Posts Tagged ‘Alex Prager Crowd #1 (Stan Douglas)

24
Apr
21

Exhibition: ‘Photography Is Art’ at the Amon Carter Museum of American Art, Fort Worth, Texas

Exhibition dates: 18th April – 8th August 2021

 

Timothy H. O'Sullivan (1840-1882) 'Entrance to Black Cañon, Colorado River, from Above' 1871

 

Timothy H. O’Sullivan (American, 1840-1882)
Entrance to Black Cañon, Colorado River, from Above
1871
Albumen silver print
Amon Carter Museum of American Art, Fort Worth, Texas

 

 

A quick posting as I am not feeling that well.

This exhibition drags up that perennial favourite, is photography art? by addressing it in the affirmative ‘Photography Is Art’.

While historically the statement has had to be fought for, even having to make that statement today in the title of exhibition implies – through its very existence – that there still exists an opposite, that photography is not art. Surely a more apposite title could have been found, especially as over half the media images are from a period when photography was collected by major galleries and museums around the world.

Highlights for me are the O’Sullivan, Stieglitz, Clarence H. White and the Gordon Parks.

Let the photographs speak for themselves (now there’s a good title: ‘Speaking for themselves’).
They need no justification.

Marcus

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Many thankx to the Amon Carter Museum of American Art for allowing me to publish the art work in the posting. Please click on the photographs for a larger version of the image.

 

Has photography always been considered art? Though widely accepted today as a medium in its own right, art museums have not always embraced photography. In fact, it wasn’t until the late 1970s and early 1980s that many museums began actively collecting and displaying photographs. Photography Is Art tells the story of American photographers’ efforts, from the late 19th century on, to explore and proclaim photography’s artfulness. Drawn from the Carter’s expansive and renowned photography collection, this exhibition reveals how artists shaped their medium’s artistic language.

Text from the Amon Carter Museum of American Art website

 

 

Alfred Stieglitz (1864-1946) 'A Wet Day on the Boulevard, Paris' 1894

 

Alfred Stieglitz (American, 1864-1946)
A Wet Day on the Boulevard, Paris
1894
Photogravure
Amon Carter Museum of American Art, Fort Worth, Texas
Gift of Doris Bry

 

Clarence H. White (1871–1925) 'Nude' c. 1900

 

Clarence H. White (American, 1871-1925)
Nude
c. 1900
Platinum print
Amon Carter Museum of American Art; Fort Worth, Texas
Bequest of the Artist

 

Carlotta Corpron (1901-1988) 'A Walk in Fair Park, Dallas' c. 1943

 

Carlotta Corpron (American, 1901-1988)
A Walk in Fair Park, Dallas
c. 1943
Gelatin silver print
Amon Carter Museum of American Art, Fort Worth, Texas, Gift of the artist
© 1988 Amon Carter Museum of American Art

 

 

Carlotta Corpron was born in Blue Earth, Minnesota, but spent fifteen years of her youth in India. She returned to the United States in 1920 to earn degrees in art education at Michigan State Normal College and Columbia University, and was first introduced to photography in 1933. Her interest grew out of her desire to create close-up images of natural forms for use in art and design courses, and her vision was influenced by László Moholy-Nagy, and further shaped by her friendship with Gyorgy Kepes, who included her in his book The Language of Vision (1944). Of particular note are Corpron’s early light drawings, made by tracking moving light at amusement parks – radiant images of wild edges and rhythmic lines – and her “space compositions,” which employed eggs and shells, although their real subject is the constructed space in which they exist. This space, achieved by the use of light-reflecting surfaces, often seems to reproduce the perceptual distortions of underwater realms. Corpron also made “fluid light designs” examining reflections on plastic materials; “light follows form” studies of sculpture; abstractions of light flowing through glass; and solarisations of flowers and portraits. She retired from teaching in 1968 but continued printing her earlier work. Corpron’s photographs were shown at the Museum of Modern Art and the Art Institute of Chicago, and were included in the 1979 ICP exhibition Recollections: Ten Women in Photography.

Corpron’s experiments with light are among the most intriguing abstract photographic works from her day, sharing as they do the concerns of her predecessors Moholy-Nagy, Man Ray, and Alvin Langdon Coburn. Her work is significant for its inventive and resolutely independent exploration of the aesthetic possibilities of light and space. Wrought from simple materials and the free play of imagination, Corpron’s light abstractions are increasingly admired.
Cynthia Fredette

Handy et al. Reflections in a Glass Eye: Works from the International Center of Photography Collection, New York: Bulfinch Press in association with the International Center of Photography, 1999, p. 212 on the International Centre of Photography website [Online] Cited 18/04/2021.

