
From the series The Paper
C Type photograph
90 x 189 cm
Monash University Collection
Purchased by the Faculty of Science, 2015
Courtesy of Monash University Museum of Art
© Rosemary Laing, Courtesy Tolarno Galleries, Melbourne

 

Rosemary Laing. 'Aristide' 2010

 

Rosemary Laing
Aristide
2010
From the series leak
C Type photograph
110 x 223 cm
The University of Queensland Art Museum, Brisbane
Collection of The University of Queensland, purchased 2011
© Rosemary Laing, Courtesy Tolarno Galleries, Melbourne

 

Rosemary Laing. 'Walter Hood' 2017

 

Rosemary Laing
Walter Hood
2017
From the series Buddens
Archival pigment print
100 x 200.6 cm
Courtesy the artist and Tolarno Galleries, Melbourne
© Rosemary Laing, Courtesy Tolarno Galleries, Melbourne

 

Rosemary Laing. 'The Flowering of the Strange Orchid' 2017

 

Rosemary Laing
The Flowering of the Strange Orchid
2017
From the series Buddens
Archival pigment print
100 x 200 cm
Ten Cubed Collection, Melbourne
© Rosemary Laing, Courtesy Tolarno Galleries, Melbourne

 

Rosemary Laing. 'Drapery and wattle' 2017

 

Rosemary Laing
Drapery and wattle
2017
From the series Buddens
Archival pigment print
100 x 152.6 cm
Collection of Sally Dan-Cuthbert Art Consultant
© Rosemary Laing, Courtesy Tolarno Galleries, Melbourne

 

 

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22
Nov
17

Display: ‘Stan Firm inna Inglan’ at Tate Britain, London

November 2017

 

James Barnor (born 1929) 'Mike Eghan at the BBC Studios, London' 1967, printed 2010

 

James Barnor (born 1929)
Mike Eghan at the BBC Studios, London
1967, printed 2010
Gelatin silver on paper
Gift of Eric and Louise Franck London Collection 2013

 

 

This was the best photography exhibition which wasn’t an exhibition – because it was a “display” – that I saw on my recent trip to Europe.

Why was it the best? Because this is what strong, insightful photography can do: it can capture life; it can document different cultures; and it can be a powerful agent for social change.

I remember London in the 1970s. I lived in Clapham (Claiff-ham Heights) and Stockwell (we called it St. Ockwell) near Brixton at the time. I remember the Brixton riot of 1981, as I was living in my little room down the road, as the cars burnt and the buildings were smashed. “Brixton in South London was an area with serious social and economic problems. The whole United Kingdom was affected by a recession by 1981, but the local African-Caribbean community was suffering particularly high unemployment, poor housing, and a higher than average crime rate.” (Wikipedia) People felt oppressed by recession, racism, the police, and by the establishment, for this was the era of Margaret Thatcher and her bullies. But as these photographs show, there was such a vibrant sense of community in these areas as they sought to ‘stand firm in England’ because it was their home.

It is our great privilege that we have the images of this very talented group of photographers who documented Black communities in London during this time: Raphael Albert, Bandele ‘Tex’ Ajetunmobi, James Barnor, Colin Jones, Neil Kenlock, Dennis Morris, Syd Shelton and Al Vandenberg. And I find it heartening that all of these photographers were documenting their community at the same time. The African-Caribbean diaspora is part of the genetic makeup of the UK and multiculturalism, from where ever it emanates, should be valued in societies around the world. It enriches contemporary culture through an understanding and acceptance of difference.

Against racism; against fascism; against discrimination. For freedom from oppression and the right to be heard.

Marcus

PS. There were no media images so I took iPhone installation photographs of the display, so please excuse any reflection of the gallery in the images. I have cleaned and balanced them as much as possible.

.
All installation shots are © Dr Marcus Bunyan.

 

James Barnor

 

 

James Barnor (born 1929)
Drum Cover Girl Erlin Ibreck, London
1966, printed 2010
C-print on paper
Gift of Eric and Louise Franck London Collection 2013

 

 

“The picture of a young woman leaning against a shiny grey Jaguar was taken in Kilburn, north London, in 1966. The pastel minidress, heavy fringe and costume jewellery feel instantly familiar as belonging to the era, but while we’re used to seeing a pallid Twiggy or Penelope Tree striding about London in fashion shoots from the same time, we rarely see images in which the model is black.

The pictures shown here of young women with 1960s-style beehives and miniskirts were shot as fashion stories for Drum , an influential anti-apartheid magazine based in Johannesburg, and Africa’s first black lifestyle magazine. …

Erlin Ibreck, the model in the main photograph who was 19 at the time, remembers Barnor asking her to pose in Trafalgar Square while flocks of excited pigeons landed on her. ‘I was more nervous about the pigeons than people around us who were staring.’

Some of the models were professional, but Ibreck was someone Barnor spotted in a bus queue at Victoria station. Ibreck was living in Cheshire but visiting her sister, who lived in London. Barnor asked if she would like to be photographed for Drum magazine and eventually she agreed.

Encouraged by Barnor, Ibreck enrolled at the Lucie Clayton modelling school in Manchester, but finding work as a black model in the 1960s was not easy.

‘It was very tough as there were very few black models,’ she says. ‘I was selected by Lucie Clayton to model De Beers diamonds – a South African company, and this was during apartheid. When they discovered that I was black De Beers cancelled the booking and chose a white model.

‘That booking would have enhanced my career, so it was a very painful experience to have been rejected on the basis of my colour. This experience made me realise what I was up against.’ After two years Ibreck gave up modelling and moved to New York.”

Although Barnor says he wasn’t consciously attempting to chronicle ‘black culture’ in England, and was simply taking photographs of things that interested him and the readers of Drum , the effect was, none the less, an optimistic suggestion that these cosmopolitan young African women were part of the exciting new, multicultural society in London that people were talking about.

Barnor’s memories of the time seem to be largely positive, and he says he doesn’t remember experiencing any overt racism. ‘I moved in enlightened circles so I did not have to put up with most of what other black people had to go through, though I did notice when I sat on a bus many people didn’t want to sit next to me.’

Kate Salter. “Colour me beautiful: James Barnor’s photographs for Drum magazine,” on the Telegraph website 07 December 2010 [Online] Cited 08/10/2017

 

James Barnor (born 1929) 'Wedding Guests, London' 1960s, printed 2010

 

James Barnor (born 1929)
Wedding Guests, London
1960s, printed 2010
Gelatin silver on paper
Gift of Eric and Louise Franck London Collection 2013

 

James Barnor (born 1929) 'Eva, London' 1960s, printed 2010

 

James Barnor (born 1929)
Eva, London
1960s, printed 2010
Gelatin silver on paper
Gift of Eric and Louise Franck London Collection 2013

 

Stan Firm

 

 

 

This display brings together works from the 1960s and 1970s by eight photographers who documented Black communities in London: Raphael Albert, Bandele ‘Tex’ Ajetunmobi, James Barnor, Colin Jones, Neil Kenlock, Dennis Morris, Syd Shelton and Al Vandenberg.

The photographs reveal the many and varied experiences of individuals who travelled from the Caribbean region and West Africa to live in London, from everyday family life to political engagement. They show people as they respond to, react against and move beyond the racial tension and exclusion that were part of life for Black communities in the British capital. The title of the display, ‘Stan Firm inna Inglan’, is taken from the poem It Dread inna Inglan by Linton Kwesi Johnson, who in the 1970s gave a voice and poetic form to the Afro-Caribbean diaspora and its resistance in the face of racism. The poem expresses in Jamaican patois (creole) the resolve of African, Asian and Caribbean immigrants to ‘stand firm in England’, asserting the determination of Black British communities to remain in Britain and declare it as their rightful home.

The work of most of the photographers has gained prominence in recent years through the research and curatorial work of Autograph ABP, which was established in London in 1988 to advocate the inclusion of historically marginalised photographic practices. All works in the display have been gifted to the Tate collection and form part of the Eric and Louise Franck London Collection, an important collection of photography which was assembled over more than 20 years.

This display has been curated by Elena Crippa, Allison Thompson and Susana Vargas Cervantes. Alison and Susana worked at Tate as part of the Brooks International Fellowship programme for three months in 2016, fully funded by the Rory and Elizabeth Brooks Foundation and in partnership with the Delfina Foundation.

Text from the Tate Britain website

 

Dennis Morris

 

Dennis Morris. ''Mother's Pride', Hackney' 1976, printed 2012

 

Dennis Morris
‘Mother’s Pride’, Hackney
1976, printed 2012
Gelatin silver print on paper
Gift of Eric and Louise Franck London Collection 2016

 

Dennis Morris. 'Young Gun, Hackney' 1969, printed 2012

 

Dennis Morris
Young Gun, Hackney
1969, printed 2012
Gelatin silver print on paper
Gift of Eric and Louise Franck London Collection 2016

 

Bandele Ajetunmobi (1921-1994) 'Couple Kissing, Whitechapel, London' 1960s, printed 2012

 

Bandele Ajetunmobi (1921-1994)
Couple Kissing, Whitechapel, London
1960s, printed 2012
Gelatin silver print on paper
Gift of Eric and Louise Franck London Collection 2016

 

 

“Bandele Ajetunmobi – widely known as Tex – took photographs in the East End for almost half a century, starting in the late forties. He recorded a tender vision of interracial camaraderie, notably as manifest in a glamorous underground nightlife culture yet sometimes underscored with melancholy too – creating poignant portraits that witness an almost-forgotten era of recent history.

