Posts Tagged ‘Alfred Steiglitz Georgia O’Keefe

21
Aug
10

Exhibition: ‘Alfred Stieglitz: the Lake George years’ at the Art Gallery of New South Wales, Sydney

Exhibition dates: 17th June – 5th September 2010

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Many thankx to Susanne Briggs and the Art Gallery of New South Wales for allowing me to publish the photographs in the posting. Please click on the photographs for a larger version of the image.

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“… much has happened in photography that is sensational, but very little that is comparable with what Stieglitz did. The body of his work, the key set – I think – is the most beautiful photographic document of our time.”

Georgia O’Keeffe 1978

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The photographs Alfred Stieglitz (1864–1946) took around his summer house at Lake George, New York state, USA after 1915 are considered a major departure and dramatically influenced the course of photography. The desire to build a specifically ‘American’ art led Stieglitz to explore the essential nature of photography, released from contrivances and from intervention in print and negative. “Photography is my passion. The search for truth my obsession,” he would write in 1921.

This major exhibition is the first in Australia of Stieglitz’s photographs. 150 are included and are amongst the very best Stieglitz ever printed. They are also the rarest. One third of the exhibition is being lent by the National Gallery of Art, Washington DC, which holds ‘the key set’ – selected by his lover, muse and wife, the artist Georgia O’Keeffe, and deposited there after Stieglitz’s death.

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Alfred Stieglitz
‘City of ambition’
1911
photogravure
33.9 x 26.0
George Eastman House, Museum purchase from Museum of Modern Art, New York

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Alfred Stieglitz
‘Ellen Koeniger’
1916
gelatin silver photograph
11.1 x 9.1
J Paul Getty Museum, Los Angeles

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Alfred Stieglitz
‘Waldo Frank’
1920
palladium photograph
25.1 x 20.2
Art Institute of Chicago, Alfred Stieglitz Collection

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Alfred Stieglitz
‘Spiritual America’
1923
gelatin silver photograph
11.7 x 9.2
Philadelphia Museim of Art: the Alfred Stieglitz Collection 1949

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The photographs Alfred Stieglitz (1864–1946) took around his summer house at Lake George, New York state, USA after 1915 are considered a major departure and dramatically influenced the course of photography. The desire to build a specifically ‘American’ art led Stieglitz to explore the essential nature of photography, released from contrivances and from intervention in print and negative.

‘Stieglitz’s mature photographs from the 1910s onwards are free from any sense that photography must refer to something outside of itself in order to express meaning,’ said Judy Annear, senior curator photography, Art Gallery of New South Wales.

This major exhibition is the first in Australia of Stieglitz’s photographs. 150 are included and are amongst the very best Stieglitz ever printed. They are also the rarest. One third of the exhibition is being lent by the National Gallery of Art, Washington DC, which holds ‘the key set’ – selected by his lover, muse and wife, the artist Georgia O’Keeffe, and deposited there after Stieglitz’s death.

‘Passionate and provocative; charismatic, verbose and intellectually voracious; a self described revolutionist and iconoclast with an unwavering belief in the efficacy of radical action; competitive, egotistical, narcissistic and at times duplicitous, but also endowed with a remarkable ability to establish a deep communion with those around him – these are but some of the adjectives that can be used to describe Alfred Stieglitz,’ said Sarah Greenough, senior curator of photographs, National Gallery of Art, Washington.

Major loans are also coming from the J Paul Getty Museum, Los Angeles, Museum of Modern Art and Metropolitan Museum of Art, New York, Philadelphia Museum of Art, Art Institute of Chicago, and George Eastman House, Rochester amongst others.

The exhibition begins with a selection of Stieglitz’s photographs from the 1910s including those that he took at his gallery 291 in New York City of artists and collaborators, including O’Keeffe. Stieglitz was a superb photographic printer and dedicated to aesthetics in publishing. A number of the later editions (from 1911–17) of his publication Camera work – described as the most beautiful journal in the world – are included.

Stieglitz’s portraits grew steadily in power in the 1910s and 20s, and continued to be a major part of his photographic practice. He would sometimes photograph his subjects over and over again and none more so than O’Keeffe, whom he met in 1916.

