Posts Tagged ‘Alison Rossiter

23
Feb
20

Exhibition: ‘Unseen: 35 Years of Collecting Photographs’ at the J. Paul Getty Museum, Los Angeles

Exhibition dates: 17th December 2019 – 8th March 2020

 

Weegee (Arthur Fellig) (American, born Austria, 1899-1968) '[Calypso]' about 1944; before 1946

 

Weegee (Arthur Fellig) (American, born Austria, 1899-1968)
[Calypso]
about 1944; before 1946
Gelatin silver print
26.2 x 33.3 cm (10 5/16 x 13 1/8 in.)
The J. Paul Getty Museum, Los Angeles
© International Center of Photography

 

 

Imagine having these photographs in your collection!

My particular favourite is Hiromu Kira’s The Thinker (about 1930). For me it sums up our singular 1 thoughtful 2 imaginative 3 ephemeral 4 ether/real 5 existence.

“Aether is the fifth element in the series of classical elements thought to make up our experience of the universe… Although the Aether goes by as many names as there are cultures that have referenced it, the general meaning always transcends and includes the same four “material” elements [earth, air, water, fire]. It is sometimes more generally translated simply as “Spirit” when referring to an incorporeal living force behind all things. In Japanese, it is considered to be the void through which all other elements come into existence.” (Adam Amorastreya. “The End of the Aether,” on the Resonance website Feb 16, 2015 [Online] Cited 23/02/2020)

Dr Marcus Bunyan

.
Many thankx to the J. Paul Getty Museum for allowing me to publish the photographs in the posting. Please click on the photographs for a larger version of the image.

 

 

Carleton Watkins (American, 1829-1916) '[Guadalupe Mill]' 1860

 

Carleton Watkins (American, 1829-1916)
[Guadalupe Mill]
1860
Salted paper print
Image (dome-topped): 33.8 × 41.6 cm (13 5/16 × 16 3/8 in.)
The J. Paul Getty Museum, Los Angeles

 

Martin Munkácsi (American, born Hungary, 1896-1963) 'The Goalie Gets There a Split Second Too Late' about 1923

 

Martin Munkácsi (American, born Hungary, 1896-1963)
The Goalie Gets There a Split Second Too Late
about 1923
Gelatin silver print
29.8 × 36.7 cm (11 3/4 × 14 7/16 in.)
The J. Paul Getty Museum, Los Angeles
© Estate of Martin Munkácsi, Courtesy Howard Greenberg Gallery, New York

 

Hiromu Kira (American, 1898-1991) 'The Thinker' about 1930

 

Hiromu Kira (American, 1898-1991)
The Thinker
about 1930
Gelatin silver print
27.9 × 35.1 cm (11 × 13 13/16 in.)
The J. Paul Getty Museum, Los Angeles
© Sadamura Family Trust

 

 

Hiromu Kira (1898-1991) was one of the most successful and well-known Japanese American photographers in prewar Los Angeles. He was born in Waipahu, O’ahu, Hawai’i on April 5, 1898, but was sent to Kumamoto, Japan, for his early education. When he was eighteen years old, he returned to the United States and settled in Seattle, Washington, where he first became interested in photography. In 1923, he submitted prints to the Seattle Photography Salon which accepted two of the photographs. In 1923, his work was accepted in the Pittsburg Salon and the Annual Competition of American Photography. He found work at the camera department of a local Seattle pharmacy and began meeting other Issei, Nisei and Kibei photographers such as Kyo Koike and joined the Seattle Camera Club.

In 1926, Kira moved to Los Angeles with his wife and two young children. Although he was never a member of the Japanese Camera Pictorialists of California, a group that was active in Los Angeles at that time, he developed strong friendships with club members associated with the pictorialist movement of the 1920s and ’30s such as K. Asaishi and T. K. Shindo. In 1928, Kira was named an associate of the Royal Photography Society, and the following year he was made a full fellow and began exhibiting both nationally and internationally. In 1929 alone, Kira exhibited ninety-six works in twenty-five different shows. In the late twenties, he worked at T. Iwata’s art store. In 1931, his photograph The Thinker, made while showing a customer how to use his newly purchased camera properly, appeared on the March 1931 issue of Vanity Fair magazine.

On December 5, two days before the attack on Pearl Harbor, Kira was selected to be included in the 25th Annual International Salon of the Camera Pictorialists of Los Angeles. Within a few months, he was forced to store his camera, photography books and prints in the basement of the Nishi Hongwanji Buddhist Temple in Little Tokyo, Los Angeles for the duration of World War II. He and his family were incarcerated at Santa Anita Assembly Center and the Gila River, Arizona concentration camp from 1942-44, leaving the latter in April 1944.

Following his release, he lived briefly in Chicago before returning to Los Angeles in 1946, where he remained for the rest of his life. In Los Angeles, he worked as a photo retoucher and printer for the Disney, RKO and Columbia Picture studios but never exhibited again as he had before the war.

Text from the Hiromu Kira page on the Densho Encyclopedia website [Online] Cited 23/02/2020

 

 

Marinus Jacob Kjeldgaard (Danish, 1884-1964, active Paris, France late 1930s - late 1940s) '[Collage: Balance of Powers]' about 1939

 

Marinus Jacob Kjeldgaard (Danish, 1884-1964, active Paris, France late 1930s – late 1940s)
[Collage: Balance of Powers]
about 1939
Gelatin silver print
28.5 × 32 cm (11 1/4 × 12 5/8 in.)
The J. Paul Getty Museum, Los Angeles
© Estate of Marinus Jacob Kjeldgaard

 

Paul Outerbridge (American, 1896-1958) '[Egg in Spotlight]' 1943

 

Paul Outerbridge (American, 1896-1958)
[Egg in Spotlight]
1943
Gelatin silver print
26.4x 34.4 cm (10 3/8 x 13 9/16 in.)
The J. Paul Getty Museum, Los Angeles
© 2019 G. Ray Hawkins Gallery, Beverly Hills, CA

 

Emil Cadoo (American, 1926-2002) 'Children of Harlem' 1965

 

Emil Cadoo (American, 1926-2002)
Children of Harlem
1965
Gelatin silver print
20.3 × 25.2 cm (8 × 9 15/16 in.)
The J. Paul Getty Museum, Los Angeles, Gift of Joyce Cadoo / Janos Gat Gallery
© Estate of Emil Cadoo, courtesy of Janos Gat Gallery

 

Anthony Hernandez (American, b. 1947) 'Los Angeles #1' 1969

 

Anthony Hernandez (American, b. 1947)
Los Angeles #1
1969
Gelatin silver print
18.9 × 28.4 cm (7 7/16 × 11 3/16 in.)
The J. Paul Getty Museum, Los Angeles, Purchased in part with funds provided by the Photographs Council
© Anthony Hernandez

 

William Eggleston (American, b. 1939) 'Dolls on Cadillac, Memphis' 1972

 

William Eggleston (American, b. 1939)
Dolls on Cadillac, Memphis
1972
Chromogenic print
25.4 × 38.1 cm (10 × 15 in.)
The J. Paul Getty Museum, Los Angeles
© Eggleston Artistic Trust

 

William Wegman (American, b, 1943) 'Dog and Ball' 1973

 

William Wegman (American, b, 1943)
Dog and Ball
1973
Gelatin silver print
The J. Paul Getty Museum, Los Angeles
© William Wegman

 

Marketa Luskacova (Czech, born 1944) 'Sclater St, Woman with Baby and Girl' 1975

 

Markéta Luskačová (Czech, b. 1944)
Sclater St, Woman with Baby and Girl
1975
Gelatin silver print
21 x 31.8 cm (8 1/4 x 12 1/2 in.)
The J. Paul Getty Museum, Los Angeles
© Markéta Luskačová

 

 

Markéta Luskačová (born 1944) is a Czech photographer known for her series of photographs taken in Slovakia, Britain and elsewhere. Considered one of the best Czech social photographers to date, since the 1990s she has photographed children in the Czech Republic, Slovakia, and also Poland…

In the 1970s and 1980s, the communist censorship attempted to conceal her international reputation. Her works were banned in Czechoslovakia, and the catalogues for the exhibition Pilgrims in the Victoria and Albert Museum were lost on their way to Czechoslovakia.

Luskačová started photographing London’s markets in 1974. In the markets of Portobello Road, Brixton and Spitalfields, she “[found] a vivid Dickensian staging”.

In 2016 she self-published a collection of photographs of street musicians, mostly taken in the markets of east London, under the title To Remember – London Street Musicians 1975-1990, and with an introduction by John Berger.

Text from the Wikipedia website [Online] Cited 23/02/2020

 

Marketa Luskacova (Czech, b. 1944) 'Men around Fire, Spitalfields Market' Negative 1976, print 1991

 

Markéta Luskačová (Czech, b. 1944)
Men around Fire, Spitalfields Market
Negative 1976, print 1991
Gelatin silver print
22.8 x 32.9 cm (9 x 12 15/16 in.)
The J. Paul Getty Museum, Los Angeles
© Markéta Luskačová

 

Shigeichi Nagano (Japanese, born 1925, active Tokyo, Japan) '[Tokyo, Aobadai (Nishi Saigoyama Park), Meguro Ward]' 1988

 

Shigeichi Nagano (Japanese, 1925-2019, active Tokyo, Japan)
[Tokyo, Aobadai (Nishi Saigoyama Park), Meguro Ward]
1988
Gelatin silver print
26 × 39.4 cm (10 1/4 × 15 1/2 in.)
The J. Paul Getty Museum, Los Angeles, Purchased with funds provided by the Photographs Council
© Shigeichi Nagano

 

 

During the 1960s Nagano observed the period of intense economic growth in Japan, depicting the lives of Tokyo’s sarariman with some humour. The photographs of this period were only published in book form much later, as Dorīmu eiji and 1960 (1978 and 1990 respectively).

Nagano exhibited recent examples of his street photography in 1986, winning the Ina Nobuo Award. He published several books of his works since then, and won a number of awards. Nagano had a major retrospective at the Tokyo Metropolitan Museum of Photography in 2000.

Nagano died two months short of his 94th birthday, on January 30, 2019.

Text from the Wikipedia website

 

Catherine Opie (American, b. 1961) 'Untitled #15' 1997

 

Catherine Opie (American, b. 1961)
Untitled #15
1997
Inkjet print
40.6 × 104.1 cm (16 × 41 in.)
The J. Paul Getty Museum, Los Angeles
© Catherine Opie

 

Nan Goldin (American, b. 1953) 'Self Portrait, Red, Zurich' 2002

 

Nan Goldin (American, b. 1953)
Self Portrait, Red, Zurich
2002
Silver-dye bleach print
Framed [outer dim]: 72.4 x 104.1 cm (28 1/2 x 41 in.)
The J. Paul Getty Museum, Los Angeles
© Nan Goldin, courtesy of Matthew Marks Gallery and the artist

 

Hong Hao (Chinese, b. 1965) 'My Things No. 5 - 5,000 Pieces of Rubbish' 2002

 

Hong Hao (Chinese, b. 1965)
My Things No. 5 – 5,000 Pieces of Rubbish
2002
Chromogenic print
120 × 210.8 cm (47 1/4 × 83 in.)
The J. Paul Getty Museum, Los Angeles, Anonymous Gift
© Hong Hao, Courtesy of Chambers Fine Art

 

Veronika Kellndorfer (German, b. 1962) 'Succulent Screen' 2007

 

Veronika Kellndorfer (German, b. 1962)
Succulent Screen
2007
Silkscreen print on glass
288 × 351.5 cm (113 3/8 × 138 3/8 in.)
Gift of Christopher Grimes in honour of Virginia Heckert
The J. Paul Getty Museum, Los Angeles
© Veronika Kellndorfer

 

 

A three-panel silkscreen print on glass, Succulent Screen depicts a detail view of one of the signature miter-cut windows of Frank Lloyd Wright’s Freeman House. The house was built in the Hollywood Hills in 1923, was listed on the National Register of Historic Places in 1971 as a California Historical Landmark and as Los Angeles Historic-Cultural Monument #247 in 1981; it was bequeathed to the USC School of Architecture in 1986. (Text from the Getty Museum website)

 

Sharon Core (American, b. 1965) 'Early American, Strawberries and Ostrich Egg' 2007

 

Sharon Core (American, b. 1965)
Early American, Strawberries and Ostrich Egg
2007
Chromogenic print
42.8 x 56.8 cm (16 7/8 x 22 3/8 in.)
The J. Paul Getty Museum, Los Angeles
© Sharon Core

 

 

The Getty Museum holds one of the largest collections of photographs in the United States, with more than 148,000 prints. However, only a small percentage of these have ever been exhibited at the Museum. To celebrate the 35th anniversary of the founding of the Department of Photographs, the Getty Museum is exhibiting 200 of these never-before-seen photographs and pull back the curtain on the work of the many professionals who care for this important collection in Unseen: 35 Years of Collecting Photographs, on view December 17, 2019 – March 8, 2020.