In 1947, at twenty-six years old, he stowed away on a boat from Nigeria – where he found himself an outcast on account of the disability he acquired from polio as a child – and in East London he discovered the freedom to pursue his life’s passion for photography, not for money or reputation but for the love of it.

He was one of Britain’s first black photographers and he lived here in Commercial St, Spitalfields, yet most of his work was destroyed when he died in 1994 and, if his niece had not rescued a couple of hundred negatives from a skip, we should have no evidence of his breathtaking talent. …

“He did all this photography yet he didn’t do it to make money, he did it for pleasure and for artistic purposes. He was doing it for art’s sake.He had lots of books of photography and he studied it. He was doing it because those things needed to be recorded. You fall in love with a medium and that’s what happened to him. He spent all his money on photography. He had expensive cameras, Hasselblads and Leicas. My mother said, ‘If you sold one, you could make a visit to Nigeria.’ But he never went back, he was probably a bit of an outcast because of his polio as a child and it suited him to be somewhere people didn’t judge him for that. …

He used to do buying and selling from a stall in Brick Lane. When he died, they found so much stuff in his flat, art equipment, pens, old records and fountain pens. He had a very good eye for things. Everybody knew him, he was always with his camera and they stopped him in the street and asked him to take their picture. He was able to take photographs in clubs, so he must have been a trusted and respected figure. Even if the subjects are poor, they are strutting their stuff for the camera. He gave them their pride and I like that.” (Victoria Loughran)

The Gentle Author . “Bandele “Tex” Ajetunmobi, Photographer,” on the Spitalfields Life website December 2, 2013 [Online] Cited 08/10/2017

 

Bandele Ajetunmobi (1921-1994) 'East End, London' c. 1975, printed 2012

 

Bandele Ajetunmobi (1921-1994)
East End, London
c. 1975, printed 2012
C-print on paper
Gift of Eric and Louise Franck London Collection 2016

 

Al Vandenberg

 

 

Al Vanbenberg (1932-2012) 'Untitled' c. 1975-80

 

Al Vanbenberg (1932-2012)
Untitled
c. 1975-80
From the series On a Good Day
Gelatin silver print on paper
Gift of Eric and Louise Franck London Collection 2013

 

Al Vanbenberg (1932-2012) 'Untitled' c. 1975-80

 

Al Vanbenberg (1932-2012)
Untitled
c. 1975-80
From the series On a Good Day
Gelatin silver print on paper
Gift of Eric and Louise Franck London Collection 2013

 

Al Vanbenberg (1932-2012) 'Untitled' c. 1975-80

 

Al Vanbenberg (1932-2012)
Untitled
c. 1975-80
From the series On a Good Day
Gelatin silver print on paper
Gift of Eric and Louise Franck London Collection 2013

 

Colin Jones

 

Colin Jones From the series 'The Black House, 571 Holloway Road, London' 1976, printed 2012

Colin Jones From the series 'The Black House, 571 Holloway Road, London' 1976, printed 2012

Colin Jones From the series 'The Black House, 571 Holloway Road, London' 1976, printed 2012

Colin Jones From the series 'The Black House, 571 Holloway Road, London' 1976, printed 2012

Colin Jones From the series 'The Black House, 571 Holloway Road, London' 1976, printed 2012

Colin Jones From the series 'The Black House, 571 Holloway Road, London' 1976, printed 2012

 

Colin Jones (born 1936)
From the series The Black House, 571 Holloway Road, London
1976, printed 2012
Gelatin silver print on paper
Gift Eric and Louise Franck London Collection 2016

 

Syd Shelton

 

Syd Shelton (born 1947) 'Southhall Carnival against the Nazis' 1979, printed 2012

 

Syd Shelton (born 1947)
Southhall Carnival against the Nazis
1979, printed 2012
Gelatin silver print on paper
Gift Eric and Louise Franck London Collection 2016

 

Syd Shelton (born 1947) 'Jubilee Street, Stepney, London' 1977, printed 2012

 

Syd Shelton (born 1947)
Jubilee Street, Stepney, London
1977, printed 2012
Gelatin silver print on paper
Gift Eric and Louise Franck London Collection 2016

 

Syd Shelton (born 1947) 'Bagga (Bevin Fagan), Hackney, East London' 1979, printed 2012

 

Syd Shelton (born 1947)
Bagga (Bevin Fagan), Hackney, East London
1979, printed 2012
Gelatin silver print on paper
Gift Eric and Louise Franck London Collection 2016

 

Syd Shelton (born 1947) 'Skinheads, Petticoat Lane, East London' 1979, printed 2012

 

Syd Shelton (born 1947)
Skinheads, Petticoat Lane, East London
1979, printed 2012
Gelatin silver print on paper
Gift Eric and Louise Franck London Collection 2016

 

Syd Shelton (born 1947) 'Anti racist Skinheads, Hackney, London' 1979, printed 2012

 

Syd Shelton (born 1947)
Anti racist Skinheads, Hackney, London
1979, printed 2012
Gelatin silver print on paper
Gift Eric and Louise Franck London Collection 2016

 

Neil Kenlock

 

Neil Kenlock (born 1950) 'The Bailey Sisters in Clapham' c. 1970, printed 2010

 

Neil Kenlock (born 1950)
The Bailey Sisters in Clapham
c. 1970, printed 2010
Gelatin silver print on paper
Presented by Tate Members 2013 and forming part of the Eric and Louise Franck London Collection

 

Neil Kenlock (born 1950) 'Demonstration outside Brixton Library' 1972, printed 2010

 

Neil Kenlock (born 1950)
Demonstration outside Brixton Library
1972, printed 2010
Gelatin silver print on paper
Presented by Tate Members 2013 and forming part of the Eric and Louise Franck London Collection

 

Neil Kenlock (born 1950) ''Keep Britain White' graffiti, Balham' 1972, printed 2010

 

Neil Kenlock (born 1950)
‘Keep Britain White’ graffiti, Balham
1972, printed 2010
Gelatin silver print on paper
Presented by Tate Members 2013 and forming part of the Eric and Louise Franck London Collection

 

Raphael Albert

 

Raphael Albert (1935-2009) 'The Golden Chip, Hammersmith, London' c. 1970, printed 2012

 

Raphael Albert (1935-2009)
The Golden Chip, Hammersmith, London
c. 1970, printed 2012
Gelatin silver print on paper
Gift Eric and Louise Franck London Collection 2016

 

Raphael Albert (1935-2009) 'Hammersmith, London' 1960s, printed 2012

 

Raphael Albert (1935-2009)
Hammersmith, London
1960s, printed 2012
Gelatin silver print on paper
Gift Eric and Louise Franck London Collection 2016

 

Raphael Albert (1935-2009) 'The Harder They Come, Hammersmith Apollo' c. 1972, printed 2012

 

Raphael Albert (1935-2009)
The Harder They Come, Hammersmith Apollo
c. 1972, printed 2012
Gelatin silver print on paper
Gift Eric and Louise Franck London Collection 2016

 

Raphael Albert (1935-2009) 'Holley posing at Blythe Road, London' c. 1974, printed 2012

 

Raphael Albert (1935-2009)
Holley posing at Blythe Road, London
c. 1974, printed 2012
Gelatin silver print on paper
Gift Eric and Louise Franck London Collection 2016

 

 

Tate Britain
Millbank, London SW1P 4RG
United Kingdom
Phone: +44 20 7887 8888

Opening hours:
10.00 am – 18.00 pm daily

Tate Britain website

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03
Sep
15

Exhibition: ‘Gordon Parks: Back to Fort Scott’ at the Museum of Fine Arts, Boston

ustExhibition dates: 17th January 2015 – 13th September 2015

Robert and Jane Burke Gallery (Gallery 335)

 

 

It’s been a really tough time writing the Art Blart recently, as my beloved Apple Pro tower that has served me so well over the years has died and gone to god. I have been making do with a small laptop, but tomorrow I pick up my new 27 inch iMac with Retina screen, to pair with my Eizo Flexscan monitor. I can’t wait!

I have so much admiration for the work of this man. The light, the sensitivity to the social documentary narrative just emanates from these images. You don’t need to say much, it’s all there in front of you. Just look at the proud profile of that old woman, Mrs. Jefferson, Fort Scott, Kansas (1950, below), and you are instantly transported back to the slave fields and southern plantations of the 19th century. No words are necessary. The bony hands, gaunt cheeks and determined stare speak of a life hard lived.

Marcus

.
Many thankx to the Museum of Fine Arts, Boston for allowing me to publish the photographs in the posting. Please click on the photographs for a larger version of the image.