Stieglitz photographed O’Keeffe for the first time in 1917. He continued to photograph her from every angle, clothed and unclothed, indoors and out until his last photographs from 1936/37. In all there are more than 300 photographs of O’Keeffe which convey all the nuances of their relationship in that 20-year period. A selection is included.

Stieglitz first visited Lake George in the 1870s with his parents. The visits slowed until the 1910s but from 1917 until his death he spent every summer there. Stieglitz’s ashes are buried at Lake George.

The photographs of people, buildings, landscapes and skies that Stieglitz took at Lake George form a collective portrait of a place which has not been rivalled in the history of photography worldwide for its subtlety of feeling expressed in the simplest of terms.

Stieglitz developed the idea for his cloud photographs in 1922 because he wanted to create images which carried the emotional impact of music and to disprove the idea being put about that he hypnotised his (human) subjects. The first title for the cloud photographs was simply Music: a sequence…; this was eventually superseded by Equivalent as Stieglitz believed that these photographs could exist as the visual equivalent to other forms of expression.

Stieglitz changed the course of photography worldwide and has influenced major figures in photography from Minor White to Robert Mapplethorpe, Max Dupain to Tracey Moffatt and Bill Henson.”

Press release from the Art Gallery of New South Wales website

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Alfred Stieglitz
‘Georgia O’Keeffe: a portrait’
1918
platinum photograph
24.6 x 19.7
The J. Paul Getty Museum
Copyright J. Paul Getty Trust

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Alfred Stieglitz
‘Georgia O’Keeffe’
1920
gelatin silver photograph
23.5 x 19.69
San Francisco Museum of Modern Art
Alfred Stieglitz Collection. Gift of Georgia O’Keeffe

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“Stieglitz is too easily bundled in amongst a rush to the reductions of modernism and cubism, the time he inhabits and the new technology he is stretching make that almost inevitable. On looking at the images here it feels like a mistake to label him that simply. We can see hints of the abstract, the grids of Mondrian or the blocks of Braque, but his work is as human and as smudged as a fingerprint. It is this sense of flaw and serendipity is what makes him so different to photographers like Man Ray for Stieglitz seems to embrace the beauty of imperfection. The memorable works here inhabit a world of infinite shining gradations between black and white, they are expansive and open rather than reductive and finished, in doing this Stieglitz’s greatest innovation might be to take a static form and make it so intensely moving.”

John Matthews on his Art Kritique blog

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Alfred Stieglitz
‘Self-portrait’
1907, printed 1930
gelatin silver photograph
24.8 x 18.4
J. Paul Getty Museum, Los Angeles

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Alfred Stieglitz
‘Ford V-8’
1935
gelatin silver photograph
19.5 x 24.3
George Eastman House, part purchase and part gift from Georgia O’Keeffe

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Art Gallery of New South Wales
Art Gallery Road, The Domain, Sydney NSW 2000, Australia

Opening hours:
Open every day 10am – 5pm
except Christmas Day and Good Friday

Art Gallery of New South Wales website

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09
Dec
09

Exhibition: ‘Icons of American Photography: A Century of Photographs from the Cleveland Museum of Art’ at the Frick Art and Historical Center, Pittsburgh

Exhibition dates: 3rd October 2009 – 3rd January 2010

Curator: Tom Hinson, Curator of Photography

 

Many thankx to the Frick Art and Historical Center for allowing me to publish the photographs in the posting. Please click on the photographs for a larger version of the image.

Dr Marcus Bunyan

 

 

Matthew Brady (American 1823-1896) 'Prosper Whetmore' 1857

 

Matthew Brady (American 1823-1896)
Prosper Whetmore
1857
Salted paper print from wet collodion negative
47 x 39.4 cm (18 1/2 x 15 1/2 in.)
CC0 1.0 Universal

 

 

A popular author, legislator, and general in the New York State militia, Wetmore, here at age 59, still resembles Edgar Allen Poe’s description of him from a decade earlier: “about five feet eight in height, slender, neat; with an air of military compactness.” Brady’s portrait studio, with branches in New York and Washington, DC, was the most important of its era in America, thanks in part to its success in photographing political, social, and cultural figures. These early celebrity portraits … could sell thousands of copies.