“Rather than showcasing again the best-known highlights of the collection, the time is right to dig deeper into our extraordinary holdings and present a selection of never-before-seen treasures. I have no doubt that visitors will be intrigued and delighted by the diversity and quality of the collection, whose riches will support exhibition and research well into the decades ahead,” says Timothy Potts, director of the J. Paul Getty Museum.

The exhibition includes photographs by dozens of artists from the birth of the medium in the mid-19th century to the present day. The selection also encompasses a variety of photographic processes, including the delicate cyanotypes of Anna Atkins (British, 1799-1871), Polaroids by Carrie Mae Weems (American, born 1953) and Mary Ellen Mark (American, 1940-2015) and an architectural photographic silkscreen on glass by Veronika Kellndorfer (German, born 1962).

Visual associations among photographs from different places and times illuminate the breadth of the Getty’s holdings and underscore a sense of continuity and change within the history of the medium. The curators have also personalised some of the labels in the central galleries to give voice to their individual insights and perspectives.

 

Growth of the collection

In 1984, as the J. Paul Getty Trust was in the early stages of conceiving what would eventually become the Getty Center, the Getty Museum created its Department of Photographs. It did so with the acquisition of several world-famous private collections, including those of Sam Wagstaff, André Jammes, Arnold Crane, and Volker Kahmen and Georg Heusch. These dramatic acquisitions immediately established the Museum as a leading center for photography.

While the founding collections are particularly strong in 19th and early 20th century European and American work, the department now embraces contemporary photography and, increasingly, work produced around the world. The collection continues to evolve, has been shaped by several generations of curators and benefits from the generosity of patrons and collectors.

 

Behind the scenes

In addition to the photographs on view, the exhibition spotlights members of Getty staff who care for, handle, and monitor these works of art.

“What the general public may not realise is that before a single photograph is hung on a wall, the object and its related data is managed by teams of professional conservators, registrars, curators, mount-makers, and many others,” says Jim Ganz, senior curator of photographs at the Getty Museum. “In addition to exposing works of art in the collection that are not well known, we wanted to shed light on the largely hidden activity that goes into caring for such a collection.”

 

Collecting Contemporary Photography

The department’s collecting of contemporary photography has been given strong encouragement by the Getty Museum Photographs Council, and a section of the exhibition will be dedicated to objects purchased with the Council’s funding. Established in 2005, this group supports the department’s curatorial program, especially with the acquisition of works made after 1945 by artists not yet represented or underrepresented in the collection. Since its founding, the Council has contributed over $3 million toward the purchase of nearly five hundred photographs by artists from Argentina, Australia, Canada, Japan, Korea, Malaysia, South Africa, and Taiwan, as well as Europe and the United States.

 

Looking ahead

The exhibition also looks towards the future of the collection, and includes a gallery of very newly-acquired works by Laura Aguilar (American, 1959-2018), Osamu Shiihara (Japanese, 1905-1974), as well as highlights of the Dennis Reed collection of photographs by Japanese American photographers. The selection represents the department’s strengthening of diversity in front of and behind the camera, the collection of works relevant to Southern California communities, and the acquisition of photographs that expand the understanding of the history of the medium.

“With this exhibition we celebrate the past 35 years of collecting, and look forward to the collection’s continued expansion, encompassing important work by artists all over the world and across three centuries,” adds Potts.

Unseen: 35 Years of Collecting Photographs is on view December 17, 2019 – March 8, 2020 at the Getty Center. The exhibition is organised by Jim Ganz, senior curator of photographs at the Getty Museum in collaboration with Getty curators Mazie Harris, Virginia Heckert, Karen Hellman, Arpad Kovacs, Amanda Maddox, and Paul Martineau.

Press release from the J. Paul Getty Museum [Online] Cited 09/20/2020

 

Hiroshi Sugimoto (Japanese, born 1948) 'Botanical Specimen (Erica mutabolis), March 1839' 2009

 

Hiroshi Sugimoto (Japanese, born 1948)
Botanical Specimen (Erica mutabolis), March 1839
2009
Toned gelatin silver print
93.7 x 74.9 cm (36 7/8 x 29 1/2 in.)
© Hiroshi Sugimoto

 

Julia Margaret Cameron (British, born India, 1815-1879) '[Spring]' 1873

 

Julia Margaret Cameron (British, born India, 1815-1879)
[Spring]
1873
Albumen silver print
35.4 × 25.7 cm (13 15/16 × 10 1/8 in.)
The J. Paul Getty Museum, Los Angeles

 

Reverend William Ellis (British, 1794-1872) and Samuel Smith. '[Portrait of a Black Couple]' about 1873

 

Reverend William Ellis (British, 1794-1872) and Samuel Smith
[Portrait of a Black Couple]
about 1873
Albumen silver print
24.1 × 18.6 cm (9 1/2 × 7 5/16 in.)
The J. Paul Getty Museum, Los Angeles

 

Prince Roland Napoleon Bonaparte (French, 1858-1924) 'Jacobus Huch, 26 ans' about 1888

 

Prince Roland Napoleon Bonaparte (French, 1858-1924)
Jacobus Huch, 26 ans
about 1888
Albumen silver print
15.9 × 10.9 cm (6 1/4 × 4 5/16 in.)
The J. Paul Getty Museum, Los Angeles

 

Underwood & Underwood (American, founded 1881, dissolved 1940s) 'Les Chiens du Front, eux-mems, portent des masques contre les gaz' May 27, 1917

 

Underwood & Underwood (American, founded 1881, dissolved 1940s)
Les Chiens du Front, eux-mems, portent des masques contre les gaz
May 27, 1917
Rotogravure
22 × 20.4 cm (8 11/16 × 8 1/16 in.)
The J. Paul Getty Museum, Los Angeles

 

László Moholy-Nagy (American, born Hungary, 1895-1946) '[The Law of the Series]' 1925

 

László Moholy-Nagy (American, born Hungary, 1895-1946)
[The Law of the Series]
1925
Gelatin silver print
21.6 × 16.2 cm (8 1/2 × 6 3/8 in.)
The J. Paul Getty Museum, Los Angeles
© 2019 Estate of László Moholy-Nagy / Artists Rights Society (ARS), New York

 

Martin Munkácsi (American, born Hungary, 1896-1963) 'Big Dummies' 1927-1933

 

Martin Munkácsi (American, born Hungary, 1896-1963)
Big Dummies
1927-1933
Gelatin silver print
33.5 × 26.7 cm (13 3/16 × 10 1/2 in.)
The J. Paul Getty Museum, Los Angeles
© Estate of Martin Munkácsi, Courtesy Howard Greenberg Gallery, New York

 

 

Munkácsi was a newspaper writer and photographer in Hungary, specialising in sports. At the time, sports action photography could only be done in bright light outdoors. Munkácsi’s innovation was to make sport photographs as meticulously composed action photographs, which required both artistic and technical skill.

Munkácsi’s break was to happen upon a fatal brawl, which he photographed. Those photos affected the outcome of the trial of the accused killer, and gave Munkácsi considerable notoriety. That notoriety helped him get a job in Berlin in 1928, for Berliner Illustrirte Zeitung, where his first published photo was a motorcycle splashing its way through a puddle. He also worked for the fashion magazine Die Dame.

More than just sports and fashion, he photographed Berliners, rich and poor, in all their activities. He traveled to Turkey, Sicily, Egypt, London, New York, and Liberia, for photo spreads in Berliner Illustrirte Zeitung.

The speed of the modern age and the excitement of new photographic viewpoints enthralled him, especially flying. There are aerial photographs; there are air-to-air photographs of a flying school for women; there are photographs from a Zeppelin, including the ones on his trip to Brazil, where he crossed over a boat whose passengers wave to the airship above.

On 21 March 1933, he photographed the fateful Day of Potsdam, when the aged President Paul von Hindenburg handed Germany over to Adolf Hitler. On assignment for Berliner Illustrirte Zeitung, he photographed Hitler’s inner circle, although he was a Jewish foreigner.

Munkácsi left for New York City… Munkácsi died in poverty and controversy. Several universities and museums declined to accept his archives, and they were scattered around the world.

Text from the Wikipedia website [Online] Cited 23/02/2020

 

Erwin Blumenfeld (American, born Germany, 1897-1969) 'Hitlerfresse (Hitler's Mug)' January 30, 1933

 

Erwin Blumenfeld (American, born Germany, 1897-1969)
Hitlerfresse (Hitler’s Mug)
January 30, 1933
Gelatin silver print collage with ink
29.2 × 21.3 cm (11 1/2 × 8 3/8 in.)
The J. Paul Getty Museum, Los Angeles
© The Estate of Erwin Blumenfeld

 

 

Blumenfeld was born in Berlin on 26 January 1897. As a young man he worked in the clothes trade and wrote poetry. In 1918 he went to Amsterdam, where he came into contact with Paul Citroen and Georg Grosz. In 1933 he made a photomontage showing Hitler as a skull with a swastika on its forehead; this image was later used in Allied propaganda material in 1943.

He married Lena Citroen, with whom he had three children, in 1921. In 1922 he started a leather goods shop, which failed in 1935. He moved to Paris, where in 1936 he set up as a photographer and did free-lance work for French Vogue. After the outbreak of the Second World War he was placed in an internment camp; in 1941 he was able to emigrate to the United States. There he soon became a successful and well-paid fashion photographer, and worked as a free-lancer for Harper’s Bazaar, Life and American Vogue. Blumenfeld died in Rome on 4 July 1969.