 

 

Gordon Parks. 'Husband and Wife, Sunday Morning, Detroit, Michigan' 1950

 

Gordon Parks
Husband and Wife, Sunday Morning, Detroit, Michigan
1950
Gelatin silver print
Courtesy and © The Gordon Parks Foundation
Courtesy Museum of Fine Arts, Boston

 

Gordon Parks. 'Untitled, St. Louis, Missouri' 1950

 

Gordon Parks
Untitled, St. Louis, Missouri
1950
Gelatin silver print
Courtesy and © The Gordon Parks Foundation
Courtesy Museum of Fine Arts, Boston

 

Gordon Parks. 'Tenement Dwellers, Chicago, Illinois' 1950

 

Gordon Parks
Tenement Dwellers, Chicago, Illinois
1950
Gelatin silver print
Courtesy and © The Gordon Parks Foundation
Courtesy Museum of Fine Arts, Boston

 

 

“Gordon Parks (1912-2006), one of the most celebrated African-American photographers of all time, is the subject of a new exhibition of groundbreaking photographs at the Museum of Fine Arts, Boston (MFA). Gordon Parks: Back to Fort Scott (January 17 – September 13, 2015) traces Parks’ return to his hometown of Fort Scott, Kansas and then to other Midwestern cities, to track down and photograph each of his childhood classmates. On view in the MFA’s Art of the Americas Wing, the exhibition’s 42 photographs were from a series originally meant to accompany a Life magazine photo essay – but for reasons unknown, the story was never published. The images depict the realities of life under segregation in 1950 – presenting a rarely seen view of everyday lives of African-American citizens in the years before the Civil Rights movement began in earnest. One of the most personal and captivating of all Parks’ projects, the images, now owned by The Gordon Parks Foundation, represent a rare and little-known group within Parks’ oeuvre. This exhibition, on view in the Robert and Jane Burke Gallery, is accompanied by a publication by Karen Haas, the MFA’s Lane Curator of Photographs, in collaboration with The Gordon Parks Foundation, which includes an introduction by Isabel Wilkerson, Pulitzer-prize winning author of The Warmth of Other Suns: The Epic Story of America’s Great Migration. The book includes previously unpublished photographs as well as archival materials such as contact sheets and a portion of the 1927 yearbook from the segregated school Parks attended as a child.

“These personal and often touching photos offer a glimpse into the life of Gordon Parks and the prejudice that confronted African Americans in the 1940s and 1950s,” said Malcolm Rogers, Ann and Graham Gund Director at the MFA. “We’re grateful to The Gordon Parks Foundation for giving us the opportunity to display these moving works.”
Fort Scott, Kansas was an emotional touchstone for Gordon Parks and a place that he was drawn to over and over again as an adult, even though it held haunting memories of racism and discrimination. Parks was born in Fort Scott in 1912 to a poor tenant farmer family and left home as a teenager after his mother died and he found himself – the youngest of 15 children – suddenly having to make his own way in the world. By 1948, Parks was the first African-American photographer hired full time by Life magazine. One of the rare African-American photojournalists in the field, Parks was frequently given magazine assignments involving social issues that his fellow white photographers were not asked to cover. For an assignment on the impact of school segregation, Parks returned to Fort Scott to revisit early memories of his birthplace – many involving racial discrimination – and to reconnect with childhood friends, all of whom went to the same all-black elementary school that Parks had attended.  He was able to track down all but two members of the Plaza School Class of 1927, although only one was still living in Fort Scott at the time. As he met with fellow classmates, his story quickly shifted its focus to the Great Migration north by African Americans. Over the course of several days Parks visited with his childhood friends – by this time residing in Kansas City; Saint Louis; Columbus, Ohio; Detroit; and Chicago – joining them in their parlors and on their front porches while they recounted their life stories to him. Organized around each of these cities and families, the exhibition features previously unpublished photographs as well as a seven-page draft of Parks’ text for the article.

“With the Back to Fort Scott story, Parks showed – really for the first time – a willingness to mine his own childhood for memories both happy and painful, something he would continue to do in a series of memoirs over the course of his long career” said Haas. “The experience also seems to have inspired him to write The Learning Tree in 1963, his best-selling novel about growing up poor and black in Kansas, that he transformed a few years later into a groundbreaking Hollywood movie – the first by an African American writer-director.”

Parks began his research in Fort Scott, where he found classmate Luella Russell. In addition to photographing Luella with her husband and 16-year-old daughter, Parks took photos of his own family and life around town – finding friends and acquaintances at the local theater, railway station and pool hall. Parks also visited the local baseball field at Othick Park, where he recorded a group of white spectators seated at one end of the bleachers watching a game, while two African-American girls in summer dresses stand at the other end, in an area loosely designated for the town’s black residents. Parks’ image of the girls at the ballpark, where black and white baseball teams sometimes competed against each other, subtly refers to the separation of the races that marked much of everyday life in Fort Scott.

Fort Scott had not changed dramatically since Parks’ youth. Parks attended the all-black Plaza School through the ninth grade  in 1927, and as he wrote in his draft for Life magazine: “Twenty-four years before I had walked proudly to the center of the stage and received a diploma. There were twelve of us (six girls and six boys) that night. Our emotions were intermingled with sadness and gaiety. None of us understood why the first years of our education were separated from those of the whites, nor did we bother to ask. The situation existed when we were born. We waded in normal at the tender age of six and swam out maladjusted… nine years later.”

After Fort Scott, Parks discovered three of his classmates in Kansas City and St. Louis – cities that were easily reached by rail and were often the first stops made by African Americans leaving smaller towns. Many left towns like Fort Scott in the hope of finding jobs and better futures for their children in these larger, more industrial cities. When Parks tracked down his classmates, he recorded their jobs and wages – the sort of detail that Life typically included in such pieces, allowing its readers to measure their own lives against a story’s subjects. In Kansas City, classmate Peter Thomason was working as a postal transportation clerk (a position, Parks noted, with a minimum salary of $3,700 a year), while in St. Louis, Parks recorded that classmate Norman Earl Collins was doing quite well, making $1.22 an hour at Union Electric of Missouri. Parks’ sympathetic images of Earl and his daughter, Doris Jean, may have been a conscious effort on Parks’ part to offset contemporary stereotypes of black families as less stable and strong than their white counterparts.

By 1950, Chicago was the de facto capital of African-American life in the US, with more black inhabitants than any other city in America – including three of Parks’ classmates. Parks discovered them residing only a mile or two apart from one another on the city’s South Side. Untitled, Chicago, Illinois (1950), depicts Parks’ classmate Fred Wells and his wife Mary in front of their apartment building in the Washington Park neighborhood. A number of the photographs in the exhibition repeat the simple compositional device seen here – featuring a classmate and his or her family, framed by the front door of their home. These images highlighted the families’ similarities to, rather than differences from Life‘s readers, who would have found such strong representations of black families at once surprising and reassuring.

In Detroit, Parks traced classmate Pauline Terry to the McDougall-Hunt neighborhood. In Fort Scott, Pauline had married Bert Collins, who had run a restaurant during much of the 1930s. By 1950, they were settled in Detroit and had five children. Unlike Parks’ other classmates who had migrated north in search of opportunity, Pauline (yearbook ambition: “To be young forever; to be a Mrs.”) now had a large family and no longer worked outside the home. In the course of her conversation with Parks, she emphasized the importance of religion in their lives. Parks’ powerful portrait of the couple walking to Sunday services at the Macedonia Baptist Church, Husband and Wife, Sunday Morning, Detroit, Michigan (1950) reinforces the seriousness of their faith.  The cigar-smoking Bert wears a sharp suit and straw boater and carries a well-worn Bible.

Once completed, Parks’ Fort Scott photo essay never appeared in Life. The reason for that remains a mystery, although the US entry into the Korean War that summer had a major impact on the content of its pages for some time. The magazine’s editors did try to resuscitate the story early in April of 1951 only to have it passed over by the news of President Truman’s firing of General Douglas MacArthur. In the end, all that survives, as far as written documentation of the Fort Scott assignment, are Parks’ project notes from his individual visits with his classmates in May and June of 1950; several telegrams sent by Life staffers regarding his friends’ whereabouts before his arrival; fact-checking when the piece was again slated to run in April 1951; and an annotated seven-page draft. Because the photos were never published, and most have never before been on view, the exhibition presents a unique opportunity to explore a body of work that is almost completely unknown to the public.

“The Gordon Parks Foundation is pleased to collaborate with the Museum of Fine Arts, Boston, on this exhibition and publication highlighting a series of very personal, early works by the artist” said Peter W. Kunhardt, Jr., the Foundation’s executive director. “Gordon Parks: Back to Fort Scott allows us a focused look at a single Life magazine story and reveals a fascinating tale of Gordon Parks’ segregated beginnings in rural Kansas and the migration stories of his classmates, many of whom, like him, left in search of better lives for themselves and their families.””