 

Anne W. Brigman (American, 1869-1950) 'The Hamadryads' c. 1910

 

Anne W. Brigman (American, 1869-1950)
The Hamadryads
c. 1910
Platinum print

 

Charles Sheeler (1883-1965) 'Bucks County Barn' 1915

 

Charles Sheeler (1883-1965)
Bucks County Barn
1915
Gelatin silver print
9 1/4 x 7 5/16″ (23.5 x 18.6 cm)

 

Margaret Bourke-White (American 1904-1971) 'Terminal Tower' 1928

 

Margaret Bourke-White (American 1904-1971)
Terminal Tower
1928
13 1/4 x 10″ (33.7 x 25.4 cm)
Gelatin silver print

 

Imogene Cunningham. 'Black and White Lilies III' 1928

 

Imogen Cunningham (American, 1883-1976)
Black and White Lilies III
1928
Gelatin silver print

 

Alfred Steiglitz. 'Georgia O'Keefe' 1933

 

Alfred Steiglitz (American 1864-1946)
Georgia O’Keefe
1933
Gelatin silver photograph

 

Dorothea Lange (American 1895-1965) 'Resident, Conway, Arkansas' 1938

 

Dorothea Lange (American 1895-1965)
Resident, Conway, Arkansas
1938
Gelatin silver print
11 15/16 x 9 1/2 in. (30.32 x 24.13 cm)

 

Laszlo Moholy Nagy. 'Untitled' 1939

 

Laszlo Moholy-Nagy (Hungarian, 1895-1946)
Untitled
1939
Photogram
Gelatin silver print

 

 

On October 3, 2009, Icons of American Photography: A Century of Photographs from the Cleveland Museum of Art opens at The Frick Art Museum. This exhibition is composed of fifty-nine photographs from Cleveland’s extraordinary collection that chronicle the evolution of photography in America from a scientific curiosity in the 1850s to one of the most potent forms of artistic expression of the twentieth century.

Icons of American Photography presents some of the best work by masters of the medium, like Mathew Brady, William Henry Jackson, Eadweard Muybridge, Alfred Stieglitz, Edward Steichen, Paul Strand, Edward Weston, Imogen Cunningham, Margaret Bourke-White, Dorothea Lange, Walker Evans, and Robert Frank, encompassing themes of portraiture, the Western landscape, Pictorialism, documentary photography, and abstraction.

The exhibition explores the technical developments of photography, starting with outstanding examples of daguerreotypes – a sheet of copper coated with light sensitive silver. The daguerreotype gave way to salt, albumen, and then gelatin silver prints. Technologies improved to accommodate larger sizes, easy reproduction of multiple prints from a single negative, and commercially available negative film and print papers. As we move into an increasingly digitised twenty-first century, the lure of the photographer’s magic and the mysteries of making photographic images appear on paper is still strong.

Icons of American Photography presents a remarkable chronicle of American life seen through the camera’s lens. The earliest days of photography saw a proliferation of portraiture – intimately personal and honest in composition. A rare multiple-exposure daguerreotype by Albert Southworth (1811- 894) and Josiah Hawes (1808-1901) presents the sitter in variety of poses and expressions, while the formal portrait of Prosper M. Wetmore, 1857, by Civil War-era photographer Mathew Brady (1823-1896) is more typical of early portraiture. The carefully staged daguerreotype, Dead Child on a Sofa, c. 1855, is an outstanding example of the postmortem portrait. The high rate of infant mortality throughout the 1800s made this variety of portraiture common, satisfying the emotional need of the parents to have a lasting memory of their loved one.

Advances in photographic processes allowed for a range of expressive qualities that were exploited by photographers with an artistic flair. In a style known as Pictorialism, works such as Hamadryads, 1910, by Anne Brigman (1869-1950) imitated the subject matter of painting. In Greek mythology a hamadryad is a nymph whose life begins and ends with that of a specific tree. In this work, two nudes representing wood nymphs were carefully placed among the flowing forms of an isolated tree in the High Sierra. The platinum print method used by Brigman allowed for a detailed, yet warm and evocative result. Edward Steichen’s Rodin the Thinker, 1902 (see below), was created from two different negatives printed together using the carbon print process. This non-silver process provided a continuous and delicate tonal range. For even greater richness, these prints were often toned, producing dense, glossy areas in either black or warm brown.