Text from the Wikipedia website [Online] Cited 23/02/3030

 

Paul Wolff (German, 1887-1951) and Dr Wolff & Tritschler OHG (German, founded 1927, dissolved 1963) '[Dog at the beach]' 1936

 

Paul Wolff (German, 1887-1951) and Dr Wolff & Tritschler OHG (German, founded 1927, dissolved 1963)
[Dog at the beach]
1936
Gelatin silver print
23.4 x 17.8 cm (9 3/16 x 7 in.)
The J. Paul Getty Museum, Los Angeles
© Dr Paul Wolff & Tritschler, Historisches Bildarchiv, D-77654 Offenburg, Germany

 

Barbara Morgan (American, 1900 - 1992) 'City Shell' 1938

 

Barbara Morgan (American, 1900-1992)
City Shell
1938
Gelatin silver print
49.2 × 39.4 cm (19 3/8 × 15 1/2 in.)
Reproduced courtesy of the Barbara and Willard Morgan Photographs and Papers, Library Special Collections, Charles E. Young Research Library, UCLA
The J. Paul Getty Museum, Los Angeles

 

Walker Evans (American, 1903 - 1975) '[Two Giraffes, Circus Winter Quarters, Sarasota]' 1941

 

Walker Evans (American, 1903-1975)
[Two Giraffes, Circus Winter Quarters, Sarasota]
1941
Gelatin silver print
15.1 × 18.3 cm (5 15/16 × 7 3/16 in.)
The J. Paul Getty Museum, Los Angeles
© Walker Evans Archive, The Metropolitan Museum of Art

 

Horst P. Horst (American, born Germany, 1906-1999) 'Hands, Hands' 1941

 

Horst P. Horst (American, born Germany, 1906-1999)
Hands, Hands
1941
Platinum and palladium print
23.7 × 17 cm (9 5/16 × 6 11/16 in.)
The J. Paul Getty Museum, Los Angeles, Gift of Manfred Heiting
© The Estate of Horst P. Horst and Condé Nast

 

Erwin Blumenfeld (American, born Germany, 1897-1969) 'Maroua Motherwell, New York' 1941-1943

 

Erwin Blumenfeld (American, born Germany, 1897-1969)
Maroua Motherwell, New York
1941-1943
Gelatin silver print
48.5 x 38.7 cm (19 1/8 x 15 1/4 in.)
The J. Paul Getty Museum, Los Angeles
© The Estate of Erwin Blumenfeld

 

Henry Holmes Smith (American, 1909-1986) 'Photography Student' 1947

 

Henry Holmes Smith (American, 1909-1986)
Photography Student
1947
Gelatin silver print
11.4 × 9.6 cm (4 1/2 × 3 3/4 in.)
The J. Paul Getty Museum, Los Angeles, Gift of the Smith Family Trust
© J. Paul Getty Trust

 

 

Henry Holmes Smith (1909-1986) was an American photographer and one of the most influential fine art photography teachers of the mid 20th century. He was inspired by the work that had been done at the German Bauhaus and in 1937 was invited to teach photography at the New Bauhaus being founded by Moholy-Nagy in Chicago. After World War II, he spent many years teaching at Indiana University. His students included Jerry Uelsmann, Jack Welpott, Robert W. Fichter, Betty Hahn and Jaromir Stephany.

Smith was often involved in the cutting edge of photographic techniques: in 1931 he started experimenting with high-speed flash photography of action subjects, and started doing colour work in 1936 when few people considered it a serious artistic medium. His later images were nearly all abstract, often made directly (without a camera, i.e. like photograms), for instance images created by refracting light through splashes of water and corn syrup on a glass plate. However, although acclaimed as a photographic teacher, Holmes’ own photographs and other images did not achieve any real recognition from his peers.

Text from the Wikipedia website [Online] Cited 23/02/2020

 

Andreas Feininger (American, born France, 1906-1999) 'Elegant Disk Clam, dosinia elegans, Conrad' 1948

 

Andreas Feininger (American, born France, 1906-1999)
Elegant Disk Clam, dosinia elegans, Conrad
1948
Gelatin silver print
30.4 x 23.8 cm (11 15/16 x 9 3/8 in.)
The J. Paul Getty Museum, Los Angeles
© Estate of Gertrud E. Feininger

 

Alexander Rodchenko (Russian, 1891 - 1956) 'Roll (of Film)' 1950

 

Alexander Rodchenko (Russian, 1891-1956)
Roll (of Film)
1950
Gelatin silver print
30.5 × 24 cm (12 × 9 7/16 in.)
The J. Paul Getty Museum, Los Angeles
© 2019 Estate of Alexander Rodchenko / UPRAVIS, Moscow / Artists Rights Society, NY

 

Otto Steinert (German, 1915-1978) 'Schlammweiher 2' Negative 1953, print about 1960s

 

Otto Steinert (German, 1915-1978)
Schlammweiher 2
Negative 1953, print about 1960s
Gelatin silver print
39.6 x 29.1 cm (15 9/16 x 11 7/16 in.)
The J. Paul Getty Museum, Los Angeles
Courtesy Galerie Johannes Faber

 

André Kertész (American, born Hungary, 1894-1985) 'Still Life with Snake' Negative 1960; print later

 

André Kertész (American, born Hungary, 1894-1985)
Still Life with Snake
Negative 1960; print later
Gelatin silver print
Image: 24.8 × 19.7 cm (9 3/4 × 7 3/4 in.)
The J. Paul Getty Museum, Los Angeles
© Estate of André Kertész

 

Malick Sidibé (Malian, 1936-2016) 'Vues de dos' Nd, print 2003

 

Malick Sidibé (Malian, 1936-2016)
Vues de dos
Nd, print 2003
Gelatin silver print, glass, paint, cardboard, tape, and string
36.5 x 27 cm (14 3/8 x 10 5/8 in.)
The J. Paul Getty Museum, Los Angeles
© Estate of Malick Sidibé

 

Irving Penn (American, 1917-2009) 'Red Apples' July 15, 1985

 

Irving Penn (American, 1917-2009)
Red Apples
July 15, 1985
Silver-dye bleach print
25.4 × 20.3 cm (10 × 8 in.)
The J. Paul Getty Museum, Los Angeles, Gift of Nancy and Bruce Berman
© 1985 Irving Penn

 

Lyle Ashton Harris (American, b. 1965) 'Man and Woman #1' 1987-1988

 

Lyle Ashton Harris (American, b. 1965)
Man and Woman #1
1987-1988
Gelatin silver print
74.3 x 48.9 cm (29 1/4 x 19 1/4 in.)
The J. Paul Getty Museum, Los Angeles
© Lyle Ashton Harris

 

Jim Dow (American, b. 1942) 'Doll Repair Shop Window, Buenos Aires, Argentina' 1990

 

Jim Dow (American, b. 1942)
Doll Repair Shop Window, Buenos Aires, Argentina
1990
Chromogenic print
51.2 × 40.6 cm (20 3/16 × 16 in.)
The J. Paul Getty Museum, Los Angeles, Gift of Nancy and Bruce Berman
© Jim Dow

 

Carrie Mae Weems (American, b. 1953) 'See No Evil' 1991

 

Carrie Mae Weems (American, b. 1953)
See No Evil
1991
Dye diffusion print (Polaroid Polacolor)
61 × 50.5 cm (24 × 19 7/8 in.)
The J. Paul Getty Museum, Los Angeles, Gift of Daniel Greenberg and Susan Steinhauser
© Carrie Mae Weems

 

Myoung Ho Lee (South Korean, b. 1975) '[Tree #2]' 2006

 

Myoung Ho Lee (South Korean, b. 1975)
[Tree #2]
2006
Inkjet print
39.8 × 32.1 cm (15 11/16 × 12 5/8 in.)
The J. Paul Getty Museum, Los Angeles, Purchased with funds provided by the Photographs Council
© Myoung Ho Lee, Courtesy Yossi Milo Gallery, New York

 

Daniel Naudé (South African, born 1984) 'Africanis 18. Murraysburg, Western Cape, 10 May 2010' 2010

 

Daniel Naudé (South African, born 1984)
Africanis 18. Murraysburg, Western Cape, 10 May 2010
2010
60 x 60 cm (23 5/8 x 23 5/8 in.)
The J. Paul Getty Museum, Los Angeles
© Daniel Naudé

 

Pieter Hugo (South African, born 1976) 'Aissah Salifu, Agbogbloshie Market, Accra, Ghana' 2010

 

Pieter Hugo (South African, born 1976)
Aissah Salifu, Agbogbloshie Market, Accra, Ghana
2010
From the Permanent Error series
Digital chromogenic print
81.3 x 81.3 cm. (32 x 32 in.)
The J. Paul Getty Museum, Los Angeles
© Pieter Hugo

 

Mona Kuhn (German, born Brazil, 1969) 'Portrait 37' 2011

 

Mona Kuhn (German, born Brazil, 1969)
Portrait 37
2011
Chromogenic print
38.3 x 38.1 cm (15 1/16 x 15 in.)
The J. Paul Getty Museum, Los Angeles
© Mona Kuhn

 

Alison Rossiter (American, b. 1953) 'Eastman Kodak Azo E, expired May 1927, processed 2014' 2014

 

Alison Rossiter (American, b. 1953)
Eastman Kodak Azo E, expired May 1927, processed 2014
2014
Gelatin silver print
25 x 20 cm (9 13/16 x 7 7/8 in.)
The J. Paul Getty Museum, Los Angeles
© Alison Rossiter

 

 

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10
Aug
16

Exhibition: ‘Emanations: The Art of the Cameraless Photograph’ at the Govett-Brewster Art Gallery/Len Lye Centre, New Plymouth, New Zealand Part 2

Exhibition dates: 29th April – 14 August 2016

Curator: Geoffrey Batchen

 

 

Part 2 of a posting on this wonderful exhibition – Emanations: The Art of the Cameraless Photograph – at the Govett-Brewster Art Gallery/Len Lye Centre, New Plymouth, New Zealand.

While there is no doubt as to the quality and breadth of the work on display, nor how it has been curated or installed in these beautiful contemporary spaces, I question elements of the conceptual rationale that ground the exhibition. While curator Geoffrey Batchen correctly notes that “artists are coming back to the most basic and elemental chemistry of photography, hands on, making unique images where there is a direct relationship between the thing being imaged and then image itself” as a response to the dematerialisation of the image that occurs in a digital environment and the proliferation of reproductions of digital images his assertion in a Radio New Zealand interview that the cameraless photograph has a direct relationship to the world, unmediated – through the unique touch of the object on the photographic paper – is an observation that seems a little disingenuous.

Batchen observes in the quotation below, “it’s as if nature represents itself, completely unmediated and directly. In some ways … [this] is far more realist, far more true to the original object than any camera picture could be.” Note how he qualifies his assertion and position by the statement “in some ways”. The reality of the situation is that every photograph is mediated to one degree or another, whether through the use of the camera, the choice of developer, photographic paper, size, perspective and so forth. The physicality of the actual print and the context of capture and display are also mediated, in each instance and on every occasion. Every photograph is mediated through the choices of the photographer, even more so in the production of cameraless photographs (what to choose to photograph, where to position the object, what to draw with the light) because the artist has the ultimate control on what is being pictured (unlike the reality of the world). To say that cameraless photographs have a more direct and unmediated relationship to the world than analogue and digital photographs could not be further from the truth – it is just that the taxonomic system of ordering “reality” is of a different order.

Batchen further states in the Radio new Zealand interview that “in these photographs the object is still there, that’s the strange thing about cameraless photographs. There is a sense of presentness to this kind of photograph. … Cameraless photographs seem to exist in a kind of eternal present, and in that sense they complicate our understanding both of photography but also to the world that is being represented here.”

This is a contentious observation that argues for some special state of being that exists within the cameraless photograph which I believe does not exist. I argue that EVERY photograph possesses the POSSIBILITY of a sense of presentness of the object being photographed (whether it be landscape, portrait, street, abstract, etc…). It just depends whether the photographer is attuned to what is present before their eyes, whether they are attuned to the mediation of the camera and whether the print reveals what has been captured in the negative. Minor White’s “revelation of spirit”. A “hands on” process does not guarantee a more meaningful form of photographic authenticity,  or cameraless photographs possess some inherent authentic reality (the appeal to the aura of the object, Benjamin), any more than analogue or digitally reproduced photographs do. They are all representations of a mediated reality in one form or another. Some photographs will simply not capture that “presence” no matter how hard you try, be they cameraless or not. Further, every photograph exists in an eternal present, bringing past time to present and, in the process of existence, transcending time. In this regard, to claim special status for cameraless photographs is a particularly incongruous and elliptical argument, an argument which posits an obfuscation of the theoretical history of photography.