Press release from the Museum of Fine Arts, Boston website

 

Gordon Parks. 'Untitled, Fort Scott, Kansas' 1950

 

Gordon Parks
Untitled, Fort Scott, Kansas
1950
Courtesy and © The Gordon Parks Foundation
Courtesy Museum of Fine Arts, Boston

 

Gordon Parks. 'Untitled, Fort Scott, Kansas' 1950

 

Gordon Parks
Untitled, Fort Scott, Kansas
1950
Courtesy and © The Gordon Parks Foundation
Courtesy Museum of Fine Arts, Boston

 

Gordon Parks. 'Untitled, Chicago, Illinois' 1950

 

Gordon Parks
Untitled, Chicago, Illinois
1950
Courtesy and © The Gordon Parks Foundation
Courtesy Museum of Fine Arts, Boston

 

Gordon Parks. 'Untitled, Columbus, Ohio' 1950

 

Gordon Parks
Untitled, Columbus, Ohio
1950
Courtesy and © The Gordon Parks Foundation
Courtesy Museum of Fine Arts, Boston

 

 

“The lives of the classmates – six girls and five boys who graduated from the segregated Plaza School in 1927, in what was then a town of 10,000 people – present a miniature snapshot of African-American aspiration and struggle in the years before Brown v. Board of Education or the civil rights movement.

Parks found Emma Jane Wells in Kansas City, Mo., where she sold clothes door-to-door to supplement her husband’s salary at a paper-bag factory. Peter Thomason lived a few blocks away, working for the post office, one of the best jobs available to black men at the time. But others from the class led much more precarious lives. Parks tracked down Mazel Morgan on the South Side of Chicago, in a transient hotel with her husband, who Parks said robbed him at gunpoint after a photo session. Morgan’s middle-school yearbook description had been ebullient (“Tee hee, tee ho, tee hi, ha hum/Jolly, good-natured, full of fun”), but in 1950 she told Parks, “I’ve felt dead so long that I don’t figure suicide is worthwhile anymore.”

The most promising of the classmates, Donald Beatty, lived in an integrated neighborhood in Columbus, Ohio, where he had a highly desirable job as a supervisor at a state agency and where Parks’s pictures show him – very much in the vernacular of Life magazine’s Eisenhower-era domestic scenes – happy and secure with his wife and toddler son and a brand-new Buick. But notes made by a Life fact-checker just a year later, when the magazine planned once again to run Parks’s article, recorded a tragedy, blithely and with no explanation: “Aside from the death of their son, nothing much has happened to them.”

Lorraine Madway, curator of Wichita State University’s special collections, said of the Fort Scott story: “There are those moments in an archive when you know you’ve found the gold, and this is one of them. It’s a wonderful example of micro-history. It’s not only that there is so much material written at a specific time in people’s lives, but then there are Parks’s reflections on it later.” …

Besides fact-checking notes, Parks’s own notes and a typewritten draft for what might have been his introduction to the photo spread, there is almost no other documentation surrounding the project, for which Parks shot about 30 rolls of 35-millimeter and medium-format film. And so the question of why it was not published might never be answered. In an essay for the show’s catalog, Ms. Haas speculates that it might have been doomed by its very newsworthiness, as national challenges to school segregation began gathering speed and Life waited – in the end too long – for just the right moment…

Parks carried his own psychic wounds from those years, which profoundly shaped his writing and approach to photography. But his feelings were always bittersweet. Though he lived for many years in New York City, he chose to be buried in his hometown, whose African-American population has declined even more markedly than its overall population. In a 1968 poem about his childhood, he wrote that he would miss “this Kansas land that I was leaving,” one of “wide prairies filled with green and cornstalk,” of the “winding sound of crickets rubbing dampness from wings” and “silver September rain.”

Then he added: “Yes, all this I would miss – /along with the fear, hatred and violence/We blacks had suffered upon this beautiful land.””

Extract from Randy Kennedy. “‘A Long Hungry Look’: Forgotten Gordon Parks Photos Document Segregation,” on The New York Times website, December 24, 2014 [Online] Cited 29/08/2015.
Gordon Parks. 'Railway Station Entrance, Fort Scott, Kansas' 1950

 

Gordon Parks
Railway Station Entrance, Fort Scott, Kansas
1950
Courtesy and © The Gordon Parks Foundation
Courtesy Museum of Fine Arts, Boston

 

Gordon Parks. 'Shoes, Fort Scott, Kansas' 1950

 

Gordon Parks
Shoes, Fort Scott, Kansas
1950
Courtesy and © The Gordon Parks Foundation
Courtesy Museum of Fine Arts, Boston

 

Gordon Parks. 'Untitled (Outside the Liberty Theater)' 1950

 

Gordon Parks
Untitled (Outside the Liberty Theater)
1950
Courtesy and © The Gordon Parks Foundation
Courtesy Museum of Fine Arts, Boston

 

Gordon Parks. 'Untitled, Fort Scott, Kansas' 1950

 

Gordon Parks
Untitled, Fort Scott, Kansas
1950
Courtesy and © The Gordon Parks Foundation
Courtesy Museum of Fine Arts, Boston

 

Gordon Parks. 'Uncle James Parks, Fort Scott, Kansas' 1950

 

Gordon Parks
Uncle James Parks, Fort Scott, Kansas
1950
Courtesy and © The Gordon Parks Foundation
Courtesy Museum of Fine Arts, Boston

 

Gordon Parks. 'Mrs. Jefferson, Fort Scott, Kansas' 1950

 

Gordon Parks
Mrs. Jefferson, Fort Scott, Kansas
1950
Courtesy and © The Gordon Parks Foundation
Courtesy Museum of Fine Arts, Boston

 

 

Museum of Fine Arts, Boston
Avenue of the Arts
465 Huntington Avenue
Boston, Massachusetts

Opening hours:
Monday and Tuesday 10am – 4.45 pm
Wednesday – Friday 10am – 9.45 pm
Saturday and Sunday 10am – 4.45 pm

Museum of Fine Arts, Boston website

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21
Aug
15

Art and Design Review (ADR)

August 2015

 

 

I have been invited to sit on the editorial board of the international peer-reviewed magazine Art and Design Review (ADR). And I have accepted!

Dr Marcus Bunyan

 

Art and Design Review (ADR)

 

Art and Design Review (ADR) is an open access journal. The goal of this journal is to provide a platform for researchers and practitioners all over the world to promote, share, and discuss various new issues and developments in all areas of Art and Design.

All manuscripts must be prepared in English and are subject to a rigorous and fair peer-review process. Accepted papers will immediately appear online followed by printed hard copy. The journal publishes original papers including but not limited to the following fields:

BUILDING ARTS

  • Architectural history
  • Architecture
  • Furniture design
  • Historic preservation
  • Interior design
  • Urban design

COMMUNICATION ARTS

  • Advertising
  • Graphic design
  • Illustration
  • Illustration design
  • Sequential art

DESIGN

  • Design for sustainability
  • Design management
  • Fibers
  • Industrial design
  • Jewelry and objects
  • Service design

DIGITAL MEDIA

  • Animation
  • Interactive design and game development
  • Motion media design
  • Television producing
  • Visual effects

PERFORMING ARTS

  • Dramatic writing
  • Equestrian studies
  • Film and television
  • Performing arts
  • Production design
  • Sound design
  • Themed entertainment design

FASHION

  • Accessory design
  • Fashion
  • Fashion marketing and management
  • Luxury and fashion management

FINE ARTS

  • Painting
  • Photography
  • Printmaking
  • Sculpture

LIBERAL ARTS

  • Art history
  • Arts administration
  • Cinema studies
  • General education
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10
Dec
14

Exhibition: ‘Captain Linnaeus Tripe: Photographer of India and Burma, 1852-1860’ at the National Gallery of Art, Washington Part 1

Exhibition dates: 21 September 2014 – 4th January 2015

 

To my mind, Captain Linnaeus Tripe is one of the best of the Victorian photographers.

So early on in the history of photography, for such a short period of time (much like Julia Margaret Cameron in this regard), Tripe’s photographs are so much more than just his foresight in recognizing that photography could be an effective tool for conveying information about unknown cultures and regions. As noted, “Tripe’s schooling as a surveyor, where the choice of viewpoint and careful attention to visual details were essential, gave his photographs their distinctive aesthetic rigor.” But it is more than just tools and trade. There is that indefinable magic of a master artist.

You only have to feel the impressive space of the open deck of Quarterdeck of HMS “Impregnable” (1852-1854, below) with that pendulous cross-beam pressing down from on high or understand the light in Pugahm Myo: Distant View of Gauda-palen Pagoda, August 20-24, 1855 (below) – how gorgeous is that image – and observe the subtleties of composition in seemingly unprepossessing vistas like Tsagain Myo: View near the Irrawadi River, August 29-30, 1855 and Tsagain Myo: A Roadway, August 29-30, 1855 (below) to understand what inspiration and insight this man had.

I could look at these images every day of my life and never get bored with them.

Marcus

 

Many thankx to the National Gallery of Art for allowing me to publish the photographs in the posting. Please click on the photographs for a larger version of the image. Most of the text underneath the images is from the British Library website.
.