 

Gordon Parks (1912-2006) 'Leonard "Red" Jackson (standing, right) supervises painting of bicycles belonging to members of his Harlem gang. In foreground is "Brother" Price, Red's cousin and assistant gang leader 1948' Oct. 8, 1948

 

Gordon Parks (American, 1912-2006)
Leonard “Red” Jackson (standing, right) supervises painting of bicycles belonging to members of his Harlem gang. In foreground is “Brother” Price, Red’s cousin and assistant gang leader 1948
Oct. 8, 1948
Gelatin silver print; Amon Carter Museum of American Art, Fort Worth, Texas

 

Barbara Crane (American, b. 1928) 'NS-015-1969' 1969

 

Barbara Crane (American, b. 1928)
NS-015-1969
1969
Gelatin silver print
Amon Carter Museum of American Art, Fort Worth, Texas
Gift of Elizabeth, Jennifer, and Bruce Crane

 

Richard Avedon (1923-2004) 'Clyde Corley, Rancher, Belgrade, Montana, 8/26/79' 1979

 

Richard Avedon (American, 1923-2004)
Clyde Corley, Rancher, Belgrade, Montana, 8/26/79
1979
Gelatin silver print
Amon Carter Museum of American Art, Fort Worth, Texas

 

Ellen Carey (American, b. 1952) 'Self-portrait' 1984

 

Ellen Carey (American, b. 1952)
Self-portrait
1984
Dye diffusion transfer print
Amon Carter Museum of American Art, Fort Worth, Texas
© 1984 Ellen Carey

 

Justine Kurland (American, b. 1969) 'The Wall' 2000

 

Justine Kurland (American, b. 1969)
The Wall
2000
Inkjet print
Amon Carter Museum of American Art, Fort Worth, Texas
© Justine Kurland / Courtesy of the artist and Mitchell-Innes & Nash, New York

 

Sharon Core (American, b. 1965) 'Peaches and Blackberries' 2008

 

Sharon Core (American, b. 1965)
Peaches and Blackberries
2008
Dye coupler print
Amon Carter Museum of American Art, Fort Worth, Texas, Purchase with funds provided by Nenetta C. Tatum and Stephen L. Tatum

 

Alex Prager (American, b. 1979) 'Crowd #1 (Stan Douglas)' 2010

 

Alex Prager (American, b. 1979)
Crowd #1 (Stan Douglas)
2010
Dye coupler print
Amon Carter Museum of American Art, Fort Worth, Texas

 

 

Amon Carter Museum of American Art
3501 Camp Bowie Boulevard
Fort Worth, TX 76107-2695

Opening hours:
Tuesday, Wednesday, Friday, Saturday:
 10am – 5pm
Thursday: 10am – 8pm
Sunday: 12am – 5pm
Closed Mondays and major holidays

Amon Carter Museum of American Art website

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17
Dec
13

Exhibition: ‘Color! American Photography Transformed’ at the Amon Carter Museum of American Art, Fort Worth, Texas

Exhibition dates: 5th October 2013 – 5th January, 2014

 

Alex Prager (b.1979) 'Crowd #1 (Stan Douglas)' 2010

 

Alex Prager (American, b. 1979)
Crowd #1 (Stan Douglas)
2010
Dye coupler print
© Alex Prager, courtesy of the artist and Yancey Richardson Gallery

 

 

A very big subject to cover in one exhibition.

Marcus

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Many thankx to the Amon Carter Museum of American Art for allowing me to publish the photographs in the posting. Please click on the photographs for a larger version of the image.