Dr Marcus Bunyan for Art Blart

PS. I particularly love Len Lye’s work for its visual dexterity and robustness.

.
Many thankx to the Govett-Brewster Art Gallery for allowing me to publish the photographs in the posting. Please click on the photographs for a larger version of the image. All images are photographed by Bryan James.

 

 

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“You assume that the image caught by the camera is “the” image, but of course a camera is ultimately a device – about from the Renaissance on – in which perspective is organised within a box using a lens, based on a principle that light travels in straight lines. So what you get when you use a camera is a mediated image, an image constructed according to certain conventions developed during the Renaissance and beyond in which the world is developed … according to the rules of perspective, and we’ve learnt to accept those rules as, as reality itself. But … when you put an object directly onto a piece of paper without any mediation [of a machine], it’s as if nature represents itself, completely unmediated and directly. In some ways … [this] is far more realist, far more true to the original object than any camera picture could be.”

.
Geoffrey Batchen

 

 

Installation view of the exhibition 'Emanations: The Art of the Cameraless Photograph' at the Govett-Brewster Art Gallery

 

Installation view of the exhibition Emanations: The Art of the Cameraless Photograph at the Govett-Brewster Art Gallery with at left, Christian Marclay and at right, Hiroshi Sugimoto

 

Installation view of the exhibition Emanations: The Art of the Cameraless Photograph at the Govett-Brewster Art Gallery

 

Installation view of Christian Marclay’s Large Cassette Grid No. 6, 2009 (left) and Allover (Rush, Barbra Streisand, Tina Turner, and Others), 2008 (right)

 

Christian Marclay (US) 'Large Cassette Grid No. 6' 2009

 

Christian Marclay (US)
Large Cassette Grid No. 6
2009
Cyanotype photograph

 

Christian Marclay (US) 'Allover (Rush, Barbra Streisand, Tina Turner, and Others)' 2008

 

Christian Marclay (US)
Allover (Rush, Barbra Streisand, Tina Turner, and Others)
2008
Cyanotype photograph

 

Using hundreds of cassette tapes bought in thrift stores, Christian Marclay has scattered the entangled strands of the tapes across large sheets of specially prepared blueprint paper, deliberately adopting the “action painter” techniques of Jackson Pollock and similar artists. He then exposed them, sometimes multiple times, under a high-powered ultraviolet lamp. In other cases, the cassettes themselves were stacked in translucent grids to make a minimalist composition.

 

Installation view of the exhibition 'Emanations: The Art of the Cameraless Photograph' at the Govett-Brewster Art Gallery

 

Installation view of the exhibition Emanations: The Art of the Cameraless Photograph at the Govett-Brewster Art Gallery with at left, Christian Marclay and at right, Hiroshi Sugimoto

 

Walead Beshty (Switzerland/US) 'Two Sided Picture (RY), January 11, 2007, Valencia, California, Fujicolor Crystal Archive, 2007'

 

Walead Beshty (Switzerland/US)
Two Sided Picture (RY), January 11, 2007, Valencia, California, Fujicolor Crystal Archive, 2007
Chromogenic photograph

 

In the series from which this work comes American photographic artist Walead Beshty cut and folded sheets of photographic paper into three-dimensional forms and then exposed each side to a specific colour of light, facilitating the production of multi-faceted prints with the potential to exhibit every possible colour combination. The trace of this process remains visible, with the original folds transformed into a network of contours on the surface of the print.

 

Installation view of Hiroshi Sugimoto (Japan/US) 'Lightning Fields 168' 2009

 

Installation view of
Hiroshi Sugimoto (Japan/US)
Lightning Fields 168
2009

 

Hiroshi Sugimoto (Japan/US) 'Lightning Fields 168' 2009

 

Hiroshi Sugimoto (Japan/US)
Lightning Fields 168
2009
Gelatin silver photograph

 

Hiroshi Sugimoto’s photographs of static electricity were inspired by his unsuccessful efforts to banish such discharges from the surface of his negatives during the printing process. Sugimoto decided instead to try and harness such discharges for the purposes of image making. Utilizing a Van der Graaf generator, he directed as many as 40,000 volts onto metal plates on which rested unexposed film. He soon changed tactics when he discovered that immersing the film in saline water during the discharge gave much better results.

 

Installation view of the exhibition 'Emanations: The Art of the Cameraless Photograph' at the Govett-Brewster Art Gallery

Installation view of the exhibition 'Emanations: The Art of the Cameraless Photograph' at the Govett-Brewster Art Gallery

Installation view of the exhibition 'Emanations: The Art of the Cameraless Photograph' at the Govett-Brewster Art Gallery

 

Installation view of the exhibition Emanations: The Art of the Cameraless Photograph at the Govett-Brewster Art Gallery with at left, Andreas Müller-Pohle Digital Scores (after Nicéphore Niépce) 1995, and to the right in the second and third images, Susan Purdy

 

In 1995 the German artist Andreas Müller-Pohle took the digital code generated by a scan of the supposed “first photograph,” Nicéphore Niépce’s 1827 heliograph View from the window at Le Gras, and spread it across eight panels as a messy swarm of numbers and computer notations. Each of Müller-Pohle’s separations represents an eighth of a full byte of memory, a computer’s divided remembrance of the first photograph. The Scores are therefore less about Niépce’s photograph than about their own means of production (as the title suggests, they bear the same abstracted relation to an image as sheet music has to sound). We see here, not a photograph, but the new numerical rhetoric of digital imaging.

 

Installation view of the exhibition 'Emanations: The Art of the Cameraless Photograph' at the Govett-Brewster Art Gallery

 

Installation view of Ian Burn (Australia/US) Xerox book # 1, 1968 from the exhibition Emanations: The Art of the Cameraless Photograph at the Govett-Brewster Art Gallery

 

In the 1960s a number of artists sought to distil artwork from the new imaging technologies becoming commonly available. Ian Burn, an Australian artist then living in New York, made a series of Xerox Books in 1968 in which he churned out 100 copies of a blank sheet of white paper on a Xerox 660 photocopying machine, copying each copy in turn until the final sheet was filled with the speckled visual noise left by the machine’s own imperfect operations.

 

Installation view of the exhibition 'Emanations: The Art of the Cameraless Photograph' at the Govett-Brewster Art Gallery

 

Installation view of the exhibition Emanations: The Art of the Cameraless Photograph at the Govett-Brewster Art Gallery

 

Installation view of the exhibition 'Emanations: The Art of the Cameraless Photograph' at the Govett-Brewster Art Gallery

Installation view of the exhibition 'Emanations: The Art of the Cameraless Photograph' at the Govett-Brewster Art Gallery

Installation view of the exhibition 'Emanations: The Art of the Cameraless Photograph' at the Govett-Brewster Art Gallery

 

Installation views of the exhibition Emanations: The Art of the Cameraless Photograph at the Govett-Brewster Art Gallery with in foreground display case, Herbert Dobbie’s illustrated cyanotype books New Zealand Ferns (148 Varieties) 1880, 1882, 1892 and background, the cyanotypes of Anna Atkins

 

Herbert Dobbie, a railway station master and amateur botanist who emigrated to New Zealand from England in 1875, made cyanotype contact prints of specimens of all 148 known species of fern in his new country in 1880 and sold them in album form. Dobbie was responding to a fashion for collecting and displaying ferns among his local audience, a fashion driven in part by a nostalgia for a pre-modern style of life and in part by a developing nationalism. The end result is a group of images that hover somewhere between science and art, between popular aesthetic enjoyment and commercial profit.

 

Anna Atkins (UK) 'Untitled' (from the disassembled album 'Cyanotypes of British and Foreign Flowering Plants and Ferns') c. 1854

 

Anna Atkins (UK)
Untitled (from the disassembled album Cyanotypes of British and Foreign Flowering Plants and Ferns)
c. 1854
Cyanotype photographs

 

The English photographer Anna Atkins issued albums of cyanotype prints of seaweed and algae from 1843, and these are often regarded as the earliest photographic books.

In the 1850s, Atkins collaborated with her friend Anne Dixon to produce at least three presentation albums of cyanotype contact prints, including Cyanotypes of British and Foreign Ferns (1853) and Cyanotypes of British and Foreign Flowering Plants and Ferns (1854). These albums included examples from places like Jamaica, New Zealand and Australia – a reminder that, for an English observer, all these places were but an extension of home, a part of the British Empire. These cyanotypes look as if they were made yesterday, offering a trace from the past that nevertheless always remains contemporary.

 

William Henry Fox Talbot (1800-1877) 'Lace' c. 1845

 

William Henry Fox Talbot (UK, 1800-1877)
Floral patterned lace
c. 1845
Salted paper print
23.0 x 18.8 cm (irregular)

 

During the 1850s, William Henry Fox Talbot focused his energies on the invention of a way of producing photographic engravings on metal plates, so that permanent ink on paper imprints could be taken from them. In April 1858, having found a way to introduce an aquatint ground to the process, he filed a patent for a system which he called photoglyphic engraving.

Talbot described his invention in terms of an ability to make accurate photographic impressions without a camera: “The objects most easily and successfully engraved are those which can be placed in contact with the metallic plate, – such as the leaf of fern, the light feathery flowers of a grass, a piece of lace, etc. In such cases the engraving is precisely like the object; so that it would almost seem to any one, before the process was explained to him, as if the shadow of the object had itself corroded the metal, – so true is the engraving to the object.”

This photograph was made using the calotype process, patented in 1841 by its inventor, the English gentleman William Henry Fox Talbot. The increased exposure speeds allowed by the process made it easier to print positive photographs from a negative image, so that multiple versions of that image could be produced. In this case, a positive photograph has been made from a contact print of a piece of lace.

 

Installation view of the exhibition 'Emanations: The Art of the Cameraless Photograph' at the Govett-Brewster Art Gallery

Installation view of the exhibition 'Emanations: The Art of the Cameraless Photograph' at the Govett-Brewster Art Gallery

Installation view of the exhibition 'Emanations: The Art of the Cameraless Photograph' at the Govett-Brewster Art Gallery

Installation view of the exhibition 'Emanations: The Art of the Cameraless Photograph' at the Govett-Brewster Art Gallery

Installation view of the exhibition 'Emanations: The Art of the Cameraless Photograph' at the Govett-Brewster Art Gallery

 

Installation view of the exhibition Emanations: The Art of the Cameraless Photograph at the Govett-Brewster Art Gallery featuring Len Lye’s cameraless photographic portraits

 

Len Lye (NZ) 'Georgia O'Keeffe' 1947

 

Len Lye (NZ)
Georgia O’Keeffe
1947
Courtesy of the Len Lye Foundation Collection
Govett-Brewster Art Gallery/Len Lye Centre

 

Len Lye (NZ) 'Le Corbusier' 1947

 

Len Lye (NZ)
Le Corbusier
1947
Courtesy of the Len Lye Foundation Collection and Archive
Govett-Brewster Art Gallery/Len Lye Centre

 

Lye’s subjects included notable artists such as Joan Miró, Hans Richter, and Georgia O’Keeffe (who brought some deer antlers to the shoot), the architect Le Corbusier, the jazz musician Baby Dodds, the scientist Nina Bull, and the writer W. H. Auden. But they also included a baby and a young woman who remain unnamed; Lye’s new partner, Ann Hindle; and Albert Bishop, a plumber who had come by to do some repairs. (Referencing the history of “silhouette” art)

 

Len Lye (NZ) 'Marks and Spencer in a Japanese Garden (Pond People)' 1930

 

Len Lye (NZ)
Marks and Spencer in a Japanese Garden (Pond People)
1930
Courtesy of the Len Lye Foundation Collection and Archive
Govett-Brewster Art Gallery/Len Lye Centre

 

Len Lye’s earliest cameraless photographs were made around 1930 as he settled into the London art scene and before he emerged as a leading figure in experimental cinema. His practice was eclectic during this period. He exhibited paintings, batiks, photographs and sculpture as part of the Seven and Five Society, Britain’s leading avant-garde group. During a visit to Mallorca with his friends Robert Graves and Laura Riding, Lye made a number of photograms with plasticine and cellophane shapes arranged over the photographic paper. Two of these, Self-Planting at Night (Night Tree) and Watershed, were exhibited in the 1936 International Surrealist Exhibition in London.