 

“The dynamic vision Tripe brought to these large, technically complex photographs and the lavish attention he paid to their execution indicate that his aims were artistic as well.”

 

 

Linnaeus Tripe. 'Gun Wharf - Devonport' 1852-1854

 

Linnaeus Tripe
Gun Wharf – Devonport
1852-1854
23.1 × 33 cm (9 1/8 × 13 in.)
Wilson Centre for Photography, London

 

Linnaeus Tripe. 'Quarterdeck of HMS "Impregnable",' 1852-1854

 

Linnaeus Tripe
Quarterdeck of HMS “Impregnable”
1852-1854
27 x 34.8 cm (10 5/8 x 13 3/4 in.)
National Gallery of Art, Washington
The Sarah and William L Walton Fund, Diana and Mallory Walker Fund, and The Horace W. Goldsmith Foundation through Robert and Joyce Menschel

 

Linnaeus Tripe. 'Ye-nan-gyoung: Tamarind Tree, August 14-16, 1855' 1855

 

Linnaeus Tripe
Ye-nan-gyoung: Tamarind Tree, August 14-16, 1855
1855
26.3 × 34.7 cm (10 3/8 × 13 5/8 in.)
Courtesy Robert Hershkowitz, Charles Isaacs, Hans P. Kraus Jr.

 

Photograph by Linnaeus Tripe of a tamarind tree, with a pagoda on the hillside in the background, at Yenangyaung in Burma (Myanmar), from a portfolio of 120 prints. Tripe was the official photographer attached to a British diplomatic mission to King Mindon Min of Burma in 1855. This followed the British annexation of Pegu after the Second Anglo-Burmese War in 1852. Aside from official duties, the mission was instructed to gather information regarding the country and its people. Tripe’s architectural and topographical views are of great documentary importance as they are among the earliest surviving photographs of Burma. Yenangyaung was a town in west-central Myanmar on the Ayeyarwady (Irrawaddy), the centre of the most productive oil-fields in the country. Tamarind is commonly used in Burmese cuisine and the tamarind tree is widespread in Burma. It is also used as raw material in joss-stick production.

 

Linnaeus Tripe. 'Pugahm Myo: Distant View of Gauda-palen Pagoda, August 20-24, 1855' 1855

 

Linnaeus Tripe
Pugahm Myo: Distant View of Gauda-palen Pagoda, August 20-24, 1855
1855
25.3 × 34.1 cm (10 × 13 3/8 in.)
Lent by The Metropolitan Museum of Art
Purchase, The Buddy Taub Foundation, Dennis A. Roach and Jill Roach, Directors, and Alfred Stieglitz Society Gifts, 2012
© The Metropolitan Museum of Art

 

Photograph by Linnaeus Tripe with a distant view of the Gawdawpalin temple in the Pagan (Bagan) region of Burma (Myanmar), from a portfolio of 120 prints. With this portfolio of architectural and topographical views, Tripe, an officer from the Madras Infantry, created an early photographic record of Burma. The 1855 British Mission to Burma was instructed to persuade the Burmese king Mindon Min to accept the annexation of Pegu (Lower Burma) following the Anglo-Burmese War of 1852. ICapital of the first kingdom of Burma from the 11th to the 14th century, Pagan is one of the most important archaeological sites in South East Asia, with the remains of over 2000 stupas, temples and monasteries scattered over a 30 km radius. One of the most beautiful and graceful of Pagan’s temples, the Late Period Gawdawpalin or Throne of Obeisance was begun in the reign of Narapatisithu (1174-1211) and completed by Nadaungmya (ruled 1211-34). Tripe wrote, “Taken from the top of Thapinyu. [That-byin-nu]. The ruins of all shapes and sizes seen in this view, give an idea of the manner in which they are scattered for about eight miles along the river [the Irrawaddy], to a depth of sometimes three miles.”

 

Linnaeus Tripe. 'Pugahm Myo: Thapinyu Pagoda, August 20-24, 1855' 1855

 

Linnaeus Tripe
Pugahm Myo: Thapinyu Pagoda, August 20-24, 1855
1855
25.1 × 34.5 cm (9 7/8 × 13 5/8 in.)
Lent by The Metropolitan Museum of Art
Purchase, The Buddy Taub Foundation, Dennis A. Roach and Jill Roach, Directors, and Alfred Stieglitz Society Gifts, 2012
© The Metropolitan Museum of Art

 

Photograph by Linnaeus Tripe of the That-byin-nu temple in the Pagan (Bagan) region of Burma (Myanmar), from a portfolio of 120 prints. With this portfolio of architectural and topographical views, Tripe, an officer from the Madras Infantry, created an early photographic record of Burma. The 1855 British Mission to Burma was instructed to persuade the Burmese king Mindon Min to accept the annexation of Pegu (Lower Burma) following the Anglo-Burmese War of 1852. It was also the intention of the British to collect information about the country. They travelled in Burma from August to early November 1855, stopping at various places to allow Linnaeus Tripe, the official photographer, and the mission’s artist, Colesworthy Grant, to perform their duties. Capital of the first kingdom of Burma from the 11th to the 14th century, Pagan is one of the most important archaeological sites in South East Asia, with the remains of over 2000 stupas, temples and monasteries scattered over a 30 km radius. Tripe wrote of the That-byin-nu, “Or ‘the Omniscient’. It is about 230 feet square, and 200 feet high; divided into two stages, each stage into two stories. An arched corridor passes round each stage, with arched doorways opening outwards; opposite those on the ground story are sitting figures of Gautama. In the centre of each side of the lower stage, is a projecting wing with a lofty doorway, opening into a vestibule: this forms a centre porch to the corridor, a colossal seated figure of Gautama facing it. The centre of the building is a solid mass of masonry terminated by a bulging pyramidal spire crowned by a tee. Its date is about 1100 A.D.” The temple is the tallest construction in Pagan, towering to 61 ms. Built by King Alaungsitthu in the middle of the 12th century, its square plan is the most elaborate of the middle period of building in Pagan (ca.1120-70).

 

Linnaeus Tripe. 'Tsagain Myo: View near the Irrawadi River, August 29-30, 1855' 1855

 

Linnaeus Tripe
Tsagain Myo: View near the Irrawadi River, August 29-30, 1855
1855
26.2 × 34.2 cm (10 1/4 × 13 1/2 in.)
National Gallery of Art, Washington, Stephen G. Stein Fund

 

Photograph by Linnaeus Tripe of a view at Sagaing in Burma (Myanmar), from a portfolio of 120 prints. The view is on the bank of the Irrawaddy (Ayeyarwady), looking towards a building raised on piles over the water. Tripe wrote in the accompanying letterpress, “The Irrawadi at the time of the freshes, inundates the country from some distance from its banks; the necessity therefore of building on piles, as above seen is very evident.”

 

Linnaeus Tripe. 'Tsagain Myo: Ruined Tazoung, August 29-30, 1855' 1855

 

Linnaeus Tripe
Tsagain Myo: Ruined Tazoung, August 29-30, 1855
1855
27 × 34.2 cm (10 5/8 × 13 1/2 in.)
National Gallery of Art, Washington, Stephen G. Stein Fund

 

 

“Innovative British photographer Captain Linnaeus Tripe (1822-1902) captured some of the earliest photographs of India and Burma (now Myanmar). In the first major traveling exhibition of his work, Captain Linnaeus Tripe: Photographer of India and Burma, 1852-1860 – on view at the National Gallery of Art, Washington, from September 21, 2014, through January 4, 2015 – approximately 60 photographs taken between 1854 and 1860 document the dramatic landscapes and the architecture of celebrated religious and secular sites in India and Burma, several of which are now destroyed.

“Tripe occupies a special place in the history of 19th-century photography for his foresight in recognizing that photography could be an effective tool for conveying information about unknown cultures and regions,” said Earl A. Powell III, director, National Gallery of Art. “We are delighted to premiere this exhibition for visitors interested in photography, architecture, and history, and we hope that these captivating images provide inspiration to all.”

The exhibition is organized by the National Gallery of Art and The Metropolitan Museum of Art in association with the Victoria and Albert Museum. After Washington, the exhibition will be on view at The Metropolitan Museum of Art, New York, from February 24 through May 25, 2015, and the Victoria and Albert Museum, London, from June 24 through October 11, 2015.

 

Exhibition highlights

Arranged chronologically, the exhibition traces Tripe’s work from his earliest photographs made in England (1852-1854) during an extended leave from his first deployment in India, to those created on expeditions to the south Indian kingdom of Mysore (1854), to Burma (1855), and again to south India (1857-1858). His primary subjects range from archaeological sites and monuments, ancient and contemporary religious and secular buildings, to geological formations and landscape vistas.

Tripe first took photographs of English dockyards, ships undergoing repairs, and breakwaters – subjects of importance to the military. Photographs such as Quarterdeck of HMS “Impregnable” (1852-1854) distinguish his work from fellow amateurs, who preferred picturesque landscapes and genre scenes.