 

Jack Delano (1914-1997) 'Chopping cotton on rented land near White Plains, Greene County, Georgia, 1941' 1941

 

Jack Delano (American, 1914-1997)
Chopping cotton on rented land near White Plains, Greene County, Georgia, 1941
1941
Inkjet print, 2013
Courtesy the Library of Congress

 

Laura Gilpin (1891-1979) 'Still Life with Peaches' 1912

 

Laura Gilpin (American, 1891-1979)
Still Life with Peaches
1912
Lumière Autochrome
© 1979 Amon Carter Museum of American Art, Fort Worth, Texas

 

Jan Groover (1943-2012) 'Untitled' 1978

 

Jan Groover (American, 1943-2012)
Untitled
1978
Dye coupler print
© 1978 Jan Groover
Amon Carter Museum of American Art, Fort Worth, Texas

 

Unknown photographer. 'Untitled (Woman with two daughters)' c. 1850s

 

Unknown photographer 
Untitled (Woman with two daughters)
c. 1850s
Salted paper print with applied color
Amon Carter Museum of American Art

 

Gregory Crewdson (b. 1962) 'Untitled (Dylan on the Floor)' from the 'Twilight Series' 1998-2002

 

Gregory Crewdson (American, b. 1962)
Untitled (Dylan on the Floor) from the Twilight Series
1998-2002
Dye coupler print
© Gregory Crewdson, Courtesy Gagosian Gallery

 

 

On October 5, the Amon Carter Museum of American Art opens Color! American Photography Transformed, a compelling examination of how colour has changed the very nature of photography, transforming it into today’s dominant artistic medium. Color! includes more than 70 exceptional photographs by as many photographers and is on view through January 5, 2014.

“Colour is so integral to photography today that it is difficult to remember how new it is or realise how much it has changed the medium,” says John Rohrbach, senior curator of photographs.

The exhibition covers the full history of photography, from 1839, when Frenchman Louis-Jacques-Mandé Daguerre (1787-1851) introduced his daguerreotype process, to the present. From the start, disappointed that photographs could only be made in black and white, photographers and scientists alike sought with great energy to achieve colour. Color! begins with a rare direct-colour photograph made in 1851 by Levi L. Hill (1816-1865), but explains how Hill could neither capture a full range of colour nor replicate his achievement. It then shows finely rendered hand-coloured photographs to share how photographers initially compensated for the lack of colour.

When producing colour photographs became commercially feasible in 1907 in the form of the glass-plate Autochrome, leading artists like Alfred Stieglitz (1864-1946) were initially overjoyed, according to Rohrbach. Color! offers exquisite examples of their work even as it explains their ultimate rejection of the process because it was too difficult to display and especially because they felt it mirrored human sight too closely to be truly creative.

“Although many commercial photographers embraced colour photography over succeeding decades, artists continued to puzzle over the medium,” Rohrbach explains. Color! reveals that many artists from Richard Avedon (1923-2004) to Henry Holmes Smith (1909-1986) tried their hand at making colour photographs through the middle decades of the 20th century, and it shows the wide range of approaches they took to colour. It also shares the background debates among artists and photography critics over how to employ colour and even whether colour photographs could have the emotional force of their black-and-white counterparts.

Only in 1976, when curator John Szarkowski at the Museum of Modern Art in New York heralded the young Memphis photographer William Eggleston’s (b. 1939) snapshot-like colour photographs as the solution to artful colour, did fine art colour photography gain full acceptance.

“Eggleston revealed how colour can simultaneously describe objects and stand apart from those objects as pure hue,” Rohrbach says. “In so doing, he successfully challenged the longstanding conception of photography as a medium that found its calling on close description.”

Color! illustrates through landmark works by Jan Groover (1943-2012), Joel Meyerowitz (b. 1938) and others the blossoming of artists’ use of colour photography that followed in the wake of Szarkowski’s celebration of Eggleston. It also reveals artists’ gradual absorption of the notion that colour could be used flexibly to critique cultural mores and to shape stories. In this new colour world, recording the look of things was important, but it was less important than conveying a message about life. In this important shift, led by artists as diverse as Andres Serrano (b. 1950) and Laurie Simmons (b. 1949), the exhibition explains, photography aligned itself far more closely with painting.

Color! shows how the rise of digital technologies furthered this transformation, as photographers such as Gregory Crewdson (b. 1962), Richard Misrach (b. 1949) and Alex Prager (b. 1979) have explicitly embraced the hues, scale, and even subjects of painting and cinema.

“Photography still gains its power and wide popularity today from its ability to closely reflect the world,” explains Rohrbach, “but Color! reveals how contemporary artists have been using reality not as an end unto itself, but as a jumping off point for exploring the emotional and cultural power of colour, even blurring of line between record and fiction to make their points. These practices, founded on colour, have transformed photography into the dominant art form of today even as they have opened new questions about the very nature of the medium.”

The exhibition will include an interactive photography timeline enabling visitors to contribute to the visual dialogue by sharing their own colour images. The photographs will be displayed along the timeline and on digital screens in the museum during the exhibition to illustrate how quantity, format and colour quality have evolved over time.