 

Installation view of the exhibition 'Emanations: The Art of the Cameraless Photograph' at the Govett-Brewster Art Gallery

 

Installation view of the exhibition Emanations: The Art of the Cameraless Photograph at the Govett-Brewster Art Gallery featuring James Cant’s Six Signed Artist’s Prints 1948

 

James Cant (Australia) 'The struggle for life' 1948

 

James Cant (Australia)
The struggle for life
1948
Cliché verre print (cyanotype blueprint from one hand-drawn glass plate)
35 x 29.6 cm sheet

 

A number of Australian artists, some working in Melbourne and some in London, issued prints in the 1940s and early 50s using architectural blueprint (or cyanotype) paper, perhaps because, during the deprivations that attended the aftermath of World War Two, it was a cheap and available material for this purpose. James Cant, an artist interested in both Surrealism and Australian Aboriginal art, brought the two together in his designs for a portfolio of Six Signed Artist’s Prints that he issued in a print run of 150 in 1948. Each image was painted on a sheet of glass and then this glass was contact printed onto the blueprint paper to create a photograph.

In August 1834, while resident in Geneva, William Henry Fox Talbot had a friend make some drawings on sheets of varnished glass exposed to smoke, using an engraver’s needle to scratch through this darkened surface. The procedure came to be known as cliché verre.

 

Kilian Breier. 'Kilian Breier: Fotografik 1953-1990' 1991 (cover)

 

Kilian Breier
Kilian Breier: Fotografik 1953-1990 (cover)
1991

 

The German artist Kilian Breier began making abstract photographs in the 1950s, some by folding his photographic paper and others by allowing rivulets of developer to flow across and stain it. A 1991 exhibition catalogue, Kilian Breier: Fotografik 1953-1990, gave the artist an opportunity to make a provocative gesture in line with his dedication to the self-generated image; he included in it a loose unfixed piece of signed photographic paper that continues to develop every time it is exposed to light. It therefore inhabits the book that protects it like a ghost, unable to be seen but nonetheless always present.

 

Max Dupain (Australia) 'Untitled rayograph [with water]' 1936

 

Max Dupain (Australia)
Untitled rayograph [with water]
1936
Gelatin silver photograph

 

The Australian modernist photographer Max Dupain was a great admirer of the work of Man Ray. In 1935 Dupain reviewed a book of the American’s photographs for The Home magazine in Sydney, declaring that “He is alone. A pioneer of the 20th century who has crystallised a new experience in light and chemistry.” With this book as his inspiration, Dupain himself made a number of experimental cameraless photographs in the later 1930s.

 

Běla Kolářová (Czechoslovakia) 'Pecky broskve' (z 'cyklu' Stopy) 'Peach Stones' (From 'Traces' series) 1961

 

Běla Kolářová (Czechoslovakia)
Pecky broskve (z cyklu Stopy)
Peach Stones
(From Traces series)
1961
Gelatin silver photograph from an artificial negative

 

Taking up photography in 1956 during the Cold War, the Czech artist Běla Kolářová wrote about the need to photograph things normally beneath the notice of photography, the negligible detritus of everyday life. Her initial experiments along these lines involved the making of prints from what she called “artificial negatives.” Collecting all sorts of discarded items (onion peels, peach pits), she either placed her scraps directly on celluloid or embedded them in a layer of paraffin, projecting the resulting image onto bromide paper using an enlarger. Kolářová also began to produce photographic images by placing her light-sensitive paper on a record turntable, rotating it at varying speeds, and allowing the light to produce a series of overlapping and wavy concentric circles.

 

Installation view of György Kepes

 

Installation view of
György Kepes (Hungary/Germany/US)
Black, great and white light composition, 1949
Black and white calligraphy, 1951
Fluid patterns, 1938
(Calligraphic light), 1948
Optical transformation, 1938
Hieroglyphic body, 1942
(Magnetic pattern), 1938
Gelatin silver photographs (printed c. 1977)

 

The Hungarian-born artist György Kepes moved to the United States in the late 1930s, where he published a series of interdisciplinary books concerned with the “language of vision.” Informed by his study of psychological theory, Kepes particularly favoured the cameraless photograph as offering a kind of universal language, stressing the need for images that combined “transparency and interpenetration… the order of our time is to knead together the scientific and technical knowledge required, into an integrated whole on the biological and social plane.” Even when they appear to be abstractions, Kepes’s own photograms were intended as an expression of the interdependence of natural and manmade structures and as an advocacy for the interrelationship of art, science, and technology.

 

Installation view of the exhibition 'Emanations: The Art of the Cameraless Photograph' at the Govett-Brewster Art Gallery

 

Installation view of the work of Herbert Matter (left), Chargesheimer (centre), and Roger Catherineau (right)

 

Herbert Matter (Switzerland/France/US) 'Untitled' c. 1939-43

 

Herbert Matter (Switzerland/France/US)
Untitled
c. 1939-43
Gelatin silver photograph

 

Born in Switzerland, Herbert Matter studied with Fernand Léger in Paris before working there and in Switzerland as a graphic designer, incorporating photographic images into his many posters. In 1935 he moved to the United States, involving himself in the design and art world he found there, with a special interest in the work of abstract painters. He produced a number of experimental photographs in this period, deliberately designed to break with what he called “the chains of documentation.” These included a calligraphic image made in 1944 by tracing brush strokes on a wet emulsion plate charged by an electrical current and a series of sinuous, painterly photographs, perhaps made by pouring chemicals on sheets of glass already marked with a resist and then printing from them.

 

 

Chargesheimer (Germany) 'Scenarium' 1961

 

Chargesheimer (Germany)
Scenarium
1961
Gelatin silver chemigram

 

In 1961, the German artist Karl-Heinz Hargesheimer, who went by the single name of Chargesheimer, published a limited-edition book titled Lichtgrafik [Light Graphic]. He described the ten unique prints gathered in it as photochemische Malereien or “photo-chemical paintings,” inducing their strange combinations of gestural calligraphic marks and organic-looking surface using only developer and fixer on gelatin silver photographic paper.

 

Roger Catherineau (France) 'Photogramme' 1957

 

Roger Catherineau (France)
Photogramme
1957
Gelatin silver photograph

 

Starting in the 1950s, French artist Roger Catherineau drew on his interest in sculpture and dance to produce sinuous, layered photograms that look more like graphics than paintings. Their ambiguous depths were made even more elusive by the addition of coloured inks to their surfaces.

 

Installation view of the exhibition 'Emanations: The Art of the Cameraless Photograph' at the Govett-Brewster Art Gallery

 

Installation view of the exhibition Emanations: The Art of the Cameraless Photograph at the Govett-Brewster Art Gallery with at left, Marco Breuer and at right, Lynn Cazabon

 

Installation view of Danica Chappell (Australia) 'Slippery Image #1' 2014-15 'Slippery Image #2' 2014-15 and 'Traversing Edges & Corners (Orange #9)' 2014 'Traversing Edges & Corners (Orange #10)' 2014 tintype

 

Installation view of
Danica Chappell (Australia)
Slippery Image #1, 2014-15
Slippery Image #2, 2014-15
Daguerreotype

Danica Chappell (Australia)
Traversing Edges & Corners (Orange #9), 2014
Traversing Edges & Corners (Orange #10), 2014
Tintype

 

The work of Australian artist Danica Chappell brings together the formal experiments of early modernist avant-garde groups, such as the Russian Constructivists and the German Bauhaus, with some of photography’s earliest techniques, resulting in geometrically patterned daguerreotypes and tintypes. These patterns of light and shadow animate the surface of Chappell’s metallic photographs, while also recording her work in the darkroom, her negotiation of radiation, object, body and time.

 

Installation view of Lynn Cazabon (US) 'Diluvian' 2010-13

 

Installation view of
Lynn Cazabon (US)
Diluvian
2010-13
40 unique silver gelatin solar photographs

 

Diluvian, by American artist Lynn Cazabon, comprises a grid of unique contact prints, with their imagery and the means of its production both being directly generated by the work’s subject matter. Embedded in a simulated waste dump, covered with discarded cell phones and computer parts as well as organic material, expired sheets of gelatin silver paper were sprayed with baking soda, vinegar and water, sandwiched under a heavy sheet of glass, and left in direct sunlight for up to six hours, four prints at a time. The chemical reactions that ensued left visual traces – initially vividly coloured and then gradually fading when fixed – of our society’s flood of toxic consumer items, produced by the decomposing after-effects of those very items.

 

Installation view of works by Marco Breuer

 

Installation view of
Marco Breuer (Germany/US)
Untitled (C-1378), 2013
Untitled (C-1598), 2014
Chromogenic paper, embossed/burned/scraped

Marco Breuer (Germany/US)
Untitled (C-1526), 2014
Chromogenic paper, burned/scraped

Marco Breuer (Germany/US)
Untitled (C-1338), 2013
Chromogenic paper, burned

 

By folding, scoring, burning, scouring, abrading, and/or striking his pieces of photographic paper, German-born, US-based artist Marco Breuer coaxes a wide range of colours, markings and textures from his chosen material. Both touched and tactile, Breuer’s photographs have become surrogate bodies, demonstrating the same fragility and relationship to violence as any other organism. And like any other body, they also bear the marks of time, not of a single instant from the past, like most photographs, but rather of a duration of actions that have left accumulated scars.

 

Installation view of the exhibition 'Emanations: The Art of the Cameraless Photograph' at the Govett-Brewster Art Gallery

Installation view of the exhibition 'Emanations: The Art of the Cameraless Photograph' at the Govett-Brewster Art Gallery

 

Installation views of the exhibition Emanations: The Art of the Cameraless Photograph at the Govett-Brewster Art Gallery with at centre, the work of Anne Noble

 

Anne Noble (New Zealand) 'Bruissement: Bee Wing Photograms #10' 2015

 

Anne Noble (New Zealand)
BruissementBee Wing Photograms #10
2015
Pigment print on Canson baryta paper
320 x 110 cm
Courtesy of the artist, Wellington

 

In recent times, the New Zealand artist Anne Noble has made a number of works that address the calamitous collapse of the global honeybee population. In these two cameraless photographs, cascading vertically down the wall like Chinese scroll paintings, we get to see the imprint of thousands of detached bee wings, their determined hum stilled by disease, human interference and a toxic ecology. The haunting beauty of these delicate traceries and strange shadows is also a warning. A beekeeper herself, Noble looks at bees as a living system under stress but also as a model for our own society; as she says, “what is happening to the bees we are likely doing to ourselves.”