Tripe returned to India to work for the East India Company during a transitional time in the history of Great Britain, India, and Burma. By 1854 the company was the world’s largest and most powerful commercial enterprise as well as the virtual ruler of India and Burma. Administration of this vast area generated a need for collecting data, maps, surveys, drawings, and eventually photographs. Inspired by his employer’s interests, Tripe made a privately funded expedition to Mysore in south India, where he used his newly mastered photographic skills to document ancient sites and produced such images as Hullabede: Suli Munduppum from the Northeast (1854).

“Tripe’s training as a surveyor, where the choice of viewpoint and careful attention to visual details were essential, was key to the artistic success of his photographs,” said Sarah Greenough, senior curator and head, department of photographs, National Gallery of Art.

In 1855, Tripe and a topographic watercolor artist traveled along with a mission to Burma that sought to secure a peace treaty. During the expedition to Upper Burma, Tripe made more than 200 negatives, which he selected, retouched, printed, and compiled into portfolios, each with 120 original photographs, including Ye-nan-gyoung: Tamarind Tree (1855) and Pugahm Myo: Distant View of Gauda-palen Pagoda (1855).

The mission’s ultimate destination was the royal Burmese city of Amerapoora, where Tripe made nearly 100 negatives. For the presentation portfolio of this expedition, he arranged his photographs as if giving a tour of the city: from the residency compound, past a monumental Gautama – the most popular Burmese representation of the historical Buddha – to the western suburbs. Twenty-six original photographs from his Burma expedition will be on view.

Tripe was appointed photographer to the Madras Presidency in 1856, a British administrative subdivision covering much of southern India. He considered this a great honor and proposed that his work should be the “first attempt at illustrating in a complete and systematic manner the state of a country by means of photography.”

This project secured his status as the first to photograph extensively in south India – documenting the country’s holiest temples to the Hindu gods Shiva and Vishnu as well as efforts at modernization by the British and the widespread influence of the East India Company. His work in south India generated more than 290 large-format negatives, which he made into nine portfolios, a total of 17,745 prints, 30 of which will be on display.

The exhibition will also showcase Tripe’s 19-foot-long panorama, Tanjore: Great Pagoda, Inscriptions around Bimanum (1858) – the first of its kind in photography – recording the ancient Tamil inscriptions that run around the base of the Brihadishvara Temple at Tanjore in south India. To accomplish this technical marvel, Tripe circled the temple taking 21 separate exposures, which he joined and retouched to create the final composition.

To help visitors appreciate Tripe’s technical achievements, the installation features a final gallery with photographs by a number of Tripe’s contemporaries, explaining the photographic printing and retouching practices that distinguish his work.

 

Captain Linnaeus Tripe (1822-1902)

From an upper-middle-class family in Devonport, England, Tripe joined the British East India Company in 1839 and was assigned to the 12th Madras Native Infantry. After several years of deployment in India, he returned to England in 1851 and began to explore an interest in photography. In 1853 he joined the Photographic Society of London.

Reflecting his military training as an officer in the British army, Tripe had great technical success in India and Burma, even though the tropical heat and humidity affected photographic chemistry. Yet Tripe’s destiny as a photographer was linked to the fate of the British Empire in India. Despite his professional achievements and technical innovations, rebellions in the late 1850s prompted a new era of oversight and regulations for the recently nationalized East India Company, and the British government took over the administration and rule of India, making it a crown colony. Tripe was forced to close his studio in 1860 because of cost-cutting measures, and he almost completely abandoned photography as a result.

 

Curators

The exhibition curators are Sarah Greenough, senior curator and head, department of photographs, National Gallery of Art; Malcolm Daniel, curator in charge, department of photography, Museum of Fine Arts, Houston; and Roger Taylor, professor emeritus of photographic history, De Montfort University, Leicester.”

Press release from the National Gallery of Art

 

Linnaeus Tripe. 'Pugahm Myo: Carved Doorway in Courtyard of Shwe Zeegong Pagoda, August 20-24 or October 23, 1855' 1855

 

Linnaeus Tripe
Pugahm Myo: Carved Doorway in Courtyard of Shwe Zeegong Pagoda, August 20-24 or October 23, 1855
1855
32.5 × 26.9 cm (12 3/4 × 10 5/8 in.)
National Gallery of Art, Washington, Diana and Mallory Walker Fund

 

Photograph by Linnaeus Tripe of a carved doorway of the Shwezigon temple in the Pagan (Bagan) region of Burma (Myanmar), from a portfolio of 120 prints. Capital of the first kingdom of Burma from the 11th to the 14th century, Pagan is one of the most important archaeological sites in South East Asia, with the remains of over 2000 stupas, temples and monasteries scattered over a 30 km radius. An important place of pilgrimage in Pagan, the Shwezigon’s lower terraces were apparently built by Anawrahta (ruled 1044-77) and the rest of the edifice was built by Kyanzittha (ruled 1084-1113). Tripe wrote of this picture, “This is in the Court of Shwe Zeegong. It is ruinous and out of the perpendicular, but very interesting, and, being one of many in the same court and all differing, shows how fertile in design the Burmese are.”

 

Linnaeus Tripe. 'Tsagain Myo: A Roadway, August 29-30, 1855' 1855

 

Linnaeus Tripe
Tsagain Myo: A Roadway, August 29-30, 1855
1855
24.5 × 34.1 cm (9 5/8 × 13 3/8 in.)
Lent by The Metropolitan Museum of Art
Purchase, The Buddy Taub Foundation, Dennis A. Roach and Jill Roach, Directors, and Alfred Stieglitz Society Gifts, 2012
© The Metropolitan Museum of Art

 

Photograph by Linnaeus Tripe of a road at Sagaing in Burma (Myanmar), from a portfolio of 120 prints. Tripe, an officer from the Madras Infantry, was the official photographer attached to a British diplomatic mission to King Mindon Min of Burma in 1855. This followed the British annexation of Pegu after the Second Anglo-Burmese War in 1852. Mandalay in central Burma was the capital of the last Burmese kingdom. Clustered around it on the banks of the Irrawaddy (Ayeyarwady) river are other earlier capitals, such as Ava (Inwa), Amarapura and Sagaing. The latter, 21 kms south-west of Mandalay, is on the opposite bank of the river from Ava and has long been revered as the religious centre of Burma. People come from all over the country to meditate at Sagaing, popularly described as ‘Little Pagan’ since there are hundreds of stupas and monasteries at this site. Founded in 1315 by a Shan chieftain, it was capital for only a few decades before the kings shifted to Ava.

 

Linnaeus Tripe. 'Amerapoora: Wooden Bridge, September 1–October 21, 1855' 1855

 

Linnaeus Tripe
Amerapoora: Wooden Bridge, September 1 – October 21, 1855
1855
22.3 × 32.4 cm (8 3/4 × 12 3/4 in.)
Lent by The Metropolitan Museum of Art
Purchase, The Buddy Taub Foundation, Dennis A. Roach and Jill Roach, Directors, and Alfred Stieglitz Society Gifts, 2012
© The Metropolitan Museum of Art

 

Photograph by Linnaeus Tripe, from a portfolio of 120 prints, showing a view of the wooden bridge at Amarapura in Burma (Myanmar). The bridge spans the seasonal Taungthaman Lake to the south of Amarapura and is 1.5 kms long. Built by a mayor, U Bein, in 1784, it was constructed from teak posts salvaged from the ruined former capital city of Ava (Inwa). Tripe wrote of this view, “Carried over the west limb of the Lake on piles about 7 feet apart with some openings (bridged with loose planks) for the passage through of large boats.”

 

Linnaeus Tripe 'Amerapoora: Colossal Statue of Gautama Close to the North End of the Wooden Bridge, September 1 – October 21, 1855' 1855

 

Linnaeus Tripe
Amerapoora: Colossal Statue of Gautama Close to the North End of the Wooden Bridge, September 1 – October 21, 1855
1855
24.7 x 33.3 cm (9 3/4 x 13 1/8 in.)
Collection of Charles Isaacs and Carol Nigro

 

Photograph by Linnaeus Tripe of a statue of the seated Buddha, near the U Bein bridge at Amarapura in Burma (Myanmar). Amarapura was the site of the first British Embassy to Burma in 1795, and played host again to Tripe’s Mission. Tripe wrote of this Buddha surrounded by small pagodas, ‘Its height is about 37 and a half feet above the throne’.

 

Linnaeus Tripe. 'Amerapoora: View on the Lake, September 1 - October 21, 1855' 1855

 

Linnaeus Tripe
Amerapoora: View on the Lake, September 1 – October 21, 1855
1855
22.4 × 34.8 cm (8 7/8 × 13 3/4 in.)
Courtesy Robert Hershkowitz, Charles Isaacs, Hans P. Kraus Jr.