“By telling the full story of colour photography’s evolution, the exhibition innovatively uncovers the fundamental change that colour has brought to how photographers think about their medium,” says Andrew J. Walker, museum director. “The story is fascinating and the works are equally captivating. Photography fans and art enthusiasts in general will revel in the opportunity to see works by this country’s great photographers.

Press release from the Amon Carter Museum of American Art website

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Patrick Nagatani (b. 1945) and Andree Tracey (b.1948) 'Alamogordo Blues' 1986

 

Patrick Nagatani (American, b. 1945)
Andree Tracey (American, b. 1948)
Alamogordo Blues
1986
Dye diffusion print
© Patrick Nagatani and Andree Tracey
Center for Creative Photography, University of Arizona

 

Laurie Simmons (b. 1949) 'Woman/Red Couch/Newspaper' 1978

 

Laurie Simmons (American, b. 1949)
Woman/Red Couch/Newspaper
1978
Silver dye-bleach print
© Laurie Simmons
Los Angeles County Museum of Art, Ralph M. Parsons Fund

 

Sandy Skoglund (b. 1946) 'Revenge of the Goldfish, 1980' 1980

 

Sandy Skoglund (American, b. 1946)
Revenge of the Goldfish, 1980
1980
Silver dye-bleach print
© 1981 Sandy Skoglund
St. Louis Art Museum, Gift of Mr. and Mrs. Fielding Lewis Holmes

 

Mark Cohen (b. 1943) 'Boy in Yellow Shirt Smoking' 1977

 

Mark Cohen (American, b. 1943)
Boy in Yellow Shirt Smoking
1977
Dye coupler print
© Mark Cohen
Courtesy the artist and ROSEGALLERY

 

John F. Collins (1888?-1988) 'Tire' 1938

 

John F. Collins (American, 1888?-1988)
Tire
1938
Silver dye-bleach print
Courtesy Howard Greenberg Gallery

 

Richard Misrach (b.1949) 'Paradise Valley (Arizona), 3.22.95, 7:05 P.M.' 1995

 

Richard Misrach (American, b.1949)
Paradise Valley (Arizona), 3.22.95, 7:05 P.M.
1995
Dye coupler print
© Richard Misrach, courtesy Fraenkel Gallery, San Francisco, Marc Selwyn Fine Art, Los Angeles and Pace/MacGill Gallery, NY

 

Henry Holmes Smith (1909-1986) 'Tricolor Collage on Black' 1946

 

Henry Holmes Smith (American, 1909-1986)
Tricolor Collage on Black
1946
Dye imbibition print over gelatin silver print
© Smith Family Trust
Indiana University Art Museum, Henry Holmes Smith Archive

 

Mitch Epstein (b. 1952) 'Flag' 2000

 

Mitch Epstein (American, b. 1952)
Flag
2000
Dye coupler print
© Black River Productions
Private collection

 

Trevor Paglen (b. 1974) 'The Fence (Lake Kickapoo, Texas)' 2010

 

Trevor Paglen (American, b. 1974)
The Fence (Lake Kickapoo, Texas)
2010
Dye coupler print, 2011
© Trevor Paglen
Amon Carter Museum of American Art, Fort Worth, Texas

 

Joaquin Trujillo (b. 1976) 'Jacky' 2003

 

Joaquin Trujillo (American, b. 1976)
Jacky
2003
From the series Los Niños
Inkjet print, 2011
© Joaquin Trujillo 2013
Amon Carter Museum of American art, purchase with funds provided by the Stieglitz Circle of the Amon Carter Museum of American Art

 

James N. Doolittle (1889-1954) 'Ann Harding' c. 1932

 

James N. Doolittle (American, 1889-1954)
Ann Harding
c. 1932
Tricolor carbro print
Nelson-Atkins Museum of Art, Kansas City, MO

 

 

Amon Carter Museum
3501 Camp Bowie Boulevard
Fort Worth, TX 76107-2695

Opening hours:
Tuesday, Wednesday, Friday, Saturday:
 10am – 5pm
Thursday: 10am – 8pm
Sunday: 12am – 5pm
Closed Mondays and major holidays.

Amon Carter Museum of American Art website

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Dr Marcus Bunyan

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

Marcus Bunyan black and white archive: ‘Orphans and small groups’ 1994-96 Part 2

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