 

Installation view of works by Alison Rossiter

Installation view of works by Alison Rossiter

 

Installation views of
Alison Rossiter
(US)
Agfa Cykora, expired January 1942, processed 2013
Eastman Kodak Velox, expired March 1919a, processed 2014
Eastman Kodak Medalist E2, expired September 1956, processed 2010
Eastman Kodak Velox, expired March 1919b, processed 2014
Eastman Kodak PMC No.11, expired September 1937, processed 2013
Defender Argo, exact expiration date unknown, ca. 1910, processed 2013
Velox T4, expiry date October 1, 1940, processed 2008
Unique gelatin silver photographs

 

Since 2007, American photographic artist Alison Rossiter has been buying old expired packets of unexposed film at auction or on the internet, some of them dating from as early as 1900. She then develops these sheets in her darkroom with no further exposure to light, never quite sure what the resulting object-image will look like. The one inscribed Velox T4, expiry date October 1, 1940, for example, was developed in 2008, and displays a Mark Rothko-like grid of pale impressions on a dark ground. These are the chemical traces left behind by the wrapping paper that once protected it from light. We’re looking, then, at an exposure – to chemicals as well as to leaked light – of approximately seventy years.

 

Installation view works by Matt Higgins

 

Installation view of
Matt Higgins (Australia)
Untitled 134-5, 2014
Untitled 254-5, 2014
Untitled 287-5, 2014
Untitled 292-5, 2014
Unique chemigram on gelatin silver photographic paper

 

Australian artist Matt Higgins makes what are called ‘chemigrams,’ created by the interplay of various manual and chemical processes on a single sheet of photographic paper or film. Higgins also uses resists to help create his patterned surfaces, from soft organic substances such as apple syrup to industrial compounds such as epoxy enamel. He thereby returns photography to its historical roots: the desire to coax images from a chemical reaction to light.

 

Installation view of the exhibition 'Emanations: The Art of the Cameraless Photograph' at the Govett-Brewster Art Gallery

Installation view of the exhibition 'Emanations: The Art of the Cameraless Photograph' at the Govett-Brewster Art Gallery

Installation view of the exhibition 'Emanations: The Art of the Cameraless Photograph' at the Govett-Brewster Art Gallery

Installation view of the exhibition 'Emanations: The Art of the Cameraless Photograph' at the Govett-Brewster Art Gallery

Installation view of the exhibition 'Emanations: The Art of the Cameraless Photograph' at the Govett-Brewster Art Gallery

Installation view of the exhibition 'Emanations: The Art of the Cameraless Photograph' at the Govett-Brewster Art Gallery

Installation view of the exhibition 'Emanations: The Art of the Cameraless Photograph' at the Govett-Brewster Art Gallery

 

Installation views of the exhibition Emanations: The Art of the Cameraless Photograph at the Govett-Brewster Art Gallery

 

 

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Queen St, New Plymouth, New Zealand
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Email: info@govettbrewster.com

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27
Aug
15

Exhibition: ‘Light, Paper, Process: Revolutionizing Photography’ at the J. Paul Getty Museum, Getty Center, Los Angeles

Exhibition dates: 14th April – 6th September 2015

 

These days, photography can be anything your imagination, concept and process desires…

Whether that makes for interesting / lasting (ie. memorable) / good, (post)photographic outcomes is up to you to decide.

Marcus

.
Many thankx to the J. Paul Getty Museum for allowing me to publish the photographs in the posting. Please click on the photographs for a larger version of the image.

 

 

Man Ray (Emmanuel Radnitsky) (American, 1890-1976) 'Untitled (Smoke)' 1928

 

Man Ray (Emmanuel Radnitsky) (American, 1890-1976)
Untitled (Smoke)
1928
Gelatin silver print
Image: 24.6 x 19.8 cm (9 11/16 x 7 13/16 in.)
The J. Paul Getty Museum, Los Angeles
© Man Ray Trust ARS-ADAG

 

Chargesheimer (Karl Heinz Hargesheimer) (German, 1924-1971) 'Picturesque' 1949

 

Chargesheimer (Karl Heinz Hargesheimer) (German, 1924-1971)
Picturesque
1949
Gelatin silver print
Image: 49.5 x 39.6 cm (19 1/2 x 15 9/16 in.)
The J. Paul Getty Museum, Los Angeles
© Museum Ludwig, Cologne

 

Henry Holmes Smith (American, 1909-1986) 'Man and Woman' 1976

 

Henry Holmes Smith (American, 1909-1986)
Man and Woman
1976
Dye imbibition print
Image: 33.2 x 26.2 cm (13 1/16 x 10 5/16 in.)
The J. Paul Getty Museum, Los Angeles, Gift of the Smith Family Trust
© J. Paul Getty Trust

 

Edmund Teske (American, 1911-1996) 'Leaves on Glass, Topanga Canyon, California' 1952; print 1960s

 

Edmund Teske (American, 1911-1996)
Leaves on Glass, Topanga Canyon, California
1952; print 1960s
Gelatin silver duotone solarized print
Image: 35.4 x 27.9 cm (13 15/16 x 11 in.)
The J. Paul Getty Museum, Los Angeles
© Edmund Teske Archives/Laurence Bump and Nils Vidstrand, 2001

 

Alison Rossiter (American, born 1953) 'Gevaert Gevarto 47, exact expiration date unknown, about 1960s, processed 2013 (#37)' 2013

 

Alison Rossiter (American, born 1953)
Gevaert Gevarto 47, exact expiration date unknown, about 1960s, processed 2013 (#37)
2013
Four gelatin silver print
Each image: 10.8 x 8.3 cm (4 1/4 x 3 1/4 in.)
Courtesy of the artist and Yossi Milo Gallery, New York
© Alison Rossiter

 

Chris McCaw (American, born 1971) 'Sunburned GSP #202 (San Francisco Bay)' 2008

 

Chris McCaw (American, born 1971)
Sunburned GSP #202 (San Francisco Bay)
2008
Gelatin silver print
Image: 37.5 x 47.6 cm (14 3/4 x 18 3/4 in.)
Santa Barbara Museum of Art, Museum Purchase
© Chris McCaw

 

Pierre Cordier (Belgian, born 1933) 'Chemigram II' 1976

 

Pierre Cordier (Belgian, born 1933)
Chemigram II
1976
Gelatin silver print
Image: 23.8 x 17.9 cm (9 3/8 x 7 1/16 in.)
The J. Paul Getty Museum, Los Angeles
© 2015 Artists Rights Society (ARS), New York / SABAM, Brussels

 

 

“From its very beginnings in the 19th century, photography has been shaped by the desire of the artist to continually explore and expand its possibilities through experimentation. Taking that spirit of invention and discovery as a point of departure, some artists today have chosen to distill photography to its most essential components of light-sensitivity and the chemical processing of photographic papers, challenging viewers to see the medium anew. Light, Paper, Process: Reinventing Photography, on view at the Getty Center April 14-September 6, 2015, features the work of seven contemporary artists – Alison Rossiter, Marco Breuer, James Welling, Lisa Oppenheim, Chris McCaw, John Chiara, and Matthew Brandt – all of whom have created inventive photographs that reveal aspects of their making (or unmaking).

The artists in the exhibition utilize an extensive array of practices – often achieved through trial and error, accident, or chance – that shift the understanding of photography from a medium that accurately records the world to one that revels in its materiality. Whether they use handmade cameras or none at all, work with expired papers or toxic chemicals, the images remain latent until processed, fixed, or otherwise coaxed from the paper.

“Each of the artists in this exhibition engages in some way with the process by which the photographic medium captures and transmutes light into a two-dimensional image on paper,” says Timothy Potts, director of the J. Paul Getty Museum. “But rather than seeing this process as something to be ‘perfected,’ or even neutralized, they exploit its ability to be manipulated and deconstructed, thus collapsing process and product into a single creative activity. I am particularly pleased that the Getty Museum Photographs Council has provided funds to acquire works by Matthew Brandt, Marco Breuer, John Chiara, and Allison Rossiter for our permanent collection that are included in the exhibition.”

The exhibition begins with an overview of 20th-century practices that were experimental in nature, featuring works by Man Ray, László Moholy-Nagy, Nathan Lerner, Edmund Teske, and others. The renewed interest of artists of this period in techniques such as camera-less photograms, chemigrams, and solarization serves as inspiration for today’s artists. Each of the subsequent galleries in the Getty Museum’s Center for Photographs will be dedicated to the work of one of the seven featured contemporary artists, and follows a progression from abstract, camera-less works to representative images made with custom-built cameras.

“This exhibition is an excellent opportunity to feature the work of living artists alongside earlier photographs from our permanent collection,” says Virginia Heckert, department head of the Getty Museum’s Department of Photographs and curator of the exhibition. “By focusing on work of a more experimental nature, visitors will be reminded that the exploration of materiality and process has been an important aspect of photography since its inception and continues to motivate and inspire artists working with the medium today.”

Alison Rossiter (American, born 1953) takes a minimalist approach to the materials she uses to create her photographic works. She does not use a camera, film, or light, but instead only uses unprocessed sheets of expired gelatin silver paper and photographic chemicals in the darkroom. Through the simple acts of immersing or dipping a sheet of paper in developer or pouring and pooling developer onto the paper’s surface, she achieves a rich array or results. Some suggest faint impressions of primitive mark-making, others resemble landscapes, and still others call to mind abstract painting of the mid-20th-century.

Working since the early 1990s without a camera or film, Marco Breuer (German, born 1966) subjects light-sensitive paper to various acts that abrade, burn, or scrape away the emulsion layer. Completely nonrepresentational, his “photographs” look like no others; they elicit the hues and textures of rare metals, mineral deposits, or oil spills, and display marks ranging from fine incisions and abrasions to scar-like burns and gashes. His deliberate misuse of black-and-white and photographic papers is the starting point for a negotiation between the paper as recording material, the hand, and the tools employed.

James Welling (American, born 1951) spent the first ten years of his career exploring painting, sculpture, performance art, video art, conceptual art, and installation before he committed to thinking of himself as a photographer. For the past four decades, he has explored photography, from documentary to experimental, with and without a camera, using black-and-white, color, and Polaroid films and papers, as well as digital files and printing. Since 1995 he has worked increasingly with color, filters, and camera-less photography. Three bodies of recent work presented in the exhibition include variations on the photogram, chemigram, and printing-out process.

Influenced by her background in structural/materialist filmmaking, Lisa Oppenheim (American, born 1975) is interested in exploring the ways in which a photograph can record both its subject and the process by which it was made. In three bodies of work dating from 2010 to present, she enlists the very entities depicted in the negatives – the sun, the moon, and smoke/fire – in the act of exposing them. Although they sound scientific, the titles of two of these bodies of work, Heliograms and Lunagrams, are made up, combining the name of the camera-less photogram technique and the source of light by which the enlarged negatives have been contact-printed.

Chris McCaw (American, born 1971) establishes an immediate, visceral relationship between his subject, the sun, and his process, which involves loading photographic paper directly into the camera. The photographs in his Sunburn series record the sun’s movement, which literally sears its path into the paper in the form of dots, lines, or arcs, depending on its position, the weather conditions, and the length of the exposure(s). McCaw uses customized cameras outfitted with vintage military lenses pointed directly at the sun to function like a magnifying glass that burns through the emulsion layer and paper base, leaving behind singe marks and solarized passages.