During the late nineteenth century, the U.S. Congress commissioned photographers to document the American West. Photographs by Timothy O’Sullivan (1840-1882) and William Henry Jackson (1843-1942) are the most celebrated from among this era. The exhibition includes O’Sullivan’s East Humbolt Mountains, Utah, 1868, and Jackson’s Mystic Lake, M.T., 1872, as well as Bridal Veil, Yosemite, c. 1866 (see below), by Carleton Watkins (1829-1916). Photographers carried large-format cameras with heavy glass negatives to precarious vantage points to create their sharply focused and detailed views. Decades later, Ansel Adams (1902-1984) carried on the intrepid tradition when he swerved to the side of the road and hauled his view camera to the roof of his car to make the famous image Moonrise, Hernandez, New Mexico, 1941.

Responding to the rapid growth of the twentieth century, many photographers shifted their attention from depictions of the natural world to the urban landscape. The power, energy, and romance of the city inspired varied approaches, from sweeping vistas to tight, close-up details and unusual camera angles. Margaret Bourke-White (1904-1971) established her reputation during the late 1920s by photographing industrial subjects in Cleveland. Her Terminal Tower, 1928, documents what was then the second tallest building in America. Berenice Abbot’s (1898-1991) New York, 1936, is one of many depictions of this vibrant metropolis. The human life of the city intrigued many photographers, including Helen Levitt (1913-2009) whose photographs of children are direct, unsentimental and artful; Weegee [Arthur Fellig] (1899-1968) who unflinchingly documented crime and accident scenes; and Gordon Parks (1912-2006) who chronicled the life of African Americans.

Exploiting the new medium, numerous photography projects were instituted as part of FDR’s New Deal. The most legendary was that of the Farm Security Administration (FSA) run by Roy Stryker, who hired such important photographers such as Walker Evans, Dorothea Lange, and Arthur Rothstein. One of the most iconic images of the New Deal was Dust Storm, Cimarron County, 1936 (see below), by Arthur Rothstein (1915-1985). In the spring of 1936, Rothstein made hundreds of photographs in Cimarron County in the Oklahoma panhandle, one of the worst wind-eroded areas in the United States. Out of that body of work came this gripping, unforgettable image. Dorothea Lange’s (1895-1965) work chronicled the human toll wrought by hardship in Resident, Conway, Arkansas, 1938.

As an art form, photography kept in step with formalist modern styles and an increasing trend toward abstraction. Known for his precisionist paintings, Charles Sheeler’s (1883-1965) Bucks County Barn, 1915, features a geometric composition, sharp focus, and subtle tonal range. In Black and White Lilies III, c. 1928 (see above), Imogen Cunningham (1883-1976) combined the clarity and directness of Modernism with her long-held interest in botanical imagery. For two decades she created a remarkable group of close-up studies of plants and flowers that identified her as one of the most sophisticated and experimental photographers working in America.

Photographers such as Edward Weston (1886-1958) and Paul Strand (1890-1976) employed a straight-on clarity that highlighted the abstract design of everyday objects and the world around us. A completely abstract work by artist László Moholy-Nagy (1894-1946), Untitled, 1939 (see above), is a photogram made by laying objects onto light-sensitive photographic paper and exposing it to light. The objects partially block the light to create an abstract design on the paper.

By 1960, photography had attained a prominent place not only among the fine arts, but in popular culture as well, ushering in a new era of image-based communication that has profoundly affected the arts as well as everyday life.

Icons of American Photography: A Century of Photographs from the Cleveland Museum of Art is organised by the Cleveland Museum of Art. The exhibition is curated by Tom Hinson, Curator of Photography.”