 

Photograph by Linnaeus Tripe with a general view looking across Taungthaman Lake to the city of Amarapura in Burma (Myanmar). Amarapura was designed upon a square mandala, or diagram illustrating cosmological ideas. Each of the twelve city gates, three along each wall, was surmounted by a Burmese style pavilion known as a pyat-that. The city was encircled by a moat, inside which the streets were built upon a grid pattern. The photographer wrote of this view, “Taken from the causeway crossing the Toung-deman lake at its eastern extremity. A glimpse of the city is caught on the left.”

 

Linnaeus Tripe. 'Amerapoora: Shwe-doung-dyk Pagoda, September 1-October 21, 1855' 1855

 

Linnaeus Tripe
Amerapoora: Shwe-doung-dyk Pagoda, September 1 – October 21, 1855
1855
25.8 × 34.6 cm (10 1/8 × 13 5/8 in.)
Lent by The Metropolitan Museum of Art
Purchase, The Buddy Taub Foundation, Dennis A. Roach and Jill Roach, Directors, and Alfred Stieglitz Society Gifts, 2012
© The Metropolitan Museum of Art

 

Linnaeus Tripe. 'Amerapoora: Toung-lay-lou-tiy Kyoung, September 1-October 21, 1855' 1855

 

Linnaeus Tripe
Amerapoora: Toung-lay-lou-tiy Kyoung, September 1 – October 21, 1855
1855
26.6 × 33.5 cm (10 1/2 × 13 1/4 in.)
National Gallery of Art, Washington, Stephen G. Stein Fund

 

Photograph by Linnaeus Tripe of a kyaung (monastery) at Amarapura in Burma (Myanmar). This view shows close-up detail of carved stonework at the entrance to the kyaung. Tripe wrote, “Monasteries are usually built of wood, this is of brick, its style too is uncommon in many of its details.”

 

 

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24
May
14

Review: ‘The Rennie Ellis Show’ at Monash Gallery of Art, Wheelers Hill, Melbourne

Exhibition dates: 3rd April – 8th June 2014

 

We Are Family

This is FAB, one of the best experiences I have had this year at an exhibition in Melbourne. You know you are having a good time when you laugh out loud at so many photographs, sharing the experience of the artist as though you had been there. As indeed I had, for in many cases the clubs pictured in Rennie Ellis’ photographs are the ones I went to.

I remember: Wednesday nights at Inflation in the late 80s, where to satisfy licensing restrictions you had to be served a “meal” so that you could drink alcohol (Dining Out, Inflation, 1980 below). The famous Razor Club (1986 – 1992), based at the Light Car Club of Australia’s clubrooms on the corner of Queens Road and Roy Street, opposite the Albert Park Lake and golf course. “It was Melbourne’s version of Studio 54, the hedonistic, off-the-wall New York disco of the late ’70s – both places notoriously hard to get into but once inside a wonderland of celebrities, freaks, transvestites and fantastic music free from the tyranny of genre.” Once on a big party night the gang of us tried to get in but the queue was so long it was impossible – so I went down the side, climbed up the drain pipes past the ladies loo, and up to the first floor balcony where someone pulled me over – completely off my face, just to get my friends in. Zu Zu’s, Cadillac Bar, 397, Commerce Club, Tasty, Freakazoid, Dome, Baseline, Hardware Club, The Peel and so many parties you could poke a stick at – what a time we had!

There to capture it all – affectionately, non-judgementally – was Rennie Ellis. He wasn’t like Diane Arbus, who thrust her camera as an outsider at people, waiting for a reaction. He was always part of the action because he was part of the family. He was a humanist photographer in the true sense of the word, for he loved photographing human beings, their social relations and their habitats, whatever that might be – sunning, partying, boozing, smoking, picking up. He referred to himself as a “people perv.”

Ellis had an eloquently clumsy eye, and for the type of baroque photographs he took this is a great thing. No perfect framing, no perfect tension points within the image, no regular alignment of horizontals, verticals or diagonals – just instinctual images taken in a split second, with his own particular brand of humour embedded in them. And always with this slight eccentricity in his vision. Look at the image of Dancing People, Razor Club (1991, below) and notice the odd hand poking in at the left hand side and the attitude of the dancers, or Fully equipped, Albert Park Beach (c. 1981, below), with the angle of the three cigarettes, the drink and the bottle of sun tan lotion strapped to the hip – FIERCE!

But he was not averse to understanding the structure of his images either, as can be seen by my comparison between the tight, formal structure of Paul Strand’s The Family, Luzzara, Italy (1953, below) and the looser, more natural gathering in Ellis’ The Gang, Windsor (1976, below); or the influence of other artists on his work, for example Norman Lindsay in his My Bare Lady, The Ritz, St Kilda (1977, below). Ellis also liked to push and pull at the pictorial plane; he liked to use pairs of people; he was not afraid of out of focus elements in the foreground of his images; he used chiaroscuro; and his use of light is always excellent. Above all, there is a consistency to his vision that never falters – a concatenation of images that is his style?

This is not just nostalgia. These are bloody good images, and Ellis takes these insightful type of images over and over again – the excesses of hedonism, the influences of wealth, the see-and-be-seen syndrome, things erotic and bizarre and, most importantly, enduring friendships. He photographs what he sees with a love and affection for his subject matter. None of this “staged” vernacular photography that I recently featured in an exhibition at the Art Gallery of New South Wales. This is the real deal. A friend said to me recently, “Ah, but you know, he never did in depth photo-essays like Mary Ellen Mark did of the circus, for example.” To which I have a one word reply: BULLSHIT. His whole oeuvre is a huge photo-essay on the human race, specifically the construction of Australian identity as evidenced in sections like portraits, gangs, sharpies, Aboriginals, Kings Cross, Social Documentary, Decadence, Graffiti, Life’s a Parade, Life’s a Beach etc…

When you look at his photography it would seem to me that his images dissolve the barriers between image/subject/viewer. It’s a strange phenomena to feel so connected to a person’s work. It’s the journey that he takes us on, that we went on too – not so much the destination but the rejoicing in this journey… of company, of environment, friends, places – the joy of being human. He was allowed entry into these public/private spaces because he earned our trust. He lived with the people, and they allowed him to take a bit of their life with him – as a photographic memory, to be retold and relived in the present, allowing us all to relive those times and places. It’s the love, trust, humour and anticipation of the journey that make Ellis’ images truly unique in the history of Australian photography.

Dr Marcus Bunyan for the Art Blart blog

 

Many thankx to Manuela Furci, Rennie Ellis Photographic Archive and the Monash Gallery of Art for allowing me to publish the photographs in the posting. Please click on the photographs for a larger version of the image.

 

 

Ponch Hawkes. 'Rennie Ellis photographing at the Gay Liberation march, Elizabeth Street, Melbourne, 1973' 1973

 

Ponch Hawkes
Rennie Ellis photographing at the Gay Liberation march, Elizabeth Street, Melbourne, 1973
1973
Silver gelatin photograph
© Ponch Hawkes

 

In researching photographs for the upcoming exhibition Out of the closets, onto the streets: Gay Liberation photography 1971-73 I came across this photograph taken by Ponch Hawkes of the Gay Liberation march that was part of Gay Pride week in 1973. Ponch had never seen this image before until I scanned the negative. And there, front and centre as always, is Rennie Ellis capturing the action… What a special find and a wonderful photograph by Ponch!

 

Rennie Ellis. 'Dancing People, Razor Club' 1991

 

Rennie Ellis
Dancing People, Razor Club
1991
Selenium-toned gelatin silver print
26.7 x 40.7 cm
Courtesy of the Rennie Ellis Photographic Archive

 

Robyn Dean. 'Marcus dancing at an unknown club, Melbourne' c. 1991-92

 

Robyn Dean
Marcus dancing at an unknown club, Melbourne
c. 1991-92

 

 

Rennie Ellis. 'Dining Out, Inflation' 1980

 

Rennie Ellis
Dining Out, Inflation
1980
Selenium-toned gelatin silver print
26.7 x 40.7 cm
Courtesy of the Rennie Ellis Photographic Archive

 

 

Rennie Ellis. 'Fitzroy extrovert' 1974

 

Rennie Ellis
Fitzroy extrovert
1974
Selenium-toned gelatin silver print
40.5 x 50.8 cm
Courtesy of the Rennie Ellis Photographic Archive

 

Rennie Ellis. 'Dino Ferrari, Toorak Road' 1976

 

Rennie Ellis
Dino Ferrari, Toorak Road
1976
Selenium-toned gelatin silver print
26.7 x 40.7 cm
Courtesy of the Rennie Ellis Photographic Archive

 

Rennie Ellis. 'Bon Scott and Angus Young, Atlanta, Georgia' 1978

 

Rennie Ellis
Bon Scott and Angus Young, Atlanta, Georgia
1978
Selenium-toned gelatin silver print
26.7 x 40.7 cm
Courtesy of the Rennie Ellis Photographic Archive

 

Ronald Belford “Bon” Scott (9 July 1946 – 19 February 1980) was a Scottish-born Australian rock musician, best known for being the lead singer and lyricist of Australian hard rock band AC/DC from 1974 until his death in 1980.