John Chiara’s (American, born 1971) large-scale color prints convey a hands-on – rather than pristine, mechanized – aesthetic. For the past decade his subjects have been both uninhabited landscapes and the built environment. He works with large custom-built cameras that he loads with color photographic paper that he then processes himself by pouring chemicals into a six-foot-long section of PVC sewer pipe, sealing the tube, and then rolling it back and forth on the floor. Irregular streaks and drips characterize his prints, as do areas of overexposure and underexposure, flare from light leaks, and unevenly saturated colors.

Matthew Brandt (American, born 1982) has created diverse bodies of work, some of which are realized with photographic means and others that are more tangentially related to photographic images, techniques, or ideas. He may begin with a photograph that he has made with a 4 x 5-inch view camera, a digital camera, or his iPhone, one that he has sourced from archives in public libraries, or one that he has clicked and dragged from Ebay. His fascination with early photographic processes has led him to experiment with salted paper prints, gum bichromate prints, and heliographs, examples of which will be on view. Brandt’s interest in both photographic/visual and the physical/material forms of representation has led him to bring the two together, incorporating physical elements from his subjects into his photographic representations of them.

Light, Paper, Process: Reinventing Photography, is on view April 14-September 6, 2015 at the J. Paul Getty Museum, Getty Center. The exhibition is curated by Virginia Heckert, department head of the Museum’s Department of Photographs. A related publication of the same title will be produced by Getty Publications.”

Press release from the J. Paul Getty Museum website

 

Alison Rossiter (American, born 1953) 'Haloid Platina, exact expiration date unknown, about 1915, processed 2010' 2010

 

Alison Rossiter (American, born 1953)
Haloid Platina, exact expiration date unknown, about 1915, processed 2010
2010
Gelatin silver print
Image (each): 21.6 x 16.5 cm (8 1/2 x 6 1/2 in.)
The J. Paul Getty Museum, Los Angeles, Purchased with funds provided by the Photographs Council
© Alison Rossiter

 

Alison Rossiter (American, born 1953) 'Fuji gaslight, exact expiration date unknown, about 1920s, processed 2010' 2010

 

Alison Rossiter (American, born 1953)
Fuji gaslight, exact expiration date unknown, about 1920s, processed 2010
2010
Gelatin silver print
Image: 30.5 x 25.4 cm (12 x 10 in.)
The J. Paul Getty Museum, Los Angeles, Purchased with funds provided by the Photographs Council
© Alison Rossiter

 

Alison Rossiter (American, born 1953) 'Kilbourn Acme Kruxo, exact expiration date unknown, about 1940s, processed 2013' 2013

 

Alison Rossiter (American, born 1953)
Kilbourn Acme Kruxo, exact expiration date unknown, about 1940s, processed 2013
2013
Gelatin silver print
Image: 12.7 x 17.8 cm (5 x 7 in.)
The J. Paul Getty Museum, Los Angeles, Purchased with funds provided by the Photographs Council
© Alison Rossiter

 

Marco Breuer (German, born 1966) 'Untitled (Heat/Gun)' 2001

 

Marco Breuer (German, born 1966)
Untitled (Heat/Gun)
2001
Gelatin silver paper, burned
Image: 27.9 x 21.6 cm (11 x 8 1/2 in.)
The J. Paul Getty Museum, Los Angeles, Purchased with funds provided by the Photographs Council
© Marco Breuer

 

Marco Breuer (German, born 1966) 'Untitled (C-62)' 2002

 

Marco Breuer (German, born 1966)
Untitled (C-62)
2002
Chromogenic paper, exposed and abraded
Image: 35.6 x 27.9 cm (14 x 11 in.)
Courtesy of the artist and Yossi Milo Gallery, New York
© Marco Breuer

 

Marco Breuer (German, born 1966) 'Spin (C-824)' 2008

 

Marco Breuer (German, born 1966)
Spin (C-824)
2008
Chromogenic paper, embossed and scratched
Image: 34.6 x 27 cm (13 5/8 x 10 5/8 in.)
The J. Paul Getty Museum, Los Angeles, Purchased with funds provided by the Photographs Council
© Marco Breuer

 

James Welling (American, born 1951) 'Water' 2009

 

James Welling (American, born 1951)
Water
2009
Chromogenic print
Image: 60.3 x 50.2 cm (23 3/4 x 19 3/4 in.)
Courtesy of the artist and Regen Projects, Los Angeles
© James Welling

 

James Welling (American, born 1951) 'Water' 2009

 

James Welling (American, born 1951)
Water
2009
Chromogenic print
Image: 58.7 x 49.5 cm (23 1/8 x 19 1/2 in.)
Courtesy of the artist and Regen Projects, Los Angeles
© James Welling

 

James Welling (American, born 1951) 'Chemical' 2013

 

James Welling (American, born 1951)
Chemical
2013
Chemigram on chromogenic paper
Image: 35.6 x 27.9 cm (14 x 11 in.)
Courtesy of the artist and David Zwirner, New York/London
© James Welling

 

Lisa Oppenheim (American, born 1975) 'Heliograms July 8, 1876 / October 16, 2011' 2011

 

Lisa Oppenheim (American, born 1975)
Heliograms July 8, 1876 / October 16, 2011
2011
Gelatin silver print exposed with sunlight, toned
Image: 30 x 27.9 cm (11 13/16 x 11 in.)
The J. Paul Getty Museum, Los Angeles
© Lisa Oppenheim

 

Lisa Oppenheim (American, born 1975) 'A Handley Page Halifax of No. 4 Group flies over the suburbs of Caen, France, during a major daylight raid to assist the Normandy land battle. 467 aircraft took part in the attack, which was originally intended to have bombed German strongpoints north of' 2012

 

Lisa Oppenheim (American, born 1975)
A Handley Page Halifax of No. 4 Group flies over the suburbs of Caen, France, during a major daylight raid to assist the Normandy land battle. 467 aircraft took part in the attack, which was originally intended to have bombed German strongpoints north of
2012
Gelatin silver print
Framed (approx.): 71.1 x 86.4 cm (28 x 34 in.)
The Museum of Modern Art, New York. Fund for the Twenty-First Century
Digital Image © The Museum of Modern Art / Licensed by SCALA / Art Resource, NY
© Lisa Oppenheim

 

Chris McCaw (American, born 1971) 'Sunburned GSP #609 (San Francisco Bay)' 2012

 

Chris McCaw (American, born 1971)
Sunburned GSP #609 (San Francisco Bay)
2012
Gelatin silver paper negatives
Each image: 76.1 x 101.6 cm (30 x 40 in.)
The J. Paul Getty Museum, Los Angeles

 

Chris McCaw (American, born 1971) 'Sunburned GSP #555 (San Francisco Bay)' 2012

 

Chris McCaw (American, born 1971)
Sunburned GSP #555 (San Francisco Bay)
2012
Gelatin silver paper negative
Image: 20.3 x 25.4 cm (8 x 10 in.)
Courtesy of Stephen Wirtz Gallery San Francisco
© Chris McCaw

 

Chris McCaw (American, born 1971) 'Poly-optic #10' 2012

 

Chris McCaw (American, born 1971)
Poly-optic #10
2012
Gelatin silver paper negative
Image: 20.3 x 25.4 cm (8 x 10 in.)
Collection of Leslie, Judith and Gabrielle Schreyer, Courtesy of Stephen Wirtz Gallery
© Chris McCaw

 

John Chiara (American, born 1971) 'Longview at Panorama' 2007

 

John Chiara (American, born 1971)
Longview at Panorama
2007
Dye destruction photograph on Ilfochrome paper
Image: 50.8 x 40.6 cm (20 x 16 in.)
Rose Gallery and Von Lintel Gallery
© John Chiara

 

John Chiara (American, born 1971) 'Grandview at Elysian' 2012

 

John Chiara (American, born 1971)
Grandview at Elysian
2012
Dye destruction photographs on Ilfochrome paper
Each image: 85.1 x 71.1 cm (33 1/2 x 28 in.)
The J. Paul Getty Museum, Los Angeles, Gift of Trish and Jan de Bont
© John Chiara

 

John Chiara (American, born 1971) 'Starr King: 30th: Coral' 2013

 

John Chiara (American, born 1971)
Starr King: 30th: Coral
2013
Dye destruction photograph on Ilfochrome paper
Image: 83.8 x 71.1 cm (33 x 28 in.)
Kerstin Morehead
© John Chiara

 

John Chiara (American, born 1971) 'Sierra at Edison' 2012

 

John Chiara (American, born 1971)
Sierra at Edison
2012
Chromogenic photograph on Kodak Professional Endura Metallic paper
Image: 127 x 182.9 cm (50 x 72 in.)
The J. Paul Getty Museum, Los Angeles, Purchased with funds provided by the Photographs Council
© John Chiara

 

Matthew Brandt (American, born 1982) '00036082-3 "Mathers Department Store, Pasadena, 1971"' 2013

 

Matthew Brandt (American, born 1982)
00036082-3 “Mathers Department Store, Pasadena, 1971”
2013
Gum bichromate print with dust from AT&T parking structure level 2
Image: 110.5 x 143.5 cm (43 1/2 x 56 1/2 in.)
The J. Paul Getty Museum, Los Angeles, Gift of the artist and M+B
© Matthew Brandt, Source image courtesy of the Los Angeles Public Library Photo Collection

 

Matthew Brandt (American, born 1982) 'Rainbow Lake, WY A4' Negative 2012; print 2013

 

Matthew Brandt (American, born 1982)
Rainbow Lake, WY A4
Negative 2012; print 2013
Chromogenic print, soaked in Rainbow Lake water
Image: 76.2 x 101.6 cm (30 x 40 in.)
The J. Paul Getty Museum, Los Angeles, Purchased with funds provided by the Photographs Council
© Matthew Brandt

 

Matthew Brandt (American, born 1982) 'Rainbow Lake, WY A20' Negative 2012; print 2013

 

Matthew Brandt (American, born 1982)
Rainbow Lake, WY A20
Negative 2012; print 2013
Chromogenic print, soaked in Rainbow Lake water
Image: 76.2 x 101.6 cm (30 x 40 in.)
The J. Paul Getty Museum, Los Angeles, Purchased with funds provided by the Photographs Council
© Matthew Brandt

 

 

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01
May
14

Exhibition: ‘What Is a Photograph?’ at the International Center of Photography, New York

Exhibition dates: 31st January – 4th May 2014

Artist in the exhibition include:

Matthew Brandt b. 1982, Los Angeles; lives and works in Los Angeles. Marco Breuer b. 1966, Landshut, Germany; lives and works in New York State. Liz Deschenes b. 1966, Boston; lives and works in New York City. Adam Fuss b. 1961, London; lives and works in New York City. Owen Kydd b. 1975, Calgary, Canada; lives and works in Los Angeles. Floris Neusüss b. 1937, Lennep, Germany; lives and works in Kassel, Germany. Marlo Pascual b. 1972, Nashville; lives and works in Brooklyn. Sigmar Polke 1941–2010; Germany. Eileen Quinlan b. 1972, Boston; lives and works in New York City. Jon Rafman b. 1981, Montreal; lives and works in Montreal. Gerhard Richter b. 1932, Dresden; lives and works in Cologne. Mariah Robertson b. 1975, Indianapolis, Indiana; lives and works in Brooklyn. Alison Rossiter b. 1953, Jackson, Mississippi; lives and works in the metro New York area. Lucas Samaras b. 1936, Macedonia, Greece; lives and works in New York City. David Benjamin Sherry b. 1981, Woodstock, New York; lives and works in Los Angeles. Travess Smalley b. 1986, Huntington, West Virginia; lives and works in New York City. Kate Steciw b. 1978, Bethlehem, Pennsylvania; lives and works in Brooklyn. Artie Vierkant b. 1986, Breinerd, Minnesota; lives and works in New York City. James Welling b. 1951, Hartford, Connecticut; lives and works in Los Angeles. Christopher Williams b. 1956, Los Angeles; lives and works in Cologne, Düsseldorf, and Amsterdam. Letha Wilson b. 1976, Honolulu; lives and works in Brooklyn.