Press release from the The Frick Art and Historical Center website [Online] Cited 06/12/2009 no longer available online

 

Unknown photographer (American) 'Dead child on a sofa' c. 1855

 

Unknown photographer (American)
Dead child on a sofa
c. 1855
Quarter plate daguerreotype with applied colour

 

Carleton Watkins. 'Yosemite Valley from the Best General View No. 2.' 1866

 

Carelton Watkins (American 1829-1916)
Yosemite Valley from the Best General View No. 2
1866
Albumen silver print

 

 

Carleton Watkins had the ability to photograph a subject from the viewpoint that allowed the most information to be revealed about its contents. In this image, he captured what he considered the best features of Yosemite Valley: Bridal veil Falls, Cathedral Rock, Half Dome, and El Capitan. By positioning the camera so that the base of the slender tree appears to grow from the bottom edge of the picture, Watkins composed the photograph so that the canyon rim and the open space beyond it seem to intersect. Although he sacrificed the top of the tree, he was able to place the miniaturised Yosemite Falls at the visual centre of the picture. To alleviate the monotony of an empty sky, he added the clouds from a second negative. This image was taken while Watkins was working for the California Geological Survey. His two thousand pounds of equipment for the expedition, which included enough glass for over a hundred negatives, required a train of six mules.

Text from the J. Paul Getty Museum [Online] Cited 14/05/2019

 

Carleton Watkins. 'Bridal Veil, Yosemite' 1866

 

Carelton Watkins (American 1829-1916)
Bridal Veil, Yosemite
1866
Albumen silver print

 

Eadweard J. Muybridge. 'Valley of Yosemite, from Rocky Ford' 1872

 

Eadweard J. Muybridge (American, born England, 1830-1904)
Valley of Yosemite, from Rocky Ford
1872
Albumen silver print

 

Edward Steichen (American 1879-1973) 'Rodin The Thinker' 1902

 

Edward Steichen (American 1879-1973)
Rodin The Thinker
1902
Gum bichromate print

 

 

When Edward Steichen arrived in Paris in 1900, Auguste Rodin (1840-1917) was regarded not only as the finest living sculptor but also perhaps as the greatest artist of his time. Steichen visited him in his studio in Meudon in 1901 and Rodin, upon seeing the young photographer’s work, agreed to sit for his portrait. Steichen spent a year studying the sculptor among his works, finally choosing to show Rodin in front of the newly carved white marble of the “Monument to Victor Hugo,” facing the bronze of “The Thinker.” In his autobiography, Steichen describes the studio as being so crowded with marble blocks and works in clay, plaster, and bronze that he could not fit them together with the sculptor into a single negative. He therefore made two exposures, one of Rodin and the “Monument to Victor Hugo,” and another of “The Thinker.” Steichen first printed each image separately and, having mastered the difficulties of combining the two negatives, joined them later into a single picture, printing the negative showing Rodin in reverse.

“Rodin – The Thinker” is a remarkable demonstration of Steichen’s control of the gum bichromate process and the painterly effects it encouraged. It is also the most ambitious effort of any Pictorialist to emulate art in the grand tradition. The photograph portrays the sculptor in symbiotic relation to his work.

Suppressing the texture of the marble and bronze and thus emphasiSing the presence of the sculptures as living entities, Steichen was able to assimilate the artist into the heroic world of his creations. Posed in relief against his work, Rodin seems to contemplate in “The Thinker” his own alter ego, while the luminous figure of Victor Hugo suggests poetic inspiration as the source of his creativity. Recalling his response to a reproduction of Rodin’s “Balzac” in a Milwaukee newspaper, Steichen noted: “It was not just a statue of a man; it was the very embodiment of a tribute to genius.” Filled with enthusiasm and youthful self-confidence, Steichen wanted in this photograph to pay similar tribute to Rodin’s genius.

Text from the Metropolitan Museum of Art website [Online] Cited 14/05/2019

 

Arthur Rothstein (American 1915-1985) 'Dust Storm, Cimarron County' 1936

 

Arthur Rothstein (American 1915-1985)
Dust Storm, Cimarron County
1936
Gelatin silver photograph
40.4 × 39.6cm

 

 

The Frick Art and Historical Center
7227 Reynolds Street
Pittsburgh PA 15208

Opening hours:
Tuesday – Sunday 10am – 5pm
Friday 10am – 9pm
Closed Monday

The Frick Art and Historical Center website

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Dr Marcus Bunyan

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

Marcus Bunyan black and white archive: ‘Mask’ 1994

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