Angus McKinnon Young (born 31 March 1955) is a Scottish-born Australian guitarist best known as a co-founder, lead guitarist, and songwriter of the Australian hard rock band, AC/DC. Known for his energetic performances, schoolboy-uniform stage outfits, and popularisation of Chuck Berry’s duckwalk, Rolling Stone magazine ranked Young as the 24th greatest guitarist of all time.

AC/DC’s popularity grew throughout the 1970s, initially in Australia, and then internationally. Their 1979 album Highway to Hell reached the top twenty in the United States, and the band seemed on the verge of a commercial breakthrough. However, on 19 February 1980, Scott died after a night out in London. AC/DC briefly considered disbanding, but the group quickly recruited vocalist Brian Johnsonof the British glam rock band Geordie. AC/DC’s subsequent album, Back in Black, was released only five months later, and was a tribute to Scott. (Text from Wikipedia)

 

 

Rennie Ellis. 'At the Pub, Brisbane' 1982

 

Rennie Ellis
At the Pub, Brisbane
1982
Selenium-toned gelatin silver print
26.7 x 40.7 cm
Courtesy of the Rennie Ellis Photographic Archive

 

Rennie Ellis. 'The Gang, Windsor' 1976

 

Rennie Ellis
The Gang, Windsor
1976
Selenium-toned gelatin silver print
26.7 x 40.7 cm
Courtesy of the Rennie Ellis Photographic Archive

 

Paul Strand. 'The Family, Luzzara, Italy' 1953

 

Paul Strand
The Family, Luzzara, Italy
1953
Silver gelatin photograph

 

 

“The photographer Rennie Ellis (1940-2003) is a key figure in Australian visual culture. Ellis is best remembered for his effervescent observations of Australian life during the 1970s-90s, including his now iconic book Life is a beach. Although invariably inflected with his own personality and wit, the thousands of social documentary photographs taken by Ellis during this period now form an important historical record.

The Rennie Ellis Show highlights some of the defining images of Australian life from the 1970S and ’80S. This is the period of Gough Whitlam and Malcolm Fraser, Paul Keating and Bob Hawke; AC/DC and punk rock; cheap petrol and coconut oil; Hare Krishnas and Hookers and Deviant balls.

This exhibition of over 100 photographs provides a personal account of what Ellis termed ‘a great period of change’. Photographs explore the cultures and subcultures of the period, and provide a strong sense of a place that now seems worlds away, a world free of risk, of affordable inner city housing, of social protest, of disco and pub rock, of youth and exuberance.”

Text from the MGA website

 

Rennie Ellis. 'My son Josh learns to swim' 1972

 

Rennie Ellis
My son Josh learns to swim
1972
Selenium-toned gelatin silver print
26.7 x 40.7 cm
Courtesy of the Rennie Ellis Photographic Archive

 

Rennie Ellis. 'My Bare Lady, The Ritz, St Kilda' 1977

 

Rennie Ellis
My Bare Lady, The Ritz, St Kilda
1977
Digital C Type photograph
Fuji Crystal Archive print
Courtesy of the Rennie Ellis Photographic Archive

 

Norman Lindsay. 'The Olympians' Nd

 

Norman Lindsay
The Olympians
Nd
Oil on canvas
Collection of Hamilton Art Gallery

 

Rennie Ellis. 'Richmond fans, Grand Final, MCG' 1974

 

Rennie Ellis
Richmond fans, Grand Final, MCG
1974
Chromogenic print
40.5 x 50.8 cm
Courtesy of the Rennie Ellis Photographic Archive

 

Interesting to note that Ellis must have been shooting both black and white and colour film during the VFL Grand Final of 1974. He must have had two cameras with him (this is more likely than swapping between films in the same 35mm camera) to shoot the photograph above in colour and the black and white image of Robbie McGhie (1974, below).

 

Rennie Ellis. 'Mr Muscleman, Albert Park Beach' c. 1986

 

Rennie Ellis
Mr Muscleman, Albert Park Beach
c. 1986
Chromogenic print
26.7 x 40.7 cm
Courtesy of the Rennie Ellis Photographic Archive

 

Fully-equipped-Albert-Park-Beach-c.1981-WEB

 

Rennie Ellis
Fully equipped, Albert Park Beach
c. 1981
Digital C Type photograph
Fuji Crystal Archive print
Courtesy of the Rennie Ellis Photographic Archive

 

 

Rennie Ellis. 'Don and Patrizia, St Kilda Beach' 1985

 

Rennie Ellis
Don and Patrizia, St Kilda Beach
1985
Chromogenic print
40.5 x 50.8 cm
Courtesy of the Rennie Ellis Photographic Archive

 

 

Rennie Ellis. 'Berlin Party, Inflation, Melbourne' 1980

 

Rennie Ellis
Berlin Party, Inflation, Melbourne
1980
Digital C Type photograph
Fuji Crystal Archive print
Courtesy of the Rennie Ellis Photographic Archive

 

Rennie Ellis book covers: 'Decade, 1970-1980' (left) and 'Decadent, 1980-2000' (right)

 

Rennie Ellis book covers: Decade: 1970-1980 (left) and Decadent: 1980-2000 (right)

 

Decade: 1970-1980 is a photography book showcasing Rennie Ellis’ (1940-2003) contribution to photography and social history. With an introduction by film maker and Rennie contemporary Paul Cox and an essay by academic Susan Van Wyk, Decade highlights Ellis as one of Australia’s most important chroniclers of the 1970s. The photographs, predominantly black and white, are drawn from a core selection originally made by Rennie from his own unpublished book, supplemented by other significant and iconic images from 1970 to 1980 drawn from the Rennie Ellis Photographic Archive and the State Library of Victoria Rennie Ellis collection. Many of the photographs are accompanied by extended captions written by Rennie himself, published here for the first time. Decade explores the cultures and sub-cultures of the seventies: the political upheavals, alternative lifestyles and counter culture, the women’s movement, gay liberation, the new religions and cults, pop festivals, Vietnam and other protests, massage parlours, the disco scene, the blossoming of Australia’s film industry, the new sexual freedom, Aboriginal rights, street festivals, the new theatre, fashion, drugs and the emergence of a decadent and hedonistic society that would later characterise the 1980s.

Decadent: 1980-2000 is a photography book showcasing Rennie Ellis’ (1940-2003) contribution to photography and social history. It is a fascinating snapshot of the wild, opulent, sometimes tacky and always decadent 1980s in Australia by a true original. With an introduction by photographer and Rennie contemporary William Yang and an essay by photographer and art critic Robert McFarlane, Decadent highlights Ellis as one of Australia’s most important chroniclers of the 1980s. The photographs, both colour and black and white, are drawn from the Rennie Ellis Photographic Archive and the State Library of Victoria Rennie Ellis collection. Decadent explores the rise of the hedonism that we now associate with the 1980s. Ellis’ boundary-pushing, racy and sometimes voyeuristic works capture a society that seems to be revelling in its abandonment of the politically charged 1970s documented in Decade.

.
About the Author

No other photographer has documented – in such depth – the life and times in Australia, throughout the 1970s until his death in 2003, with such insight into the human condition as Rennie Ellis. His non-judgmental approach was his ‘access-to-all-areas’ pass. Ellis used his camera as a key to open the doors to the social arenas of the rich and famous and to enter the underbelly of the nightclubs, bearing witness to the indulgences and excesses. In today’s post-Henson era, these captured moments offer an intimate access to an Australia tantalisingly, but sadly, now almost out of reach.

 

Rennie Ellis. 'Robert McGhie, Grand Final, MCG' 1974

 

Rennie Ellis
Robert McGhie, Grand Final, MCG
1974
Selenium-toned gelatin silver print
50.8 x 40.5 cm
Courtesy of the Rennie Ellis Photographic Archive

 

Robert ‘Robbie’ McGhie is a former Australian rules football player who played in the VFL between 1969 and 1972 and again in 1979 for the Footscray Football Club, from 1973 to 1978 for the Richmond Football Club and in 1980 and 1981 for the South Melbourne Football Club. His height was 192 cm and he weighed 85.5 kg. He played 46 games for Footscray, 80 games for Richmond and 16 games for South Melbourne. He was a Richmond Premiership Player 1973, 1974 (the year this photograph by Rennie Ellis was taken at the Grand Final).

 

Rennie Ellis. 'Property of Hells Angels, Kings Cross' 1970-71

 

Rennie Ellis
Property of Hells Angels, Kings Cross
1970-71
Selenium-toned gelatin silver print
50.8 x 40.5 cm
Courtesy of the Rennie Ellis Photographic Archive

 

invite-web-final-WEB

 

Invitation to The Rennie Ellis Show at the Monash Gallery of Art

 

 

Monash Gallery of Art
860 Ferntree Gully Road, Wheelers Hill
Victoria 3150 Australia
T: + 61 3 8544 0500

Opening hours:
Tue – Fri: 10am – 5pm
Sat – Sun: 12pm – 5pm
Mon/public holidays: closed

Monash Gallery of Art website

Rennie Ellis Photographic Archive

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Dr Marcus Bunyan

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

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