 

 

A Vocabulary of Photography: representation and the original, the ‘I can’ of sight

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What is a photograph? These days, it can be anything your imagination desires, any imag(in)ing that takes your fancy…

The images in this posting are a case in point. In a postmodern, post-photographic world where there is (allegedly) no centre and periphery, these art works are photography playing at the edges of photography. They examine “the range of creative experimentation that has occurred in photography since the 1970s,” reconsidering and reinventing, “the role of light, color, composition, materiality, and the subject in the art of photography.”

In an earlier posting I talked about A Vocabulary of Printing and the Syntax of the Image. Here we could equally posit a Vocabulary of Photography, a compendium of techniques and imaginings, noting that technology and imagination should never delimit the creativity of the photographer/artist. In other words visions, boundaries and technologies are there to be pushed!

All well and good. To solidify meaning in such a nebulous world, there is penchant for (ambiguous) numbers – titles such as 6236; Untitled (C-1189); 154 – or definitive titles that try to fix ambiguity in a specific time, place or typology (a classification according to general type) eg Image Object Friday 7 June 2013 4:33 PM, 2013 or Supplement ’13 (Mixed Typologies) #3.

However, what is produced by this experimentation, this voluminous vocabulary, seldom leads to satisfying results. When you actually look at this type of work, really look at it with a clear and aware mind (as Krishnamurti would say), a large proportion of it is blather, noise for the sake of making noise, tinkering for a terrestrial world saturated in meaningless images. No wonder I get disillusioned with the “contemporary” in photography. The art work seems to mean very little and takes me nowhere I particularly want to go.

While photographs are no longer necessarily “points of view” analogous to Littré’s rigorous definition: ‘The point of view is a collection of objects to which the eye is directed and on which it rests within a certain distance’,1 and “the image has nothing to do with signification, meaning, as implied by the existence of the world, the effort of truth, the law and the brightness of the day”2 – meaning that there is no single truth, there are only competing narratives and interpretations of a world that cannot be wholly, accurately described3 – for me there still needs to be a re(as)semblance towards some form of inherent truth in the image, ideally some form of human happiness.

The ‘I can’ of site (representation) /sight (vision) …

Marcus

 

1. Virilio, Paul. The Vision Machine (trans. Julie Rose). Bloomington: Indiana University Press, 1994, p. 19
2. Blanchot, Maurice. The Gaze of Orpheus. New York: Barrytown, 1981, p. 85
3. Townsend, Chris. Vile Bodies: Photography and the Crisis of Looking. Munich: Prestel, 1998, p. 10

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Many thankx to the International Center of Photography for allowing me to publish the photographs in the posting. Please click on the photographs for a larger version of the image.

 

“Vision is ordered according to a mode that may be generally called the function of images. This function is defined by a point-by-point correspondence of two unities in space. Whatever optical intermediaries may be used to establish their relation, whether their image is virtual, or real, the point-by-point correspondence is essential. That which is the mode of the image is therefore reducible to the simple schema that enables us to establish anamorphosis, that is to say, to the relation of an image, in so far as it linked to a surface, with a certain point that we shall call the ‘geometrical’ point. Anything that is determined by this method, in which the straight line plays its role of being the path of light, can be called an image.”
.
Lacan, Jacques. The Four Fundamental Concepts of Psycho-Analysis (trans. Alan Sheridan). London: The Hogarth Press, 1977, p. 86

 

“With the industrial proliferation of visual and audiovisual protheses and unrestrained use of instantaneous-transmission equipment from earliest childhood onwards, we now routinely see the encoding of increasingly elaborate mental images together with a steady decline in retention rates and recall. In other words we are looking at the rapid collapse of mnemonic [aiding memory] consolidation.

This collapse seems only natural, if one remembers a contrario that seeing, and its spatio-temporal organisation, precede gesture and speech and their co-ordination in knowing, recognising, making known (as images of our thoughts), our thoughts themselves and cognitive functions, which are never passive… (Romains, Jules. La Vision extra-rétinienne et le sens paroptique. Paris: Gallimard, 1964).

Everything I see is in principle within my reach, at least within reach of my sight, marked on the map of the ‘I can’. In this important formulation, Merleau-Ponty pinpoints precisely what will eventually find itself ruined by the banalisation of a certain teletopology. The bulk of what I see is, in fact and in principle, no longer with in my reach. And even if it lies within reach of my sight, it is no longer necessarily inscribed on the map of the ‘I can’. The logistics of perception in fact destroy what earlier modes of representation preserved of the original, ideally human happiness, the ‘I can’ of sight… ”

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Virilio, Paul. The Vision Machine (trans. Julie Rose). Bloomington: Indiana University Press, 1994, p. 7 (my bold)

 

 

Matthew Brandt. 'Grays Lake, ID 7' 2013

 

Matthew Brandt
Grays Lake, ID 7
2013
© Matthew Brandt, courtesy Yossi Milo Gallery, New York

 

James Welling. '6236' 2008

 

James Welling
6236
2008
© James Welling, courtesy David Zwirner, New York/London

 

Alison Rossiter. 'Kilborn Acme Kruxo, exact expiration date unknown, ca. 1940s, processed in 2013 (#1)' 2013

 

Alison Rossiter
Kilborn Acme Kruxo, exact expiration date unknown, ca. 1940s, processed in 2013 (#1)
2013
© Alison Rossiter, courtesy Yossi Milo Gallery, New York

 

Eileen Quinlan. 'The Drink' 2011

 

Eileen Quinlan
The Drink
2011
© Eileen Quinlan, courtesy Miguel Abreu Gallery, New York

 

Gerhard Richter. '18.2.08' 2008

 

Gerhard Richter
18.2.08
2008
© Gerhard Richter, courtesy Marian Goodman Gallery, New York

 

Kate Steciw. 'Armchair, Background, Basic, Beauty, Bed, Bedside, Bread, Breakfast, Bright, Cereal, Closeup, Cloth, Color, Contemporary, Couch, Crust, Day, Decor, Fox, Frame, Grain, Ingredient, Interior, Invitation, Irregular, Juice, Life, Living, Loaf, Luxury, Macro, Sofa, Speed, Style, Sweet, Texture' 2013

 

Kate Steciw
Armchair, Background, Basic, Beauty, Bed, Bedside, Bread, Breakfast, Bright, Cereal, Closeup, Cloth, Color, Contemporary, Couch, Crust, Day, Decor, Fox, Frame, Grain, Ingredient, Interior, Invitation, Irregular, Juice, Life, Living, Loaf, Luxury, Macro, Sofa, Speed, Style, Sweet, Texture
2013
1 and 2 of infinite
© Kate Steciw

 

 

“On view at the International Center of Photography from January 31 through May 4, 2014, What Is a Photograph? explores the range of creative experimentation that has occurred in photography since the 1970s.

This major exhibition brings together 21 emerging and established artists who have reconsidered and reinvented the role of light, color, composition, materiality, and the subject in the art of photography. In the process, they have also confronted an unexpected revolution in the medium with the rise of digital technology, which has resulted in imaginative reexaminations of the art of analog photography, the new world of digital images, and the hybrid creations of both systems as they come together.

“Artists around the globe have been experimenting with and redrawing the boundaries of traditional photography for decades,” said ICP Curator Carol Squiers, who organized the exhibit. “Although digital photography seems to have made analog obsolete, artists continue to make works that are photographic objects, using both old technologies and new, crisscrossing boundaries and blending techniques.”

Among those included in the exhibition is Lucas Samaras, who adopted the newly developed Polaroid camera in the late 1960s and early 1970s and immediately began altering its instant prints, creating fantastical nude self-portraits. Another artist who turned to photography in the 1970s was Sigmar Polke. Although better known as a painter, Polke explored nontraditional ways of photographing and printing, manipulating both his film and prints in the darkroom and often drawing and painting on his images.

More recently, Liz Deschenes has used camera-less photography in a subtle investigation of nonrepresentational forms of expression and the outmoded technologies of photography. And, James Welling has created a heterogeneous body of work that explores optics, human perception, and a range of photographic genres both abstract and representational.”

Press release from the International Center of Photography website

 

Letha Wilson. 'Colorado Purple' 2012

 

Letha Wilson
Colorado Purple
2012
Concrete, chromogenic print transfer, and wood frame
Courtesy the artist and Higher Pictures, New York
© Letha Wilson, courtesy Higher Pictures, New York

 

Adam Fuss. 'Untitled' 1988

 

Adam Fuss
Untitled
1988
© Adam Fuss, courtesy Cheim & Read, New York

 

Marco Breuer. 'Untitled (C-1189)' 2012

 

Marco Breuer
Untitled (C-1189)
2012
© Marco Breuer, courtesy Yossi Milo Gallery, New York

 

David Benjamin Sherry. 'Lower Yosemite Falls, Yosemite, California' 2013

 

David Benjamin Sherry
Lower Yosemite Falls, Yosemite, California
2013
© David Benjamin Sherry, courtesy the artist and Salon 94, New York

 

Mariah Robertson. '154' [detail] 2010

 

Mariah Robertson
154 [detail]
2010
© Mariah Robertson, courtesy American Contemporary, New York

 

Artie Vierkant. 'Image Object Friday 7 June 2013 4:33 PM, 2013' 2013

 

Artie Vierkant
Image Object Friday 7 June 2013 4:33 PM, 2013
2013
© Artie Vierkant, courtesy Higher Pictures, New York

 

Christopher Williams. 'Supplement '13 (Mixed Typologies) #3' [detail] 2013

 

Christopher Williams
Supplement ’13 (Mixed Typologies) #3 [detail]
2013
© Christopher Williams, courtesy David Zwirner, New York/London and Galerie Gisela Capitain, Cologne

 

Jon Rafman. 'New Age Demanded (The heart was a place made fast)' 2013

 

Jon Rafman
New Age Demanded (The heart was a place made fast)
2013
© Jon Rafman, courtesy the artist and Zach Feuer Galery, New York

 

Floris Neusüss. 'Tango' 1983

 

Floris Neusüss
Tango
1983
© Floris Neusüss, courtesy the artist and Von Lintel Gallery, New York

 

Marlo Pascual. 'Untitled' 2010

 

Marlo Pascual
Untitled
2010
© Marlo Pascual, courtesy the artist and Casey Kaplan, New York
Photo: Jean Vong

 

Owen Kydd. 'Pico Boulevard (Nocturne)' 2012

 

Owen Kydd
Pico Boulevard (Nocturne)
2012
Courtesy the artist and Nicelle Beauchene Gallery
© Owen Kydd

 

 

International Center of Photography
1133 Avenue of the Americas at 43rd Street
New York NY 10036
T: 212 857 0045

Opening hours:
Tuesday – Wednesday: 10.00 am – 6.00 pm
Thursday – Friday: 10.00 am – 8.00 pm
Saturday – Sunday: 10.00 am – 6.00 pm
Closed: Mondays

International Center of Photography 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: ‘Sleep/Wound’ 1995-96


Marcus Bunyan black and white archive: 'Sleep/Wound' 1995-96 *PLEASE NOTE THIS POSTING CONTAINS PHOTOGRAPHS OF MALE NUDITY - IF YOU DO NOT LIKE PLEASE DO NOT LOOK, FAIR WARNING HAS BEEN GIVEN*

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